Complete Text

No. 1
ABEL BROWN
also known as
Abram Brown Rollicking Bill the
Barnacle Bill the Sailor Sailor
This song was a favorite "forecastle" piece for many
years prior to appearing in print. According to Col-
cord, the song was omitted from the first edition of
her Roll and Go collection because the words were too
dirty. Many of the old songs were omitted from pub
lished collections for the same reason, but most of
them survived via oral circulation anyhow.
Abel Brown was not printed in the United States until
1928, when Prank Shay included three carefully edited
stanzas in his More Pious Friends and Drunken Companions»
In 1929, the song was rewritten and published as
Barnacle Bill the Sailor ,
with words and music credited to Carson Robison, a well-
known song-writer and popular country singer, and Frank
Luther. Unfortunately, the copyright deposit copy can
not be found.
REFERENCES
Colcord, 182-183 Shay (ASSC), 204
Greenleaf, 105 Shay (PF-2), 102
Harlow, 164-166 Shay (PF-3), 151
Hugill (1), 440-441
Abel Brown Version A
Who's that rapping on my door? (3)
Cried the fair young maiden.
It's me, me love! and I'll roam no more,
Said Abel Brown the sailor.
So hurry, love, and open the door!
Said Abel Brown the sailor.

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I’ve heard all your lies before, (3)
Cried the fair young maiden.
I’ve brung me pay for to blow ashore,
Said Abel Brown the sailor;
So hurry, love, and open the door,
Said Abel Brown the sailor.
I'll come down and let you in, (3)
Cried the fair young maiden.
I’ll kiss your lips, your neck and chin.
Said Abel Brown the sailor;
We’ll go to bed and wallow in sin,
Said Abel Brown the sailor.
When will I see you again? (3)
Cried the fair young maiden.
I'm off to sea jus' like before.
Said Abel Brown the sailor;
And you'll never see me no more.
Said Abel Brown the sailor.
What if we should have a child? (3)
Cried the fair young maiden.
Jus' bounce the bastard on your knee,
Said Abel Brown the sailor;
And raise him up to be like me.
Said Abel Brown the sailor.
( VERSION B)
Who's that knocking at the door?
Asked the fair young maiden.
It's only me from over the sea,
Said Barnacle Bill the sailor.

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What do you want, I'd like to know?
Asked the fair young maiden,
0 hurry! or I'll kick down this door,
Said Barnacle Bill the sailor.
I'll come down and let you in,
Said the fair young maiden.
Make up your bed, and make it up for two,
Said Barnacle Bill the sailor.
What if we should have a child?
Asked the fair young maiden.
The very thought is driving me wild.
Said Barnacle Bill the sailor.
**************************

Bo. 2
THE ABOLITIONIST HYMN
also known as
The Abolitionist Song
This is a traditional political song. The country was
divided over the issue of slavery long before the Civil
War ripped the nation asunder. As the division widened
between those agitating against slavery and those defend
ing it, 3 ongs were written as a means of propagating the
positions of both sides. This particular song originated
in New England, and was sung to the air of the well-known
hymn, Old Hundred (see in MB).
REFERENCES
Downes, 145, 173
Ives (SA), 288
Ives (SB), 210
Whitman, 104
The Abolitionist Hymn

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We ask not that the slave should lie
As lies his master, at his ease
Beneath a silken canopy,
Or in the shade of blooming trees.
We seek not "eye for eye" that all
Who forge the chain and ply the whip
Should feel their torture, while the
thrall
Should wield the scourge of mastership
We do agree that man should toil:
It*a Nature’s need, it’s God’s decree;
But let that hand that tills the soil
Be like the wind that fans it—free.
*****************************

No. 3
ABRAHAM LINCOLN I
also known as
Abraham, Abraham
Breck and Lane
Lincoln vs Bell
Lincoln vs Breckinridge
Lincoln vs Douglas
Old Abe and His Bights
Sing a Song of Charleston
Vote for Bell of Tennessee
Abraham Lincoln, 16th President of the United States,
i®» with the possible exception of Bonnie Prince
Charlie, the only political person to inspire so many
ballads, songs, parodies and poems. Lincoln was both
hated and loved, and those of both persuasions wrote
down their views in rhyme and prose for their neighbors
and posterity. Many of the musical pieces about Lin
coln, pro as well as con, were written by professional
songwriters out to make a buck; yet many more were cre
ated by amateurs inspired by contempt and hatred or by

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admiration and love.
Tne big issue in 1860 was slavery. The wheels of
danger were set in motion when the Democrats met in
convention at Charleston, S. C., April, 1860. Hard
core extremists among the Southern delegates walked
out when they failed to get a plank in the platform
that would give federal protection to slavery in the
territories. Following their walk-out, the Democrats
adjourned and reconvened at Baltimore, in June.
Inbetween the two Democratic conventions, the new
Republican Party held a convention of their own at
Chicago and nominated Abraham Lincoln, Illinois, as
their candidate and Hannibal Hamlin, Maine, to be his
running mate. The dissenting Southern Democrats held
a convention of their own, nominating John C. Breckin
ridge, Kentucky, and Joseph Lane, Oregon.
At Baltimore, the Northern Democrats nominated Steohen
A. Douglas and Herschel 7. Johnson. Nor was this the
end of the nominations. At Baltimore, early in May,
remnants of the old Whigs and Know-Nothings came togeth
er and formed the Constitutional Union Party and nomi
nated John 3ell, Tennessee, and Edward Everett, Massa
chusetts. Thus were the political battle lines drawn
between four determined political camps. And, of course,
all of them had scngs praising their own candidates and
ridiculing the opposition.
Here, in these headnotes, are samples from two ot the
son & s 3t*ng duiing that campaign, and versions A, 3 and C
given below are three others. These songs are not re- “
lated musically, but are representative of the songs
used in the Presidential campaign.
The Southern Democrats sang BRECK AND- LANE:
Breck and Lane! Breck and Lane!
Tried and true are the twain!
Statesmen, not splinters of timber,
Who, as captain and mate

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Of this great Ship of Stats,
The people will 3hip in November!
The Constitutional Union Party sought votes by singing:
2>on*t you hear that rumbling sound,
Those deep toned murmurs all around?
The people’s voice ’tis known to be,
Por old John Bell of Tennessee.
The new Republican Party, engaged in its second Presi
dential campaign, flooded the country with 3 ongs prais
ing their candidates and ridiculing the opposition.
Three of their songs, each set to a different air, are
given below.
Abraham Lincoln I A Tune: Dixie
Abraham I Abraham!
At Chicago they selected
Lincoln, who will be elected!
Abraham! Abraham!
Abraham! Abraham!
As Honest Abe the people know him,
And all his actions go before him—
A true man! A true man!
A true man! A true man!
Abraham Lincoln _I 2 Time: Sing a Song of Sixpence
Hi Diddle Diddle! aka Sing a Song of Charleston
• mmmmmmrnmKmmmmtm ************•**•' mammmmmmm « ■ ■ alb mrnrnrn mtmmmm i
Sing a song of Charleston!
Bottle full of Rye!
All the Douglas delegates
Knocked into a pi!
Por when the vote was opened
The South began to sing:
You little Squatter Sovereign
Shan’t be our King!

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Chorus
Hi diddle diddle! The Bred Scott riddle!
The delegates scatter like loons!
The Little Doug swears to see the sport,
And the Southerners count their spoons!
Abraham Lincoln I C Tune: Roger de Coverlv
Old Abe and His Rights
Tell us of his fight with Douglas,
How his spirit never quails;
Tell us of his manly bearing,
Of his skill in splitting rails.
Tell us he’s a eecond Webster,
Or, if better, Henry Clay—
That he '3 full of genial humor,
Placid as a summer day.
Anything you care to tell us
We will take without a stricture.
But, oh, don’t!—we beg and pray you—
Don't, for God's sake, show his picture!
*********************************

Ho. 4
ABRAHAM LINCOLN II
also known as
Old Abe Lincoln Came Out of the Wilderness
This short parody was one of Lincoln's more popular
campaign song 3 . Carl Sandburg tells us, "Torch
light processions of Republicans sang this in the
summer and fall months of 1860" and "in Springfield,
Illinois, the Tall Man...heard his two boys, Tad and

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1289
' W i l l i e , sing it to him."
EBFBHENCSS
■Sandburg (AS), 168 -Silverman, I, 370
Sandburg (NAS), 36 Whitman, 114
Scott (PSS), 30
Abraham Lincoln II Tune: Out of the Wilderness II
Old Abe Lincoln
Oeme out of the wilderness.
Out of the wilderness,
Out of the wilderness.
Old Abe Lincoln
Came out of the wilderness,
Down in Illinois*

Ho. 5
ABRAHAM LINCOLN III
also known as
Tankee Doodle for Abe
Another of the songs from the 1860 Presidential campaign*
Dor a longer text, see Luther, 172.
Abraham Lincoln III Tune: Yankee Doodle
Ya nk ee Doodle does as well
As anybody can, sir;
And like the ladies, he's for Abe
And Union to a man, sir.
Yankee Doodle never fails,
When he resolves to try, sir;
To elect a man who can't split the rails—
Ihat*s just "all my eye", sir.

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Yankee Doodle's come to town,
And on mature reflection,
He's gonna do the Slavites brown
At the next election.
Yankee Doodle cuts a swell,
Altho' he will not bet, sir;
Yet he goes in for Abraham
And Hamlin of old Maine, sir.
And he invites you one and all.
Ho matter what your station.
To vote for Freedom and Free Soil—
And that will save the Nation!
*** **-»*■»** ****** ******* *■**•»*

No. 6
ABRAHAM LINCOLN IV
also known as
Get Out the Way, You Little Giant
Lincoln's supporters made this one of the most popular
campaign songs of 1860. The Democrats probably didn't
care much for it, but they, in turn, took several simi
lar musical shots at their oppisition.
Abraham Lincoln IT Tune: Old Dan Tucker
Get Out the Way , You Little Giant
Old Abe is coming down to fight,
To put the Democrats to flight;
He's coming with the wedge and maul,
And he will split 'em, one and all!
Chorus

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Get out the way, you little giant! (3)
You can’t come in, you’re too short
and pliant!
Old Abe lives in a big log hut.
He can drive the wedge and use the glut!
He swings the maul and when he hits,
It goes in the ground or else it splits.
Old Abe knows how to drive the team,
Because he never goes by steam;
But now the ox-goad he will use
And dust the giant in his shoes!

No. 7
ABRAHAM LINCOLN 7
also known as
Lincoln and Liberty
This was probably the best known song of the I860 Presi
dential campaign. It was by far the easiest to sing. The
old Irish air, to which the words were set, Yougal Har
bour, was already popular throughout America as Rosin
the Bow (see in MB). The words of the song below were
written by P. A. Simkins.
REFERENCES
Downes, 146, 176
Sandburg (AS), 167
Llloyd, 51
r Silber (HSB), 20
Lomax (FSNA), 97
Silverman, II, 280
Randolph, II, 371
Whitman, 114
Abraham Lincoln V
Tune: Rosin the Bow
Lincoln and Liberty
Hurrah for the choice of the nation,
Our chieftain so brave and so true!
We'll go for the great reformation,
For Lincoln and Liberty, too!

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Chorus
For Lincoln and Liberty, too! (2)
We*11 go for the great reformation,
For Lincoln and Liberty, too!
We*11 go for the son of Kentucky,
The hero of Hoosierdom through!
The pride of all Illinois—
For Lincoln and Liberty, too!
For Lincoln and Liberty, too! (2)
The pride of all Illinois—
For Lincoln and Liberty, too!
They’ll find what by falling and
mauling
Our rail-maker statesman can do;
For the people are everywhere calling
For Lincoln and Liberty, too!
For Lincoln and Liberty, too! (2)
For the people are everywhere calling
For Lincoln and Liberty, too!
Then up with our banner so glorious,
The star-spangled red, white and
blue!
We’ll fight till our banner’s victorious.
For Lincoln and Liberty, too!
For Lincoln and Liberty, too! (2)
We’ll fight till our banner’s victorious,
For Lincoln and Liberty, too!
********* * •»****•»■***** ********

1293
KB

Ho. 8
ABRAHAM LINCOLN VI
also known as
Lincoln Hoss and Stephen A. Lincoln vs Douglas
In this 1860 Presidential campaign song, Lincoln and
Douglas are symbolized as horses.
Abraham Lincoln VI Tune: Camptown Races
There's an old plow "hoss” whose name is "Doug,"
Doo-dah, doo-dah,
He *8 short and thick— a regular "plug,"
Oh! doo-dah day.
Chorus
We're bound to work all night.
We're bound to work all day,
I'll bet my money on the "Lincoln hoss,"
Who bets on Stephen A.?
The "Little Plug" has had his day,
Doo-dah, doo-dah,
He's out of the ring, by all fair play,
Oh! doo-dah day.
The "Little *Doug" can never win,
Doo-dah, doo-dah,
That Kansas job's too much for him,
Oh! doo-dah day.
His legs are weak, his wind unsound,
Doo-dah, doo-dah,
His "switch tail's" too near the ground,
Oh! doo-dah day.
*** ******•#•-*•*■**•*■****

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So* 9
ABRAHAM LINCOLN VII
also known as
The Abe-iad
All the songs about Lincoln were not favorable—and
particularly not after he became President. For ex
ample, Southerners sang:
Old Abe’s elected, so they say,
Along with Darkey Hamlin;
The Yankees think they'll gain the day
By nigger votes and gamblin'.
There were many such anti-Lincoln songs in circulation
in the North, too, as illustrated by the musical lam
poon given below, which was published after the Civil
War had begun.
A facsimile reproduction of the original sheet music
i® in Jordan, 370—372. Another version is given in
Glass (SS-2), 47-49.
Abraham Lincoln VII
Abe Lincoln was a Citizen of very small renown,
A railing abolitioner, of little Springfield town.
Abe's party said, "November comes, now Abe,
don't let us fail
To meet the other parties all, and beat them
with a rail!"
November came, the rogues turned out, and yet
*twas not allowed,
That Abe should come, lest Ab'ram's face should
fright away the crowd!
The crowd, the crowd, should fright away the
crowd!
**♦****♦«*»*»****#♦**#**

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So. 10
ABRAHAM LINCOLN VIII
also known as
Where Are You Going, Abe Lincoln?
Satirical songs (such as this one) were very popular
in the Confederate States, because the "South” held
President Lincoln directly responsible for the "War
of Seccession."
REFERENCES
Allan (LSB), 31 Glass (SS-2), 64
Bulletin (VPS), VI, 6 Luther, 206
Davis (TBV), 258
Abraham Lincoln VIII Tune: Lord Lovel
Abe Lincoln stood by the White House gate
A-combing his milk-white steed;
Along came his lady Lizzie Todd
A-wishing her lover good speed, speed, speed,
A-wishing her lover good speed.
Where are you going, Lord Abe? she said;
Where are you going? says she.
I'm going, my dear Lizzie, he says,
Our Richmond for to see, etc .
He hadn't been gone more’n a week or two.
Pair Richmond for to see.
When back he came to the White House gate—
All tatttered and torn was he, etc,
I'm out of breath, Abe Lincoln he said;
I'm out of breath, says he.
The Rebels have killed my old Scott horse,
And so I skedaddle de, etc.

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They tore my plaid and long tail blue,
And my long tail blue, said he;
My McClellan horse, I think will do.
And I'll ride him around, said he, etc.
He hadn't been gone more'n a week or two
Old Dixie for to see,
When back he cane to the White House gate —
His Lizzie Todd he must see, etc ,
How do you flourish, Abe Lincoln? she said;
How dod you flourish? said she.
My coat is tore down on the Lee shore
Of Chic-o-hom-i-nee, nee, etc,
You look so lank and lean, she said;
You look so lank and lean, said she.
My horse fell down on an Old Stonewall,
Down in the land of Dixi-e, ee, etc.
Then Abe Lincoln bestrode his Burnside horse,
But he dodged at the Rebel fire,
And he threw the Baboon heels over head,
And there he stuck in the mire, ire, ire,
And there he stuck in the mire!
♦a***********************.*

No, 11
ABRAHAM LINCOLN IX
also known as
Por Honest Old Abe and Licoln vs Little Mac
Johnson, Too
Southern victories during the first years of the Civil
War made it difficult for Lincoln to function, and his

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popularity was at a low ebb. In addition to defeat-
est and racist anti-Lincoln songs issued by Democrats,
who, in 1864, were being called "Copperheads,- Lincoln
faced merciless attack from foes within his own party
and administration. More and more Republicans doubted
his chances for re-election. But during the summer and
autumn of 1864 the tide was turned as a result of a
string of Northern victories. When the Republicans
convened at Baltimore in June, Lincoln was unanimously
nominated. Andrew Johnson, Tennessee, was his running
Abraham Lincoln IX
— Tune: Harrison vs Van Buren III
What has caused this great commotion,
motion, motion,
The country through?
It is the ball that’s rolling on
For Honest Old Abe and Johnson too.
For Honest Old Abe and Johnson too.
And with them we’ll beat Little Mac,
Mac, Mac!
Mac is off the track!
And with them we'll beat Little Mac.
«
Have you heard the news from Mobile,
Mobile, Mobile,
So good and true?
Farragut is a—pushing on
For Honest Old Abe and Johnson too,
For Honest Old Abe and Johnson too.
And with them we'll beat Little Mac, etc.

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Have you heard the booming cannon,
cannon, cannon,
Atlanta through?
Our soldier boys are fighting on.
For Honest Old Abe and Johnson too,
For Honest Old Abe and Johnson too. etc.
On this line we'll fight it out,
out, out,
Though all looks blue.
Meade and Grant will have Richmond yet.
For Honest Old Abe and Johnson too,
For Honest Old Abe and Johnson too. etc.
The Chicago Platform is going down,
down, down,
The country through.
So is little failure Mac,
For Eonest Old Abe and Johnson too,
For Honest Old Abe and Johnson too. etc .
Have you heard the news from Maine,
Maine, Maine,
So good and true,
That all the world seems turning round
For^Honest Old Abe and Johnson too,
For Hcne3t Old Abe and Johnson too. etc .
Copperheads are in commotion,
motion, motion.
What can they do?
War Democrats are coming round
For Honest Old Abe and Johnson too,
For Honest Old Abe and Johnson too. etc.
•ft********************

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Bo. 12
ABRAHAM LINCOLN X
also known as
Old Honest Abe
This anonymous Southern satire on Lincoln was printed
in Songs of the South . Richmond, 1863. The "Scott"
and "Wool" referred to in the 3rd stanza are General
Winfield Scott and General John E. Wool, senior
officers of the U. S. Army when the Civil War began.
Abraham Lincoln X Tune: Yankee Doodle
Old honest Abe, you are a babe
In military glory;
An arrant fool—a party tool—
A traitor and a tory.
You are a boss, a mighty hoss
A-snortin' in the stable;
A racer, too, a kangaroo—
So whip us if you’re able.
If Scott and Wool should at us pull
Across the country level,
We’ll meet them there and fight them
fair.
And thrash them like the devil.
For Wool and Scott will never squat.
But one thing you'll discover,
That Wool will fly and Scott will die
Before he whips his mother.
Oh, Mister Link, what do you think
About the Southern cattle.
That horns you so wherever you go
And whips you every battle?
*******************

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No. 13
ACRES OP CLAMS
also known as
The Old Settler Old Settler’s Song
This is a parody of a popular frontier song, Rosin
the Bow (see in MB). The text of Acres of Clams
was so widely known and loved in Washington terri
tory that, in 1889, when when Washington became a
state, the song was adopted officially.
REFERENCES
Agay (1), 48
Agay (2), 75
Botkin (WFL), 747
Edwards (CHSB), 92
Fowke (SWF), 138
Ives (SA), 185
Ives (SB), 272
Kennedy (TAB), 363
Leisy (SPS), 30-31
Lingenfelter, 555
Lomax (USA), 184
Silber (HSB), 80
Silber (SGAW), 153
Silverman, I, 21
Toelken (NT3), 17
Acres of Clams Tunet Rosin the Bow
I’ve wandered all over this country
Prospecting and digging for gold;
I've tunneled, hydraulicked and cradled,
And I have been frequently sold.
Chorus
And I have been frequently sold,
And I have been frequently sold;
I've tunneled, hydraulicked and cradled,
And I have been frequently sold.
For one who got rich by mining,
I saw there were hundreds grew poor;
I made up my mind to try farming,
The only pursuit that is sure.

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The only pursuit thet is pure, (2)
X made up my mind to try farming,
The only pursuit that is sure.
I rolled up my grub in my blanket,
I left all my tools on the ground;
I started one morning to shank it
For the country they call Puget Sound.
For the country they call Puget Sound (2)
I started one morning to shank it
For the country they call Puget Sound.
No longer the slave of ambition,
I laugh at the world and its sham.
And I think of my happy condition
Surrounded by acres of clams.
Surrounded by acres of clams (2)
And I think of my happy condition
Surrounded by acres of clams.
***********************

No. 14
ADAM AND EVE
also known as
Adam and Eve's Wedding Song Wedlock
Adam's Bride When Adam was
Creation When Adam was
The Honest Man's Favorite Created
Created
First
Of English origin, this song was popular in America
when Abraham Lincoln was a boy. In fact, Lincoln was
once credited with being song's author. He did sing
it at his sister's wedding and listed it as being a-
mong his favorite songs.
Versions of this song is in many old song-books, par
ticularly in England. A broadside copy is on file in the

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Harvard library Collection (25242. 5. 7), p. 45. A
version in the 1855 edition of the Social Harp lists
Henry F. Chandler as composer. Another version, with
an entirely different tune, is in the Original Sacred
Harp, 1902, p. 115, and the melody is attributed to
Elder E. Dumas, dated 1869.
Por other songs with the same theme, see: Baring-Gould
(SW), IV, No. 100; 3ell (APBS), 451; Broadwood (ECS),
176 & Williams (PSUT), 215.
REFERENCES
Brown, III, 84; V, 46
Downes (1940), 100
Jackson (DSS), 77
Jackson (ESUS), 70
Jackson (SFS), 41, 74
Jackson (WSSU), 198
Jour (API), XII, 250
Kidson (TT), 153
Lair (SLL), 25
Lomax (ABPS), 567
Luther, 79
McCurry, 188
Sharp, II, 272
White & King, 115
Adam and Eve
When Adam wae created
He dwelled in Eden’s shade,
As Moses has related,
Before his bride was made.
Ten thousand times ten thousand
Of creatures swarmed around,
Before his bride was form-ed,
Or any mate was found.
He had no conversation,
He was surely alone;
Then to his admiration
He lost a big rib bone.
Great was his exaltation
When first he saw his bride;
Great his ele\ r ation
To have her by his side.

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That woman was not taken
From Adam J s head, we know,
And she must not rule him,
Nor drive his spirit low.
That woman was not taken
From Adam's feet, we see,
So he could never kick her,
The meaning aeems to he he.
**********************

No. 13
ADAM ET EVE
This old French comolainte , which makes no attempt
at humor, arrived in North America early in the 18th
century. It was popular in French Canada and in the
French settlements within the United States, For a
more complete version, collected in Vincennes, In
diana, see Berry, 85-88. A French-Canadian version
is in Gagnon, 161-167.
Adam et Eve
In a # garden filled with flowers
And wonderful how'rs,
God created man in His image.
Thus God above show'd all mankind
the proof
Of hi9 Divine care and love.
Adam at rest there all alone,
With sin unknown,
On the green grass of Eden lying,
Tranquil, sublime.
And then the lord caused him to
slumber
Just for a time.

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1304
A«* Adam slept, quietly supine r
His Lord Divine
Removed from him a rib so gently.
Healing his side;
And God the Lord then formed a woman,
Helpmeet and bride,
Adam did awake, saw her and cried;
At mine own side
Is a woman I shall love deeply,
Formed of my bone.
Let her be mine, heavenly bounty,
Be mine alone.
And Adam, sire of sinful man,
Offered his hand
To Eve, the fair delightful woman
And tender wife.
Then kneeling there with her beside
him,
Thanked God for life.
************************ ***

No. 16
ADAM GORDON
also known as
Adam Gorman
Adam O’Gordon
Captain Car, or Carr
Edom 0 Gordon
This old ballad appears to have been more popular in
New England than anywhere el=e in America. Attention
was drawn to the ballad in this country because it
was recorded by Child a? No. 178. Based as it is
upon Scottish political and military activity in 1571,
the ballad is of historical significance. George
Gordon, Catholic Earl of Huntly, supported Mary,
Queen of Scots, during the years following the as-

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1305
sassination of the Regent Murray. A rival clan, the
Forbes, supported the King’s party and the Reformed
Faith. Adam Gordon, George's brother, either sent
Thomas Ker, a professional soldier, or led the troops
himself, on a raid against Forbes' property, in Nov.
1571. When the raiders arrived at the Castle of Towie,
they found it defended only by servants of the house
hold and the owner's wife. When the lady refused to
surrender the Castle, the place was sacked, burned,
and twenty-seven members of the family and most of
the servants were put to the sword.
REFERENCES
Child, III, 423
Flanders, III, 173
Flanders (BMNE), 134
Flanders (VFSB), 19
Friedman, 256
Greig & Duncan, No. 231
Hales, I, 79
Houseman, 207
Kinloch MSS, V, 384
Kinsley, 598
leach (BB), 488
Motherwell MS., 543
Muir, 213
Ritson (AS), 137
Ritson (SS), II, 17, 362
Quarterly (SFI), I, No.
2, 9-11
Quiller-Couch, 342
Adam Gordon
Now just around the Martinmass,
When cold winds froze the lake,
01' Adam Gordon told his men,
"Yon castle we must take."
When Gordon saw the lady safe,
The gates and windows fast,
He fell into a deadly rage
And called to her aghast:
"Come down to me, 0 Lady gay,
Come down come down to me;
This night you shall be in my arms,
My loving bride to be."

MB
Song Texts
1306
"I'll not come down, thou false Gordon,
I'll not come down to thee;
I'll not forsake my own dear lord.
Though he is far from me.”
"Give up thou house, 0 Lady fair,
Give up thy house to me!
Or I shall burn thyself therein,
With thy dear babies three.”
"I'll not give up, thou false Gordon,
Thy threatenings I defy!
If thou dost burn my babes and me,
Together v. f e shall die.”
"Now fire the house!" false Gordon cried,
Enraged with vengeful ire;
"0 Lady, thou shalt rue this deed,
When shrieking in the fire!”
0 then did speak her little son,
Upon his nurse's knee,
"0 mother, dear, give up this house;
The smoke it smothers me.”
"I would give all my gold, my child,
And likewise all my fee
For one blast of the western wind.
To blow the smoke from thee.”
0 then bespoke her daughter dear,
So slender, fair, and small,
”0 roll me in a pair of sheets
And throw me o'er the wall."
They rolled her in a pair of sheets
And threw her o'er the wall,
But on the point of Gordon's spear
She got a deadly fall.

MB
Song Texts
1307
Then Gordon did his bugle blow
And cried, "Away, away!
Since Towie house is all in flames.
We must no longer stay!”
The looked up her own dear lord,
As he came o’er the lea;
He saw his castle in a blaze
As far as he could see.
Then sorely did his mind turn dark.
His heart was full of woe,
••Ride on, ride on, my trusty men.
As fast as you can go! n
Then some did ride and some did run.
No swifter flew the wind!
For each cried, "Woe upon the head
Of him who lags behind!"
But ere the foremost could come up,
The flames had spread so wide,
The tender babes were burnt alive;
Their mother with them died.
Her lord did wildly rent his hair,
And wept in woeful mood;
"Ah, traitors, for this cruel deed
Yo shall weep tears of blood!"
*********************

No. 17
ADAMS VS JEFFERSON
also known as
Adams and Liberty The Boston Patriotic Song
America's first three Presidential elections were
different from thos that followed, primarily because

MB
Song Texts
1308
the ruling faction was not a political party per se
but a group of influential leaders who were in agree
ment on what ought to he done. The Presidential elec
tions of 1788 and 1792 were congests between individ
uals, not political parties. Even George Washington was
not without opposition candidates in 1788. John Adams,
Thomas Jefferson, Aaron Burr, and others, were also
candidates in 1792. Adams got more votes than any
candidate except Washington in both campaigns and was
therefore automatically installed as Vice-President.
The song, Adams vs Jefferson deals with the 1796 cam
paign, in which the issues were clear-cut and from
which Washington had withdrawn his name . The battle
line was drawn between Federalists and anti-Federalists,
the latter becoming known as Democratic-Republicans in
Congress. The main battle-line separated federal power
from state power advocates.
The Federalists were a pro-central govenment contingent
in Congress; they met in a Congressional caucus to dis
cuss policy, plans and procedure. In 1796 they pledged
their support to John Adams of Massachusetts, and Thomas
Pinckney of South Carolina.
The anti-Federalists held a caucus and agreed to sup
port Thomas Jefferson of Virginia and Aaron Burr of
New York, men who did not want to see the federal govern
ment become more powerful than the states.
The system of Congressional caucuses flourished until
1824. It was a system that had nothing whatever to do
with the views of the people and was a great way to
perpetuate the rule of those already in power. Less
important members of the factions had nothing to say
about the selection of candidates at the presidential
level and the general public had no choice whatsoever.
Aside from George Washington, who was not a candidate .
but received two electoral votes anyway, there were
twelve candidates in 1796.

Song Texts
1309
KB
When the votes were finally counted, the 1796 election
came out as follows:
John Adams, Massachusetts, 74
Thomas Jefferson, Virginia, 68
Thomas Pinckney, South Carolina, 59
Aaron Burr, New York, 30
Samuel Adams, Massachusetts, 15
Oliver Ellsworth, Connecticut, 11
George Clinton, New York, 7
John Jay, New York, 5
James Iredell, North Carolina, 3
John Henry, Maryland, 2
Samuel Johnson, North Carolina, 2
Charles C. Pinckney, South Carolina, 1
Accordingly, John Adams "became President and Thomas
Jefferson, runner-up, became Vice-President. This set
the stage for the campaign of 1800, when things would
he quite different (see Jefferson vs Adams I in MB).
The song below was classified as a "patriotic" song
in the days of its popularity, but it was and is
clearly political.
A sheet music version, entitled Adams and Liberty .
The Boston Patrioitic Song , was issued at Boston in
1798, and the words and music were credited to "Thomas
Paine." Actually, the words were written by Robert Treat
Paine, Jr., whose father was one of the signers of
the Delcaration of Independence. The tune is the same
as that used for The Star-Spangled Banner , which was
originally an Italian air borrowed by Samuel Arnold for
his famous hunting song, Anacreon in Heaven.
REFERENCES
Jackson (ESUS), 79
Johnson (PS), 589
Lloyd, 28-29
Lawrence, 148
Rabson, 82-93
Spaeth (RETT), 11
Silber (SAVB), 23

MB
Song Texts
1310
Adams vs Jefferson
Te sons of Columbia, who bravely have fought
For those rights which unstained from your sires
have descended.
May you long taste the blessings your valor has bought,
And your sons reap the soil which your fathers defended.
Mid the reign of mild peace, may your nation increase,
With the glory of Home and the wisdom of Greece;
And ne'er shall the sons of Columbia be slaves
While the earth bears a plant, or the sea rolls a wave.
In a clime whose rich vales feed the marts of the
world,
Whose shores are unshaken by Europe's commotion.
The trident of commerce should never be hurl'd
To increase the legitimate pow'rs of the ocean.
But should pirates invade, tho* in thunder array'd,
Let your cannon declare the free charter of trade.
For ne'er shall the sons of Columbia be slaves,
While the earth bears a plant, or the sea rolls a wave.
♦♦******■»■»•*•********•»■»•******•*

Ho. 18
* ADELITA
This song, with its beautiful air, originated in Mexico
and is, perhaps, the most popular of all that country's
revolutionary pieces. It is sung by Mexicans every
where, being particularly well-known in California and
the Southwest. There are dozens of stanzas in Spanish
and, according to Carl Sandburg, new ones are being
constantly added.
For other versions, see: Luther, 72; Sandburg (AS),
300; and Silverman, I, 267.

MB
Song Text3
1311
Adelita
Adelita*s the name of my lady.
She’s my darling, my sweetheart,
my dear;
I shall never, no, never forget her—
How I wish that my lady were here.
Chorus
Aye,
aye,
aye!
Adelita!
Aye,
aye,
aye!
Cooing dove!
Aye,
aye.
aye!
Adelita!
Aye,
aye,
aye!
Adelita, my love!
Adelita has said that she loves me,
One night as we strolled neath the stars;
I kissed her and held her all evening,
As we danced to a thousand guitars.
Now the trumpet of battle is sounding—
It’s off to the army for me;
In the midst of the dead and the dying,
Adelita’8 sad eyes I will see.
Should I happen to fall in the battle,
Remember how I loved you, my dear;
Adelita, for God's sake remember,
In spirit I'll always be near.
******* *****************

No. 19
ADVICE TO AMERICAN GIRLS
also known as
The Arkansas Roys Come, All You Mississippi
The Arkansas Sheik Girls
The Cheyenne Boys Come, All You Virginia Girls

MB
Song Texts
1312
Don't Marry the Mormon Boys
Don't You Marry Those Texan
Boys
Hello, Girls
Hoecake
Hoe-cake, Hominy and Sassa-
frass Tea
If You Want to Go A-Courting
Illinois Gals
Johnny Cake
Johnny Cake and Venison
Johnson Boys
The Kansas Beys
Kentucky Girls
Mississippi Gals, or
Girls
Missouri Boys
On the Road to Californi
The Tennessee Boys
The Texan (Texian) Boys
The Ways of Arkansas
The West Virginia Boys
This song expresses a form of frontier satire that was
once quite popular. Satire is always directed at a
neighboring community or State and usually, as with
this piece, it is adapted to the community in which it
is sung. There are hundreds of versions of this song
in circulation, but only four of them are given below.
For closely related pieces, see Johnson Boys in lomax
(FSNA), 223 and The Old Leather Bonnet in Randolph, III
222 .
REFERENCES
Allsopp, II, 207
Belden (BS), 426-428
Botkin (WFL), 783-784
Brown, III, 394; V, 237
Cazden, II, 66-67
Cheney, 186-187
Coleman, 26
Cox (FSS), 254
Fife, 22, 25
Ford (TMA), 40
Fuson, 158
Hubbard, 424
Koch (2), 12-13
Lingenfelter, 452-453
Lomax (CS), 108, 338
Lomax (PB), 40
Lunsford, 56
Lynn (CS), 9
McIntosh (FSSG), 25
Nebraska (3), 4-5
Okun, 137-138
Owens (TFS), 110-112
Pound, 175-176
Pound (SFSN), VII, No. 5
Porter (KS), 229-301
Randolph, III, 12-14
Randolph (OASPS), 219
Sandburg (AS), 128-129

MB
Song Texts
1313
Sharp, II, 7 B
Silber (HSB), 70
Silverman, I, 102, 353, 370
Thorp, 1-2
Advice to American Girls ( Version A)
Come all you American girls and listen to
my noise,
Don't ever marry them European boys,
Por if you do, your portion will be
Heartaches, loneliness, and watered-down tea,
Heartaches, loneliness, and watered-down tea.
They all have a line that really thrills,
But how they live is the thing that chills;
They’ll rant and rave about Europe's joys,
But treat womenfolk like they was toys
They talk of the castles o'er their way,
But you're the one expected to pay,
A farm to them is a used-up field—
A peck to the acre is all the yield.
It's hard times, girls, take it from me;
Just you marry one, and then you'll see!
They'll call you "Miss’* but never "honey,"
And all they want is American money!
Version B
Now all you Missouri girls, come listen to
my noise:
You better not wed them Texan boys!
Cause if you do your portion will be
Hoecake, hominy, and chickery tea.
They'll take you way back in the hills
And u*»e you often against your wills;

MB
Song Texts
1314
They’ll put a thousand wrinkles in your face.
For that’s how it is with the Texas race.
They milk their cows in an old gourd,
Leave it standing, covered with a board;
Out on the prairies where they stay,
The sun keeps shining night and day.
When they go to church, here’s what they wear:
Old cowhides and greasy hair,
A wide-brim hat with pushed in crown,
And socks that keep on falling down.
▼ersion C
Come all you Mississippi gals and listen to my
noise:
If you happen to go West, don’t marry them
Texian boys!
If you do your fortune surely will be
Cold Johnny Cake, beefsteak—that’s all
you’ll see.
When they come a-courtin’ here’s what they
wear:
An old leather jacket and pants with a tear;
And an old brown hat with the brim wore down,
And a pair of dirty socks a-draggin' on the
ground.
When one comes in, the first thing you hear
Is, "Madam, your brother has killed a dear."
The very next thing, when they sit down,
Is, "Madam, the johnny cake is too damn brown!"
They live in huts with hewed logs for a wall,
Slap-up doors and no windows at all;

MB
Song Texts
1315
And a clapboard roof and a puncheon floor—
That’s how they live out there, all o’er.
Por supper you’ll get beef and corn-bread—
That's what you’ll eat when the ceremony’s
oald ,
Some gets little and some gets none,
Por that's how they are, those Tex-i-ansl
Tersion D
Come all girls, pay attention to my voice,
And don’t fall in love with them Kansas boys.
’Cause if you do your fortune's gonna be
Hoe-cake, hominy, and sassafrass tea.
Chorus
Oh, on the road to California,
•Twas such a long, hard, tiresome
journey,
Par across the Rocky Mountains,
Crystal springs and flowing fountains.
They take their wives to a jet black hill
And they plant them there all against their
will;
You are sure to perish on the plains,
Por that's how it is with the Kansas
range.
You’ll live in a cabin with a huge log wall
With no windows anywhere at all;
A sandstone chimney, a punch-board floor,
A clap-board roof and a buttonhole door!
**********************

MB
Song Texts
1316

No. 20
AH! SI MON MOINE VOULAIT DANSER!
also known as
If My Old Top Were a Dancing Man
French-Canadian song that is more popular in Quebec than
elsewhere in North America, but it was not unknown to the
French populations of New Orleans, St. Louis, and old Vin
cennes.
References
Gagnon, 129-130 Gibbon, 48-30 Silverman, I, 296
No . 20; Ah! Si Ivlon Moine Voulait Danser !
Ah! si mon moine voulait danser!
Ah! si mon moine voulait danser!
Un ceinturon je lui donnerais.
Un ceinturon je lui donnerais.
Danse, mon moin', danse!
Tu n'entends pas la danse,
Tu n'entends pas la danse, Ion, la,
Tu n'entends pas mon moulin marcher.
Ah! si mon moine voulait danser! (2)
Un chapelet je lui donnerais. (2)
Danse, mon moin', danse!, etc.
Ah! si mon moine voulait danser! (2)
Un froc de bur' je lui donnerais. (2)
Danse, mon moin', danse, etc .
Ah! si mon moine voulait danser! (2)
Un beau psautier je lui donnerais. (2)
Danse, mon moin', danse, etc.
S'il n'avait fait voeu de pauvrete! (2)
Bien a'autres chos' je lui donnerais. (2)
Danse, mon moin', danse, etc.

MB:
Song Texts
1317
English text
If my old top were a dancing nan! (2)
A sa«*h to fit I would give him then. (2)
Dance, old top, then, dance in!
Oh, you don’t care for dancing,
Oh, you don’t care for my mill, la la!
Oh, you don't care how my mill runs on.
If my old top were a dancing man! (2)
A cap to fit I would give him then. (2)
Dance, old top, then, dance in!, etc.
If my old top were a dancing man! (2)
A suit of serge I would give him then. (2)
Dance, old top, then, dance in!, etc.
If my old top were a dancing man! (2)
A psalter fine I would give him then. (2)
Dance, old top, then, dance in!, etc.
Had he not vowed he would poor remain, (2)
A lot more things I would give him then, (2)
Dance, old top, then, dance in!, etc.
** ****•*•**•***■*•»*•**-*•***■*■** *

No. 21
A-EUNTING WE. WILL GO
also known as
Hunting 0! A-Runting We Will Go Oh, Have You Seen
the Shah?
This old English game song is also traditional and
widely known in America. Collectors have generally
ignored it because it is available in many commercial
books used in public and private schools through-out
the country. In England it is still considered to be

MB
Song Text
1318
a folk song and may be found in many published col
lections. For an English "political" parody, see:
Ashton (MSB), 340-342.
REFERENCES
Bancroft, 349
Bertail, 134
Burne, 574
Pamsworth, 94
Forbush, 40
Gomme, I, 243
Greenleaf, 380
Hornby, 36
A-Bunting We Will Go
A-hunting we will go,
A-hunting we will go;
We*ll catch an old fox
And put him in a box,
A-hunting we will go.
Oh, have you seen the Shah?
Oh, have you seen the Shah?
He lights his pipe
On a star-light night—
Oh, have you seen the Shah?
We'll skip across the stream,
We'll skip across the stream;
We'll step upon the rocks
And not wet our socks,
We'll skip across the stream.
**♦***•**•*■ *■***■**** #■*.***

No. 22
AIN'T GONNA BE TREATED THIS-A WAY
aleo known as
Going Down the Road Peelin' Bad
I Ain't Gwine Be Treated This-a Way
I'm Going Down This Road Peeling Bad

M3
Song Texts
1320

No. 23
AIN'T GONNA RAIN NO MORE
also known as
Ain't Going to Rain No More It Ain't Gwina Rain No Mo'
Hurry, Boys, Hurry
T'aint Gonna Rain No Mo'
This song serves as an excellent example of the folk
process. It originally derived from various Negro
and Minstrel-show songs, but the composite that evolved
flowed into the folk stream where it was finally fished
out by Wendall Hall, a professional composer. Hall took
a folk version, rewrote it as a popular dance song, and
it became a commercial and very popular hit. 7,'hen the
popularity of Hall's version waned, the song drifted
once again into the folk stream, where once more it
was subjected to the process of adaptation and change.
Earliest versions date from the 1870s, but there are
indications that some versions are much older. Lines
and stanzas in mo^t old versions are also found in
other songs, such as: Run . Nigger . Run in Harris (URHF),
200 and Lomax (ABFS), 230; Raise a Rukus Tonight and
Swine To Get a Home By an' By in Odum, 173-173; John
Booker and Oh, Mourner! in Perrow, XXVIII, 135, 138;
Pore Mournah and My; Ole Mistis in Scarborough (NFS),
106, 165, 194 , 223-225; Promises of Freedom in Talley,
25-26 and White, 134, 151-152; Some Folks Say in Bass,
XLIV, 425; They Steal Gossip in Talley, 110 and White,
138; Whar Lid You Cum From in White, 449; Way Lown
Yonder in the Cornfield in Shay (PF-1), 79; Blackbird
and Rabbit in Dudley & Payne, I, 10, 12. Also see and
compare: Steely, 217 and Wells, 277.
REFERENCES
Botkin (APPS), 322-328
Brown, III, 517; V, 288
Dcuthitt, 37-38
374
Finger (?B), 163-164
Jour (AFL), XXIV, 277

MB
Song Texts
1319
This in a composite song, made up of lines and stanzas
formerly heard in other songs. There are several ver
sion* floating around, the better known one by Woody
Guthrie. Song has much in common with Takes A Worried
Man . Both songs are undoubtedly of Negro origin.
REFERENCES
Botkin (AFL), 876-877
Brown, III, 524; V, 297
Bulletin (TFS), IV, 80
Downes, 341, 400
Hille, 9
Ives (SA), 240-241
Leisy, 127-128
Leisy (SPS), 28-29
Lomax (USA), 242
Scott (BA), 346-347
Silverman, II, 372
Whitman, 82-83
Ain 1 t Gonna Be Treated This-a Way
I'm walking round this town feeling bad,
I'm walking round this town feeling bad,
I'm walking round this town feeling bad, 0 Lord!
And I ain't gonna be treated this-a way!
Lone lost the best gal I ever had (3), 0 Lord!
And I ain't gonna be treated this-a way!
A little match-box will hold my clothes, (3) 0 Lord!
And I ain't, etc.
I'm goin' where the cold wind never blows, (3)
Lord, Lord! And I ain't gonna be, etc.
I'll lace up my shoes and hit the road, (3)
Lord, Lord! And I ain't gonna be, etc.
I'm goin' down this road feeling bad, (3)
0 Lord! And I ain't gonna be, etc.
**********************

MB
Seng Texts
1321
Randolph, III, 369-370 ' Scott (BA), 212-213
Sandburg (AS), 141 White, 281-282
Scarborough (NFS), 107
Ain*t Gonns Rain No More
Ain*t gonna rain no more, no more,
Ain*t gonna rain no more!
Now how in hell can old folks tell
It ain’t gonna rain no more?
I went out and looked around,
Ain’t gonna rain no more!
Liquid sunshine came pouring down,
Ain't gonna rain no more!
What did the weatherman say today?
Ain’t gonna rain no more!
Brink up, boys, and sing away,
Ain't gonna rain no more!
Bet you five, I'll bet you ten,
Ain't gonna rain no more!
Come on, now, sing it. again,
Ain't gonna rain no more!
I'm forty miles from whiskey, folks,
I'm oixty-five from gin;
I'm leavin' this damn country now,
'Cause it's over-run with sing!
Ain't gonna rain no more, no more,
Ain’t gonna rain no more!
Now how in hell can old folks tell
It ain't gonna rain no more!
****************-

MB
Song Texts
1322

No. 24
AIN'T GOT A DOLLAR TO MY NAME
also known as
My Last Gold Dollar My Last Old Dollar is Gone
An off-shoot of early Negro blues pieces, this inter
esting little song exists in many variants and vers
ions. The first stanza of the version collected in
the Ozarks by Randolph is a floater:
I wish I had never been born
Or had died when I young;
I wish I had never kissed your
sweet red lips.
Or listened to your lyin' tongue.
Age of this song is uncertain, but I have known it
since I wa® a boy, in grade school.
REFERENCES
Lomax (F3NA), 288 Richardson (AMS), 96
Randolph, IV, 114
Ain't Got A Dollar To My Name
I ain't got a dollar to my name,
I ain't got a dollar to my name;
Ky rent is over-due, an' my whiskey bill is too.
An' I ain't got a dollar to my name.
My woman she don't treat me the same (2)
A new love's in her bed, and she wrote me and said
"You ain't got a dollar to your name.”
Now ain't that a cotton-pickin' shame? (2)
My women «he i* gone, an' it'* time for moving on!
An* I ain't got a dollar to my name.
Oh, my last old dollar i« gone! (2)
I'm feelin' kinda blue, an' I'd buy a drink or two
But my last old dollar is gone!

MB
Song Texts
1323

No. 25
AIN'T GOT NO USE FOR WOMEN
also known as
Bury Me Out on the Lone
Prairie
Bury Me Out On the Prairie
Got No Use for the Women
I Got No Use for the
Women
I've Got No Use for
No UseWfmenthe Women
An old cowboy song that can be seen in many folios
published by commercial music firms. Authorship has
been claimed by more than a dozen writer-singers,
none of whom is old enough to have written it.
REFERENCES
Barnes (CHS), 125
Best, 17
Clark (CS), 42-43
Fife, 177-178
Hendrix, 29-33
Henry (FSSH), 360
Hull (CB), 50-51
Ives (SB), 280-282
Lingenfelter, 434-435
Lomax (CS-1938), 300
Nebraska (4), 10 &
(6), 7
Silverman, I, 38
Wylder, 65-66
Ain't Got No Use For Women
Ain't got no use for women,
A true one can seldom be found;
They stick by a man who has money,
When it's gone, they'll turn him down.
All girls are alike in the long run,
And the nicest are meanest of all;
They're always around while you're
winning,
But disappear fast when you fall.
My pal was an honest cowpuncher—
Yes, honest and upright and true;

MB
Song Texts
1324
But he turned into a hard-shootin*
gunman,
On account of a girl that he knew.
He fell in with evil companion'!,
The kind that ere better off dead;
When a gambler insulted her picture,
He filled his carcase with lead.
All thro* the long night they trailed him.
Thro’ mesquite and thick chaparral;
I could not help but think of that woman
As I saw him all shot as he fell.
If she’d been the kind that she should have,
He might have been raising a son
Instead of out there on the prairie,
To die by a tall lawman's gun.
Death's sharp sting did not trouble—
His chances for life were too slim.
The place where they'd put his dead body
Is all that mattered to him.
He lifted his head from the ground there,
The blood from his wounds flowing red;
He gazed at the men grouped about him,
And these are the words that he said:
"Oh, bury me out on the prairie,
Where the coyotes may howl o'er my grave;
Bury me out on the prairie,
But from them my bones plea=e save.
Wrap me up in my blankets,
And bury me deep in the ground;
Cover me over with boulders,
And make for me a small mound."
We buried him out on the prairie.
Where coyotes could howl o'er hi 3 grave;

MB
Song Texta
1325
And his soul is now at rest there,
Prom the unkind cut that she gave.
Now many another young puncher,
As he rides by that pile of stones.
Recalls some similar woman,
And thinks of his mouldering bones.
*************************

No. 26
AIN’T THEM HARD TRIALS?
also known as
Hard Trials Wasn’t Them Hard Trial
A spiritual thet dates back at least to the Civil War
and may, in fact, be older. It is one of the slave
spiritual* featured by the original Fisk Jubilee
Singers,
REFERENCES
Dett, 222-223 Marsh (SJS), 207
Jubilee (PS), 39 Lomax (ABFS), 600
Kennedy (M-2), 65
Ain’t Them Hard Trials?
The foxes have holes in the ground,
The birds have nests in the air,
The Christians have a hiding place,
The poor lost sinners have none.
Chorus
Now ain’t them hard trials,
tribulations?
Ain’t them hard trials?
I’m gwine to live with God.
01’ Satan came and tempted Eve,
And he lied with every breath;

KB
Song Texts
1326
Made her believe that pin wap good,
And would not lead to death’.
01* John he wap no Methodipt,
And some pay he wap a Jew;
But the Holy Bible tells us
That John wap a preacher, too.
Oh, I have lived a Christian life.
And I neither steal nor lie;
I've been a Christian all my life,
And I'll be one when I die.
***************************

No. 27
ALABAMA BOUND
also known as
Alabamy Bound I'm Alabama Bound I'm Alabamy Bound
This song has the sound and feel of 19th century mins
trel-stage material, but its date of origin is by no
mean® certain. It should not be confused with the
"pop” song hit, Alabamy Bound, by Buddy De Sylva, Bud
Green and Ray Henderson, publi=hed in 1925 by Shapiro
Bernstein & Co,, Inc. The two songs are distinctly
different.
Two vereions of the folk song are given below, with
version A being the older. Version B i° the more
popular, but only because of an enthused national
interest in railroads.
Though the origin of the song is uncertain, the dates
of some versions can be established by the subject
matter of added stanzas. For example, consider an
added stanza that begins:
Doctor Cook* s in town ...
He found the North Pole too cold..•

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Song Texts
1327
These words are certainly no older than 1908, be
cause that is the year Frederick Albert Cook claim
ed to have reached the North Pole. He was later ac
cused of fraud and stripped of his honors, and it is
now generally agreed that Robert Peary deserves the
credit previously bestowed upon Cook. Peary reached
the North Pole in April, 1909.
Another stanza that allows us to date the version in
which it appears, begins:
Where was you , sister .
When the Titanic went down?
Such words could not possibly have been sung prior to
the night of April 14-15, 1912, because that is when
the White Star liner Titanic struck an iceberg in
the North Atlantic and sank. Of course, the change
was a simple one to make, as we can see by the older
stanza:
Where was you . Sweet Mama ,
When the boat went down...?
Also see and compare the 2nd stanza of If The Seaboard
Train WreckB in Brown, III, 266.
REFERENCES
Berger, 42-43
Botkin (MRF), 598
Coleman, 62-63
Lomax (ABFS), 206-209
Lomax (PB), 142
Odum (NWS), 42, 98
Scarborough (NFS), 239
Seeger (6), 44
Silber (HSB), 72
Silverman, II, 20
Wheeler (SD), 54-55
White, 306-307
Alabama Bound ( Version A)
Don't you leave me here! Don’t you leave me here!
If you ain’t cornin’ back, sweet Papa,
Leave me money for beer.

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Song Texts
1328
Chorus
I'm Alabama bound! I'm Alabama bound!
If the Stack don’t drown, I'm Alabama bound!
Lawd, you know I care! (2)
I got a long, tall, lean sweet Papa
Up the river somewhere.
Oh, late some dark night, (2)
You'll knock upon my door, sweet Papa,
Long before daylight,
"Where was you, sweet Mama,
when the boat went down?"
"Up on the deck, babe, an' yellin'
Alabama bound!"
You can be like me, (2)
Just have a woman in Alabam
And one in Tennessee.
Alabama Bound ( Version B)
There's worry in my brain, (2)
And the tears fall like rain.
Oh babe! come ease my pain.
Chorus
I'm Alabamy bound! I'm Alabamy bound!
If this train don't stop, I'm Alabamy bound!
Why can't you live like me? (2)
Why don't you drink some whiskey
And let that cocaine be?
Doc Cook's in town I'm told (2)
They say he got too cold
Around the ol' North Pole.

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Seng Texts
1329
I know your love ain't true, (2)
That's* why I'm leavin' you,
No matter what you do*
0 babe, you ain't my kind, (2)
I'm leavin' you behind,
To find some peace of mind.
***********************

No* 28
ALL ABOUT MULES
This humorous little song was given to me in 1941 by
Shorty Long, Reading, Pa. For another version, see:
Ford (TMA), 434.
All About Mules Tune: Auld Lang Syne
On mules we find two legs behind,
And two we find before;
We stand behind before we find
What the two behind are for.
So etand before the two behind,
And behind the two before!
**************************

No. 29
ALL ARE TALKING OF UTAH
"Stand-up" Mormon song, directed at those who were
anti-Mormon and would interfere with the Mormon way
of life. Text was first published in the Deseret
News, Salt Lake City, Jan. 30, 1867*

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Song Texts
1330
REFERENCES
Bee Hive, 18-19
barter (SC), 521
Cheney, 108-109
Hubbard (MSM), 127
Hubbard (SB), 77-78
Willea, 66-67
Hubbard, 450
All Are Talking of Utah Tune: Marchinsr Thro’ Geor gia
Who r d ever think that Utah would stir the world so much
Who'd ever think the Mormons were widely known as such?
I hardly dare to scribble, or «uch a subject touch—
For ell are talking of Utah.
Chorus
Hurrah! hurrah! the Mormons have the name;
Hurrah! hurrah! they’re on the road to fame.
Don’t matter what they style us—
it'8 all about the same.
For all are talking of Utah.
They say they'll send an Army to set the
Mormons right,
Regenerate all Utah, and show us Christian
light,
Release our wives and daughters, and put us
men to flight—
For all are talking of Utah.
I now will tell you something you never
thought of yet:
We bees are merely filling the hive of
Deseret.
If hurt, we'll sting together, and gather
all we get.
For all are talking of Utah,

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Song Texts
1331

No. 30
ALL AROUND THE TOWN
A traditional hoedown that is still popular with
fiddlers and square dancers. Versions have appeared
in countless folios published by commercial music
firms. For another folk version, see: Ford (TMA),
434.
There are no words to this piece, so reader is re
ferred to TUNES, No. 30.
*■»#***#***■)(•*****■«■**********#.

No. 31
ALL BOUND ROUND WITH A WOOLEN STRING
also known as
There Was an Old Man
Children's song with a familiar tune. This is one of
a group of songs set to an air that is a variation
of the Irish reel known as The Old Rose Tree. It is
a tune that got around. The Old Rose Tree spawned
variations in England: The Haymaker 1 s Dance and Old
Mother Oxford.
For additional information, see headnotes to NATCHEZ
UNDER THE HILL and ZIP COON .
For other versions of this children's song, see:
Kennedy ( TAB), 290-291 and Linscott, 157-158.
All Bound Round W1th A Woolen String
There was an old man and he wasn't very rich,
And when he died, he didn't leave much;
Just a great big hat with a great big rim,
All bound round with a woolen string.

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Song Texts
1332
A woolen string, a woolen string,
All bound round with a woolen string;
A great big hat with a great big rim,
All bound round with a woolen string,
**************************

No, 32
ALL DAY LONG ON THE PRAIRIE
Occupational song. Cattle raising and "herding cows"
are forms of work done by many people in many lands.
Only in America, however, was the trade idealized and
the result is that all-American creation: The Cowboy,
This is one of the romanticized songs about cowboys,
REFERENCES
Allen (CL-1933), 69
Clark (CS), 17
Felton, 88-92
Ives (SA), 158-159
Larkin, 130, 134
Lingenfelter, 342-343
Lomax (CS-1919), 96
Lomax (CS-1938), 67
Ohrlin, 156-157
Patterson (SRR), 12
Siringo (SC), 14-15
Stanley, 32
Thorp (1921), 4-6
Westermeier, 263-264
All Day Long On The Prairie
All day long on the prairies I ride,
Not even a hound dog to trot by my side;
My fire it is kindled with chips gathered ’round,
I boil my own coffee without being ground,
I wash in a pool, I wipe on a sack,
And carry my wardrobe all on my back.
For lack of an oven, I cook in a pot,
For lack of a bed I sleep on a cot.

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Song Texts
1333
My ceiling is the sky, ay floor i 3 the grass,
My music is the lowing of herds as they pass;
My hooks are the brooks, my sermons the stones.
My parson’s the wolf on his big pile of bones.
My hooks teach me ever consistence to prize;
My sermons, that small things I should not despise;
My parson remarks from his pulpit of bones.
That heaven helps them that looks after their own.
Between me and my love lies a gulf very wide—
Some luckier fellow may make her his bride.
friends gently hint X am coming to grief.
But men must make money and women have beef.
Abraham emigrated in search of a range,
When water was scarce he wanted a change;
Old Isaac owned cattle in charge of Esau,
And Jacob punched cows for his father-in-law.

Ho. 33
AIL DOWN TO SLEEP
also known as
Pour Old Maids Sat Down
to Sleep
Here's a Young Lady
Here Stands a Young Man
Here Stands a Young Man Who
Wants a Sweetheart
Here We Go Round the Straw
berry Bush
American versions of this game
Melven Vine
Poor Widow
The Sleeping Beauty
Sleepy Man
The Strawberry Bush
There Was a Young Lady Who
Sat Down to Sleep
Young Lady Sit Down to
Sleep
song derived from Eng-
in
lish versions, and many of them have been publish*
all areas of the English-speaking world. It is a

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Song Texts
1334
circle or game and is related to a large number of
marriage games, such as Getting Married, Hog, Drover s,
The Juniner Tree , and Knights A-Riding. ?or songs of
similar type, see: Daughter , Oh Daughter , Silljr Old Man
and There Sits An Old Woman in Gardner (SPPG), 117-119;
Here Sits a Young Man in Piper (SPPG), XXVIII; and
Here Sits A Young Lady in Isham, XXXIV, 269. Also see
and compare McIntosh, 50-51.
REFERENCES
Babcock, I, 252
Botkin (APPS), 140-141
Brown, I, 127
Dudley & Payne, I, 27
Gardner (FSH), 239-240
Hamilton, XXVII, 292
Heck, XL, 39
Jour (AFL), XXIV, 117;
XXVIII, 269; XXXII,
126; XLIX, 255-256
Newell, 224-225
Northall, 370
Scarborough (NFS), 138
Wolford, 66 -67
All Down To Sleep Tune Mulberry Bush
There sits a young lady all down to sleep.
All down to sleep, all down to sleep;
There sits a young lady all down to sleep.
So early in the morning.
She wants a young man to wake her up,
To wake her up, to wake her up;
She wants a young man to wake her up,
So early in the morning.
So write his name down and send it to me.
And send it to me, and send it to me, etc.
Now Mister Jones his name shall be,
His name shall be, his name shall be, otc.
The way is now open and he’ll step in,
And he’ll step in, and he’ll step in, etc.

Song Texts
1335
MS
Arise, arise, upon your feet,
Upon your feet, upon your feet, etc.
***»*************-»*-»*-»*-»-»**

No. 34
ALL MY SINS BEEN TAKEN AWAY I
also known as
All My Sins Are Taken Away
I’m Going Home On The Morn
ing Train
Mary Wore Three Links of
Chain
My Sins Are All Taken
Away
My Sins Been Taken Away
Sis' Mary Wore Three Link3
of Chain
This old revival hymn-spiritual has been adapted, parodied,
and rewritten many times. One parody (see version B be
low) was an extremely popular and commercially successful
during the 1920s and early 1930s.
For interesting variations, see John Jacob Niles’ Seven
Negro Exultations (No. 4, 2nd stanza) and Sins Are
All Taken Away in Chappell (PSRA), 151 and Work (ANSS),
158.
REFERENCES
Arnold, 103
Best-, 47
Brown, III, 600; V,
340
Coleman, 76-77
Courlander (NSA), 48
Hudson (SMEL), No. 99
Lomax (USA), 376
Luther, 51-52
Morris, 168-169
Odum (NHS), 60-63
Sandburg (AS), 60
Sandburg (NAS), 78
White, 60-63, 132
All My Sins Been Taken Away I_ Version A
Sister Mary wore three links of chain,
Sister Mary wore three links of chain.

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Song Text 3
1336
Sister Mary wore three links of chain,
And ev'ry link was Jesus’ name.
All my sins been taken away, taken away!
I’m going home on the morning train, ( 3 )
If you don't see me you’ll hear me sing.
All my sins, etc .
Paul and Silas bound in jail, ( 3 )
One for to weep, one for to wail.
All my sins, etc.
My good lord done just what He said, ( 3 )
Healed the sick and raised the dead,
All my sins, etc.
Some o' these days and it won’t be long, ( 3 )
I'm going home to sing my song.
All my sins, etc.
VERSION B
This is the parody of Version A (above) that became so
popular. Other versions are in Brown, III, 430-431
and Davis (FSV), 153.
Hand me down my walking cane,
Hand me down my walking cane,
Hand me down my walking cane,
I’m going away on the morning train.
All my sins been taken away, taken away.
Got real drunk, got throwed in jail, ( 3 )
And I had nobody to go my bail.
All my sins, etc.

MB Song Texts 1337
If I’d a-listened to what mama said, (3)
I'd he sleeping in a feather bed.
All my sins, etc.
Bread was stale, the meat was fat, (3)
Oh, ny Lord! I couldn’t eat that!
All my sins, etc.
Come on, Mama, and go my bail, (3)
And get me out of this stinking jail!
All my sins, etc .
Hand me down my bottle of corn, (3)
Gonna get drunk and blow my horn!
All my sins, etc.
I got a wife and a bulldog too, (3)
Vlfe don’t love me but my bulldog do!
All my sins, etc.
If I should die in Tennessee, (3)
Just ship my body C. 0. I). !
All my sins, etc.
********************************

No. 35
ALL MY SINS BEEN TAKEN AWAY II
also known as
Down in the Valley to I’m Going Home on the Morn-
Pray ing Train
This is a composite spiritual with a refrain common
to several other spirituals and secular songs. For
examples, see: Chappell (FSRA), 151; Liton, 12; John
son (RAS), 60; Jour (AFL), XXXV, 233; Morris, 168;
White, 62; and Work (ANSS), 158. Also compare: The
Good Old Way II in this Master Book.
REFERENCES

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Song Texts
1338
Brown, III, 608-609
Courlander (NSA), 48
Henry (FSSH), 420-421
Hudson (SMPI), No. 99
All My Sins Been Taken Away II
There is a song I love to sing,
There is a song I love to sing,
There is a song I love to sing,
Glory hallelujah! Oraise His name!
All ay sins been taken away, taken away.
Chorus
All my sins been taken away, (3)
Glory hallelujah! Praise His name!
All my sins been taken away, taken away.
I'm going home on the morning train, (3)
My soul's so happy I.forgot my name.
All my sin3, etc.
I went down in the valley to pray, (3)
My soul got happy and I stayed all day.
All my sins, etc.
My Jesus preached when twelve years old, (3)
There's more to living that silver and gold.
All my sins, etc.
I wanna be there on Judgment morn, (3)
When angel Gabriel blows on his horn.
All my sins, etc,
I know the day, remember the time, (3)
When Jesus changed this heart of mine.
All my sins, etc.
****** *****■***■*-*■****■*****

BUS
song xex^s

No. 36
ALL MY TRIALS, LORD, SOON BE OVER
An old, melodic spiritual with a composite text.
For songs with obvious similarities, see: Allen
(SSTJS), 3; Arnold, 173; Brown, III, 629; Fisher
(NSS), 116; Fisher (SNS), 8-11; and Jackson (ASWS),
78. Also compare, Tell All the World . John in
Work (ANSS), 173 and Tree in Paradise in Brown, III,
676 & V, 399.
REFERENCES•
Silber (HSB), 32
Silverman, II, 123
Leisy, 9
Okun, 163
All My Trials , Lord, Soon Be Over
Sweet little baby, please don’t cry;
Most everybody is bound to die.
All my trials, Lord, soon be over.
If life was somethin' money could buy,
The rich would live and the poor would die.
All my trials, Lord, soon be over.
There is a tree in Paradise,
And Christians call it the Tree of Life.
All my trials, Lord, soon be over.
I'll never let ol* Satan win,
I know my Jesus will take me in.
All my trials, Lord, soon be over.
Too late, my brothers, no more time!
It's far too late, so never mind—
All my trials, Lord, soon be over.
*****■*■***•**■*■■*■***■»■***

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Song Texts
1340

No. 37
ALL NODDIN’
also known as
Nid, Nid, Noddin' Nodding We're All Nodding
The text of this Scottish song has often been altered
and rewritten. Three of its famous lyricists are
Allan Cunningham, Lady Nairne and Robert Burns. The
melody has come down to us almost in its original form.
American versions of this song vary considerably in
some instances, and many of these are attributed to
authors and composers who could not possibly have
written them.
During the first half of the 19th century the song
was so popular in America that it inspired adaptations
and parodies in large number. For a parody that was
sung by California gold-miners, see All Farmin' in
this Master Book.
The title of this song is probably misleading today.
One might reasonably suppose that the words "all noddin'
mean "growing drowsy," but that is not the case. In
Scotland the word "noddin'" means "joyous," and the
sentiment is most lively.
REFERENCES
Johnson (FS), 393-394
Knight, 226-227
Macfarren, 26-27
Randolph, IY, 414
Richardson (AMS), 60
All Noddin'
Howdy do, Old Miss Gossip,
I see you're all alone,
So come and see how well we are,
Now that my son is home.
And, oh, but he's been gone so long!
And, oh, he looks so fair!

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Song Texts
1341
And he's a man full grown and strong,
With, not a single care.
Oh, we*re all noddin', nid, nid, noddin',
We are all noddin' at our house at home.
When he knocked upon the door,
I opened it a crack,
An* then I cried for all to hear:
Praise God! my son is tack!
And then I held him close and cried,
For, oh! I felt so glad!
And his father fairly beamed with pride
Upon his handsome lad.
Oh, we're all noddin', nid, nid, noddin'.
We are all noddin' at our house at heme.
*************************

Ho. 38
ALL OH A SATURDAY HIGHT
also known as
Foot Prints
Here We Come, Looby Loo
Kinkumbooby
The Hokey Pokey
I Put My Little Foot In
I Put My Little Hand In
I Put My Right Foot In
Looby Loo
Loop De Loo
Loupy Lou
Lubin
Old Mother Ketura
Put Your Little Foot In
Put Your Little Foot Right
Here
Right Elbow In
Ugly Mug
Yarsovienne
An English-Scottish game song that probably evolved
from an ancient rite. Origin and meaning are still

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Song Text 3
1342
matters for speculation, but the song's popularity is
not questioned by anyone.
The tune was once known in America as The Varsovienne— r
a dance in which the participants sang words as they
danced. The Varsovienne was a traditional dance that
remained rather popular until the first part of the
20th century. According to Anne Schley ( Folk Dances
of the United States and Mexico), the Varsovienne "be
came a popular American round dance based upon the
characteristic pattern and steps from which it evolved,
developing its own established (pattern) by varying
versions in different sections of the country."
Nowadays, however, the tune is mostly encountered as
a game song for children, although—on occasion—it
has been adapted by professional entertainers and used
as a popular song.
There is a Spanish version, Jan Petit , as well as many
similar songs in France, Ireland, and England.
REFERJENCES
Ames (MPP), 312-313
Bancroft, 362-364
Bertail, 14
Billson, 64
Botkin (APPS), 29, .36
Brown, I, 156-157; V,
326
Porbush, 66-68
Pord (TMA), 150-151
Gardner, 12-13
Gardner (SPPG), 110-111
Gomme, I, 352-361
Graves (LFUR), 26
Halliwell (PRUT), 226
Heck, 25-26
Hornby, 65
Jour (AFL), XXVIII, 273 *
Folk-Lore Journal, V, 49
538
Bulletin (PSSN), IV, 17
Bulletin (TPS), VI, 6
Chambers (PRS), 137-139
Collins, 12
Courlander (NSA), 96
Cox (SG), 243-244
Duncan (PPHC), 6-7
Flanders (VFSB), 192-193
XXXII, 496; XXXIII,
110; XL, 18; XLIX,
254; LX, 43

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Song Texts
1343
Lair, 22
Leisy (SPS), 160
Linscott, 23-26
Newell, 131
Northall, 361
Ohrlin, 110-112
Pound, 225-226
Randolph, III, 365
Thomas (SG), 63
Van Doren, 496
Winn (1), 168-169
All On A Saturday Night
I put my little hand in,
I put my little hand out,
I give my little hand a shake,
shake, shake,
And I turn myself about.
Chorus
Oh, here we go, two by two;
Here we go, do it right.
Here we go, me and you,
All on a Saturday night, ah-hah!
All on a Saturday night.
I put my little foot in,
I put my little foot out,
I give my little hand a shake, etc.
I put both of my hands in,
I put both of my hands out,
I give my little hand a shake, etc .
I put my other foot in,
I move my other foot out,
I give my little hand a shake, etc.

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Song Texts
1344
Pinal Chorus
Oh, here we go, looby loo,
Here we go looby light;
Here we go, looby loo,
All on a Saturday night, ah-hah!
All on a -Saturday night.

No. 39
ALL OVER GOD’S HEAVEN
also known as
All God’s Children
All God's Children Got
Shoes
All God’s Chillun
All God’s Chillun Got
Wings
Going to Shine All ’Round
God’s Heaven
Going (Gwine) to Shout All
Over God’s Heaven
Heaven
I Got a Robe, You Got a Robe
I Got Shoes
Shout All Over God’s Heaven
You Got a Robe, I Got a
Robe
This old spiritual is still popular. A version was
featured in the 1927 production of the Ziegfeld Pollies.
As a result, there was a new surge of interest in the
song.
For a variation, see: Goin’ To Shine All ’Round God’s
Heaven in Odum (NHS), 98.
REFERENCES
Best, 149
Brown, III, 607; V,
345
Chambers (TNS), 47-48
Courlander (NSA), 56
Dett, 126-127
Pisher (SNS), 41-45
Hallowell, 58
Hayes, 70-73
Johnson (BANS), 71-73
Kennedy (M-l), 155-157
Leisy, 6
Leisy (SPS), 202
Mackenzie (SH), 110
Odum (DLR), 18, 79
Odum (NHS), 97

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Song Texts
1345
White, 69-70
Whitman, 108-109
Work (AHSS), 180
Work (PSAU), 48
All Over God'a Heaven
I got shoes, you got shoes,
All God's children got shoes.
When I get to heaven gonna put on my shoes,
I*m gonna walk all over God's heaven,
heaven, heaven.
Everybody talkin' 'bout heaven!
I*m a-goin' there! Heaven, heaven,
I'm gonna walk all over God's heaven!
I got a robe, you got a robe.
All God's children got a robe.
When I get to heaven gonna put on my robe,
I*m gonna shout all over God's heaven, etc .
I got wings, you got wings,
All God’s children got wings.
When I get to heaven gonna put on my wings.
I'm gonna fly all over God's heaven, etc.
I got a song, you got a song,
All God's children got a song.
When I get to heaven gonna call on my song,
I'm gonna sing all over God's heaven, etc.
**************************

Ho. 40
AH PAHHIN'
also known as
We Are All A-Panning
This is a parody of the Scots song All Noddin' (see

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Song Texts
1346
in MB). It was created in the California gold fields
or at San Francisco, where it was performed by miners
and by professional singers in Music Halls. For other
versions, see: Dwyer, 62 and Silber (SGAW), 132.
All Fannin* Tune: All Hoddin*
The merchant shows his articles
And urges you to buy;
And he says they cost him dearly—
But it's "all in your eye!"
This is his way of panning, pan, pan,
panning;
This is his way of panning
Just to get a little gold.
The preacher keeps on preaching,
Going anywhere it pays;
He bestows the greatest blessings
Where makes the largest raise.
It*8 a holy way of panning, pan, pan,
panning;
It's a holy way of panning,
Just to get a little gold.
But the miner in his diggings,
He's panning all the while;
And he’s always most contented
While he's adding to his pile.
It's an honest way of panning, pan, pan,
panning;
It's an honest way of panning,
Just to get a little gold.
***********************

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Song Texts
1347

No. 41
ALL SKIN AND BONE
. also known as
Mrs. Jones
The Skin and Eones Lady
Old Skin and Bones
The Skin and Bone Woman
Old Woman All Skin and
Bone There Was an Old Woman
The Skin-and-Bone Lady
There Was an Old Woman
Skin and Bones
All Skin and Bones
An old English "shudder-story" nursery song. The song
was wide-spread in the
United States and versions of
it have been collected
in all areas of the country.
REFERENCES
Belden (BS), 502-503
Halliwell (NR), 64, 180
Bertail, 142
Hudson (FTM), 43-44
Botkin (NEF), 896
Langstaff (1), 80-81
Brewster (BSI), 268
Linscott, 44-46
Brown, III, 189; V,
Lomax (SBS), 29
111
Moore (BFSS), 255
Chase (AFTS), 186
Perrow, XXVI, 142; XXVIII,
Christie, I, 240 n
158
Cox (FSS), 482-483
Randolph, I, 301-302
Davis (FSV), 198-200
Rimbault (NR), 32
Downes, 201, 235
Ritchie (FS), 26
Eddy, 206-207 .
Ritchie (SFC), 12
Flanders (VFSB), 180-181 Ritchie (SSB), 76-77
Gammer Gurton, 29
Winn (2), 171
All Skin and Bone
There was an old woman who lived all alone;
She was so poor, she was all skin and bone.
Yes, yes, yes.

M3
Song Texts
1348
She made her way to church one day,
To hear the parson preach and pray.
Yes, yes, yes.
When she came to the old church stile,
She sat down to rest awhile.
Yes, yes, yes.
When she walked thro' the old church door.
She spied a ghost upon the floor.
Yes, yes, yes.
She started back and turned around,
And saw his corpse there on the ground.
Yes, yes, yes.
And from his toes up to his chin.
The worms crawled out, the worms
crawled in.
Yes, yes, yes.
She turned to the preacher and she said:
"Will I look that way when I'm dead?"
Yes, yes, yes.
**************-***** ****

Ho. 42
ALL THE GO
also known as
My Man's Up The Rivuh
Since this is a "river" song, I had supposed that the
term "go below" meant "below deck." I was wrong.
According to Wheeler (SD), 117, who recovered the song,
it means "go down into the cotton country"—Memphis,
Vicksburg, New Orleans.

MB
Song Texts
1349
All the Go
My man’s up the river.
Where I told him not to go;
Get aboard the James Lee ,
Set to go below.
Chorus
All the go, all the go!
Me and my river man's all the go.
The sky's dark and cloudy,
I can hear the whistle blow;
Yonder comes the James Lee
Sailing down below.
Now if you don't love me,
You can come and tell me so;
Get aboard the James Lee
And sail on below.
***************************

No. 43
ALL THE GOOD TIMES
also known as
All the Good T^mes Are
Past and Gone
Good Times Are Past
and Gone
This song, obviously the work of a professional writer,
probably dates, as Randolph suggested, from the 1890s.
A definite folk influence is found in the final four
lines, which are also found in several other songs.
I have seen only two versions of this song in publish
ed folk collections: Leisy, 10 and Randolph, IV, 305.

MB
Song Texts
1350
All the Good Times
No more good times are on the way,
It*s not like it was before;
No more good times since yesterday—
You don’t love me no more.
I'd rather be in some deep, dark place,
Way down where the sun don’t shine,
Than to ever see your loving face
Aglow for any heart but mine.
All the good times are past and gone,
I’m walking this lonesome floor;
All the good times are past and gone,
And I can't cry no more.
I wish to God I'd never been born,
Or had died when I was young,
And had never seen your sparkling eyes,
Or heard lies from your honey tongue.
***** ***************** *

No. 44
ALL THE WORLD TO ME
also known as
The Sad Song
Song of "one-sided" love that may have first been a poem.
Female country singers used to perform this song on the
radio quite a lot, but I've seen it in only one folk
collection: Randolph, IV, 153-154.
All tbe World to Me
He came from his palace grand,
And he came to my cottage door;
Hi3 words were few, but his looks
Will linger forever-more.

MB
Song Texts
1351
The smile in his sad dark eyes
More tender than words could be,
But I was nothing to him,
Tho' he’s all the world to me.
Oh, there in his garden strolled—
All robed in satins and lace—
A woman so strange and cold
Who held in his heart no place.
Oh, I would be his bride
With a kiss for a lifetime fee,
But I am nothing to him,
Tho’ he's all the world to me.
Today in his palace grand
On a flower-strewn bier he lies,
With those beautiful lids fast closed
O'er his beautiful dark eyes.
Among the mourners who mourn
Why should I a mourner be?
For I was nothing to him,
Tho' he's all the world to me.
How will it be with our souls
When we meet in that other land?
What the mortal heart don't know,
Will the spirit there understand?
Or in some celestial form
Will our sorrows repeated be?
Will I still be nothing to him,
Tho' he's all the world to me?
*****************

M3 Song Texts 1352

go. 45
ALOHA OE
also known as
Farewell to Thee Hawaiian Farewell Song
It is claimed that this song was created in 1878 by
Queen Liliuokaiani. There is a copy in her handwriting
in the George H. Carter Memorial Collection at the
Bishop Museum, which lends support to the claim.
Time and usuage ha ve wrought changes, however, and
the song, as known today, is considerably improved.
Published and copyrighted in 1884 by Matthias Gray,
Aloha Oe is Hawaii’s most famous song.
The melody is quite similar to to that of The Hock
Beside the Sea , a song by Charles C. Converse, pub
lished at Philadelphia in 1857. According to Sigmund
Spaeth, the refrain air is from an even older song,
There ♦s Music in the Air , by George F. Hoot, 1854.
BEFERENCES
Luther, 285 Oberndorfer, 139 Wier (LS), 131
Aloha Oe
Yonder goes the rain cloud o’er the pali,
Across the tree-tops it does sail,
Still following with grief the Liko,
The A-hi-hi-le-hu-a of the vale.
Aloha Oe, Aloha Oe,
Thou charming one who dwells among the
bowers;
One fond embrace before I now depart.
Until we meet again.
***********-*-*••* ***•*-*• ■*•-*■ *

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Song Texts
1353

No. 46
ALONG THE KANSAS LINE
also known as
The Kansas Line
A Soldier from Missouri
This was a popular song during the Civil War years and
for sometime after. The tune sounds very, very Irish.
REFERENCES
Randolph, II, 256-260
Moore (BFSS), 278-280
Along the Kansas Line
A soldier of the Union,
In manhood’s early prime,
Lay with the dead and dying,
In the mud and in the slime;
And on that field of battle,
His life was ebbing fast,
While comrades, faint and weary,
Were moving quickly past.
A comrade stopped beside him,
And lifted up his head,
And to his tearful comrade
This is what the soldier said:
’’For me the war is over,
The fighting’s at an end—
But what will be the difference,
Unless we die to win?
"Our lend i= filled with mourning,
All wrapped in death and woe;
The wailing notes of sorrow
Come both from high and low.
I fought for truth and freedom,
With gun and sword combined,
But I have seen no freedom
Along the Kansas Line.”
**********************

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Song Texts
1354

No. 47
ALOUETTE!
also known as
Ah! the Lark! The Lark
This song came to North America with the earliest
French explorers and settlers; it survived in French
settlements in both Canada and the U. S. In time,
the song wa« forgotten in France, the land of its
origin. It wa« re-introduced to its homeland by
French Canadians during World War I.
<;ong can be brief or of long duration, depending upon
one’s inclination. The verges and chorus may continue
until one runs out of anatomical parts of the lark to
pluck. The chorus is always repeated.
REFERENCES
Barbeau (JSOQ), 189
Leisy (LAS),
81
Berry, 68-69
Leisy (SPS),
161
Best, 86
Oberndorfer,
54
Elson, 159-161
Silverman, I
, 271
Alouette!
Alouette, gentille Alouette,
Alouette, je t’y pleau-me-rai.
Alouette, gentille Alouette,
Alouette, je t’y pleau-me-rai.
I begin to pluck the head,
I begin to pluck the head,*
♦The singer can continue on with "I begin to pluck
the eyes," then "the beak, the neck, the wings,
the back, the tail, the claws, etc.," until the
subject has been exhausted. In English, the words
could be:

MB
Song Texts
1355
Pretty skylark.
Winging, Pinging skylark.
Pretty skylark,
I shell pluck you now.
Pretty skylark,
Winging, singing skylark,
Pretty skylark,
I shall pluck you now,
*#*•***#*•*•**#•******#*•#•****•**

No, 48
THE ALPHABET
also known as
ABC
ABC, Can*t See Me
ABC, Doubled Down D
ABC, Tumbledown D
The alliance between education and entertainmen is
on the ancient side, and the learning of specific
subject* by combining them with specially construct
ed mu*ical airs i* still an educational tool of im
mense •value. In early American "grade school*" the
wedding of basic information and music as a means
of teaching and learning was popular and widely
practiced. Following the Civil War the teaching
of subjects in musical form began to decline in
schools, particularly in the northern states. In
the South, however, students continued to learn
the alphabet, the multiplication tables, the names
of 3 tate* and their capitol cities, etc., with the
aid of music. For examples, see: States and Capitols
in Brewster (KI3), 169; Randolph, IV, 409 & (OMF),
55.
Adults also revealed a fondness for alphabetical-
type songs. They made and sang religious, occupat-

MB
1356
Song Texts
lonal and political songs set in the alphabetical
form. Such pieces set the foundation for the later
"spelling" songs, such as S-A-V-E-D (see in MB) and
the 1940s song by Merle Travis, KENTUCKY « Por yet
another example of a spelling song, see: Quarterly
(SPL), IV, 150.
The three following selections are fairly repre
sentative of the genre. Version A was used to teach
the alphabet to children.
REFERENCES
Bertail, 138 Talley, 154
Randolph, IV, 401 Wier (YAM), I, 112
ABC ( Version A)
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
ABC . DOUBLED DOWN D ( Version B)
ABC, doubled down D;
I*se so lazy you caint see me.
ABC, doubled down D;
Lazy chilluns gets hick'ry tea.
ABC, doubled down D;
You'd better come out an* wuk lak me.
ABC, TUMBLE DOWN D ( Version C)
ABC, Tumble-down D,
The Cat's in the cupboard
And can't «ee me.
ABC, Tumble-down D,
A bird's in the willow
And oinging free.
*****************

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Song Texts
1357

No. 49
THE. ALPHABET: A FOR AN APPLE
also known as
The Musical Alphabet
This is one of the more elaborate musical settings for
the alphabet, and it was arranged expressly for the
instruction and amusement of children by Mrs. T. Walsh.
Piece was published in the 1840s * Similar songs and
versions are preserved under such titles as: A Is For
Apple , The Average Boy , and The Rhyming Alphabet.
Examples of such pieces are given in Arnold, 141;
Bertail, 41, 134; Brown, III, 259; Jordan, 269; Jour
(AFL), No. 55, 1942, 413-414; Randolph, Iv, 403-406;
Reeves, 63; Wier (YAM), III, 10-11.
The Alphabet:
A for an Aople
A for an apple, an archer, an arrow;
B for a bull, a bear and a barrow;
C for a cet, and D for a dish,
E for an egg, and F for a fish,
G for a goo«=e, and H for a ham;
I for an Inn and J for jam,
K for a king, and L for a light,
M for a mouse and N for night;
0 for an olive and P for prattle,
Q for a queen and R for a rattle;
S for a star and T for a tale,
U for an urn and V for a veil;
W for watch, for wreath, and for wren,
X stands for no word in English but ten;
Y for a youth, for yoke and for yeast;
Z for a Zebra, a beautiful beast.
Now I have sung the Alphabet through,
And all I ask is a kiss from you.

MB
Song Text3
1358

No. 50
ALPHABET FOR AMERICANS
also known as
The Revolutionary Alphabet
According to Burl Ives, this song was published as
a braodisde sheet in 1775 and parents were urged to
teach their children the alphabet in this form. The
tune is an adaptation of the English song, Smiling
Polly —a version of which is in Chappell (OEPM),
II, 185.
REFERENCES
Brand (S»76), 36-37 Ives (SB), 91
Alphabet for Americans
A is for Americans who have scorned to be slaves,
B's for Boston's bravery that ever freedom saves;
C is for the Congress which though loyal shall be
free.
D stands for defense against brute force and tyranny
E stands for the evils which a rebellion must bring,
F is for a dreadful fate for people and for King;
G's for George, may heaven give him wisdom, health
and grace;
H stands for the hypocrites who wear the double face
J is for justice which the traitors in pow'r defy,
K*s the King again, who ought to such the axe apply;
L's for London where he sits, to honor ever true,
M's for Mansfield, who, it seems, doth hold another
view.
N*« for North who to the House the evil mandate
brings,
0 is oaths, which seemingly bind subjects not their
kings;

MB
Song Texts
1359
P is for the people who their freedom would defend,
Q is for question? When will England’s troubles end?
R is for the Rebels, not in Boston but at home;
S is for the Stuarts, sent by Whigs abroad to roam.
T is for Tories who may try to bring them back,
Y is for villians who have well deserved the rack.
W stands for Wilkes, who us from warrants saved;
Y is for York the New, half-corrupted, half-enslaved.
Z represents Zero, which refers to Tory minions
Who threaten us with fire and sword, to bias our opinions
Tag
We stand firmly A to Z, and swear forever to be free!
*•**************■»**•»*■»*•»*

No. 51
ALPHABET FOR LUMBERMEN
also known as
The Lumberman’s Alphabet The Shanty-man’s Alphabet
The Shanty Boys' Song The Woodsman's Alphabet
This song, which probably originated in the forest,
appears to have been fashioned upon Alphabet for Sail
ors (see in MB), but it is a supposition which I am
unable to prove. Text has been set to various airs,
including a form of Derry Down .
Por a similar song of later date, see Doerflinger, 209.
REFERENCES
Barry (MWS), 50-51
Beck (LLC), 37-40
Beck (SML), 23-25
Botkin (NEF), 874-875
Cazden, I, 12-13
Creighton (SBNS), 212-213
Doerflinger, 207-208
Eckstorm, 30-32
Emrich (CBF), 19
Flanders (NGMS), 169-171

MB
Song Texts
1360
Gardner (BSSM), 255-257
Gray, 10-14
Linscott, 235-237
Scott (BA), 173-175
Thompson (BBB), 262
Tolman & Eddy, 413
Rickaby, 35-38
Alphabet for Lumbermen
A is for axe, and to timber we go;
B is for boys, who put on the show.
C is for chopping and cutting a tree,
And D is for danger that always will be.
E is for echo that rings on the air,
P is for foreman, as tough as a bear;
G is for grindstone, so even and round,
And H is for hard-work, wherever it's found.
I is for iron, with which we mark pine,
J is for jerky, we eat all the time;
K is the keen-edge our axes must keep,
And L is the lice that bite when we sleep.
M is for mem'ries of love and romance,
N is for needles to sew up our pants;
0 for the owls that hoot thro* the night,
And P for the pine that brings us delight.
Q is for quarrels, in which we abound,
R for the rivers we drive the logs down;
S for the sleds that we built stout and strong,
And T is for teamsters, who curse hard and
long.
U for the use which we put ourselves to,
7 for the valley that’s seldeom in view;
W the woods, which we leave in the spring.
And X marks the spot where I cease to sing.
*** ************-**-** *

MB
Song Texts
1361

No. 52
ALPHABET FOR MORMONS
also known as
The Moab Alphabet
This song is not widely known, even among Mormons,
and is included here as an example of the genre. Both
text and tune are from Hubbard, 459-460.
Alphabet for Mormons
Oh listen unto me, since together we have met,
And I»ll
in :
A
stands
for
B
stands
for
C
stands
for
D
stands
for
E
stands
for
6-
stands
for
H
stands
for
I
stands
for
J
stands
for
K
stands
for
L
stands
for
M
stands
for
N
stands
for
0
stands
for
P
stands
for
R
stands
for
S
stands
for
T
stands
for
W
stands
for
Z
stands
for
****** ********-*********

MB
Song Texts
1362

Ho, 53
ALPHABET FOR SAILORS
also known as
Alphabet of the Ship The Sailor’s Alphabet
Alphabet Song The Seaman's Alphabet
This is probably the older of the occupational-type
alphabet songs. Merchant and military seamen were
familiar with this song, and they sang it ashore as
well as aboard ship. Sometimes the song comes with
a chorus, sometimes without, and sometimes, as in
Jour (AFL), XXXVIII, 298, it shows up as a seaman's
toast.
Por a different sailor's alphabet song, see The Bosun's
Alphabet in Hugill (1), 456 or (2), 171.
REFERENCES
Brown, III, 259-260;
V, 143-144
Creighton (SBNS), 210-212
Eckstorm, 233-234
Emrich (PAL), 471-472
Jour (APL), XXXVIII, 298
Morris, 57-58
Thompson (BBB), 194
Alphabet for Sailors
A is the anchor that lays at our bow,
And B is the bowsprit an' jibs all lie low;
C is the capstan that always goes round,
And D is the derrick that hoists in the rum.
Chorus
So merry, so merry, so merry are we!
No mortals on earth are like sailors at sea!
To me e-dory, i-dory, o-dory dong.
Give sailors some grog and there's nothing wrong!
E is the ensign that on our fore flew,
And P is the forecastle, home of the crew;

MS
Song Texts
1363
6 Is the galley where the coffee smells strong,
And H is the halyards we hoist with a song.
I is the Eyebolt—no good for the feet—
And J is the jib, boys, stand by the lee sheet;
K is for the Knightheads where the shantyman stands,
And L is for the Leeside, hard found by new hands.
U is the mainmast wrought stout and strong,
N is for needlepoint that never goes wrong;
0 is for the oars of our jolly life-boat,
And P is the pennant that so neatly does float.
Q is for the Quadrant—to wheel it lies near;
R is for the rudder which helps us to steer.
S is for Sheerpole over which we must climb.
And T is for Topmen, ’way aloft every time.
U is for uniform, to wear fore and aft,
And V is Yange running down from the gaff;
W is for water that always around,
And X marks the spot where shipmates were drowned.
T is for yardarm—takes a good sailcrman;
And Z is for nothing, so I understand.
So this is the end of my alphabet song,—
Heave away, boys, Oh, heave long and strong!
Ik*****************************

No. 54
ALPHABET FOR SOLDIERS
also known as
The Alphabet The Soldier's Alphabet
This form of the alphabet song dates back to the Ameri
can Civil War and, perhaps, it may be much older. The
only version I have seen in print is the one in Moore

MB
Song Texts
1364
(BBSS), 370-372.
Alphabet for Soldiers
A is our army so true and so brave,
B is our banner, so long may she wave;
C is Chattanooga, where forces were put,
And D is the day that the railroad was cut.
Chorus
Tic-a-tacky, tic-a-tacky, a tic-a-ty tack,
I'd buy me a shirt, if I had a greenback;
I'd buy me a soldier to fight in my place,
Depart from this army and ne'er show my face.
E is engagement where everything stood,
P is the flogging that Thomas gave Hood;
& is the guards that are stationed in town,
And H is the hospital where I lay me down.
I is inspection, our order so strict;
J is Jay Hawkins, our order permit.
K is to kill outside of our line.
And L is lieutenant that hid in the Rhine.
M is to muster all the day,
N is no answer or talking for pay;
0 is on-duty, go muster in now,
And P is the private that kicked up a row.
Q is the Quartermaster who rides all about,
R is the rations which always run out;
S is the Sutler that nails all our dimes.
And T is for trash for most of these rhymes.
U is for Uncle Sam's ugly conscript,
V is the veteran full of all tricks;
W is widow that's north in the rear,
And X is extra champagne and beer.

MB
Song Texts
1365
Now two more letters are coming along,
Which means I have come to the end of my song;
Y is the young and beautiful lass,
And Z is the Zura that hid in the grass.
* **************•*■*•*•*•*■*•***•*■»••*

No. 55
ALWAYS STAY SINGLE
also known as
Married and Single Life
One of many songs that warn against hasty marriage
and praises single life. This song is well-known in
North Carolina, where I was born and raised, but it
doesn’t appear to have been known in other areas of
the country. Since the only version I have seen in
print is the one in Sharp, II, 3, I assume that the
song originated in England.
Always Stay Single
Come all you young people and listen to me,
I’ll sing you a song of your sad destiny.
I'm a man of experience, and I understand
How love's been the ruin of many a man.
Chorus
Always stay single, and always be free!
Always stay single, and happy you’ll be.
If you want to get married, don’t do as I've done
And get yourself married before twenty-one;
And don't you get married before love has set!
Make sure that you love her, avoid regret.

MB
Song Texts
1366
0 listen, young fellows, and play the game smart:
Don’t waste your affections on love at the start.
For once you are married you ain't your own man;
It's wiser to wait some, to watch and to plan.
So always stay single, make sure that you can,
And tell all the women you are your own man.
If you ever get married, if you lose your head.
You'll find yourself wishin' at times you were dead!
***************************

Ho. 56
AMANDA AND ALGIN
also known as
Amanda and Albin
Amanda the Captive
Bright Amanda
Her White Bosom Bare
Olban
The White Captive
Young Albion
The Young Chief
This was^first a poem, then a song. The original text,
by Thomas C. Upham, was first published in the Columbian
Centinel, Boston, Sept. 19, 1818. The first traditional
text was collected and printed by John Lomax,
According to W. A. Martin ( Arcadian Magazine , Eminence,
Missouri, July 1932, p. 31), the song text is rooted
in both fiction and history. The fiction roots derived
from James P. Cooper's Wish - Ton - Wish and the historical
roots concern a Pawnee warrior known as Petalasharoo.
"The tribe,” said Martin, "was preparing to burn a
young girl captured from a neighboring tribe when the
young warrior rushed in, cut the bonds, carried her
off....and went with her near enough to her own people
for her to make her way home.” To commemorate the
incident, according to Martin, the girl students "of
Miss White's school in Washington sent the young chief

MB
Song Texts
1367
a silver medal" in 1821.
The words of this poem are sung to a variety of tunes,
two being sets of Bog and Gun and The Lady Leroy . It
is interesting to learn that traditional versions re
covered west of the Mississippi River are not sung
to the same air as those recovered in the Southern
states and in New England.
REFERENCES
Barry (MWS), 36-37
Bulletin (FSSN), VIII,
19-24
Carmer (SRA), 50-51
Flanders (CSV), 28-29
Flanders (NGMS), 256-259
Hubbard, 98-99
Jour (AFL), XXII, 256; XXV,
169; XLVIII, 351; LVI,
137
Lomax (CS-1919), 271-273
Moore (3FSS), 331-333
Morris, 128-130
Randolph, IV, 118-120
Will, 256-257
Amanda and Algin
The sun had gone down o'er the hills in the West,
And the last beam had faded o'er the mossy hill crest.
With the beauties of nature and charm of the fair,
Amanda was bound with her white bosom bare,
«
with her white bosom bare.
Amanda was there, so friendless and forlorn,
With her face bathed in blood and garments all torn;
She counted vengeance in the face of her foes,
And she sighed for the time when her sufferings would
close.
Young Algin, the bravest of warriors, drew near.
With an eye like the eagle and step like the deer:
"Forbear!" cried young Algin, "Your tortures forbear!
This maiden shall live by my wailing, I swear.

MB
Song Texts
1368
"This maiden's freedom I crave to give—
A sigh for suffering and tears for her grave;
If a victim this night shall burn at the tree,
Then I, your own leader, that victim shall be."
It was just before day that a streak of white and
blue
Went gliding o'er the water in a small-like canoe;
As swift as a wild duck skimming the tide,
Amanda and Algin over the waters did ride.
On that very same day a white streak was seen
On the blue, bubbling water and willows of green;
And great was the joy when she came ashore
And embraced her dear father and mother once more.
Young Algin stood by and saw them embrace
With a song in his heart and a tear on his face;
And all that he asked for doing such good
Was kindness and food for his tribe in the wood.
*****************-#••*••*•#•**•#•**

No. 57
AMEN!
also known as
The Sailor and the Soldier The Soldier and the Sailor
This song is a type of "social satire" that once enjoy
ed considerable popularity in America and England.
According to Cecil Sharp, what we have here is an
American adaptation of the English song, The Mare and
the Foal.
REFERENCES
Jour (FSS), V, 72; VIII,
270
Doerflinger, 277-278

MB Song Texts
1369
Karpeles (EPS), II,
No. 376
Reeves, 187
Sharp (PSE), IV, 14
Silverman, I, 392
Williams (PSUT), 104
Amen!
A soldier and a sailor went a-walking one day.
Said the sailor to the soldier, "I've a good mind
to pray
Por the rights of the people and the wrongs of all men:
May the devil double, double, triple damn them!"
Said the soldier, "Amen!"
"Now here's to those lawyers! they'll plead for your
cause,
They'll take all your money and give you tough laws.
At last they'll send you to jail and let you remain:
May the devil double, double, triple damn them!"
Said the soldier, "Amen!"
"Here's to the ministers! they'll preach and they'll
pray.
They'll take your hard earnings and fool it away.
At last they'll consign you to hell, and there to
remain:
May the devil‘double, double, triple damn them!"
Said the soldier, "Amen!"
Now here's to the farmer who follows the plough
And gathers hard earnings by the sweat of his brow;
And a health to the sailor and the soldier again:
May the good God Almighty help them."
And they both said, "Amen!"
*******************

MB
Song Texts
1370

No. 58
AMERICAN TAXATION
also known as
In North Amerikay Taxation of America
This song is from the American colonial period. Name
of author is unknown, hut he or she wa3 definitely
political-minded. According to Sigmund Spaeth, a
version appears in the Uncle True Songster, issued at
Philadelphia (hut he gave no date for the publication)
REFERENCES
Brand (S-76), 4-5 Spaeth (WSM), 3-5
Silher (SI), 36-38
American Taxation Tune: British Grenadiers
While I relate my story, Americans give ear—
Of Britain's fading glory you presently shall hear.
I'll offer true relation, attend to what I say
Concerning the taxation of North Amerikay.
There is two mighty speakers who rule in Parliament;
They always have been seeking some mischief to invent.
•Twas North, and Bute, his father, this horrid plan
did lay:
A mighty tax to gather in North Amerikay.
These subtle arch contrivers addressed the British
court,
All those undersigners, for to observe report:
There is a pleasant landscape that lieth far away
Beycnd the wide Atlantic, in North Amerikay.
There is a wealthy people who sojourn in that land;
Their churches all with steeples most delicately stand
Their houses, like the lilies, are painted red and gay
They flourish like the gallies in North Amerikay.

MB
Song Texts
1371
Their land with milk and honey continually doth
flow;
The want for food and money they seldom ever know.
They heap up gold and silver, they have no debts to
pay—
They spend their time in pleasure, in North Amerikay.
Zing George, you’ve heard the sequel of what we now
subscribe:
Is it not just and equal to take this wealthy tribe?
The question being asked, his Majesty did say:
"My subjects shall be taxed in North Amerikay!"
0 George! you are distracted! You'll by experience
find
The laws you have enacted are of the blackest kind.
I’ll make a short digression and tell you by the
way,
We fear not your oppression in North Amerikay.
************************

No. 59
ANCHOR IN THE LORD
A pre-Civil War spiritual, Anchor in the Lord was
sung by white as well as black people in the South.
Originally, the song was a hymn. Somewhere along
the way, slaves adapted the hymn to their particular
sty?e of singing and it became a spiritual.
For a similar song, see: My Soul * s Been Anchored in
the Lord in Work (ANSS), 131, 133.
Anchor in the Lord

Song Texts
1372
MB
Throw it to my dear mother's door,
Anchor in the Lord,
Throw it to my dear mother's door,
Anchor in the Lord,
King Jesus said He would come again,
Anchor in the Lord,
King Jesus said He would come again,
Anchor in the Lord.
Chorus
Anchor, "believer, anchor,
anchor in the Lord!
Throw your anchor any way,
anchor in the Lord!
Throw it to my dear father's door, etc. (2)
King Jesus made the cripple walk, etc. (2).
***************************

No. 60
ANGEL DE AMOR
also known as
Angel of Love
This Spanish-American folk song was recovered in the
19th century by Charles E. Lummis. In the October,
1882 issue of Cosmopolitan - Magazine , Lummis wrote:
"I learned it on a lonely stage-drive of eighty mile
in Western Arizona from a tuneful Mexican who had
brought it from Los Corrales, N. M., where both he
and the song originated.”
Angel de Amor

MB
Song Texts
1373
Angel de amor,
tu pasion no la comprendo,
Si la comprendo no la puedo espresar.
Voy encelar tu u languido gemido,
Alla en la tumba par poder descansar.
Yo no siento el que me hayas, querido,
Yo no siento el que me hayas amarlo,
Solo siento el que me hayas cambiarlo
Con otro hombre mas inferior que yo
Como el que tiene una musica,
Y no la sabe tocar,
A si se queda, Ay! el hombre en este mundo,
Cuando en el mundo no se sabe espresar!
English Text
Angel of love,
I don't understand your passion.
And if I did, how could it be expressed?
I shall escape from your sighing and anguish
There in the tomb, so I can find some rest.
I am not sorry you have desired me,
I do not mind that we must say goodbye:
I only regret, dear, that you left me
For another—one less worthy than I.
Like a man who has a piano,
And never learns how to play,
I dream and hear the music of love forever,
But no one is hearing what I want to say.
*****#******************-*******

MB
Song. Texts
1374

No. 61
THE ANCSLS CHANGED MY NAME
also known as
The Angel® Done Changed My Name
This spiritual dates back to the Civil War. ?/e know
this because it wa® one of those slave spirituals sung •
by the Original ?i®k Jubilee Sin -ers. Versions are
in a large number of folios and songbooks. The tune
is similar to that used for Mv Cup Runneth Over , but
which song used it first is not known by me,
REFERENCES
Kennedy (K-l), 36 Marsh (SJS), 227
The Angels Changed My Name
I went to the hillside, I went to pray;
I know the angels have changed my name,
Have changed my name for the coming day,
Thank God!
The angels have changed my name.
Done changed my name for the coming day,
I know the angels have changed my name,
Have changed my name for the coming day,
Thank God!
The angels have changed my name.
I looked at my hand® and my hands were new,
I know the angels have changed my name.
I looked at my feet and my feet were too. .
Thank God!
The angels have changed my name.

KB
Song Texts
1375

No. 62
ANGELS WAITING AT THE DOOR
also known as
Don't You Grieve For Me Tell All My Father's Children
Another of the old **lave spirituals sung and popularized
by the original Fi«k Jubilee lingers. See and compare:
When I'm Deed in Work (ANSS), 119.
The "don’t you grieve" line is a floater and it has
csu«*ed song** to be mistakenly related to one another.
For exemole, see: Don't You Grieve After Me in MB.
REFERENCES
Marsh fSJS), 189 Pike, 271 Work (FSAN), 58
Angels Waiting At The Door
My sister’s took her flight and gone home,
And the angels waiting at the door;
My sister's took her flight and gone home,
And the angels waiting at the door.
Chorus
Tell all my father's children,
Don't you grieve for me;
Tell all my father's children,
Don't you grieve for me.
She has laid down her cross and gone home.
With the an~el«* waiting at the door;
She has laid down her cross and gone home.
With the angel** weiting at the door.
She had put on her crown and gone home,
With the angels waiting at the door;
She had put on her corwn and gone home.
With the angels waiting at the door.

MB
Song Texts
1376

No. 63
THE ANIMAL PAIR
algo known as
I Went To The Animal Pair
This is an old minstrel-stage song that was adopted
by generations of college students and innumerable
barroom quartettes. Now it has become a song sung
for the amusement of children.
REFERENCES
Brown, III, 219; V, 128
Bulletin (TPS), V, 43
Clark (ESB), 125
Davis (PSV), 204
Henry (SSSA), 241
Loesser, 242-243
Luther, 255
Randolph, III, 207
Sandburg (AS), 348-349
Silverman, I, 313
Spaeth (REW), 79
Talley, 159-160
Winn (1), 152-153
Yolen, 188-189
The Animal Pair
I went to the Animal Pair,
The birdB and the beasts were there;
The big baboon, by the light of the moon,
Was combing his auburn hair.
The monkey he got drunk
And sat on the elephant’s trunk;
The elephant sneezed and fell on his
knees—
And what became of the monk,
the monk.
What became of the monk?

MB
Song Texts
1377
No« 64
ANIMALS
also known as
The Animal Song The Bestiary
This is one of those "educational type" songs de
signed for amusement. There are many short songs
of this genre, including the following from North
Carolina:
Weasel and Rat, Mosquito and the Cat,
Chicken and the Bumble-Bee;
The old Baboon, the fuzzy little Coon—
They all went wild but me*
Except for the names of animals there is no point to
the various versions of this song. Pour versions are
given below.
REFERENCES
Brown, III, 215; V, Ives (SA), 52
124 Seeger (3), 80
Gardner (BSSM), 472 Winn (1), 41
Animals ( Version A)
Alligator, Hedgehog, Anteater, Bear,
Rattlesnake, Buffalo, Anaconda, Hare,
Bullfrog, Woodchuck, Wolverine, Goo=e,
Whippoorwill, Chipmunk, Jackel, Moose.
Version B
Mud-turtle, Whale, Glow-worm, Bat,
Salamander, Snail, Maltese Cat,
Black Squirrel, Loon, South Guinea hen,
Snow-white Dove, Caterpillar, Wren.
Version C
Polecat, Dog, Wild Otter, Rat,
Pelican, Hog, Dodo, Bat,

MB
Song Texts
1578
Eagle, Kingeron, Sheep, Duck Widgeon,
Conger, Armadillo, Beaver, Seal, Pigeon.
Version D
Reindeer, Blacksnake, Ibex, Nightingale,
Martin, Wild Drake, Crocodile, and Quail;
House rat, Tosrat, White bear, Doe,
Chickadee, Peacock, Bobolink, and Crow.
************************

No. 65
ANIMAL TAILS
also known as
Old Raccoon
Raccoon and the Possum
The Raccoon Has a Bushy
Tail
Raccoon's Got a Bushy
Tail
Racconn Wears a Bushy Tail
The Squirrel
The Squirrel Has a Bushy
Tail
The Squirrel Is a Pretty
Thing
Tails
This song probably began as a nursery rhyme in Eng
land, where it is known as The Squirrel^ The identi
fying words of the version below which relates it
unmistakably to other versions are "a bushy tail.”
To judge by the large number of songs in which the
"bushy tail" expression appears, the terminologv
was very popular. A few of the songs to which the
"bushy tail" lines have been added, are: Buckeye d
Rabbit! Whoopee ! in Talley, 175; Boll Dem Cabba g e
Down in Scarborough (NFS), 168; Do Come Along ^ Ole
Sandv Bov in White, 451; Git Along Home, Cindy in
Brown, III, 209 C; I Went To My Sweetheart^ H2H2®
in Scarborough (NFS), 165; Old Bee Make Be Honeycom b
in Scarborough (NFS), 165; De Poeyum Am A Cunning

MB
Song Texts
1379
Thing in Brown, III, 208; and Kitty , Caint You Come
Along Too? in Randolph, II, 334. Like the ”who will
glove your hand” stanza, the ’’bushy tail” lines are
apt to show up in any song suited to its structure,
usually featuring a raccoon or a squirrel.
The two versions given below will demonstrate how
the same concept is variated by folk singers.
For an unrelated Danish folk song called The Squirrel ,
see Hornby, 16.
REFERENCES
Scarborough (NFS), 166-170
Seeger (3), 15, 19
Sharp, II, 330-331
Talley, 5
White, 234-236
Yolen, 100-102
Brewster (BSI), 334
Brown, III, 208; V, 122
Davis (FSV), 319
Emrich (CBF), 33
Ford (TMA), 62
Ford (OTFM), 28
Animal Tails ( Version A: The Squirrel )
The squirrel is a pretty thing,
It sports a bushy tail;
It steals away the farmer’s corn
And hearts it on the rail,
And hearts it on the rail.
The partridge is a pretty bird,
It has a speckled breast;
It steals away the farmer's grain
And takes it to its nest, etc .
The Possum is a cunning thing,
It travels after dark;
It feels no fear of any thing,
'Til dogs begin to bark, etc.

mb
Song Texts
1380
The raccoon’s tail is ringed around,
The possum's tail is bare,
The rabbit's got no tail at all,
But sports a ball of hair, etc.
Version B: The Raccoon
The raccoon ha3 a bushy tail,
The possum's tail is bare,
The rabbit he just hops along
Without a tail to spare.
The turkey has a big fan tail,
The sparrow's tail is small,
The peacock's got a tail with eyes
That can't see things at all.
The bull-dog has a stubby tail,
The pig's is curled about,
The turtle has a skinny tail.
But seldom hangs it out.
The raccoon has a bushy tail.
And drags it on the ground,
The hound-dog has a long bare tail
And wags it all around.
♦#***•* ■**•*■•*■•**■*•■*■■#••»•*•*-*■* *•*■#■*

Ho. 66
ANNIE BREEN
This is one of those sentimental, melodramatic and
frontier-based cowboy songs of which 19th century
Americans were so fond. Author unknown. Tune varies
from version to version.

MB
Song Texts
1381
REFERENCES
Finger (FB), 77-80
Johnson (BBLL), 13-14
Kennedy (TAB), 107-109
Lomax (CS-1938), 225-227
Kennedy (AB), 68-69
Annie Breen
For all you men of Arkansas,
A song I now will sing
Of Annie Breen, from old Kentuck,
Who made the forest ring.
A sweeter girl, with sweeter voice,
No man did ever know;
And Annie loved a handsome lad
Whose name was Texas Joe.
At meetin', after prayers were said,
Sweet Ann sang clear and fine;
A stranger said, upon his knees,
"That girl she must be mine."
So arm in arm they both walked home
And wandered up and down,
Which caused the neighbors, who
loved Ann,
To shake their heads and frown.
He entered in and brought a stain
On Annie Breen’s fair life;
He told her that he loved her well,
Would take her for his wife.
When Joe got wind how matters
stood,
His heart was like a stone;
Without a word of parting,
He went out to Texas all alone.
Before a year in a shallow grave
Lay Annie and her child,

MB
Song Texts
1382
And when poor Joe heard the news
It drove him almost wild.
He saddled up and he rode out.
And rode both long and fast;
And in Port Smith he found the man
Who'd ruined Ann at last.
Words were spoke and shots were fired,
And Joe fell on the floor.
He said, "In spite of all that’s been,
I love my Ann the more."
His face was white as driven snow,
His breath came gasping low;
He said, "My soul is clean,
And to my Maker it must go."
Before he closed his dimming eyes,
He said, "My work's not done."
And turning on his aching side,
He drew his faithful gun.
"You've done your mischief, stranger,
But from life you’ve got to part."
Joe's finger pressed the trigger
And he shot him through the heart.
**********************

No. 67
ANNIE'S SIN
also known as
Andrew Lammie
Mill o Tiftie’s Annie
Tifty's Nanny
The Trumpeter of Fyvie
An ancient English-Scottish ballad of love and family

MB
Song Texts
1383
brutality that did not gain the degree of acceptance
in America it enjoyed in Britain. Christie, Jamie
son, Motherwell, Scott, and many others, collected
and remarked upon the ballad, but the only published
work containing versions of it in the United States
is Child’s English and Scottish Popular Ballads. A
version of three stanzas was recovered in Nova Scotia
by Mackenzie, and he reported "It is also in the follow
ing chapbook collections in the Harvard College Library:
25263.23, No. 13} 25252. 19.” All versions tell a very
brutal story: A young woman’s family literally beats her
to death because she dared to reveal her love for a poor
man.
REFERENCES
Buchan (GSEI), 98, 197
Chambers (SB), 143
Child, IY, 300-308
Jamieson, I, 126. II, 382
Johnson (SMM), No. 175
Kinsley, 349-353
Mackenzie, 60
Motherwell (MAM), 239
Muir, 166-167
Whitelaw (BSB), 265-267
Annie♦s Sin
In yonder town there lived a man
By the name of Justin Tanney;
He had a lovely daughter fair,
And her name was Annie.
Her bloom was like the signs of Spring,
That hails each new tomorrow;
She had a secret love affair
That caused her much sorrow.
Her father hired a working-man
Whose name was Andrew Lammie;
He had the art to gain the heart
Of pure, lovely Annie.

MB
Song Text3
1384
One night when all had gone to hed,
There was no sleep for Annie;
Love so oppressed her tender heart,
All for Andrew Lammie.
He came into fair Annie’s room
And spoke of love so tender,
She gave to him her maidenhead
In love’s painful splendor.
Oh, soon enough her father knew;
He cursed the name of Lammie,
Who had the art to gain the heart
Of his darling Annie.
Her father struck her many times.
Then likewise her own mother;
Her sister scorned fair Annie’s name,
And then came her brother.
In jealous rage, with anger hot,
He struck his sister Annie;
He broke her back upon the stairs,
Cursing Andrew Lammie.
0 mother dear, now make my bed,
And grieve no more for Annie;
For I will lie, and I will die
Loving Andrew Lammie.
Her father wept and now laments
The loss of lovely Annie;
He wished he had let her wed
Her love, Andrew Lammie.
You parents grave who children have,
Remember Justin Tanney:
If daughters sin with working men,
Think of lovely Annie.

MB
Song Texts
1385

No. 68
APPRENTICE BOY I
also known as
Farewell, Lovely Polly The Prentice Boy's Love for
Peggy, or Polly
The Prentice Boy
The Prentice Boy's Love The Sheffield Apprentice
The Sheffield Prentice
for Mary
The story line of this ballad dates from Biblical
days, when Joseph was falsely accused by his mas
ter's wife because he spurned her advances.
In this story, a serving-man rejects the love of his
mistress and she, in an act of revenge, frames him
as a thief.
American versions of this ballad differ considerably
from those recovered in England and Ireland. A favorite
of broadside publishers, the ballad was issued by
Cadman, Catnach, De Marsan, Harkness, Pitts, Such,
Walker, and others. Several of the broadside versions
are on file at the Harvard College Library.
REFERENCES
Campbell & Sharp, No. 97
Cambiaire, 80-81
Chappell (FSRA), 140
Christie, II, 67
Cox (FSS), 294-295
Creighton (FSNB), 45-46
Creighton (TSNS), 203-206
Davis (FSV), listed , 43
Dean, 18-19
Elton, 318
Belden (BS), 131-132
Brewster (BSI), 274-275
Brown, II, 353-355; 17,
204-205
Flanders (VFSB), 94-96
Ford (BB), No. 3307
Gardner (BSSM), 71-72
Gillington (HFS), 14
Gray, 90-93
Greig, I, art. 45
Henry (FSSH), 183-184
Jour (AFL), XXVIII, 164;
XXXII, 499; XL7, 51
Jour (FSS), I, 200; II,
169
Karpeles (3FS), II, No.
388
Kincaid No. 3, 18

MB
Song Texts
1386
Leach, 316
Moore (BPSS), 163-165
Ord, 421-422
Laws (AB), 5, 20, 57,
90, 245, 301
Peacock, III, 709-710
Quarterly (SPL), V, 139
Sharp (PSE), II, 44
Shearin (SR), XIX, 320
Songster (126), 244
Apprentice Boy I
I hated my employer, altho' I served him well;
And I was quite determined no more with him to dwell.
I did not tell my parents when I up and ran away,
And headed straight for New York, where I hoped to
stay.
I met a wealthy lady who said she lived quite near;
She offered me great wages to work for her a year.
And after much persuading, at last I did agree
To go with her to Holland and serve her faithfully.
We had not been in Holland a month or two or three.
When I began to notice that she was fond of me;
She offered gold and silver, she offered house and
land,
If I'd agree to marry and live at her command.
I said, "My honored lady, my heart has been betrayed,
And I'm in love with Polly, your sweet and lovely maid.
I promised her we'd marry, and I took a solemn oath—
You know, dear honored lady, I cannot wed you both!"
I did not see her anger until 3he'd turned away;
She swore she'd have revenge before another day!
A gold ring from her finger—and believe me, it's
no lie—
She slipped into my pocket, and for this I must die.

MB
Song Texts
1387
I swore that I was innocent, but all to no avail;
She swore that I was guilty, so they locked me in
Jail.
The Judge did not believe me, and said that I must
die.
Bow I must face the hangman because she told a lie.
*** *********■***•*■#■**-*•*••**-* *

No. 69
APPRENTICE BOY II
also known as
As Down in Cupid's Garden Down in Covent Garden
Prentice Boy
Printice Boy
Way Down in Cupid's Garden
The Constant Parmer's Son
Covent Garden
Cupid's Garden
This ballad, like the previous one, is sometimes con
fused with The Bramble Briar (see in MB), and for the
same reason: versions of all three are sometimes known
under identical titles. A related ballad is The Lady
and the Prentice, a version of which may be seen in
Baring-Gould (SW), No. 107.
One of the common titles is Down in Cupid's Garden,
but the ballad, below is not related to others known
by that title (see Finest Flower in MB).
REFERENCES
Amer (8), 55-56
Chappell (FSRA), 125-126
Creighton (FSN3), 61-62
Creighton (SBNS), 92-93
Ford (BB), No. 3308
Johnson (PBB), II, 246
Jour (AFL), XXVI, 363
Jour (FSS), II, 195
Mackenzie, 88-89
Manny, 276-278
Pound, 74-76
Pound (SFSN), IV, No. 3
Randolph, I, 429-431
Shearin (SEES), 11

MB
Song Texts
1388
Songster (8), 248-250
Songster (9)* 141-143
Songster (12), 79
Songster (37)» 17
Songster (49), 154-155
Songster (61), 197-198
Songster (84). 224-225
Thomas (CAB), No. 216.
Apprentice Boy II
All thro’ the city garden one evening I did walk;
I saw two lovers strolling and listened to their talk.
She was a high-horn lady and he an apprentice boy,
But in private they were lovers and he was all her joy.
He said, "My dearest lady, I’m just a prentice boy.
How could I now or ever your lovely charms enjoy?"
With cheeks as red as roses, her nature kind and free,
She said, "If ever I do wed, my husband you shall be."
When her parents heard of it, her father took a hand;
He had her lover banished unto a foreign land.
She faced them broken-hearted and told them with a cry:
"Without my darling prentice, a maiden I 3hall die!"
He was consigned to London and to a merchant bound,
And by his own endeavors a fortune there he found;
And then he sailed to Boston, securing greater fame,
And by his careful conduct a richer man became.
He soon sailed back to London, but now no longer bound.
Of wealth he had a plenty, at least nine thousand
pound.
With store of gold and silver, he packed his clothes
with speed,
And went to seek his lady, to satisfy his need.
He offered kind embraces but she refused his arms:
"No lord, or duke, or merchant shall e'er enjoy my
charms!"

MB _ Song Texts 1389
He said, "My dearest lady, you once were in my arms,
Way down in Covent Garden I did embrace your charms."
She then beheld his features and flew into his arms,
With kisses without measure she did enjoy his charms;
And then next morning early a road to church was
found,
And there this couple’s pleasure became in wedlock
bound.
♦ ♦♦♦-a***-****-#******#*****-****

No. 70
APPRENTICE BOY III
al<*o known as
The New York Apprentice Boy Prentice Boy to a New
Prentice Boy York Trader
This song i<= apparently a "take-off" on older ballads
dealing with the same subject. The only version of
this ballad that I’ve seen in print is in Creighton
(SBNS), 304-305.
Thie ballad is not related to the English ballad of
like title, The New York Trader , or The Guilty Sea
Captain , versions of which can be seen in Ashton (MSB),
268; Mackenzie, 241 & (OB), 155; Peacock, II, 396;
and Williams (FSUT), 265.
Apprentice Boy III
To a New York trader I do belong,
To sail the sea around and round;
I had not sailed a league but one
When I fell in love with a young woman.

M3
Song Texts
1390
Tag Chorus
Whack fal lal I day,
Whack fal lal I day.
And to my captain I then did go
And told him my sad grief and woe:
"I love a girl as? I love my life,—
Oh! what I'd give if she'd be my wife!”
"Begone, you foolish and simple boy!
To love a girl you can ne'er enjoy—
For she has sweethearts on land and sea,
And she'll be married before you're free."
"Oh, never mind. I'll go and try;
Perhaps she might but fancy I.
Perhaps she might but fancy I,
Altho' I am but a prentice boy."
My shipmates and I we did agree
To go ashore and have a spree;
And to dance with me she was not shy,
And toss off a glase with her prentice
boy.
T bought her ribbon^, I bought her gloves,
And safe conveyed them unto my love;
And in taking them she showed such joy,
Altho' they came from a prentice boy.
Now come all you prentices, where e'er
you be,
Never flirt your love in low degree;
But love that girl as you love your life,
And when you're leaving make her your
wife.
********************

MB
Song Texts
1391

No. 71
THE ARGONAUTS
also known as
The Song of the Argonauts
One of many songs from the California gold fields. For
a considerably longer text, see Dwyer, 195.
The Argonauts
Tune: Auld Lang Syne
Fresh laurel-wreaths we bring today,
To crown the Patriarch,
Whose hand unchained the golden ore
In gulch and canyon dark.
Oh, Pioneer! your name we 3 till
In all our hearts enshrine:
God’s blessings rest upon thy head,
Dear friend of auld lang syne.
Ho female voice with cheering words
Was heard in mine or camp;
The miner fed on grizzly meat
And had a knot-pine lamp.
But changes have been taking place
Since days of ’Forty-nine;
The miner dwells in comfort now,
And kneels at woman’s shrine.
We are a band of argonauts
From old Eureka State!
By seme the golden fleece was found,
And others mourned their fate.
We digged in gulch and delved in mine,
From morn till sinking sun.
With aching limbs and moistened brows—
But perseverance won!
***•*-#***-**-*-* *****.***

MS
Song Texts
1392

So. 72
ARGYIE AND AIHIIE
also known as
The Bonnie Hoose o’ Earlie The Plundering of Arley
The Bonnie House of Airlie Prince Charlie
The Sacking of Arlee
Lady Ogalbie
A broadside version of this English ballad was issued
in 1790, but the ballad is much older than the broad
side. To begin with, the event described in the text
occurred in 1640, the year the Puritans began to de
stroy property belonging to the militant followers of
Prince Charles. It is not likely that a song would
have been written about events more than a hundred
years old.
Although the action described in this ballad is histori
cal, the description does not always correspond to what
actually happened. The Earl of Airlie was one of the
more famous militants on behalf of the King, but he was
far away when the Duke of Argyle, acting under a com
mission from the Committee of Estates , led his forces
against the Castle of Airlie and sacked the estate.
The defiance ahd scorn of the lady, as described in
the ballad, are also pure invention. She was not present
when the castle was destroyed.
REFERENCES
Barry (BBM), 266-269
Branaer, 129-130
Child, IV, 54; V, 252
Christie, II, 276, 296
Coffin, 119-120
Cox (FSS), 128-129
Creighton (TSNS), 70-71
Finlay, II, 25
Flanders, III, 191-192
Fuson, 123-125

MB
Song Texts
1393
Gardner (BSSM), 209-210
Greig & Keith, 123
Hogg, II, 152
Houseman, 212-213
Kinloch (ASB), 104
Kinsley, 614-616
Moore (SPSS), 95-97
Muir, 92-94
Ord, 470
Quiller-Couch, 705-707
Sanders, 130-131
Sharpe (BB), 59
Leach (BB), 537-538
MacColl & Seeger, 89-91
Argyle and Airlie
'Twas long, long ago, on a bonny summer day,
When corn was green and mellow,
There arose a dreadful, terrible fight
Between Argyle and Airlie.
The Earl of Argyle and five hundred men
Began to march quite early;
He led them down by bonny Dunkeld,
To raze the house of Airlie.
The Lady Ogalbee stood in her tower.
And she grew pale and weary;
For there she saw the great Argyle,
Who came to plunder Airlie.
"Come down, my lady, come down," he called,
"Come down.and kiss me fairly."
"Before I'd have your lips on mine,
I'll perish here at AirlieI"
"You may tell it to your lord," said he,
"Yes, tell it to Lord Airlie-
That just one kiss from your sweet lips
And I'd have spared all Airlie."
"I've one request, Argyle," she said,
"And pray you grant it fairly;
Take me where I may hide my face—
Spare me the fires of Airlie."

MB
Song Texts
1394
He led her to the highest hill,
And, Oh! but she looked weary;
He made her stand and view the land,
To face the fires of Airlie!
"Were John at home," the lady said,
"Instead of with Prince Charlie,
Not you nor any Scottish lord
Would dare set foot on Airlie!
"There’s seven sons all born to me.
And let me say quite clearly:
If I were blest with as many more,
I’d beg them fight for Charlie!"
***********************

No. 73
THE ARKANSAS TRAVELER
This piece is known primarily as a fiddle tune and it
is still popular around the nation. The tune was so
popular in America during the 19th century that it
was even dramatized for the stage. Por a complete
script of a local school production, see Pord (TMA),
188-192. Por opening scenes of the play, Kit the
Arkansas Traveller , see Cox (PSS), 503* A sheet
music version, together with dialogue, was published
in the 1850s by Blodgett & Bradford, Buffalo, N. Y.;
it was later reprinted in The Arkansas Traveller’s
Song—Book (New York, N. Y., c. 1864), p» 5« Por an
interesting study of the piece, see H. C. Mercer’s
"On Track of ’The Arkansas Traveler’" in Century
Magazine, vol. 51, No. 5 (March, 1896), 707-712.

MB
Song Texts
1395
For a similar song sometimes known by the same title,
see The State of Arkansas in this Master Book.
REFERENCES
Agay (1), 45
JLrmitage, I, 26
Berger, 19-20
Botkin (AFL), 346-349
Brown, III, 381-382
Cox (FSS), 503-505
Cox (TBFS), 210
Ford ( OTFM ) , 22
Ford (TMA), 46
Henry (FSSH), 361-362
Levy, 331-332
Loesser, 54-57
Lomax (ABFS), 267-271
Luther, 147-148
Masterscn, 359
Randolph, III, 22-25
Ryan, 100
Shaw, 390
Shoemaker (MMP), 250
Silverman, I, 14
The Arkansas Traveler
Oh, once upon a time in Arkansas,
An old man sat in his little cabin door,
And fiddled at a tune that he liked to hear;
A jolly old tune that he played by ear.
It was raining hard, but the fiddler didn't care,
He saw'd away at the popular air,
Tho' his roof tree leaked like a waterfall,
That didn't seem to bother the man at all.
A traveler came riding by that day,
And stopped to listen to the old man play.
The cabin was afloat and his feet were wet,
And yet the old man didn't seem to fret.
So the stranger said, "Now the way it seems to me,
You'd better mend your roof,'* said he.
But the old man said, as he play'd away:
"I couldn't mend it on such a rainy day."
The traveler replied, "That's all quite true,
But this, I think, is the thing for you to do:

Song Texts
1396
MS
Get busy on a day that is fair and bright.
Then patch the old roof till it’s good and
tight."
But the old man kept on a-playing at his reel,
And tapped the ground with his leathery heel.
"Get along," said he, "for you give me a pain!
My dang roof never leaks when it doesn't rain."
***************************

No. 74
ASMS OP LOVE I
also known as
At the Back o' Bennachie
Bolts and Locks
I Dreamed Last Night of
My True Love
I Dreamed of My True Love,
or Lover
The Lass o' Bennachie
Last Night As I Dreamed of
My True Love
Locks and Bolts
Love Laughs at Locksmiths
An Old Love Song
Rainbow Willow
Sweet William
The Vain Dreamer
According to Christie, the story of this old ballad "is
supposed to refer to the return of Ensign Knight to
claim Miss Ers^ine of Pittodrie as his bride." Accord
ing to Brewster, "It is probably descended from or at
least is related to the Pepys broadside of A Constant
Wife . Part I (Rollins, II, 201)." Arnold says, "It is
related to Child No. 7," which is Earl Brand. But
Randolph thought the ballad derived "from a Scottish
song known as The Lass of Bennochie," a version of which
is in Ord, 438-439* Randolph's opinion is supported
by MacColl & Seeger and several other collectors. Al
though many differing versions have been recovered and

MB
Song Texts
1397
published in the United States, all of them tell the
same story essentially, including the A and B versions
given below.
REFERENCES
Arnold, 62
Belden (BS), 168-169
Brewster (BSI), 300-302
Brown, II, 284; IV, 157
Campbell & Sharp, No. 80
Chappell (FSRA), 132
Chase (AFTS), 132-133
Christie, I, 36, 57
Creighton (MFS), 54-56
Davis (FSV), 91
Downes, 37-39. 42-43
Ebsworth (RB), I, 599
Edwards (CHSB), 27
Emrich (FAL), 544
Euing, No. 41
Greig, I, No. 8
Henry (FSSH), 253-255
Hubbard, 137-138
Jour (AFL), XIV, 100; XLIX,
236; III, 13
Jour (EFDS), IV, 180-181;
IX, 192-193
Jour (FSS), V, 114
Karpeles (EFS), I, 346-348
Kennedy, 362
Laws M 13, 186
MacColl & Seeger, 253-259
Moore (BFSS), 209-210
Ord, 438-441
Owens (TFS), 54
Randolph, I, 413-414
Rollins (PB), II, 201
Sandburg (AS), 149
Scarborough (SC), 115-116
Scott (BA), 39-40
Sharp, II, 17-19
Arms of Love I ( Version A)
Last night I dreamed of my true love,
And in my arms I held her;
Her pretty yellow hair, in strands of gold,
Were dangling 'round my pillow.
One day I went to her father's house
And inquired for my darling;
They said to me, "There's no such here,"
Which filled my heart with sorrow.
She heard my voice and called to me,
She called out from the window:

MB
Song Texts
1398
"My love, I’d like to be with you,
But locks ana bolts do hinder."
I stood awhile in deep despair,
And then I lost ay temper;
My anger grew, my sword I drew,
And swore that room I’d enter.
Her uncle and some other men
Were quick to leap and follow;
They said before she’d go with me,
In my own blood I’d wallow.
Then doors and windows fell apart.
And locks and bolts did shatter;
To lock a heart away from love
Is quite a serious matter.
Some blood was shed, and some my own,
But they could never hold her;
And she is such a bonny bride,
My arms of love enfold her.
VERSION B
I fell in love with a country lass,
While she herded family cattle;
But her father he did me betray,
And he sent me off to battle.
I fought in hill, I fought in dale,
And over dykes and valleys;
When peace arrived, I went home
A-lookin' for my dearie.
When I got down to her father’s house,
I asked about my dearie;
They all told me no such was there
And made my heart grow weary.

MB
Song Texts
1399
My own true love had heard my voice
And called from her high window:
"Love, here I am, but I cannot come
Till locks and keys are sundered.'*
I stood awhile, in a fretful way,
And being in angry passion,
My temper flew and my sword I drew,
And soon locks and keys were sundered.
I hacked and cut with an angry hand,
Till the locked dorr was not a bother;
I took my true love by the hand
And my broadsword in the other.
Her uncle and her father's men
Were too scared to follow after;
I told them all to come and fight,
And taunted them with laughter.
I*ve been out where the bullets flew,
Where the cannons loudly rattle,
But it's at the back of Bennachie
That I fought my greatest battle.
***************************

No. 75
ARMS 0? LOVE II
also known as
Daughter in the Dungeon
My Faithful Servant Man
Since Love Can Enter an
Iron Door
The story theme of this ballad is the same as that of
the foregoing song, Arms of Love I. It is the kind
of story that fascinated ballad-makers over the three
centuries. Even longer. As Helen Flanders reminded us,

MB
Song Texts
1400
"The motif of the father who guards his daughter from
possible suitors, unwisely and not too well, is as old
as Ovid's story of Lanae and as new as The Barrets of
Wimpole Street ." The exact age of this ballad is not
known, but it certainly predates 1840. We know this be
cause there is a Catnach broadside, and Catnach was in
business, in London, between 1813 and 1838.
REFERENCES
Creighton (MFS), 54-56 Karpeles (EPS), I, 343
Creighton (SBNS), 181-183 Laws M 15, 187
Flanders (NGMS), 17-19 Peacock, II, 590-591
Jour (PSS), I, 220; II, 97
Arms of Love II
There was a maiden so fair and handsome,
I tell to you as I have been told;
On the banks of Shannon, near a lofty
mountain.
Her father stored a vault of gold.
Her hair was black as a raven's feather,
Her form and features were fair and grand;
On the edge of folly was her loving nature,
She fell in love with a servant man.
As Mary Ann and her love were walking,
Her father saw them and closer drew;
And as the two were together talking,
The father's rage it grew and grew.
To build a dungeon was his intention.
To part the lovers he contrived a plan;
He swore an oath too vile to mention—
He'd part her from her servant man.

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Song Texts
1401
He built the dungeon of brick and mortar,
And built it deeply underground;
The food he gave her was bread and water—
The only cheer that for her was found.
When Edward learned of her habitation,
All so well secured by an iron door,
He vowed in spite of all the nation
To gain her freedom or rest no more.
He took his leisure and toiled with pleasure,
To gain the freedom of Mary Ann;
He sought his love and gained her favor—
She cried, "My faithful servant man!"
Sweet Mary Ann and her love got married,
And took their vows by God above;
He gained his sweetheart, she found her
treasure,
And now they live in the arms of love.
***********************

No. 76
ARNOLD AT QUEBEC
also known as
Arnold Is As Brave A Man
Canadian-Loyalist song, published with this comment:
"Written at Quebec soon after the late siege thereof."
The historical background concerns General Eichard
Montgomery, who led American rebel troops in a campaign
against the British in Canada.
Montgomery's forces captured Port St. John, where,
incidently, he took Major Andre prisoner (see John
Paulding and Major Andre in this M3) . Montgomery
pressed on, finally occupying Quebec. In the meantime,
General Washington sent Benedict Arnold to lead a

MB
Song Texts
1402
diversionary force through Maine. Arnold and Mont
gomery joined forces and attacked Quebec. Arnold was
wounded, Montgomery was killed. The British took
more than 300 prisoners. The remaining rebel troops
struggled homeward, taking the injured Arnold with
them.
For another version of this song, see Brand (S-76),
55.
Arnold At Quebec Tune: Yankee Doodle
Arnold is as brave a man
As ever dealt in horses;
He now commands a hungry clan
Of New England jackasses.
Chorus
Yankee Doodle, keep it up,
Yankee Doodle Dandy!
Mind the music and the step,
And with the girls be handy.
With sword and spear Arnold vows
Old Quebec shall be taken;
But if he'd be advised by me,
He'd turn and save his bacon!
The other day he did assay
To do some execution,
But he saw fit to run away—
For lack of resolution.
So thus, my friends, we are the best
By all those damn'd invaders!
No greater villains ever met
Than those damn Yankee raitors!
*******************

MB
Song Texts
1403

Ho. 77
A-ROVING
also known as
Amsterdam I'll Go No More A—Roving
The Amsterdam Maid Maid of Amsterdam
This is one of those "full circle" songs so often dis
cussed by collectors and song-tracers: It began on
shore, went out to sea, and then returned again to
shore. Sailors sang the song as a capstan shanty and,
perhaps, as a forecastle piece, but its popularity
among landlubbers was even greater.
For a version from a Dutch or Flemish source, see:
Be Meysges van het Sykenhout in Flommond van Duyse's
Het Oude Nederlandsche Lied . II (1905), pp. 979-980.
Van Buyse got it from Chants Pooulaires des flamands
de France, by De Coussemaker, p. 380.
REFERENCES
Agay (1), 51
Baltzer, II, 40
Best, 134
Bone, 100-103
Boughton, 12
Bullen & Arnold, 11
Cazden, II, 24-27
Chamberlain, 124
Colcord, 87-88
Bavis (SSC), 68-69
Boerflinger, 56-58
Emrich (FAL), 443-444
Farnsworth, 100-101
Finger (FB), 156-157
Grainger, No. 153
Hugill (1), 48-51
Hugill (2), 167-170
Ives (SA), 70-71
Ives (SB), 130, 114
Johnson (B3LL), 32-33
Jour (FSS), II, 245
King, 23
Leisy, 12-13
Leisy (LAS), 66
Leisy (SPS), 176-177
Linscott, 125-126
Luce, 226
Masefield (SG), 366
Meloney, 7
Most (PCS), 68
Patterson (SA), 177
Robinson, 38

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Song Texts
1404
Samson, 12
Scott (PSS), 8
Sharp (EFC-2), 28-29
Shay (ASSC), 80-81
Shay (IMWS), 80
Silverman, II, 274
Whall (SSS), 58
Trident, 88-89
Waite, 96
Terry, II, 6, 8
Trevine, 2
A-Roving ( Version A)
In New York town I met a maid—
Mark well what I do say!
In New York town I met a maid,
And overnight with her I stayed.
I'll go no more a-roving with you, fair maid!
Chorus
A-roving, a-roving, a-roving's been my ru-i-in!
I'll go no more a-roving with you, fair maid!
I took this maid out for a walk—
Mark well what I do say!
I took this maid out for a walk;
Of love and bed we had a talk,
I'll go no more a-roving with you, fair maid!
Her eyes were blue, her cheeks were brown—
Mark well what I do say!
Her eyes were blue, her cheeks were brown,
And she dressed in a flimsy gown.
I'll go no more a-roving with you, fair maid!
I took her out and spent my pay—
Mark well what I do say!
I took her out and spent my pay,
Then each of us went our own way.
I'll go no more a-roving with you, fair maid!

Song Texts
1405
BO
VERSION B
In Amsterdam there lived a maid.
Now mark you what I say:
In Amsterdam there lived a maid,
And she was mistress of her trade.
1*11 go no more a-roving with you,
fair maid.
Chorus
A-roving, a-roving, a-roving*s been my ru-i-in!
I'll go no more a-roving with you, fair maid!
I put my hand upon her knee,
Now mark you what I say:
I put my hand upon her knee;
She said, "Young man, you're rather free!
I'll go no more, etc.
I put my hand upon her thigh,
Now mark you what I say;
I put my hand upon her thigh;
She said, "Young man, you're rather high!"
I'll go no more, etc.
I rolled her over on her back,
Now mark you what I say:
I rolled her over on her back,
And thought the goddamn bed would crack!
I'll go no more, etc .
When she had got my whole year's pay,
Now mark you what I say:
When she had got my whole year's pay,
She slipped her anchor and sailed away!
I'll go no more, etc.
****** ******* •»***.* *.*.*#

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Song Texts
1406

No* 78
THE ARTILLEREE
also known as
With the Dirt Behind Their Ears
This is a soldier song that, according to Dolph, is
claimed by both the infantry and the artillery. It
also does duty in other brances of the U. S. military
services. The version below is from Dolph, 38-39.
The Artilleree
The Artilleree, the Artilleree,
With the dirt behind their ears!
The Artilleree, the Artilleree,
Can drink their weight in beers!
The Doughboys and the Cavalry,
And even the Engineers,
They couldn’t lick the Artilleree
In a hundred thousand years!
*****************************
S2i 22
THE ASHLAND TRAGEDY
This song describes an actual crime committed at Ash
land, Ky., in 1833. Bobby and Fanny Gibbons were
left in the care of a neighbor girl, Emma Carico.
Three workers from a nearby mill—George Ellis, Ellis
Craft and William Neal—came to Carico's house and
killed Bobby, a cripple, because he knew and recognized
them. Then they raped and murdered the two girls.
To conceal their crimes, the three men set fire to
the house. Later, George Ellis confessed and impli
cated the other two men.
According to John Harrington Cox, George Ellis was

MB
Song Texts
1407
hanged by a mob, and the other two, having been tried
and found guilty, were hanged by the sheriff. Other
reports have it that all three men were tried and con
victed, that Ellis went to prison and Neal and Craft
were hanged at Grayson, Ky., in 1884.
For an entirely different song about the same crime,
see The Ashland Tragedy in Thomas (BMMK), 160-162.
REFERENCES
Burt, 57-59 Cox (FSS), 189-191 Thomas (BMMK), 156
The Ashland Tragedy
Oh, people of Kentucky,
Come listen while I sing
About the Ashaland tragedy,
Which was a terrible thing.
•Twas in the town of Ashland,
All in the dead of night,
This vile crime was committed.
But soon it came to light.
The men who did the awful deed
Were Ellis, Craft and Neal;
They thought the crime was hidden.
And would not be revealed.
But Ellis was too frightened
And could not bear the pain;
To his friends a-trembling
He confessed the horrid stain.
He said that Craft, the leader.
He had an iron heart;
He caused those lovely children
From this world to depart.

Song Texts
1408
%3
George may be innocent,
But from what Ellis had to tell
The crime that he committed
Will send his soul to hell!
He dragged poor Emma from her bed
And threw her on the floor;
He crushed her skull with a bar,
And reveled in the gore.
Then Craft he stood and did likewise,
And killed the other two;
And when their forms lay cold and dead,
He said, "What shall we do?”
Then Major Allen brought the hounds;
They did their work quite well—
They chased the fiends for days and days.
Where e'er they tried to dwell.
All night the baying of the hounds
Was heard throughout the town,
Until the fiends were caught at last:
To hell their souls are bound!
They took them to Mount Sterling,
Where folks rate themselves so high;
They say they believe in justice,
But don’t want these fiends to die.
To hear them talk you would think
They forgot they have children too;
But if they don’t uphold the law,
What will their children do?
************************

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Song Texts
1409

No. 80
AT THE CLEAR WATER FOUNTAIN
also known as
A La Claire Fontaine By the Clear Water Fountain
French explorers brought this song to North America, and
it remained with the French settlers. According to
Ernest Gagnon, in 1865, the song was so popular that
it had been accepted as the unofficial anthem of French
Canada. And, in time, the song was also sung by the
inhabitants of New Orleans, Vincennes, St. Louis, and
other French settlements in territories that became a
part of the United States.
REFERENCES
Barbeau (FSOQ), 40-41
Barbeau (JSOQ), 91-96
Bikel (FF), 18-19
Fowke (FSC), 134-135
Gagnon, 1-3, 285
Gibbon, 10-12
Shekerjian, 78-79
Silverman, I, 273
Tiersot (SP), 6-13
At the Clear Water Fountain
At the clear water fountain,
As I watched one fine day,
The water look'd so cool
That I bathed without delay.
Many a year I've loved you,
And in my heart you will always stay.
So clear I found the water,
I bathed without delay;
Beneath a shady oak tree
I passed the time away.

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Song Texts
1410
Beneath a shady oak tree
I passed the time away;
And from the leafy branches
A singing bird did play.
And from the leafy branches
A singing bird did play.
Sing, nightingale, keep singing!
Let every song be gay.
Sing, nightingale, keep singing!
Let every song be gay.
You have no cares or worries,
But I must weep today.
You have no cares or worries
But I must weep today,
For I have lost my true love,
And in a foolish way.
For I have lost my true love,
And in a foolish way—
Because of blood-red roses
Which I had picked that day.
Because of blood-red roses
Which I had picked that day.
When I would not give her one,
She turned and walked away.
I’d give the roses gladly,
To have her back today;
But she is gone forever,
Or so I heard her say.
**************** * * * *

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Song Texts
1411

Ho. 81
AT THE END 0? TIME
also known as
Gabriel’s Trumpet’s Gonna Blow
This pre-Civil War spiritual is one of the large number
sung by the original Fisk Jubilee Singers. The version
below is from Marsh (SJS), 195.
At the End of Time
Gabriel's trumpet's gonna blow,
Bye an’ bye, bye an’ bye,
Gabriel's trumpet's gonna blow,
At the end of time.
Will you be ready to go,
Bye an' bye, bye an' bye?
Oh, will you be ready to go
At the end of time?
My lord will say to Gabriel,
Bye an' bye, bye an' bye:
Soon be time to blow that trumpet,
At the end of time.
He'll wake the sleeping nations,
Bye an' bye, bye an' bye.
But will you sinners be ready
At the end of time?
Oh, sinner, what will you do
Bye an' bye, bye an' bye?
God's gonna call you to Him
At the end of time!
***********************

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Song Texts
1412

Ho. 82
AULD LANG SYNE
also known as
For Auld Lang Syne
Old Acquaintance
Should Old Acquaintance
Be Forgot
This old Scottish is known and sung everywhere in the
English-speaking world. Due to its availability in
print, the song has been largely ignored by collectors
of folk material. The tune has been borrowed time and
time again, and it also played at country dances by
old-time fiddlers. However, the air was taken from an
older Scottish song, I Fee'd A Lad At Michaelmas; and
Auld Lang Syne is merely one of many songs set to it.
The words, often attributed to Robert Burns, can be
traced back through a series of broadsides to the lat
ter part of 1600. Burns merely wrote the second and
third stanzas of the song as it is sung today.
The phrase "auld lang syne" was current during the reign
of England’s Charles I, and had the same meaning then as
now: "old long since."
REFERENCES
Agay (2), 37
Macfarren, 34-35
Mackenzie (SH), 25-26
Most (PCS), 96
Oberndorfer, 44
Shay (DFW), 160-161
Silverman (15), 69
Songs (15), 69
Songster (10), 29-30
Staton, 12
Thomson (OC), I, 66-67
Wier (SWWS), 26
Winn (2), 216-217
Chamberlain, 330
Chappie (HS), io
Ditson (GOS-1), 113
Elson, 39
Ford (TMA), 44
Gilbert (100), 23
Hopekirk, 128-131
Johnson (FS), 7-8
Knight, 223
Leisy (LAS), 106
Luther, 64, 215, 224

MB
Song -Texts
1413
Auld Lang Syne
Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot
And days of auld lang syne?
Chorus
Bor auld lang syne, my dear,
For auld lang syne;
We*11 take a cup o* kindness yet,
For auld lang syne.
We twa ha's run about the braes,
And pu'd the gowans fine;
But we've wander'd many a weary foot
Sin' auld lang syne.
And here's a hand, my trusty frien',
And gie's a hand o' thine;
We'll take a cup o' kindness yet.
For auld lang syne.
***************************
Bees Wax

No. 83
AUNT JEMIMA'S PLASTER
also known as
Sheepskin and Eeeswax
This song was introduced on the minstrel stage and,
according to Prank C. Brown, it was first known as
Bee s Wax. Dan Emmett, author-composer of Dixie and
other famous songs, featured this piece in his act.
Sheet music was issued by J. Andrews, New York, N. Y.
REFERENCES

MB
Song Texts
1414
Brown, II, 628-629
Colcord, 44
Cox (FSWV), 63-64
Cox (TBPV), 183
Hudson (PTM), 39
McCaskey, VIII, 124
Randolph, III, 153
Trifet (3-1892), 241
Aunt Jemima 1 s Plaster
Aunt Jemima she was old,
But very kind and clever;
She had a notion of her own
That she would marry never.
She vowed she’d live and die in peace,
Avoiding all disaster,
And made her living day by day
By selling of her plaster.
Chorus
Sheepskin and beeswax
Made the mighty plaster;
The more you tried to pull it off,
The more it stuck the faster.
She had a sister very tall
But still she kept on growing;
She might have been a giant now—
In fact there is no knowing.
All of a sudden she became
Of her own height the master;
And all because upon her head
She clapped Jemima's plaster.
Aunt Jemima went to church
Because she was a sinner;
She put a plaster on her head
And threw herself out the window.
Aunt Jemima went to town
On a load of peaches;
She put a piaster on her head,
And now she can't reach her breeches!
***■**************-**

KB
Song Test 3
1415

go. 84
ABBA LEE
also known aa
Aura Lea
This is an example of 11 Connercial Popular Song" circa
1864 . The aong had appeal exteneding beyond the printed
page because it survived quite nicely through oral trans
mission and in the 1950s the tune was used, note for
note, for an Elvis Presley recording, Love Me Tender.
The original composer, G. R. Poulton, was ignored; he
was not given credit by Presley or his publisher for
his melodic contribution. The words to Aura Lee were
written by W. W. Posdick.
REFERENCES
Agay (2), 137
Armitage, 51
Best, 71
Chamberlain, 311
Chappie (HS), 399
Glass (SS-2), 220-221
Leiey (LAS), 106-107
Lcisy (SPS), 140
Luther, 250
Most (PCS), 15
Silverman, I, 144
Songs (15), 77
Staton, 13
Aura Lee
As the blackbird in the spring, 'neath the Willow tree,
Sat and piped, I heard him sing, singing Aura Lee.
Aura Lee, Aura Lee, maid with the golden hair,
Sunshine came along with thee, and swallows in the air.
Aura Lee, the bird may flee, the Willow's golden hair
Swing through winter fitfully, on the stormy air;
Tet if thy blue eyes I see, gloom will soon depart,
Por to me, sweet Aura Lee is sunshine in my heart.

MB
Song Texts
1416
When the mistletoe was green ’midst the winter’s snows,
Sunshine in the face was seen, kissing lips of rose.
Aura Lee, Aura Lee, take thy golden ring;
Love and light return with thee, and swallows in the
Spring.
***********************

No. 85
AURORE BRADAIRE
also known as
Aurore Pradere
Creole song with several Afro-American versions in al
most constant circulation. Except for the "books named
"below in which versions appear, no reliable information
concerning this song is available.
REFERENCES
Allen (SSUS), 110, 168 Lomax (ABFS), 220-221
Brewer, 185 Scarborough (NFS), 121
Krehbiel, 122-123
Aurore Bradaire ( Creole Version A)
Aurore Bradaire belle ti fille,
Aurore Bradaire belle ti fille,
Aurore Bradaire belle ti fille,
C'est li ma oule, c’est li ma pren.
Pas mande soulier prinelle,
C’est li mo oule', c'est li man pren.
English Version A
Aurore Bradaire, pretty maid, (3)
She is what I want, and her I'll have.

MB
Song Texts
1417
CREOLE VERSION B
Ta moun qui dit li trop zolie,
Ya noun qui dit li pas polie;
Tout 9 a ya dit (Sia!) bin fou bin,
C*est li mo oule, c'est li ma pren.
Afro-American Version C
Some say that she's too pretty, quite,
Some folks they say she's not polite;
All this they say—no fool am I,
But she's what I want, and her I'll have,
***************************
%

No. 86
. THE AVONDALE MINE
also known as
The Avondale Disaster The Mines of Avondale
The Avondale Mine Disaster
This is one of the several ballads written about a mine
disaster in Pennsylvania. The Avondale coal mine had
only one outlet, and that was the shaft which was fill
ed with smoke and fire on the morning of September 6 ,
1869 . Trapped in the depths of the mine were 108 men
and boys, all of whom were killed.
For a different song about the same disaster, see The
Avondale Disaster in Korson (MMP), 191-193.
The words of the song below are credited to James Pox.
REFERENCES
Friedman, 307-309
Gardner (BSSM), 298-300
Greenleaf, 123-124
Jour (AFL), XLIV, 112-115
Korson (MMP), 189-191
Korson (PSL), 386, 388

MB
Song Texts
1418
Korson (SBAM), 136-139
Laws (NAB), 208
Leach (BB), 783-785
Lomax (FSNA), 130-131
Shoemaker (MM?), 212-
213
The Avondale Mine
Good Christians all, both great and small,
I pray you lend an ear,
And listen with attention,
For the truth you now shall hear.
When you hear this lamentation.
It may cause you to weep and wail;
It's of the suffocation
In the mines at Avondale.
On the sixth day of September,
Eighteen hundred and sixty-nine,
Those miners all then got a call
To go to work in the mine.
But little did they think that day
That death would gloom the vale
Before they would return again
From the mines of Avondale.
The women and the children.
Their hearts were filled with joy.
To see the men go work again,
And likewise every boy.
But a dismal sight in broad daylight
Soon made them turn pale;
For they saw the breaker burning
O'er the mines of Avondale.
From here and there, and everywhere,
They gathered in a crowd,
Some tearing off their clothes and hair,
And crying out aloud:
"Get out our husbands and our sons.
Death he's going to steal

Song Texts
1419
Their lives away without delay
In the mines of Avondale."
But all in vain, there was no hope
One single soul to save,
For their is no second outlet
Prom the subterranean cave.
No pen can write the awful fright
And horror that did prevail
Among those dying victims
In the mines of Avondale.
A consultation then was held,
'Twas asked who'd volunteer
To go down in that dismal shaft,
To seek their comrades dear.
Two Welshmen brave without dismay,
And courage without fail,
Went down the shaft without delay,
In the mines of Avondale.
When at the bottom they arrived,
And thought to make their way.
One of them died for the want of air,
While the other in great dismay
Gave them a sign to hoist him up.
To tell the dreadful tale,
That all were lost forever
In the mines of Avondale.
Now to conclude, and make an end.
Their number I'll pen down:
One hundred and ten brave stout men
Were smothered underground.
They're in their graves till the last day,
Their widows may bewail,
And the orphans' cries they reach the skies
All around through Avondale.
************ *********

MB
Song Texts
1420

No. 87
AWAY DOWN SAST
This is another of those songs that went from print
into the folk-stream, and survived for years through
oral transmission. The song was featured on concert
stages by the famous Hutchinson Family after its pub
lication in the first part of the 19th century. For
a cowboy-type adaptation, see Out West in Pound (SFSN),
VII, No. 11.
REFERENCES
Botkin (NEF), 843 Jordan, 185 linscott, 158
Away Down East
There’s a famous, fabled country
Never seen by mortal eyes,
Where the pumpkins are a-growing
And the sun is said to rise,
Where man does not inhabit,
Neither reptile, bird nor beast.
But one thing we're assured of:
It’s away down East!
It is called the land of notions,
Of apple sauce and greens,
A paradise of pumpkin pies,
A land of pork and beans.
But where it is no one knows,
Neither mortal man nor beast,
But one thing we're assured of:
It's away down East.
Once a man in Indiana
Took his bundle in his hand,
And he came to New York City,
To seek this fabled land.

MB
Song Texts
1421
But now he stares on learning—
What is new to him at least—
That this famous, fabled country
Is much farther East!

Ho. 88
AWAY, RIO!
also known as
Bound For the Rio Grande We're Bound For, or To
Rio Grande the Rio Grande
Were You Ever in Rio Grande?
This song, commonly referred to as a capstan or wind
lass shanty, is of uncertain age. Some authorities
think it was created sometime during the War with
Mexico, when Yankee ships sailed all the oceans. Others
suspect the song is older, dating back to the 18th
century. Whatever the truth may be, Away , Rio! re
mains one of the better known shanties, both at sea
and on land.
REFERENCES
Adams, 320
Colcord, 35, 86
Baltzer, I, 80
Davis (SSC), 6-7
Beck (FLM), 197-198
Doerflinger, 64-66
Beckett, 2-3
Downes, 90-91, 98-99
Best, 129
Dunstan, 2-3
Bone, 114-115
Emrich (FAL), 447-448
Botkin (WFL), 732
Finger (SCCS), 12-13
Boughton, 78
Glass (SS-1), 14-15
Bradford, 12-13
Harlow (MS), 321
Bullen & Arnold, 13
Harper's (7/1882), 285
Carmer (SRA), 181-182
Hugill (1), 90-94
Chappie (HS), 451
Hugill (2), 145-147

MB
Song Texts
1422
Ives (SB), 132
Scott (PSS), 14
Jour (PSS), V, 306
Sharp (EPC-2), 24
King, 17
Shay (ASSC), 21-23
Leisy (LAS), 76-77
Shay (IMWS), 1-7
Leisy (SPS), 131
Siegmeister, 14-15
Linscott, 146-148
Silber (HSB), 70
Lloyd (PSE), 311-312
Silverman, II, 273
Lomax (ABPS), 488-489
Smith (BOS), 18-19
Mackenzie, 268, 402
Smith (MW), 10, 51
Masefield (SG), 320
Terry, I, 4-5
Masefield (SS), 64
Trevine, 6-7
Meloney, 9
Trident, 114-115
Patterson (SA), 217
Whall (SSS), 54
Robinson, 69
Williams (SPS), 8
Samson, 2
Wood, II, 72
Away , Rio?
Oh, say! were you ever in Rio Grande?
'Way you Rio!
Oh, say! did you ever see such a land?
We’re away to the Rio Grande!
Chorus
Away, you Rio! Away, you Rio!
Sing fare you well, my pretty girls,
Por we're bound to the Rio Grande!
Oh, Johnny came over the other day!
'Way you Rio!
Oh, Johnny came over to get his pay!
We're away to the Rio Grande!
We whupped ol' Santa an' sent him home!
'Way you Rio!
Now hills and valleys are free to roam!
Were away to the Rio Grande!

MB
Song Texts
1423
The girls out West are long and tall!
*Way you Rio!
1*11 do my best to love 'em all!
We*re away to Rio Grande!
*****************************

Ho. 89
AWFUL I AWFUL! AWFUL!
also known as
Death Is A Melancholy Call The Lost Youth
Death, What A Solemn Call Oh, My Soul! My Soul!
The Lying Youth The Sinner’s Warning
Recognition of eternal punishment at the time of death
is a theme found in many songs, including this one.
Other songs of this type have been around much longer,
hut the main point—certain punishment for a life of
sin— is the same in all of them.
REFERENCES
Belden (BS), 464-465 Randolph, IV, lp-16
Journal (AFL), XLVI, 44 Richardson (AMS), 63, 113
Odum (NHS), 73 Tolman & Eddy, 423
Awful! Awful! Awful!
I saw a youth just yesterday,
All in his bloom, and so carefree,
He trifled all his time away
But had to face eternity.
And it's awful, awful, awful,
Awful, awful, awful!

MB
Song Texts
1424
Death to some is a dreadful thing,
A final judgment for U 3 all;
It takes the young, it takes the old—
Both rich and poor must heed its call.
And it's awful, etc.
This youth lay on his dying bed
And cried for God to ease his state;
Eternity he seemed to dread.
"I see," he said, "my final fate.
And it's awful, etc« "
He saw his loving parents there,
And his sweetheart was standing by.
"0 God!" he cried, "please heed my
prayer:
Forgive me my sins before I die,
For it's awful, etc. "
Beiore he took his final leave.
He tossed and turned and gave a yell:
"My soul it can no longer breathe,
And I am on my way to hell!
And it's awful, awful, awful,
Awful, awful, awful!
**********************
No. £0
THE AWFUL MORMONS
also known as
In the Midst of These
Awful Mormons
Got the Blues
These Mormons
Oh, Dear, I'm Sad; I've

MB
Song Texts
1425
One of many anti-Mormon songs that circulated through
out the U. S. during the latter part of the 19th cent
ury and the first quarter of the 20th. The text below
is attributed to William Willes. The tune was taken
from a widely known song. King of the Cannibal Islands.
REFERENCES
Hubbard, 410-411 Lingenfelter, 220-222
Fife (SSS), 123-124 Willes, 49-50
The Awful Mormons Tune: King of the Cannibal Islands
Oh dear, I’m sad, I’ve got the blues;
I*ve lately heard some dreadful news.
I really tremble in my shoes—
*Tis all about the Mormons!
For sure, they are the strangest set
That ever in this world were met—
They live in a place called Deseret
In the midst of the Rocky Mountains.
Chorus
Old Brigham Young, he is their king;
To him they tithes and offerings bring,
And he controls in everything,
In the midst of these awful Mormons.
In all the nations of the world,
These Mormons have their flag unfurled.
And sent their missionaries round
To spread their awful doctrines.
It matters not which way we turn,
Nothing but Mormons we discern.
I wonder how there came to be
So many beastly Mormons?

MB
Song Texts
1426
These Mormons marry many wives,
And every man among them strives
To raise the greatest crowd of boys,
To thrash the wicked Gentiles.
The men and women all agree
To Brigham they’ll obedient be;
And at his little finger's crook,
They'll bring outsiders all to look.
So now I think you'll all agree
It is a shocking thing to see
So many people led astray
By their "beastly abominations."
I wish that Uncle Sam would send
The troops and make these Mormons bend
To Christian institutions.
**■»■»*******•*•****•»*****■)(•***

No. 91
AY, AY, AY I
Creole song from early 19th century. Not related to
the Spanish song with same title that follows this
one (see No. 92).
AZ. Ay, Ay I
The love glowing in your eyes, Ay, ay, ay,
It's haunting this poor heart of mine.
Your eyes show me paradise, Ay, ay, ay.
And promise a love so divine.

MB
Song Texts
1427
I see you in all of my dreams;
You're haunting me always it seems.
Oh, tell me you love only me. Ay, ay, ay,
Oh, tell me you love only me l
*♦************-***** ********

So. 22
AY, AY, AY II
Spanish language song recovered in New Mexico by Charle
Lu mm is. According to Lummis, this song is "typical of
the depth of lovelorn despair which marks a large class
of New Mexican folk-songs."
The English translated is true to theme and meaning
but is not literal.
AX» AX» Ax II
Toma, Luisa el punal y traspasa
Este pecho, pero antes primero,
Considers que te amo y te quiero,
Ay, ay, ay!
Y por ti me dicen infeliz.
Ay! Ay! Ay! Que infeliz es mi suerte!
Yo o te adoro y deseo ser tu amante
Pero tu ni si quiera un instante.
Ay, ay, ay!
Ni un momento te acuerdas de mi.
Las Memorias de un martirio
Me atormentan en cada momento;
Ay! Dios mio, no hay sufrimiento,
Ay, ay, ay!
Cielo santo, yo quiero morir.

MB
Song Texts
1428
Clava, clava, el punal sanguinario,
Dele muerte a ml vida y honor!
Que algun dia pagaras el rigo,
Ay, ay, ay!
Con otro hombre que sepas amar.
Bajar/ silencioso a la tumba
\ buscar mi perdido sociego,
De rodillas, ingrata, te ruego,
Ay, ay, ay!
Que a lo menos te acuerdes de min.
English Text
Oh, Louisa, take from me this dagger,
Plunge it deep within me, let my blood flow;
But remember I love and adore you, Ay, ay, ay!
And with my last breath I’ll tell you so.
Ay! Ay! Ay! How unhappy my life is!
I adore you and would be your lover,
But such feelings you will not discover, etc .
Not for one moment do you think of me.
Mem'ry brings me the pains of a martyr,
Ev’ry instant new tortures preparing—
If only the pain were not beyond bearing!, etc.
God in heaven, I ask but to die.
Drive, 0 drive this sharp blade in my heart now;
Death to honor and life at one blow—
One fine day you shall pay for my woe, etc .
When some other shall teach you to love.
I will go to my grave uncomplaing
If it brings back a peace like the old one.
On my knees I implore you, my cold one, etc.
Try at least to remember me here.
************************
******* + * + -*&+* ** *

MB
Song Texts
1429

Jo. 21
BAA! BAA! BLACK SHEEP I
Lullaby and nursery song. There are several known vari
ations, some of a rather gruesome nature. For examples
of the gruesome type, see Go To Sleepy , Little Baby in
Scarborough (NFS), 147 and Old Man Hippety Hop in Brown,
I, 53.
Of the two versions given below (A & B) the more popular
or better known is version B.
REFERENCES
Bertail, 147 Perkins, I, 13
Brown, I, 183 Talley, 27
Moorat, 31 Wier (SWWS), 192
Baa! Baa! Black Sheep ( Version A)
Baa! Baa! Black Sheep, has you got any wool?
Yes, Good Mosser, three bags full.
One fer ole Mistress, one fer Miss Lame,
One fer de good Nigger jes' cross the lane.
Poor liddle lammy-
Poor liddle Black Sheep's got no mammy.
VERSION B
Baa! Baa! Black Sheep, have you any wool?
Yes, sir! Yes, sir! Three bags full.
One for my master, and one for my dame,
And one for the little boy who lives down
the lane.
* ***************************

MB
Song Texts
1430
No. £4
BAA! BAA! BLACK SHEEP II
also known as
Black Sheep
Black Sheep, Black Sheep
Where*d You Leave Your
Lamb?
Black Sheep Lullaby-
Bones
Go To Sleep, Little
Baby
Old Black Sheep
Ole Cow
Poor Little Lamb Cried
*Mammy.*
This is a near gruesome lullaby and nursery song;
it is an adaptation of Baa! Baa! Black Sheen I,
Both versions below (A & B) were sung by Southern
Black people and were probably adapted by them.
See and compare: Chickamy Cranev Crow in this MB.
REFERENCES
Arnold, 97
Brown, III, 152; V, 84
Davis (FSV), 204
Lomax (ABFS), 304
Lomax (FSNA), 503
Owens (TFS), 179
Randolph, II, 345-346
Scarborough (NFS), 148-149
Seeger (3), 57
Work (ANSS), 250
Baa! Baa! Black Sheep II ( Version A)
Baa! Baa! Black Sheep,
Where you leave yo * mammy?
Way down yonder in the corn-field.
Gnats and flies
A-pickin' out its eyes,
An' the po* li*l thing a-callin*,
Mammy!

MB
Song Texts
1431
VERSION B
The old cow-bell goes jingle-ling:
Go to sleep, little baby!
Papa * s gone and m amm a, too:
Go to sleep, little baby!
Little Black Sheep, little Black Sheep,
Where is your sweet mammy*?
Down in the meadow, a little black fly
in her eye,
Poor little lamb cries, * M amm y * *
*********************
»£•. £5
BABES IN THE WOOD, or WOODS
also known as
Babes in the Woods Three Babes
The Children in the Wood Two Babes in the Wood
Little Babes in the Woods Two Children in the Wood
According to Percy, who recorded twenty 8-line stanzas
he had obtained from "two ancient copies, one of them
in black-letter in the Pepy’s collection," the ballad
was written by Robert Yarrington in 1601. Due to the
oral process, the 1601 ballad is somewhat different
from the texts of the ballad as it is now known. For
a text of the older ballad, see Ashton (MSB), 124-127.
There is also an English nursery version which begins:
My dears, do you know a long time ago.
Two poor little children, whose names
I don’t know,
Were stolen away on a fine s umm er » a day,
And left in the wood, or so many folk say.
The ballad itself, in reduced form, is still widely
known in the United States.
REFERENCES

KB
Song Texts
1432
Baring-Gouid (3NSR) 40
Belden (BS), 106-107
Brewster (BSD, 313
Brown, II, 388
Cambiaire, 121—122
Chappell (PMOT), I, 200
Christie, I, 142
Combs (FSMEU), 216
Cox (TBFS), 89
Cox (TBWV), 73-74
Creighton (FSNB), 183
Davis (FSV), 38
Ebsworth (HB), I, 284
Flanders (NGMS), 234-238
Gardner (ESSM), 343-345
Glass (S?RF), 31-32
Hudson (FSM), 285
Jour (AFL), XXXV, 348
laws (AB), Q 34
leach, 140
Mason (NRCS), 22
McGill, 103-106
Moffat (LSLA), 33
Morris, 401-407
Percy (RAEP), II, 155;
III, 169
Pound, 233-234
Pound (SFSN), II, 14
Quiller-Couch, 854-859
Randolph, I, 365-368
Rimbault (MIPR), 108
Roberts (IP), 112-114
Scarborough (NFS), 57
Sharp, I, 309
Williams (FSUT), 217
Babes in the Wood , or Woods
Do you remember long ago.
Upon a summer day,
Two babes, their names I do not know,
They w’andered out to play.
Then both those lovely little babes
Did wander all around.
And neither of them was aware
They never would be found.
So deep into the woods they went.
Involved in childish play—
Two little babes with one intent.
Who soon had lost their way.

MB
Song Texts
1433
When the sun gave no more light,
They both sat down and cried;
They clung together in their fright,
And that's the way they died.
The robins saw them lying there,
And sang as robins should,
And scattered leaves upon the pair—
Poor babes lost in the wood.
**********************

No. 96
BABY BUNTING
also known as
Bye, Baby Bunting
Daddy’s Gone A-Hunting
Bye, 0 Baby Bunting
This well-known lullaby and nursery song originated
in Europe. Apparently it was adapted from another
popular children’s piece, Itiskit . Itaskit. As used
in this text, the word ’’bye" means "sleep”—a usage
that dates from the 15th century.
REFERENCES
Bertail, 110
Brown, III, 148; V, 81
Chappie (HS), 101
Daiken, 23
Davis (FSV), 183
Downes (1943), 233
Halliwell (NRE), 102
Jour (AFL), XLI, 589
Northall, 426
Shearin (SKFS), 38
Baby Bunting;
Bye, 0 baby bunting,
Daddy’s gone a-hunting,
To get a little rabbit skin
To wrap his baby bunting in
************************

MB
Song Text 3
1434

Mo. 97
BABY, LIE EASY
also known as
As I Went A-Walking One
Pine Summer's Evening
The Old Man's Lament
Rocking the Cradle
The Milkman's Lament
An English-Irish song with several American versions
in circulation. Song has been recovered in Canada too.
A few special versions, doctored by professional song
writers, are available on phonograph records.
REFERENCES
Peacock, II, 478
Sedley, 218-219
Lomax (FSNA), 375
Lomax (OSC), 240-241
Baby , Lie Easy
As I went a-walkin' one morning for pleasure,
Down by the river, just strolling along,
I saw a young fellow pushing a carriage,
And to the baby he was singing this song:
Chorus
Hi ho, baby, lie easy!
Your true daddy may never be known!
I«m weeping and wailing and pushing this carriage
With somebody's baby that is not my own!
When first I married your beautiful mother,
I thought, like a fool, I had found a good wife;
But to my misfortune and sad lamentation,
She brought both a curse and a plague on my life.
She's out every night to a dance or a party,
And leaves me a-rocking the cradle alone;
And this little fellow—he thinks I'm his daddy,
But little he knows that he's not my own.

MB
Song Texts
1435
All you young fellows who're thinking of marriage,
Take my advice and leave women alon ;
If not, when you marry, then by the lord Harry,
You may get a baby that is not your own!
***************************

No. 98
BABYLON IS FALLEN
also known as
Babylon is Palling
This is a Negro dialect song by Henry C. Work, who
wrote it as a sequel to his successful Kingdom Coming.
For a revivalist hymn inspired by Work's song and using
the same title, see Cayce, 613; Dett, 2; and Jackson
(SFS), 199.
The version below dates from 1896.
REFERENCES
Greenway, 103 Randolph, II, 289
Keach, 44 White, 170
Babylon Is Fallen
Don't you see de black clouds
Risin’ ober yonder,
Whar de Massa's ole plantation am?
Nebber you be frightened,
Dem is only darkeys
Come to jine and fight for Uncle Sam.
Chorus
Look out dar, now, we’s a-gwine to shoot!
Look out dar! don't you understand
Babylon is fallen? Babylon is fallen,
And we's a-gwine to occup de land.

MB
Song Texts
1436
Don’t you see de lightnin'
Flashin* in de cane-brake,
Like as if we're gwine to hab a storm?
Ho! you is mistaken,
•Tis de darkey’s bay'nets.
An de buttons on dar uniform.
**************■****•*■-»■*•*•*-#•**•

No. 99
BAB BILL BROWN
also known as
Bad Lee Brown Bad Man Ballad
"Man shoots his woman" is a story line common to
several songs. This particular song is available
in quite a few versions. For a closely related song,
see: Coon Can , or Poor Boy in Sandburg (AS), 310-311.
REFERENCES
Lomax (ABFS), 89 Scarborough (NFS), 243
Randolph, II, 117
Bad Bill Brown
Last night as I was makin’ rounds,
Met my sweet woman an' I shot her down.
I went right home an' straight to bed;
I put my ol’ pistol right under my head.
Well, I got up the very next day,
Packed a bag for to make my get-away;
I made a run but much too slow,
An' got myself caught in New Mexico.

MB
Song Texts
1437
The jury read the verdict to me,
And it was murder in the first degree!
The solemn judge picked up his pen
And said, "You’ll never kill nobody again."
He raised his gavel and let it drop:
"Killin’ of women has just got to stop!
Now what you’ve done just isn’t right,
And maybe in ninety years you’ll see the
light!"
Now here I am all bowed down in shame,
Wearing a number instead of a name;
He gave me ninety years to life,
And all because I shot my cheatin’ wife.
******■»•» *-»**■»* ******* ****

No. 100
THE BAFFLED KNIGHT
also known as
Blow the Winds, Heigh Ho The New Mown Hay
The Knight and the Lady The Over Courteous Knight
The Lady's Policy The Shepherd's Song
The story told by this ballad is not an exclusive one
by any means. There are many forms of it in traditional
balladry. For examples, see: The Abashed Knight in
Buchan (ABS), II, 131 and Jock Sheep in Kinloch (BB),
16.
According to Karpeles and others, The Baffled Knight
is closely related to The Knight and the Shepherd * s
Daughter (Child, No. 110). For a shortened form, see
Blow Away the Morning Dew in Sharp (100), 4-6-47.
It is generally acknowledged that the American song,
Katie Morey , is a derivative of the ballad given below.
The tunes to which the words are sung are even more

MB
Song Texts
1433
varied than the texts. Bronson alone gives thirty-
three airs and does not claim to have all of them.
REFERENCES
Barry (BBM), 454-456
Bulletin (FSSN), XII, 12
Chappell (OEPM), II, 69
Chappell (PMOT), I, 62
Child, II, 479-493
Coffin, 104
Dixon, 123
Ebsworth (RB), III, 674
Eddy, 64-65
Flanders, III, 89-93
Friedman, 154-155
Greig & Keith, 90-92
Herd (1769), 328
Johnson (SMM), No. All
Karpeles, 80
Kinloch MSS, I, 229
Leach (BB), 320-321
Motherwell MS., 410
Pepys, 7, Nos. 162, 164
Percy (RAEP), II, 336
Ritson (AS), 159
Ritson (ASB), II, 54
Roxburghe, I, 306 f;
reprint, II, 281.
The Baffled Knight
There was a Knight and he was young,
A-riding along the way, Sir;
And there he spied a bonny lass
Among the fields of hay, Sir.
w Shall you and I, 0 lady fair,
Upon the grass now lie down?
0 I will have a special care
A-rumpling of your fair gown.
"I have a cloak of scarlet red,
Upon the ground I'll throw it;
Then, lady fair, come lay your head—
We'll play, and none shall know it."
"0 yonder stands my steed so free
Among the field of hay, Sir;

MB
Song Texts
1439
And if the keeper should chance to pee,
He’ll take my steed away, Sir,"
"Upon my finger I have a ring,
And it*s made of the finest gold;
0, lady, your steed it will reclaim
Prom out the keeper's fold."
"0 ride with me to my father's hall,
Where chambers there are three, Sir;
And we shall share the best of all,
And 1*11 your lover be, Sir."
When at her father's hall they arrived,
f Twap moated all round about;
She slipped herself within the gate,
And locked the would-be lover out.
He from hi«* «cabbard drew his brand,
And wiped it hard upon his sleeve:
"0 cursed," he said, "be every' nan,
That will a fair maid believe."
"A herb there is, that lowly grows,
And «some do call it rue, Sir;
The* smallest dunghill cock that crows
Would make a capon of you, Sir!
"A flower there is that shines so bright,
A flower sweet and good, Sir;
He that would not when he might,
He shall not when he would, Sir!"
********* ********** *

MB
Song Texts
1440
Jffo. 101
THE BAGGAGE COACH AHEAD
also known as
In the Baggage Car Ahead In the Baggage Coach Ahead
This i® a 19th century "pop" song written by Gussie
Davie, a black comroser, who also wrote Maple on the
Hill and The Eatal Wedding, Those two songs as well
a® the one given below were recovered many times from
traditional sources.
REFERENCES
Randolph, IV, 163-165
Shearin (SKFS), 33
Spaeth (REV/), 174-175
Stout, 59-61
Werner, 33
Charters, 70
Hubbard, 216
Kennedy (AB), 261
Kennedy (TAB), 343
Pound, 131-132
Pound (SFSN), XX, No. 4
The Baggage Coach Ahead
On a dark, stormy night as the train rolled along,
And the passengers were all in bed,
Except one young man with a babe in his arms,
Who sat with a bowed-down head.
The innocent babe began crying Just then
As though its poor heart would break.
An angry man said, "Make that child stop its
noise,
For it’® keeping u« all awake,"
"Take it out," ®aid another, "Don’t keep it
in here!
We’ve paid for our bed® and want rest."
But never a word spoke the man with the babe,
A® he fondled it close to his breast.

MB
Song Texts
1441
"Where is the mother? Go take it to her,"
A young lady then softly said.
"If only I could," was the young man’s reply,
"But she’s dead in the coach ahead,"
While the train rattled on, the husband sat in
tears,
Thinking of the happiness of just a few short
years;
The child’s sweet face brings pictures of a
cherished hope that’s dead,
But its sad cries can't waken her in the baggage
coach ahead,
•a********************** *■»*****•*•*•**

No, 102
THE BAILIFF’S DAUGHTER
also known as
The Bailey’s Daughter of The Comely Youth
HazeItown The Sheriff's Daughter
The Bailiff’® Daughter of There Was a Youth
Islington
17th century ballad with a "disguised lover" theme,
but in reverse. Here the woman, not the man, is the
lover in disguise. Similar stories are found in other
ballads. For an example, see: Masquerading Woman X in
MB.
The text of this ballad has proven more stable than
its tune. Although texts vary from version to version,
they do not vary greatly. On the other hand, the times
recovered from traditional and printed sources do vary
greatly, many so much so that it would be impossible
to identify them without the text. Bronson, for ex
ample, gives no les® than thirty-four airs for this
ballad.

MB
Song Texts
1442
REFERENCES
Ashton (CB), 158-160
Bantock, 52
Barry (BBM), 225-227
Belden (BS), 68-69
Bulletin (VFS), IV, 7
Chappell (OEPM), II, 159
Chappell (PMOT), I, 203
Child, II, 426-428
Coffin, 101-102
Creighton (TSNA), 58-62
Davis (TBV), 383, 585
Dean-Smith, 51
Ebsworth (RB), II, 457
Flanders, III, 67-75
Flanders (CSV), 6-7
Flanders (GGMS), 74-76
Flanders (NGMS), 61-63
Friedman, 140-142
Gainer, 66-67
Greenleaf, 34
Greig & Duncan, No. 168
Greig & Keith, 82-84
Hudson (FSM), 114-116
Jour (AFI), XXIX, 201;
XXX, 321, 332;
XXXIX, 106
Jour (FSS), I, 125 , 209;
VII, 34
Karpeles, 78-79
Kinsley, 342-344
Leach (BB), 313-314
Leisy, 19-20
Linscott, 160-163
Moore (BFS3), 80-81
Morris, 300-302
Pepys, No. 256
Percy (RAEP), III, 133
Quiller-Couch, 811-813
Rimbault (MIPR), 100
Ritson (SCSS), II, 234
Sharp, I, 219-221
Sharp (FSE), V, 41
Shearin (BBCK), 4
Silverman, I, 222
Williams (FSUT), 174
The Bailiffp Daughter
There \va* a youth, a Kentucky youth,
And he wo® a banker’s son:
He loved the sheriff’s daughter fair,
Who lived in Lexington.
But she was shy, and she never could
On him her love bestow.
Then this youth was sent far from home,
Because he loved her sc

MB
- Song Texts
1443
This youth was gone for seven long years,
And never his love did see.
"0 many times I’ve wept for her—
But did she weep for me?*
Then all the maids of Lexington
Went forth to sport and play.
But not the sheriff’s daughter fair;
She quietly stole away.
She hurried home and dressed herself,
And ragged wa« her attire;
For she meant to go to New Orleans,
To seek her heart's desire.
While walking on a hard-clay road,
So very hot and dry,
She stopped swahile to rest herself.
And he came riding by.
She sprang right up, with cheeks sc red,
And seized his bridle rein;
"A penny, a penny, kind sir,” she said.
"0 help me ease my pain!"
He said, "A penny I will give,
But where, mis e , were you born?”
"At Lexington, kind sir,'* said she,
"But there I suffered scorn."
The young man then inquired of her,
To learn if she did know
A certain maid at Lexington,
And he described her so.
"Oh, yes. I know her very well,"
The disguised maiden said;
"And though I hate to tell you, sir,
The one you seek is dead."

MB
Song Texts
1444
"If that be true, then take my horse.
My saddle and bridle also,
And I will go to some far land
To hide my grief and woe."
"0 stay! 0 ®tay!" the maiden said,
"She’s standing at your side!
I am the one you love so well.
And I’ve come to be your bride."
"0 don’t you recognize my hand,
My eyes, my auburn hair?
And is this not the ring of gold
You oncegave me to wear?"
"0 farewell grief, and welcome, joy;
0 welcome unto me—
For I have found my own true love,
And married we shall be!"
***************************

Mo. 105
THE BAKER'S WIFE
also known as
Th Chandler's Wife
Known in England as " The Chandler’s Wife," this song
is quite old and widely known, Because of its bawdy
text it has been omitted from re«oectable, scholastic
folk collections. The time, on the other hand, has
appeared in print many times, usually set to other
songs. For example®, the tune wa= used for The Poacher
(see in MB) and for the 1950s pop-novelty hit. The
Thing.
The version below is one I learned from Cecil Camp
bell, Charlotte, N. C., in 1954.

MB
Song Texts
1445
The Baker* s Wife
Oh, I went down to the bakery,
To get myself a pie;
I walked right in and looked around,
But no one did I spy.
Well, I was disappointed
And some angry words I said,
When I heard the sound of a—
(knock, knock, knock)—
Right above my head.
Well, I was slick and mighty quick
As up the stairs I sped;
And, Lord, was I surprised to see
The baker’s wife in bed!
With her was a handsome man
Of quite considerable size,
And they were having a-
(knock, knock, knock)—
Right before my eyes!
When they were finished with their fun,
The lady raised her head,
And quite surprised was she to see
A stranger near her bed.
"Oh, sir," said she, "If you won't tell,
If you would be so kind,
You, too, may come for a—
(knock, knock, knock)—
When you feel inclined."
Now many a time in broad day-light
I'd leave my humble home,
And right down to the bakery
It's straightaway I'd roam.

MB
Song Texts
1446
She never gave me pie or cake,
But gave to me instead
Another piece of that—
(knock, knock, knock)—
Just the way she said!
Now listen all you married men:
If ever you leave town,
Be sure to take your wives along—
You'll find the practice sound.
The only other thing to do
Is lay them on the floor
And give 'em 30 much of that—
(knock, knock, knock)—
They won't want any more!
************************

No. 104
BALLAD OP ABDULLAH BULBUL AMIR
also known as
Abdul, A Bulbul Amir
Abdullah Bulbul Amir
Abdul, the Bulbul Ameer
Ballad of Ivan Petrofsky
Skevar
Ivan Petruski Skivah
Ivan Skivinski Skivah
This is a pseudo-oriental song of uncertain origin,
though most authorities agree that it originated in
England about the time of the Crimean War. The scng
had a rebirth of popularity in America during the
1920s due to Prank Crumit, who made a "hit" record
ing of it for RCA-Victor. Following the custom of
the time, Crumit claimed the song as his own compo
sition and had it published. There is a version in
Ditson's Columbia University Songs, issued in 1904.
For a parody, see The Cannibal Maiden in Shay (PF-2),
65 - 66 .
REFERENCES

Song Texts
1447
KB
Beat, 56-57
Kennedy (AB), 58-60
Kennedy (TAB), 211-212
Loeaser, 274-275
Lomax (ABPS), 341-343
Luther, 257-258
Sandburg (AS), 344-346
Shay (PF-1), 19-21
Shay (PF-3), 3-5
Silverman, II, 216
Spaeth (REW), 145-149
Trident, 26-27
Ballad of Abdullah Bulbul Amir
The sons of the prophet are hardy and bold.
And quite unaccustomed to fear;
Beat of all, the most reckless of life or of limb
Was Abdullah Bulbul Amir.
When they wanted a man to encourage the van,
Or to shout "hullaloo" in the rear.
Or to storm a redoubt, they straightway sent out
Por Abdullah Bulbul Amir.
There are heroes in plenty and well-known to fame
In the ranks that are led by the Czar,
But among the most reckless of name or of fame
Was Ivan Petruski Skivar.
He could imitate Irving, play euchre or pool,
And perform on the Spanish guitar;
In fact, quite the cream of the Muscovite team
Was Ivan Petruski Skivar.
One morning the Russian had shouldered his gun
And put on his most cynical sneer,
When walking down town he happened to run
Into Abdullah Bulbul Amir.
Said Abdullah, "Young man. is your life then so dull,
That you’re anxious to end your career?
Por, infidel, know that you've trod on the toe
Of Abdullah Bulbul Amir."
Said the Russian, "My friend, your remarks in the end,
Will prove only futile, I fear;

MB
Song Texts
1448
For I mean to imply that you're going to die.
Mister Abdullah Bulbul Amir!"
Abdullah then drew out his trusty chibougue,
And shouting out "Allah Aklar!"
Being also intent upon slaughter, he went
For Ivan Petru3ki Skivar.
Row ;just as the knife was ending his life—
In fact, he had shouted "Huzza!"—
He found himself struck by that subtle Calmuck,
Bold Ivan Petruski Skivar.
There's a grave where the wave of the Blue Danube
flows,
And on it, engraven so clear,
Is "Stranger, remember to pray for the soul
Of Abdullah Bulbul Amir."
***************************

Ho. 105
BALL OF YARN
also known as
Little Ball of Yarn Spin Your Little Ball of Yarn
This is a genuine folk song, because it has survived
through oral transmission for a great many years. So
long, in fact, we have nothing by which to identify
its origin. The song, being on the bawdy side, is sel
dom seen in print. According to Hugill (1), 533-534,
the song was a favorite of sailors at sea.
Ball of Yarn
In the merry month of June when the roses were in bloom,
I chanced to take a walk around the farm;

MB
Song Texts
1449
I met a pretty miss and politely asked her this:
"Will you let me spin your little ball of yarn?"
Chorus
Ball of yarn! Ball of yarn!
Will you let me spin your little ball of yarn?
Ball of yarn! Ball of yam!
Will you let me spin your little ball of yarn?
When she gave me her consent, out behind the fence
we went.
I promised her that I would do no harm.
I gently laid her down and ruffled up her gown,
And began to spin her little ball of yarn.
It was nine months after that, in a pool-room where
I sat,
I felt a heavy hand come down upon my arm.
A gentleman in blue said, "Young man, I’ve come for you
You’re the father of a little ball of yarn.
In this prison cell I sit with my bathrobe in the
shade,
The shadow of my nose upon the walls.
The women, as they pass, stick their hatpins in my
coat.
And little bugs play hop-scotch with my shoes.
**************************

Wo. 106
BALM IN GILEAD
also known as
Balm of Gilead
This old spiritual was adapted from a hymn of the
same title. Later, some verses from the spiritual
were incorporated into Round About the Mountain , a

MB
Song Texts
1450
song credited to Lou Gottlieb and recorded by The
Kingston Trio . Bain in Gilead was revived and made
popular by Paul Robeson, the actor-singer and black
activist.
See and compare: Good Physician in Jackson (SP3), 61
and The Little Shepherd in Puson, 199.
REFERENCES
Chambers (TNS), 14-15
Lett, S3
Hillman, 15
Jackson (SFS), 147
Reach, 25
Luther, 173
Okun, 75-76
Silber (HSB), 50
Silverman, II, 110
Work (ANSS), 128
Work (FSAN), 43
Balm in Gilead
There is a balm in Gilead,
To make the wounded whole;
There is a balm in Gilead,
To heal the sin-sick soul.
Sometimes I feel discouraged,
And think my work's in vain;
But then the Holy Spirit
Revives my soul again.
Don't ever feel discouraged,
For Jesus is your friend;
And if you lack for knowledge,
He'll never fail to lend.
If you cannot preach like Peter,
If you cannot pray like Paul,
You can tell the love of Jesus
And say, "He died for all."

MB
Song Texts
1451
There is a balm in Gilead,
To make the wounded whole;
There is a balm in Gilead,
To heal the sin-sick soul.
********************
I*ve Got a House in
Baltimore
The number of times one encounters references to the
city of Baltimore in old songs is almost startling;
it seems to be more a subject than a song. However,
there are such songs, and at least one of them is
based on a bawdy piece that was popular during the
1880s-90s. Owens (ST), 22, prints a Texas form of
the song, observing that it "seems to be a variant
of the old bawdy song Baltimore . which is still sung
by certain persons of low repute." McLendon, 202,
refers to several texts of a song called Baltimore
and cites some of them. Brown, III, 136, gives a
single stanza entitled I Want To Go To Baltimore , but
it is different from all the stanzas reported by
McLendon. Brown's stanza goes:
I want to go to Baltimore,
I want to go to France;
I want to go to Baltimore,
To see the ladies dance.
Randolph, III, 207, prints the following stanza:
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.

No. 107
BALTIMORE I
also known as
Build a Brick House
I Got a Gal in Baltimore

MB
Song Texts
1452
Many different songs deal with Baltimore in the
location sense, and in this regard at least they
are all related. Collectors who have published
versions of these various songs are of the same
opinion. For examples of the variety discussed, see:
llM _to Italy in Brown; Lila Jane and Miss Mary
Jane 1° Lomax (reprinted from Scarborough); Liza Jane
in Botkin; My Mammy stoled a Cow in Scarborough;
Pairing Off in Davis; and Who Moan For Me? in Scar
borough. Also see: Baltimore II in this Master Book,
The version given below represents about all the
accuracy of comparison between versions in other col
lections logically permitted. The strongest claim to
a relationship is based upon the key lines: "I got a
gal in Baltimore** and "I got a house in Baltimore.**
Also compare: Hiding in the Buggy , Miss Mary Jane in
Seegcr (1), 78-79 and Some Lady* s Garden 3 in this
Master Book.
REFERENCES
Botkin (APPS), 142-144
Brown, III, 136, 145
Dudley & Payne, 19
Jour (APL), XXVII, 252
Baltimore I
I got a house in Baltimore, baby,
Big fine old house in Baltimore, darlin’;
Hundred dollar carpet on the floor,
Street-car runn' right by the door,
Honey babe.
My house is sixteen stories high, baby,
My house is sixteen stories high, darlin';
Ev'ry single room you pass by
Stacked to the beams with chicken pie,
Honey babe.
Lomax (PSNA), 498
Scarborough (NFS), 117
White, 296
Work (ANSS), 241

MB
Song Texts
1453
What you gonna do when the pie runs low, baby?
What you gonna do when the pie runs low,
darlin *?
There’s a bakery in the corner store.
Run down there and get some more.
Honey babe.
I got a gal in Baltimore, baby,
Real lovin' gal in Baltimore, darlin’;
Lovin' woman comes through my door,
Wants her lovin' down on the floor,
Honey babe.
What you gonna do when the love's all gone,
baby?
What you gonna do when the love's all gone,
darlin'?
If she ever leaves me here alone,
Jump in the river tied to a stone.
Honey babe.
**•*******■*******■»*****•»•»***

No. 108
BALTIMORE II
also known as
I'm Going to Baltimore I Wish I Had a Needle and
Italy Thread
Needle and Thread
This appears to be both a game-song and a square-dance
piece. It may also be a composite of Baltimore I (above)
and Old Joe Clark. The tune is similar to that used
for Italy in Brown, V, 80 E. Also compare Brown, III,
145-146 & V, 80.

M3
Song Texts
14-54
Baltimore II
Yonder comes a pretty little girl,
Tell you how I know:
Her head is full of pretty little curls
A-hangin' down so low.
Chorus
I'm goin' to Baltimore 'fore long,
Goin' to ride the Eastern line;
I'm goin' to Baltimore 'fore long,
To see that gal of mine.
Gonna take that gal a finer ring,
Shines like glitt'rin' gold;
I'm goin' home to see my-own true love
Before I get too old.
Apple like a ripe, red cherry,
Cherry like a rose;
Oh, how I love that pretty little girl,
Prom head down to her toes.
Got a great big house in Baltimore,
Sixteen stories high,
And ev'ry room in that big, fine house
Is filled with rock-and-rye.
Oh, I wish I was an apple now,
Hangin' on a tree,
And ev’ry time my pretty gal went by.
She'd take a bite of me.
Wish I had a needle and some thread
Pine as I could sew,
And with a thimble straight from Baltimore,
To make that needle go.
***♦**-***-*•**--*-* **** ****

MB
Song Texts
1455

No. 109
BANGUI AND THE BOAS
also known as
Bangry Rewey
Old Bangum
Bangum and the Bo'
Old Bangum and the Boar
Bangum Rode the Riverside
Rurey Bain
Bold Sir Rylas
Sir Lionel
Old Badman
This old British ballad is not known to American tra-
dition in its original form.
yet it appears to have
survived better here than in
its native land.
REFERENCES
Barry (BBM), 434-435
Jour (AFL), XIX, 235; XXV,
Belden (BS), 29-31
175; XXX, 291
Belden (PLSB), No. 3
Leach (BB), 100-103
Bell (APBS), 124, 250
Lomax (FSNA), 510
Bronson (BAS), 58
Lomax (OSC), 149-150
Campbell & Sharp, No. 8
McGill, 78-81
Chase (APTS), 126-127
Moore (BFSS), 27-32
Child, I, 208-215
Niles (BB), 77-83
Christie, I, 110
Percy MS., 32
Coffin, 48-49
Randolph, I, 72
Davis (TB7), 125, 558
Ritchie (FS), 91
Dean-Smith, 105
Scarborough (NFS), 51-52
Flanders, I, 226-229
Scarborough (SC), 191, 407
Flanders (BMNE), 60-61
Sharp, I, 54-55
Gainer, 24-25
Smith (AA), 4
Hales, I, 75
Williams (FSUT), 118-119
Bangum and the Boar
Now there's a wild boar in these woods,
Runnin' 'round, runnin’ 'round,
Now there's a wild boar in these woods.
He'll kill you dead and drink your blood,
Runnin' 'round, runnin' 'round.

MS
Song Texts
1456
Old Bangum would a-hunting go, etc.
So braver man could strike a blow, etc.
Old Bangum found the wild boar's den, etc.
And saw the bones of many men, etc .
Upon that wild boar Bangum fell, etc.
They fought like fiends from deep in hell, etc.
Old Bangum pulled his killin' knife, etc.
And hacked away that old boar's life, etc .
Old Bangum told his lovin' bride, etc .
We'll eat the meat and save the hide, etc.
*****■»*#***■» ■**■**■*■-* ***********

No. 110
THE BANKS OP NEWFOUNDLAND I
Newfoundland fascinated ballad-makers almost as much
as did the penal colony of Australia. In fact, this
song seems to be an ocean-going version of Tan Pie
man 's Land . It is also similar, in some respects, to
Dixie Brown. As Jackson noted, the tune was used
for an old spiritual, Wedlock.
REFERENCES
Beck (FLS), 175-176
Clements, 70
Colcord, 92, 173
Creighton (SBNS), 221-222
Doerflinger, 123-125
Eckstorm, 220-221
Greenleaf, 230-231
Hugill (1), 412-413
Hugill (2), 227-229
Jour (FSS), I, 142
Lomax (FSNA), 59-60
Mackenzie, 385-336
Scott (BA), 145-147
The Banks of Newfoundland I

MB
Song Texts
1457
Come all ye rakes and rambling boys,
I*d have you all beware—
And when you sail those packet ships.
Bo dung'ree jumpers wear.
Just buy your monkey-jackets, boys.
And keep them at your command.
And beware of the cold north wester
On the banks of Newfoundland.
The other night I had a dream,
I dreamt that I was at home,
That me and my one sweet true love
At last were on our own.
I dreamt that we were there on shore,
A jug of ale in each hand,
But when I woke my heart it was broke
On the banks of Newfoundland.
An Irish girl, on board with us,
Had hoped to share my name;
I promised I would marry her,
And played the lover's game.
Then she tore up her dresses, boys,
And made mittens for each hand—
All because she thought that I would freeze
On the banks of Newfoundland.
We sailed straight by the Virgin Rocks,
Where stormy winds did blow;
A crowd of sailors were on deck,
All busy shoveling snow.
We'll wash her down and scrub the decks
With holystone and sand,
And we'll bid farewell to Virgin Rocks
On the banks of Newfoundland.
0, once we pass old Sandy Hook,
We'll hear the whistle blow;

MB
Song Texts
1458
A tug will sail ahead cf us
And to New York we will go.
We'll fill our glasses to the brim,
A jug of rum in hand-
For while we are here we can't be there
On the banks of Newfoundland.
***********-*-*•■* *•-* •*■*-**** ****
No. Ill
THE BANKS OF NEWFOUNDLAND II
also known as
Bound Down to Newfoundland Saint Patrick's Day in
Newfoundland - Sixty-Five
According to Roy Mackenzie, this song was authored
by Captain Cale White of Maitland, Colchester Co.,
N. S. For a different song known by the same title,
see The Dreadnaught in this Master Book.
REFERENCES
Creighton (MFS), 195 Mackenzie, 228
Creighton (SBNS), 223 Mackenzie (QB), 199
Doerflinger, 201
The Banks of Newfoundland II
Saint Patrick's Day in sixty-five,
From New York we did sail;
And Providence did favor us
With a calm and pleasant gale.
We sailed away from America
All feeling fine and grand;
With courage brave we rode the waves,
Bound down to Newfoundland.
Just two days out, to our distress,
Our Captain he took sick,

MS
Song Texts
1459
And soon he was unable
To show himself on deck.
His fever raged, which made us fear
That death was near at hand.
We bore away from Halifax,
Bound down to Newfoundland.
All that long night we ran our brig.
Till nine o'clock next day.
Our Captain, at the point of death,
Unto us all did say:
"We'll bear away from Cape Canso,
My boys, come lend a hand.
And trim your topsail to the wind,
Bound down to Newfoundland."
At three o'clock we saw a light.
Which we were glad to see;
The smallpox was a-raging then—
That*8 what it proved to be.
At five o'clock in the afternoon.
By the Lord's own Just command.
Our Captain he did breathe his last
Bound down to Newfoundland.
Both day and night we did lament
For our departed friend;
And we were praying unto God
Por what had been his end.
We pray the Lord God will guide us,
And keep us by His hand,
Give us fair wind while on the sea,
Bound down to Newfoundland.
*******************

MB
Song Texts
1460

Bo. 112
THE BANKS 0? SWEET DUNDEE
also known as
The Banks of Dundee Sweet William
Betsy of Dundee Ten Thousand Pounds in
The Parmer’s Daughter Gold
On the Banks of Sweet Dundee The Undaunted Female
Pretty Mary Undaunted Mary
The Sweet Dundee
Originally an English broadside, this ballad was a
big favorite of the ballad publishers. Robert Ford,
writing in 1898, said ”It cannot be less than a
hundred years old. Fifty years ago, when harvest work
in Scotland was almost wholly done by the hand-hook,
it was a common song among the bands of shearers in
the Carse of Gowrie and there about when songs went
round in the bothies at night."
REFERENCES
Belden (BS), 137-139
Jour (AFL), XXXV, 354
Broadwood (ECS), 116
Jour (FSS), I, 232
Brown, IV, 341
Karpeles (EPS), II, No.
Cazden, I, 24-25
Kidson (TT), 53-55, 173
Chappell (FSRA<), 102
Leach (BB), 740-741
Christie, I, 258
Mackenzie, 84-85
Combs (FSKH), 26-27
Mackenzie (QB), 47-48
Cox (FSS), 379-381
Moore (BFSS), 175-176
Creighton (FSNB), 29
O’Conor, 68
Creighton (MFS), 38
Ord, 406-407
Creighton (TSNS), 128
Randolph, I, 275-279
Eddy, 155-157
Sharp, I, 399-401
Ford (VSBS), 77-78
Stout, 44-45
Gardner (3SSM), 187-189
Tolman & Eddy, 354-355
Greig & Duncan, No. 224
Hubbard, 54-55
Treat, 9-10

MB Song Texts 1461
The Banks of Sweet Dundee
1*11 tell to you a story that took place in this land,
Of a very lovely female—but you must understand:
She never knew her mother, or so I have been told,
And her father died and left her ten thousand pounds
in gold.
Her uncle rose one morning and hasten*d with his clothes
At Mary’s door he stood and waited till she arose.
"Arise now, lovely Mary, for married you shall be;
You must wed the squire I've chosen on the banks of
Sweet Dundee."
"A fig for him you’ve chosen, your lords and dukes
likewise;
For Willie's eyes appear to me like diamonds in the
skies."
"You'll never have your Willie, what e'er the cost,"
said he;
"I'll have him slain or banished from the banks of
Sweet Dundee!"
He hired a gang of fighters—they numbered six to one—
But Willie fought for liberty, and never tried to run.
The blood poured forth in torrents, he fought so
skillfully;
But Willie died for Mary on the banks of Sweet Dundee.
As Mary was a-walking, lamenting for her love.
She met the wealthy squire there in her uncle's grove.
He put his arms around her: "Stand off! Stand off!"
said she.
"Ths man I love died yonder, on the banks of Sweet
Dundee!"
He held his arms around her and tried to throw her down;
Two pistols and a sword she saw beneath his morning
gown.

M3
Song Texts
1462
And Mary took the pistols that he had used so free,
And then she shot and killed him on the hanks of
Sweet Dundee.
Her uncle heard the noise and quickly came around.
"What have you done?" he cried, then knocked her to
the ground.
"Stand off, sir!" young Mary said. "Undaunted I
shall he!"
And then she shot her uncle dead on the hanks of
Sweet Dundee.
#********•»**-» **■****♦# *-**.#.**

No. 113
THE BANKS OP SWEET LOCH RAY
This British "ballad was never widely known in the
United States, except in printed form. However, the
ballad did manage to carve a traditional niche for
itself in New England.
REFERENCES
Flanders (CSV), 16-17 Flanders (NGMS), 203
The Banks of Sweet Loch Ray
I am a poor distressed maid, as others you have known;
By love I*m captivated and my heart is overthrown.
While herding out my father’s flocks upon a summer’s
day,
I chanced to meet a sailor hold on the hanks of sweet
Loch Ray.
"Good morning, fair maid," he smiled and said as nicely
as could he,
"My pretty one, how would you like to go along with me?

KB
Song Texts
1463
1*11 dress you finer than a queen, all in the latest
style.
And when we reach some small quiet town, we'll linger
there awhile."
With cheeks a-hlush I did answer him, "Your suit I must
deny.
For I am not quite ready yet to give such life a try.
So far away from my own home I've no desire to stray;
My heart would break should I not live on the banks of
sweet Loch Ray. 1 *
•Be not concerned, fair maid," said he, "We have no
need to rove;
Let us just sit and court awhile here in this pleasant
grove.
We'll stay right here and court a spell among the
flowers gay.
And keep an eye upon the sheep on the banks of sweet
Loch Ray."
Lost in the rapture of his gaze, the time stole slowly
on;
And now my love has taken flight and from me he is
gone.
I'll never love a sailor man, if one should come my
way;
I'll stay and watch my father's sheep on the banks of
sweet Loch Ray.
************************

MB
Song Texts
1464

go. 114
THE BANKS OP THE DEE
A Scottish ballad, and one set to the air of an older
•tune: Langolee. The text was written by John Tait in
1775. Tait wrote the ballad for friends who had ship
ped out to the American colonies, to help put down the
rebellion.
Americans parodied the song with ’ Twas Winter and Blue
Tory Noses (see in MB).
REFERENCES
Brand (S-76), 74 Silber (SI), 61
Rabson, 26 Sturgis (SHV), 14
Rogers, 22 Vinson, 30
The Banks of the Dee
•Twas summer, and softly the breezes were blowing,
And sweetly the wood-pigeon cooed from the tree;
At the foot of the hill, where the river was flowing,
I sat myself down on the banks of the Dee.
Flow on, lovely Dee, flow on, thou sweet river;
Thy banks, purest stream, shall be dear to me ever—
•Twas there I first gained the affection and favor
Of Jamie, the glory and pride of the Dee.
My Jamie is gone now and I am here mourning;
He*11 quell the proud rebels, for valiant is he—
But, oh! what I’d give for his speedy returning,
To wander once more on the banks of the Dee.
The Dee then will flow, all its beauty displaying,
And lambs on the banks will again be seen playing.
While Jamie and I shall be carelessly straying
And tasting again all the sweets of the Dee.

MB
Song Texts
1465

Bo, 115
THE BABES OF THE LITTLE EAU PLEIHE
also known as
Johnny Murphy The Little Low Plain
The Little Auplaine On the Banks of the
The Little Eau Pleine Little Eau Pleine
The text of this song is attributed to W. N. "Billy”
Allen, who used the humorous alias of Shan T. Boy.
The Little Eau Pleine is a small trihutory of the
Wisconsin River, and it flows entirely within Mara
thon country, once a busy logging area.
BEFERSNCES
Arnett, 118
Beck (LLC), 151-155
Beck (SML), 119-122
Botkin (MRF), 578-579
Carmer (SRA), 192-193
Creighton (FSNB), 135-137
Glass (SFRF), 45-48
Lloyd, 42-43
Rickaby, 25-34
The Banks of the Little Eau Pleine Tune: Erin* s Green
Shore
Last June as I rambled one evening,
Through green woods, as I walked along,
The mosquitos’ sounded melodious,
And so did the whippoorwill's song.
The frogs in the marshes were croaking,
The Tree-Toads were whistling for rain,
And Partridges round me were drumming.
On the banks of the Little Eau Pleine.
The sun in the west was declining
And tinging the tree-tops with red;
My wandering feet bore me onward,
Not caring whither they led.

MB
Song Texts
1466
I happened to see a young woman,
Who mourned in a sorrowful 3train;
She mourned for a jolly young raftsman
On the banks of the Little Eau Pleine.
•Alas, my dear Johnny has left me.
Perhaps I will see him no more.
He’s down on the lower Wisconsin,
And pulling a fifty-foot oar.
He went on a fleet with Ross Gamble
And left me in sorrow and pain;
It*8 over two months since he started
Prom the banks of the Little Eau Pleine.”
•If John Murphy is your young love’s name,
I used to know him very well;
But sad is the tale I must tell you:
Tour Johnny was drowned in The Dells.
They buried him 'neath a scrub Norway,
And you’ll never behold him again.
Ho stone marks the spot where’s sleeping,
Par away from the Little Eau Pleine.”
•A curse upon you, Wisconsin!
May your rapids and falls cease to roar!
May every towhead and sandbar
Be as dry as a long schoolhouse floor!
May the willows upon all your islands
Lie down like a field of ripe grain,
Por taking my jolly young raftsman
Par away from the Little Eau Pleine!”
********************

MB
Song Texts
1467

Ho. 116
BANKS OP THE OHIO
also known as
Along the Banks
of the
I'll Never Be
Yours
Ohio
The
Old Shawnee
The Banks of the
Obadee
On
the Banks
of
the
Ohio
The Banks of the
Ole Pedee
On
the Banks
of
the
Old
The Banks of the
River Dee
Knee
Down on the Banks of the
On
the Banks
of
the
Old
Ohio
Pedee
I Asked My Love
to Take a
On
the Banks
of
the
Old
Walk T. B.
This is a fictionalized "murdered girl" song, similar
to The Jealous Lover and The Knoxville Girl (see in MB).
The Ohio River was a popular subject with 19th century
songwriters, which explains the many different songs
with the same or similar titles. For a study of a group
of such related songs, see: Jour (APL), XLII, 247-253.
For a different song with the same title, see: Glass
(SPRP), 54-55.
Of the versions given below, the first (A) is from up
state New York and the second (B) is from North Caro
lina.
REPERENCES
Best, 48
Botkin (MRP), 577
Brown, II, 247; IV, 144
Carmer (SRA), 109, 168
Eddy, 233
Gardner (BSSM), 80-82
Henry (BMPS), 44-45
Henry (PSSH), 220-221
Jackson (ESUS), 32
Jour (APL), XL7, 134-135
Leisy, 20-22
Leisy (SPS), 40
Pound, 108-109
Pound (SPSN), V, 2
Randolph, II, 136-138
Silber (HSB), 39
Silverman, I, 76

MB
Song Texta
1468
Banks of the Ohio ( Version A)
I asked my love to go with me,
To come and walk a little way;
And as we walked, we stopped and talked
About our coming wedding day.
"Oh, darlin', say you will be mine,
And let no arms but mine entwine;
You'll be my bride where waters flow,
Along the banks of the Ohio.
"I asked your father for your hand,
But he did not understand;
So only say that you'll be mine.
And happiness we'll surely find."
I held a knife against her breast,
As gently in my arms she pressed.
She cried, "0 Will, don't murder me!
I'm unprepared for eternity."
I took and gripped her trembling hand,
And threw her down in the river's sand;
I shoved her in and let her drown,
And watched her body floating down.
When I got home at half-past one,
I cried, "My God! what have I done?
I killed her there by the flowing tide,
When she refused to be my bride.
VERSION B
My love and I we took a walk
On the banks of the Old Pee Bee,
And as we walked we gently talked
When our wedding day would be.

MB
Song Texts
1469
"Only say, love you will be mine,
And your home will ever be,
Where the silent waters flow
On the banks of the old Pee Dee."
He took her by her lily white hand,
And swung her ’round and ’round.
Then threw her into the waters deep,
And there he watched her drown.
"Because she said she’d never be mine,
And her home would never be
Where the silent waters flow
On the banks of the old Pee Dee."
**************************

No. 117
BARBADOES LADY
also known as
Nancy of Yarmouth
Pretty Nancy
Pretty Nancy of Yarmouth
Jemmy and Nancy
Jimmie and Nancy
Jimmy and Nancy
This an 18th century ballad. According to Kidson, the
ballad was printed by John Evans about 1795. Cecil Sharp,
who recovered a fragmentary version in North Carolina,
pointed out that the original ballad was quite lengthy,
consisting of 56 stanzas, or 244 lines. There are stall
and garland prints of the ballad in the Harvard Library,
but no such lengthy versions have been found in American
tradition.
REFERENCES
Brown, II, 223; IV, 134
Campbell & Sharp, No. 53
Christie, II, 282
Creighton (SBNS), 81-83
Davis (FSV), 68
Glyde, Jr. (NG), 266

Song Texts
1470
MB
Greig & Duncan, No, 222
Jour (API), XXVI, 178
Jour (PSS), II, 113; Till,
209
Memoirs (API), XXIX,
15
Sharp, I, 379-380
Songster (6l), 86-92
Barbadoes lady
Lovers, now come, lend an ear to my story;
Hear, for example, what happened quite near:
I tell of a young couple who loved out of measure—
It*s of young Nancy from Yarmouth you'll hear.
Haney of Yarmouth, a rich merchant's daughter,
Heiress of fifteen thousand a year;
The young man who loved her and called her his jewel
Lived with his parents, who both loved him dear.
Many long years this young couple were courting.
Even as children the two did agree.
There seemed not a doubt they were meant for each
other,
Altho’ young Jimmy was poor as could be.
When the time came, and they wanted to marry,
Haney’s old father would not even hear;
He objected to Jimmy as mate for his daughter,
Stated his reasons precisely and clear.
Haney held firm, and she said with deep feeling:
"Riches and honor I do both deny!
If I can’t have young Jimmy to love and to marry,
Take all that I have and leave me to die!"
■Daughter," said he, "I will strike you a bargain:
Let him go sailing one year on the foam.
If the strength of your love has not then diminished
I shall bless your marriage the day he comes home."

MB
Song Texts
1471
Jimmy set sail on the ,deep stormy ocean.
True to sweet Nancy in spite of his woes;
Then the ship he was sailing, all owned by her father
Anchored one morning in the far Barbadoes.
There he was seen by a beautiful lady,
As he came ashore a walk for to take;
And she fixed her eyes on him and said in her heart:
If I don’t possess him I’ll die for his sake!
••Young man,” said she, ”I’m a Barbadoes lady.
Great are the treasures you'll have at my side.”
•Twas then young Jimmy answered: "I'm vowed to a lady
And I must return home and make her my bride.”
Over the sea, on the shores of old England,
Nancy’s cruel father had authored a plan;
To his good friend the boatswain he promised great
riches.
If he’d make of Jimmy a very dead man.
Greedy for wealth and the leisure it promised.
Deadly the vigil the boatswain did keep;
And one night in the darkness he murdered young Jimmy
Then tossed his dead body adrift in the deep.
On a dark night, while sweet Nancy lay sleeping,
Into her chamber a ghost did appear,
Saying, ’’Rise up and listen to me, pretty Nancy:
Your father has murdered the one you hold dear.”
She raised her head from the soft, downy pillow,
Peeling his presence all over the room,
Saying, "It is your promise I come here pursuing—
Join me, Nancy, down here in the tomb.”
"Jimmy,” said she, ”it is soon I’ll be going,
Going forever in your arms to sleep.”
And as soon as sweet Nancy had walked to the ocean,
She plunged her young body to death in the deep.
*********************

MB
Song Texts
1472
No. 118
Barbara Allan
Barbara Allen’s Cruelty
Barbara Ellen
Barbary, or Barbery Allen
Barb* ry Allen, or Allum
Barbry Ellen
Barby Ellen
Bawbee Allen
Bonnie Barb’ra Allan
Bonny Barbara Allen
BARBARA ALLEN
also known as
The Cruelty of Barbara
Allen
The Pate of Barbara Allen
Johnny Armstrong’s Last
Goodnight
Mary Ailing
Sir John Grahme and
Barbara All n
The Young Man’s Tragedy
Of all the old English-Scottish ballads known in
American tradition, Barbara Allen is undoubtedly the
most popular and widely distributed. Collectors have
recovered variants and versions in all areas of the
United States. In England, the song was first publish
ed in Allan Ramsay’s Tea-Table Miscellany , 174-0. Then
came Percy’s Reliaues, 1765, where both the English
and Scottish versions were given. The first song book
of American issue in which a version appears is
The American Songster , Baltimore, 1830.
Of course, the ballad was known in America long before
its publication, and probably dates back to the early
colonial era.
The ultimate source for the ballad's text has never
been established, but the plot and the words are much
the same wherever encountered. The most unexpected
and unusual title associated with the ballad is
Little Johnny Green , a version recovered by Cox (PSS),
109 P

MS
Song Texts
1473
The two (A & B) versions given below are merely
representative, with, version A being the one most
commonly heard in the United States.
EBFERENCES
Agay (2), 17
Allsopp, II, 212-213
Arnold, 8-9
Ashton (CB), 173-175
Bantock, 38-39
Barry (BBM), 195-200
Belden (BS), 60-65
Berger, 14-15
Botkin (API), 820-822
Botkin (APPS), 58
Botsford, I, 26-27
Brander, 74
Brewer, 209
Brewster (3SI), 99-121
Brown, II, 111; IV, 57
Bulletin (VPS), Nos 2 &
10
Burne, 543
Cambiaire, 66-68
Campbell & Sharp, No. 21
Chappell (FSRA), 32
Chappell (PMOT), II, 538
Chappie (HS), 24 i
Child, II, 276; V, 416
Christie, I, 87-89
Coffin, 87-90
Cox (PSS), 96-109, 523
Creighton (MBS), 13-14
Creighton (TSNS), 49
Davis (TBV), 302, 577
Dean-Smith, 51
Downes, 28-29, 34-35
Ehsworth (RB), II, 25;
III, 522
Eddy, 52-59
Emrich (CBP), 25
Emrich (PAL), 572
Pauset (PINS), 113-115
Flanders, II, 246
Flanders (3MNE), 197
Friedman, 88-94
Fuson, 47-48
Gainer, 57-58
Gardner (BSSM), 50-52
Greenleaf, 26-27
Greig, II, art. 165 &
art, 166
Greig & Keith, 67-70
Henry (FSSH), 80-88
Henry (SSSA), 248
Houseman, 130-131
Hubbard, 20-22
Hudson (FSil), 95-107
Hudson (SMFL), No. 13
Ives (SA), 42-43
Ives (S3), 58, 50
Johnson (PS), 327-328
Johnson (SMM), No. 221

MB
Song Texts
1474
Jones, 13, 301
Jour (APL), VI, 132; XIX,
285; XX, 250; XXII, 63;
IXVI, 352; XXIX, 160;
XXX, 317; XXXV, 343;
XXXIX, 97, 211; XIII,
268; XLV, 13; XIVI,
28; XLIX, 207
Jour (FSS), I, 111, 265;
II, 15, 80
Jour (IPSS), I, 45
Joyce (AIM), 79
Kennedy (AB), 140-150
Kennedy (TAB), 25-26
Kidson (GEFS), 74
Kidson (TT), 36-40
Kincaid No. 1, 14
Kinsley, 353-354
Kirkland, 70
Lair (SLL), 4
Leach (BB), 277-280
Leisy, 22-24
Leisy (LAS), 15-16
Linscott, 163-164
Lloyd, 69
Lomax (PSNA), 183-184
Luther, 15-17
Macfarren, 204-205
Mackenzie, 35-40, 393
Mackenzie (QB), 100-102
McGill, 39-44
Moore (BPSS), 68-70
Morris, 283-290
Motherwell MS., 288
Muir, 187
Neely, 137-139
Neely (PBB), 77
Niles (BB), 202-206
Oberndorfer, 50
Okun, 35-36
Owens (TPS), 23-26
Percy (RAEP), III, 128
Perrow, XXVIII, 144
Pound, 7-10
Pound (SFSN), I, 1
Pub (TPLS), X, 146
Quarterly (M), II, No. 1,
120
Quarterly (SPL), II, 70
Quiller-Couch, 802-803
Raine, 115
Ramsay (TTM), II, 142;
IV, 46, 343
Randolph, I, 126-139
Randolph (Ozarks), 183
Rayburn, 232-233
Reeves (EC), 46-48
Rimbault (MIPR), No. 53
Ritchie (PS), 79
Ritchie (SPC), 184
Roberts (IP), 52-57
Roberts (SBS), 95-96
Sandburg (AS), 57
Scarborough (NPS), 59
Scarborough (SC), 83-96,
386
Scott (BA), 7-8
Scott (SA), 57
Seeger (6), 79
Sharp, I, 183-195

MB
Song Texts
1475
Sharp (EPS), I, 20
Sharp (PSPS), No. 22
Sharp (100), 20-21
Shearin (BBCM), 3
Shearin (SKFS), 8
Shoemaker (MMP), 127
Shoemaker (NPM), 122
Silverman, I, 210
Smith (AA), 35
Smith (BSUS), 12, 20
Smith (SCB), 129-141
Smith (TBSCS), No. 8
Stout, 8-10
Thomas (DD), 94-95
Thomas (SG),' 6-7
Thomson, III, 29
Treat, 22
Wells, 113-114
Western Folklore, VIII,
371
Wheeler (KMFS), 39-48
Wier (IS), 33
Wilder, 122-123
Williams (FSUT), 204-207
Wyman (LT), 1-5
Barbara Allen ( Version A)
In yonder town where I was born.
There lived a fair young maiden;
She was the fairest of them all.
And her name was Barbara Allen.
All in the merry month of May,
When green buds they were swellin’,
Young Jimmy Grove on his death-bed lay
Por love of Barbara Allen.
He sent his servant thro' the town,
He sent him to her dwellin’,
Saying, I’ve a message for you, fair maid.
If your name be Barbara Allen.
Slowly, slowly she rose up,
And slowly she drew near him;
But all she said when she got there
Was "Young man, I think you're dying.”

Song Texts
1476
Oh, yes, I’m sick, I’m very sick,
And death is near me dwellin';
But better I shall never be
Till I have Barbara Allen.
Slowly, slowly she got up,
And slowly she went from him;
She had not gone but a mile or two
When she heard his death bell tolling.
She looked east and she looked west,
She saw his coffin coming;
Lay down, lay down this young man,
And let me gaze upon him.
The more she looked the more she wept,
And then she burst out crying:
Take him to the graveyard now,
For he died for Barbara Allen.
0 mother, mother, make my bed,
And make it long and narrow;
Sweet Jimmy died for me today,
And I’ll die for him tomorrow.
They buried him in one church-yard
And Barbara in another;
And from his grave there grew a rose,
And from her grave a briar.
They grew to the top of the old church-wall,
Where they could grow no higher,
And there they tied in a true love-knot;
The rose clung to the briar.
VERSION B

MB
Song Texts
1477
'Twas round about one October day,
When the green leaves were a-failin’,
That young Lord Grame of the West Country
Pell in love with Barbara Allen.
He sent his man down thro' the town.
To the place where she was dwellin':
0 haste and come to my master's side.
If you be Barbara Allen.
0 slowly, slowly rode she up
To the place where he was lyin';
And when she saw him there, she said:
Young man, I think you're dyin'.
Said he, I'm sick, so very sick,
And it's all for Barbara Allen;
0, better that we had never met,
For now my life is ebbing.
Remember you not in the tavern.
When you the cups were fillin'—
How you made the healths go round and
round,
And slighted Earbara Allen?
He turned his face unto the wall,
And death was with him dealin':
Adieu, adieu! my dear friends all.
Be kind to Barbara Allen.
Then slowly, slowly rose she up.
And slowly, slowly left him;
And sighin', said, she could not stay,
Since death of life had reft him.
She had not gone a mile or two.
When she heard the death-bell knellin';
And every tone the death-bell gave,
Cried, Woe to Barbara Allen!

MB
1478
.► • ~.r. .. -
Song Text3
0 mother, mother, make my "bed,
0 make it soft and narrow;
Since my love died for me today,
I'll die for him tomorrow.
*#*********•*+•#■■#•**•■***■*****■*

Ho. 119
THE BARDY TRAIN
American rural-type song in which the dogs of a person
are the objects of praise. Origin and authorship un
known, though the reference to New England in the text
may indicate area of origin.
For another version, see Chappel (FSRA), 176-178.
The Bardy Train
Come on, Uncle Joe.
I know you want to go
Out through the wild woods a-hunting.
We've got dogs of our own
Just as good as ever was known,
And ‘there's none in New England
can beat 'em.
There's Fido, Dido,
Councilo and Joe,
Old Clean that never lags behind 'em;
There's Miss Camellia Jane,
Who's the leader of the train,
Roxy and Toxy in the morning.
***********************

MB
Song Tests
1479

So. 120
BARNEY AND KATIE
also known as
Barney Mavoureen When Barney Blew Over the Hills
This Irish song enjoyed a popular acceptance in mid-
19th century America, then drifted off along the folk
atream. Versions have been recovered from oral sources
in areas as widely separated as New England, Ohio and
Utah.
REFERENCES
Creighton (MPS), 77 Flanders (BMNE), 222
Eddy, 309-310 * Hubbard, 114
Barney and Katie
On a cold winter night, when the weather was snarly,
And snow, like a sheet, covered house-top and sty,
Barney went over the hills to his darling
And rapped at the window where Katie did lie.
"Oh, my Katie," said he, as he stood at the window,
"The night is so cold and my coat is so thin—
The wind is a-howling—you know how I love you!
Oh, Katie, me darling, won't you let me in?"
"Dear Barney," said she, with her lips near the window,
"You should not have come. I'm already in bed.
To call such an hour is a sin, you know, barney—
It's whiskey, not love, that has gone to your head."
"Oh, my Katie," said he, "my poor heart is a fountain;
It weeps for the wrong it has brought to your door.
Your name is more pure than the snow on yon mountain.
But love and not whiskey now makes me implore.

MB
Song Texts
1480
"I will make my way home, tho' the hitter winds
face me;
1*11 whistle them off, for to freeze is no sin.
My love for you, Katie, will warmly embrace me.”
"Oh, Barney," sighed she, "you'd better come in."
*************************

Ho. 121
BARNEY KcCOY
also known as
Barney McCoi Hora(h) Darling
This is a professional creation of the sort sung
during the latter part of the 19th century.
According to Sullivan, III, 398, it was copyrighted
in 1881. A complete version is in Wehman (617), p.
105.
Por a differn Irish song known As Norah Darling , see:
McCaskey, VIII, 40 or O'Conor, 149.
REFERENCES
Brown, II, 346; IV, 202
Davis (PSV), 124
Pord (TMA), 337-338
O'Conor, 134
Owens (TPS), 89
Pound (SPSN), III, 6
Quarterly (SPL), IV, 202
Randolph, IV, 291-292
Wolford, 75-76
Barney McCoy
I'm going far away, Norah darlin',
And, oh, leavin' such an angel far behind,
It will break my heart in two.
Which I fondly give to you,
Por no other is so lovin', kind an* true.

MB
Song Texts
1481
Oh, come into my arms, Norah darlin',
Bid your friends in dear old Ireland goodby;
It's happy we will be
In that dear land of the free,
Living happy with your Barney McCoy,
I would go with you, 3arney darlin',
But the reason I told you oft before:
It would break my mother’s heart
If from her I had to part,
And go roaming with you, Earney McCoy.
I'm going far away, Norah darlin'.
Just as sure as there's a God I adore;
But remember what I say.
That until the judgment day,
You will never see your Barney any more.
I would go with you, Barney aariin',
If my mother and the rest of them were there;
For I know we would be blest
In that dear land of the tfest,
Living happy with you, Barney McCoy.
I'm going far away, Norah darlin',
And the ship is now anchored at the bay;
Before tomorrow you will hear
From the ‘signal gun, my dear,
So be ready—it will carry us away.
***********************

No. 122
THE BARRING OF THE BOOR
also known as
Arise and Bar the Boor-0
Barrin' o' Oor Boor
Get Up and Bar the Boor
Joan and John Blount
Johnie 31unt
The Old Man and the Boor

MB
Song Texts
1482
This is an old Scottish song with a universal theme.
The marital argument occurring in the text is the basis
of a host of folk tales in Asia as well as in Europe.
Edited versions of this song appear in numerous folios
and song-books. The song was first published by David
Herd, in 1776.
A burlesque version is in Delehanty and Hengler's Song
and Dance Book . 1874, p. 169.
REFERENCES
Barry (BBH), 318-321
Brown, II, 183; IV, 112
Bulletin (VPS), IX, 7
Child, V, 96-99
Coffin, 145-146
Combs (PSMEU), 147-148
Combs (PSUS), 128-129
Cox (PSS), 515-517
Creighton (TSNS), 92-93
Davis (TBV), 495-496
Planders , IV, 72
Gainer, 88-89
Gardner (BSSM), 371-372
Greenleaf, 41-42
Greig & Keith, 216-218
Houseman, 236-238
Kinsley, 630-631
Leach (BB), 657
Macfarren, 112-113
Moore (BPSS), 122-124
Morris, 320-321
Niles (BB), 307-309
Pinkerton (SSB), II, 150
Quiller-Couch, 847-848
Randolph, I, 186
The Barring of the Door
It happened in the wintertime
As the cold night winds began, 0!
John Macklin's wife had puddings to make.
And she boiled 'em in a pan, 0!
The night-winds blew both hard and cold.
And blew up thro’ the floor, Oh!
John Macklin called out to his wife:
"Get up and bar the door, 0!"

MB
Song Texts
1483
"My hand is in the pudding, John,
As you can plainly see, OS
And if that door gets barred tonight.,
It won't get barred by me, 0!"
So they made a pact between them.
With an oath to God they swore, 0!
The very first to speak a word.
That one would bar the door, 0!
Two travelers came riding by
•Round twelve o'clock at night, 0!
And straight they rode to Macklin's house,
Attracted by the light, 0!
They entered in and said aloud,
"Are you people rich or poor, 0!
But neither man nor wife would speak,
For the barring of the door, 0!
The travelers ate the sausage meat.
They sopped their bread in fat, 0!
At every bite the old woman thought,
"I hope they choke on that, 0!"
Then one unto the other said,
"Here! now you take my knife, 0!
And while you shave that old man's chin,
1*11 just take his wife to bed, 0!"
John Macklin leaped from off his bed.
And an angry man was he, 0!
"Sir, if you touch my wife,” he said,
"You will first be killing me, 0!"
His loving wife then left her bed.
And she skipped across the floor, 0!
"Well, John,” she cried, "you've spoken first!
Now go and bar the door, 0!”
** ****■**•**♦•***•**■»•**•**

MB
Song Texts
1484

Wo. 123
THE BATTLE CRY OP FREEDOM
also known as
Rally ’Round the Flag, Boys
This Civil War era song was written by George F. Root,
a popular composer of that time. It is not a folk
song per ae, but it became the source of many folk
pieces. As a Union ’’rallying" song, the original text
and tune were most effective amd its popularity with
the general public, South as well as North, was im
mensely gratifying to the composer.
New words were almost immediately forth coming, and
a ’•battle” version was added to the "rallying" text.
Then came parodies and a popular Souther adaptation.
All these additional texts were sung to the original
air. The five versions below (A, B, C, D, E) should
serve to show the song's hold on people's imagination.
Version A is the original. Version B is the battle
text, C is a parody sung by Union soldiers, D is the
Southern adaptation, and E is a text sung by Confederate
soldiers.
James T. Field and William B. Bradbury borrowed one
of the song's title lines, Rally Round the Flag , and
used it for their own composition in the 1860s, which
begins:
Rally round the flag, boys,
Give it to the breeze;
That’s the banner we love,
On the land and seas.
For a complete text, see: Lawrence, 376 or Wier (SWWS),
226 .
For a modern adaptation, see The People♦s Rally Cry in
Greenway, 61.
*
REFERENCES

Song Texts
1485
MB
Beattie, 16
Chappie (HS), 17-18
Dolph, 232-234
Ford (TMA), 461
Glass (SS-2), 32-33
Grand Army, 6-7
Ives (SA), 294-296
Lawrence, 362-363
Lloyd, 122-123
Mackenzie ( SK), 86-87
Oberndorfer, 106
Silber (SOW), 17-19
Songs (13), 63
Weavers, 18-19
Wier (SWWS), 232-233
The Battle Cry of Freedom ( Version A)
Yes, we’ll rally round the flag, boys,
We’ll rally once again,
Shouting the battle cry of Freedom!
We will rally from the hillside,
We’ll gather from the plain,
Shouting the battle cry of Freedom!
Chorus
The Union forever, Hurrah! Boys, hurrah!
Down with the traitor, up with the star,
While we rally round the flag, boys.
Rally once again,
Shouting the battle cry of Freedom!
We are springing to the call of
Our brothers gone before.
Shouting the battle cry of Freedom!
Oh, we’ll fill the vacant ranks
With a million free-men more,
Shouting the battle cry of Freedom!
We will welcome to our number
The loyal, true and brave,
Shouting the battle cry of Freedom!

KB
Song Texts
1486
And altho’ they may be poor,
lffot a man shall be a slave.
Shouting the battle cry of Freedom!
Oh, we’re springing to the call
From the East and from the West,
Shouting the battle cry of Freedom!
And we’ll hurl the rebel crew
From the land we love the best,
Shouting the battle cry of Freedom!
VERSION B
Battle text added to the original song after its popu
larity was established. For other versions, see: Dolph
235 ; Grand Army, 7; Ives (SA), 296; Luther, 181; and
Silber (SOW), 19.
We are marching to the field, boys,
We’re going to the fight,
Shouting the battle cry of freedom!
And we bear the glorious stars
For the Union and the right,
Shouting the battle cry of freedom!
Chorus
The Union forever, hurrah! boys, hurrah!
Down with the traitor, up with the star,
For we’re marching to the field, boys,
Going to the fight.
Shouting the battle cry of freedom!
We will meet the rebel host, boys,
With fearless heart and true.
Shouting the battle cry of freedom!
And we’ll show what Uncle Sam has
For loyal men to do,
Shouting the battle cry of freedom!

MB
Song Texts
1487
If we fall amid the fray, boys,
We'll face them to the last,
Shouting the battle cry of freedom!
And our comrades brave shall hear us
As they go rushing past.
Shouting the battle cry of freedom!
Yes, for Liberty and Union
We're springing to the fight,
Shouting the battle cry of freedom!
And the vict'ry shall be ours.
For we're rising in our might.
Shouting the battle cry of freedom!
VERSION C
This parody, also known as Mary Had a Little Lamb , was
sung lustily by Union soldiers. Other versions may be
seen in Dolph, 236-237 and Ives (SA), 297•
Mary had a little lamb,
'Twas always on the go,
Shouting the battle cry of freedom!
So she staked it on a grassy slope
Along the Shenando',
Shouting the battle cry of freedom!
Chorus
Hurrah for Mary! Hurrah for the Lamb!
Hurrah for the soldiers, who didn't care
a damn!
Now we'll rally round the flag, boys.
We'll rally once again,
Shouting the battle cry of freedom!
Frequently she turned it loose
Upon the banks to play,
Shouting the battle cry of freedom!

Song Texts
1488
MB
Soldiers eyed it from the shore
In a kleptomanic way,
Shouting the battle cry
of freedom!
It swam across the Shenando
Our pickets saw it too,
Shouting the tattle cry of freedom!
Oh, speedily it simmered down
Into a mutton stow*
Shouting the battle cry of freedom!
VERSION D
This adaotation. Our Dixie forever. proves once again
that boundaries and differences do not erect -a—®
.here music and songs are concerned. This text was
written by H. L. Schreiner and W. H. Barnes, and .t
was tremendously popular in the South.
For another version, see: Glass (SS-2), 34.
Our flag is proudly floating
On the land and on the main,
Shout! Shout, the battle cry of freedom!
Beneath it oft we've cono.uered
And will conquer oft again,
Shout! Shout, the battle cry of freedom!
Chorus
Our Dixie forever! she's never at a loss!
Down with the eagle and up with the cross'.
We’ll rally round the bonny flag,
We f ll rally once again f
Shout! Shout, the battle cry of freedom!

MB
Song Texts
1489
While our boys have responded,
And to the field have gone,
Shout! Shout, the battle cry of freedom!
Our noble women also
Have aided them at home.
Shout! Shout, the battle cry of freedom!
VERSION E
This adaptation was sung by "the boys in gray." Author
of the text is unknown, but the time is the same.
We*re marching to the field, boys,
We're going to the fight,
Shouting the battle cry of freedom!
And we bear the Heavenly cross,
Por our cause is in the right,
Shouting the battle cry of freedom!
Chorus
Our rights forever, hurrah! Boys, hurrah!
Down with the tyrants! Raise the Southern
star!
And we'll rally round the flag, boys,
We'll rally once again,
Shouting the battle cry of freedom!
We'll meet the Yankee hosts, boys.
With fearless hearts and true,
Shouting the battle cry of freedom!
And we'll show the dastard minions
What Southern pluck can do,
Shouting the battle cry of freedom!
********************

MB
Song Texts
1490

Ho. 124
BATTLE HYMN 0? THE REPUBLIC
also known as
Glory Hallelujah!
This song, with words "by Julia Ward Howe, has been
popular in the United States since it was first pub
lished in the Atlantic Monthly , Peb., 1862. Versions
have appeared in several hundred song books and folios,
including those printed especially for schools.
The tune to which Mrs. Howe set her stirring words
was already well known.
Much false information exists concerning the song’s
history. At one time it was claimed that the song was
based upon Stephen Poster’s Ellen Bayne. It’s origin
was ascribed to a composer of Negro Minstrel music
T. Brigham Bishop. We now know that the tune was act
ually composed by William Steffe, Charleston, S. C., in
the 1850s. Steffe composed the air for his hymn,
Say , Brothers , Will You Meet Us, or On Canaan 1 s Harpy
Shore . We also know that Mrs. Howe was not aware of
the hymn and that she got the melody from Union soldiers
who were singing it to the words of John 3rown* s Body .
With the possible exception of John Brown's Body (see
in MB), neither Steffe’s hymn nor any other songs using
the air came anywhere near reaching the height of popu
larity attained by Battle Hymn of the Republic .
For other songs set to the same air in this Master Book ,
see John Brown * s Baby (No. 893), Pink Pajamas (No. 1350),
Said I To Myself , Said I (No. 1502), and Solidarity For
ever (No. 1583).
REFERENCES

MB
Song Texts
1491
Agay (2), 128-129
Chappie (HS), 312
Dolph, 242
Adler, 100
Downes (1940), 147
Downes (1943), 178
Elson, 28-29
Glass (SS-2), 4-5
Kennedy (AB), 199
Kennedy (TAB), 167
Kobbe, 160-161
Krythe, 132
Lawrence, 362
Lloyd, 126
Luther, 175
McCaskey, II, 117
Oberndorfer, 105
Silverman, II, 125
Songs (15), 64-65
Warner, 57
Whitman, 37
Wier (SWWS), 233
Battle Hymn of the Republic Tune: John Brown * s Body
Mine eyes have seen the glory
Of the coming of the Lord!
He is trampling out the vintage
Where the grapes of wrath are stored!
He hath loosed the lightning
Of his terrible swift sword!
His truth is marching on!
Chorus
Glory, glory hallelujah!
Glory, glory hallelujah!
Glory, glory hallelujah!
His truth is marching on!
I have seen Him in the watch fires
Of a hundred circling camps;
They have builded him an altar
In the evening dews and damps;
I can read His righteous sentence
By the dim and flaring lamps!
His day is marching on!

MB
Song Texts
1492
In the "beauty of the lilies
Christ was born across the sea,
With a glory in Hi3 bosom
That transfigures you and me;
As he died to make men holy,
Let us die to make men free.
While God is marching on!
***********************
WQ. 125
THE BATTLE OF SHILOH
also known as
The Battle at Pittsburgh The Battle on Shiloh
Landing Hill
The Battle of Shiloh's Mill Pittsburgh Landing
Civil War song. The battle of Shiloh, April 6-7, 1862,
took its name from Shiloh Church, a meeting house, a-
bout three miles SSW of Pittsburgh Landing, Tennessee.
Confederate forces, commanded by Generals Johnson and
Beauregard, attacked Union forces commanded by General
Grant, and suffered severe defeat. 3500 men were killed
during two days of fighting. This song quickly follow
ed news of the battle; it was published at 3oston by the
Oliver Ditson Company. The words were written by M. B.
Smith, who set them to the tune of The Wandering Sailor.
gE FERSNCSS
Allan (LSB), 44-45
Brown, II, 535-536
Brown (BMC), 10
Hudson (FSM), 260-261
Lomax (FSNA), 349-350
Randolph, II, 272-273
Sharp, II, 172-173
Silverman, II, 300
Staton, 95
The Battle of Shiloh

MB
Song Texts
1493
All you Southerners now draw near.
Unto my story approach and hear.
For loyal Southerners hearts to cheer
With the victory gained at Shiloh.
Now it was April, the sixteenth day.
We had come a long and muddy way;
We landed there at Corinth Bay,
Right along the way to Shiloh.
That night we lay on the cold, cold ground;
No tents or shelters could be found.
It rained so hard we nearly drowned,
All along the way to Shiloh.
At last old Shiloh hove in view,
And broke the bravest hearts in two;
We saw the mighty Yankee crew
All along the way to Shiloh.
We charged the yanks in groups and
pairs,
And hit their batteries every wheres;
Our General Beauregard rang the air
With Southern steel at Shiloh.
Their guns and knapsacks they threw
down.
And ran like hares before a hound;
We made the Yankees turn around
From the Southern charge at Shiloh.
Oh, many a pretty maid will yearn
For lovers who will no more return;
This cruel war such love does spurn—
Their bodies lie at Shiloh.
******•*•**-***■»•*■*•**•**

MB
Song Texts
1494

Ho. 126
THE BATTLE OP THE KEGS
A poetic satire by Prancis Hopkinson; it is based upon
an incident that occurred during the American Revolution.
One David Bushnell built a turtle-like vessel capable of
carrying one man under water. The vessel contained valves
for taking on water, to force submergence, a bomb loaded
with approximately 150 lbs of powder, and sufficient air
to allow proper breathing for at least thirty minutes.
The idea was to send the vessel under water, to attach
the bomb (with time-fuse device) to the bottom of a
British ship and blow it up. Bushnell*s vessel was
tried-out in New York harbor, but failed to meet the
test. With George Washington’s consent, Bushnell tried
another approach in January 1778. He and his assistants
loaded a number of kegs with powder, designed to explode
on contact, and set them afloat in the Delaware River,
near Philadelphia, with the expectation of sinking
British vessels at anchor there. Only one ship was de
stroyed, but the consternation caused by the exploding
kegs as they hit ice cakes in the river was immense.
When these kegs began exploding. Lord William Howe (the
Sir William referred to in the song) ”lay snoring” in
bed with a married woman.
These events so impressed Prancis Hopkinson (a signer
of the Delcaration of Independence) that he wrote the
poem, setting it to a variation of the time of Yankee
Doodle.
REFERENCES
Brand (S-76), 94
Dolph, 469-472
Ives (SA), 268-269
Kennedy (TAB), 8-11
Lawrence, 77
Loesser, 66-67
Luther, 29* 32
Rabson, 58-59

MB
Song Texts
1495
Scott (BA), 77-80
Silver (SI), 93-95
Songster (8), 205
Vinson, 46-47
The Battle of the Kegs
Gallants attend, and hear a friend
Trill forth harmonious ditty;
Strange things I'll tell which late befell
In Philadelphia city.
'Twas early day, as the poets say,
• Just when the sun was rising,
A soldier stood on a log of wood,
And saw a thing surprising.
As in a maze he stood to gaze^-
The truth can't be denied, sir—
He spied a score of kegs or more
Come floating down the tide, sir.
A sailor, too, in jerkin blue.
This strange appearance viewing,
Pirst damned his eyes, in great surprise.
Then said, "Some mischief's brewing!
"The kegs now hold the rebels bold,
Packed up like pickled herring;
And they've come down to attack the town
In this new way of ferrying."
The soldier flew, the sailor too,
And, scar'd almost to death, sir,
Wore out their shoes to spread the news.
And ran till out of breath, sir.
Now up and down, throughout the town.
Most frantic scenes were acted;

Song Texts
1496
And some ran here and some ran there,
Like men almost distracted.
Sir William, he, snug as a flea,
Lay all this time a-snoring,
Nor dreamed of harm as he lay warm
In hed with Mrs. Loring.
Now in a fright, he starts upright,
Awak'd by such a clatter;
He rubs both eyes, and boldly cried,
"For God's sake! what's the matter?”
At his bedside he then espied
Sir Erskine at command, sir,
Upon one foot he had one boot,
And the other in his hand, sir.
"Arise, arise," Sir Erskine cries,
"The rebels—more's the pity!
Without a boat are all afloat
And ranged before the city.
"The motley crew, in vessels new,
With Satan for their guide, sir,
pack'd up in bags, or wooden kegs,
Come driving down the tide, sir.
The royal band, now ready stand
All ranged in dread array, sir.
With stomach stout to see it out,
And make a bloody day, sir.
The cannons roar from shore to shore,
The small arms make a rattle;
Since war began I’m sure no man
E'er saw so strange a battle.

MB
Song Text3
1497
The fish below swam to ana fro.
Attack'd from ev'ry quarter;
"Why sure,” thought they, "the devil's
to pay
f Mongst folks above the water.
The keg, 'tis said, tho' strongly made
Of rebel stave and hoop, sir,
Could not oppose their powerful foes.
The conq'ring British troops, sir.
Prom morn to night these men of might
Displayed amazing courage;
And when the sun was fairly down
Retired to sup their porridge.
An hundred men with each a pen,
Or more, upon my word, sir.
It is most true would be too few
Their valour to record, sir.
Such feats did they perform that day,
Against those wicked kegs, sir,
That years to come, if they get home.
They'll make their boasts and brags, sir.
****************************

No. 127
THE BAY OP MEXICO
also known as
Round the Bay of Mexico 'Way, 0, Julianna!
According to James F. Leisy, this is a Bahamian shanty.
Perhaps it is. But if it is, it's more a case of
"borrowing" than of creating. All the versions that
I have seen, including Leisy’s, were composites, made-

MB
Song Texts
1498
up of lines taken from older shanties and minstrel-
8how songs. For examples, see:
Blow the Man Down (stanza 3) in Colc'ord, 54;
Santiana (stanza 9) in Eugill (2), 128;
Sacramento (stanza 9) in Eugill (2), 157; and
Away , Rio? (stanza 3) in this Master Book.
REFERENCES
Silber (HSB), 34
Silverman, II, 269
Weavers, 128-129
Leisy, 285-286
leisy (SPS), 20
Lomax (OSC), 88-89
Lomax (PB), 29
The Bay of Mexico
Around the Bay of Mexico,
•Way, 0, Julianna!
Mexico is the place I'm bound to go.
Round the Bay of Mexico.
The Mexi-gals don't use no combs, etc .
They comb their hair with tuna-fish bones, etc.
When I was young and in my prime, etc.
I made lo've to three girls at one time, etc .
Them Mobile gals are long and tall, etc .
Wish I'd never left home at all, etc .
I met my wife in New Orleans, etc.
She feeds me on fat-back and beans, etc.
I'll sit down in my rockin' chair,
•Way, 0, Julianna!
I'll rock myself and stay right there.
Round the Bay of Mexico.
********* ******-******

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Song Texts
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No. 128
BEANS, BACON AND GRAVY
One of the many songs inspired by the Great Depression
of 1932. The version below, text and music, is from
Greenway, 64.
Beans . Bacon and Gravy
I was born long ago, in eighteen ninety-four.
And I’ve seen many a panic, I will own;
I*ve been hungry, I’ve been cold,
And now I’m growing old,
But the worst I’ve ever seen is nineteen thirty-two.
Chorus
Oh, those beans, bacon and cravy!
They almost drive me crazy.
I eat them till I see them in my dreams,
In my dreams!
When I wake up in the morning,
And another day is dawning,
Yes, I know I’ll have another mess of beans!
If there ever comes a time
When I have more than a dime,
They will have to put me under lock and key;
Por they’ve had me broke so long
I can only sing this song,
Of the workers and their misery!
*************■**.****.****

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Song Texts
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No. 129
A BEAR WENT OVER THE MOUNTAIN
also known as
A Bear Came Over the Mountain
This is an old, old nursery rhyme-song. Children have
Been delighted by the song for generations. The tune
is older than the text and is used for several well-
known traditional pieces. For examples, see: Drinking
Song VII & VIII ; For He * s a Jolly Good Fellow ; and
Pig in the Parlor (all in this Master Book).
For additional information about this air, see head-
notes to Duke of Marlborough in this Master Book .
REFERENCES
Ryan, 41
Shay (DFW), 70
Winn (2), 72
Yolen, 110-111
Armitage, I, 28
Bertail, 16
Emrich (CBF), 23
Linscott, 164
A Bear Went Over the Mountain
A bear went over the mountain,
A bear went over the mountain,
A bear went over the mountain,
To see what he could saw!
To see what he could saw!
To see what he could saw!
A bear went over the mountain,
To see what he could saw!
The other side of the mountain, (3)
Was all he got to saw!
Was all he got to saw!
Was all he got to saw!
The other side of the mountain
Was all he got to saw!
****** **************

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Song Texts
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So. 130
BEAUTIFUL LIGHT O'EH THE SEA -
This is one of those composite-type songs that show
up.regularly in the folk field, and with no one able
to say how, when or where it originated.
Belden (BS), 494, has a text somewhat different from
the one given below and suggests that it might be re
lated to The Prisoner* s Song . Randolph, III, 140,
has a variation under the title, I_ 7/as Drunk Last
Eight .
The tune is a re-working of Goodbye , My Darling , Good
bye and is almost identical to that of The Train Is At
the Station.
Beautiful Light 0'er the Sea
I went out last night a-drinking.
I went out the night before;
But if or when I get sober,
I'll never get drunk any more.
Chorus
Beautiful light o'er the sea, o'er the sea,
Oh, beautiful light o'er the sea!
Oh, beautiful light o'er the sea, o'er the sea.
There's someone there waiting for me.
If I had the wings of an eagle,
I'd sail through the heavens above;
I'd fly from here to the mountains.
And fly to the one that I love.
Oh, I'm tired of being so lonesome.
And I'm tired of being alone;
If ever I find my sweet darling,
I'll take her and make her go home.

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1502
Song Texts
I will tell her how much I mi3s her,
For she is the one I adore;
And if she would only forgive me,
I’d never get drunk any more.

No. 131
A BEAUTY BRIGHT
also known as
A Beauty, Beauty Bride
Charming Beauty Bride, or
Bright
A Fair Beauty Bride
Fair Lady Bright
The Fair Young Miss
The First Girl I Courted
I Courted a Lady
I Courted for Love
Irish Molly-0
The Lover’s Lament
Now Once I Did Court
Once I Courted a Charming
Beauty Bright
Once I Courted a Damsel
Once I Courted a Fair
Beauty Bride
Seven Year Song
A Soldier’s Sweetheart
The Widow’s Daughter
An English "pop" song that arrived in America sometime
during the latter part of the 19th century. Judging
from the number of collectors who have recovered tra
ditional versions of the song, it is far more popular
here than in the land of its origin.
REFERENCES
Arnold, 16
Belden (BS), 164-165
Brewster (BSI), 196-197
Brown, II, 293-296; IV,
162-166
Campbell & Sharp, No. 57
Chappell (FSRA), 130-131
Cox (FSS), 342, 529
Davis (FSV), 63-64
Eddy, 113-114
Fuson, 136
Jour (AFL), XXV, 2; XXVI,
176; XXVIII, 147; XXIX
184; XXX, 334; XXXV,
389; LX, 216
Jour (EFDS), II, 81

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Song Texts
1503
Jour (FSS), II* 81
Lomax (FSNA), 195
Moore (BFSS), 197-198
Morris, 343-34-4
Pub (TFLS), X, 158
Quarterly (SPL), III*
203-204; VIII, 164-
165
Randolph, I, 346-349
Scarborough (SC), 311* 439
Sharp, II, 103-108
Sharp (AEFS), 48-52
Sturgi3 (SHV), 22
Tolman, 184
Treat, LII, 33
Wyman (TKMS), 76
A Beauty Bright
Once I courted a fair beauty bright,
I courted her by day and I courted her by night;
I courted her for love, and her love I did obtain.
And so I have no reason at all to complain.
When her parents chanced to learn
That their daughter for me did yearn,
They locked her in her room, like corpse within
a tomb,
And told me that our love affair was doomed.
To her room I then did go,
To say my love was true, and I wanted her to know.
She would not come outside, but answered me and
cried,
And said that she would wait to be my bride.
Seven long years I sailed the sea,
And then I went to take my love with me.
Her grieving mother said that her daughter now
was dead—
For me to find 3 cme other girl to wed.
*********** **■*■*■»***•** ***

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Song Texts
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No. 132
BEEN A LISTENING ALL NIGHT LONG
also known as
I’ve Been Listening All Night Long
This is a spiritual from the first half of the 19th
century, and it is one of many popularized by the
original Pisk Jubilee Singers. For a later variation,
see: Jesus Is Listenin ’ in Odum (NHS), 82.
REFERENCES
Dett, 170
Marsh (SJS), 144
Been A Listening All Night Long
Some say that John the Baptist
Was just a wanderin’ Jew,
But the Holy Bible tells us,
He baptized Jesus too.
Chorus
Been a listening all night long,
Been a listening all night long,
Been a listening all night long.
To hear some sinner pray.
Go read the third of Matthew,
And read the chapter through,
For it’s a guide for Christians,
And tells them what to do.
Owens (TFS), 171
Pike, 226
**********************

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Song Texts
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No, 133
BEFORE THE BOORS OF KEA7EN CLOSE
also known as
Go, Chain the Lion Down
Pre-Civil War "slave” spiritual that was introduced to
the general public by the original Fisk Jubilee Singers
Yersion sung by them may be seen in: Marsh (SJS), 174
and Pike, 214, or 256.
Before the Boors of Heaven Close
Do you see that grand old sister
Who’s a-walkin* up the hill so slow?
She wants to get to heaven in due time,
Before the doors of heaven close.
Chorus
Go, chain the lion down! (3)
Before the doors of heaven close.
Do you see that good old brother
Who’s a-walkin* up the hill so slow?
He wants to get tc heaven in due time,
Before the doors of heaven close.
Do you see the good old Christians
Come a-waggin' up the hill so slow?
They wants to get to heaven in due time.
Before the doors of heaven close.
Do you see the good old preachers
Come a-trippin' up the hill so slow?
They wants to get to heaven in due time,
Before the doors of heaven close.
*****************

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Song Texts
1506

No. 154
BELL BOTTOM TROUSERS
also known ass
The Boy Child
Drury Lane
He Called for a Candle
Home, Boys, Home
Jack the Sailor Boy
Sever Trust a Sailor
Rosemary Lane
The Sailor Boy
Servant of Rosemary Lane
When First I 7/ent to Service
This song from England is immensely popular in American
tradition. The text has proven too salty for genteel
collections of folk material, hut omitting it from pub
lication on grounds of vulgarity does not detract from
its validity as a genuine folk song.
The tune has been frequently borrowed by professional
songwriters. With dressed down words, the song became
a "pop” hit in the 1940s due to a recording of it by
Doris Lay.
For a variation, see The Boy Child in Chappell (FSRS),
60. Also compare Home , Dearie, Home B in this Master
Book.
REFERENCES
Best, 126
Buchanan & Hall, 85
Cray, 32-33, 160-162
Durlacher, 272
Gardner (BSSM), 403
Hugill (1), 498
Jour (AFL), XLV, 41
Jour (EFLSS), VI, 18
Jour (FSS), VI, 1-3
Karpeles (EFS), I, 671
679
Laws K, 43, 162
Leisy (SPS), 186
MacColl & Seeger, 166
Reeves, 181-183
Reeves (EC), 223
Sedley, 14-15
Shay (ASSC), 146

M3
Song Texts
1507
Bell Bottom Trousers
At the age of seventeen I lived in Meadow Lane;
My parents they were good to me, and never did complain.
Along came a sailor as handsome as could he,
And he was the cause of all my misery.
Chorus
With his hell bottom trousers and coat of navy blue,
He climbed the riggin' like his daddy used to do.
He asked me for a candle, to light his way to bed;
He asked me for a pillow on which to rest his head.
Being young and foolish, and thinking it no harm,
I got into the feather-bed, to keep the sailor warm.
His hands were warm and friendly, and busy as could be.
Until I felt a thumping deep inside of me.
' Twas a nice sensation, and tho' I thought it wrong,
When he said he loved me I up and went along.
Next morning bright and early, when he got out of bed,
He buttoned up his trousers, smiled at me, and said:
"It really was a pleasure, I had a lot of fun,
And tho' I hate to say it, I’ve got to love and run.
"You may have a daughter, or you may have a son.
So take this twenty dollars for any damage done.
If you have a daughter, just bounce her on your knee;
And should you chance to have a son, send him off to
seal"
Now listen all you maidens, and take a tip from me:
Don't ever trust a sailor an inch above your knee.
Once he’s had his pleasure, he'll button up and run,
And he won't give a tinker's dam for the damage he
has done!

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Song Texts
1508

No. 135
BELIE LAYOTTE
also known as
Ma Mourri
This is a Creole song that exists in several varying
versions. Only two versions (A & B) are given below
Version A was sung by slaves. Version B was sung by
Louisiana Creoles.
REFERENCES
Allen (SSUS), 109, 166 /Krehbiel, 166-167
Belle Layotte ( Version A)
Mo deja roule tout La Cote,
Pancor ouar pareil belle Layotte.
Mo roule tout La Cote,
Mo roule tout La Colonie,
Mo pancor ouar griffone
La qua mo gout comme La belle Layotte.
Jean Babet, mon ami,
Si vous couri par en haut
Vous mande belle Layotte
Cadeau La Li te promi mouin.
Domestique la maison
Ye tout fache avec mouin
Paraporte chanson la
Mo compose pou La belle Layotte.

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Song Texts
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( version B)
Well I know, young men, I must die.
Tes, crazy, I must die.
Well I know, young men, I must, crazy, die.
Tes, crazy, I must die.
Ehhh! for the fair Layotte
I must, crazy, die;
Tes, crazy, I must die.
Well I know, young men, I must die!
Tes, crazy, I must die.
Well I know, young men, I must, crazy, die;
I must die for the fair layotte!
************************ ****** *

No. 136
BELIE ST ABB
also known as
Queen of the Desperadoes
Here we have one of those historical songs with some
facts and some fiction, hut one of the kind that many
Americans were so fond of. Born near Carthage, Mis
souri, Feb. 5, 1848, Belle Shirley Starr grew up to
be a crude, vulgar, and somewhat ugly woman who spent
her life in the company of various outlaws, including
Cole Younger. She reached the peak of her fame when
she moved into Indian Territory (then Oklahoma) and
took-up with Sam Starr, a half-blood Cherokee, who was
a cattle thief. At one point, the U. S. Government
was willing to pay $10,000 for their capture, dead or
alive. Both of them were finally sent to the peni
tentiary for stealing a horse from a cripple boy.
Upon their releases, they returned to their old home

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Song Texts
1510
and their old ways. Then Sam, out on bail after
having been charged with robbing a post office, was
shot to death in a gun fight. Belle promptly moved
in with another outlaw, but her days were numoered.
Riding home on Feb. 3, 1889, she was bushwacked and
died in the mud. The person who shot and killed her
remained unknown. On the day of her death. Belle was
two days shy of her 42nd birthday.
For two other versions of this song, see Fife, 269-
270 .
Belle Starr
She was a fast-gun woman,
And Belle Shirley was her name;
Down in the state of Texas
Is where she won her fame.
Jim Heed was her first lover;
She eloped with him one night.
Her Pa he took after them,
A-spoilin’ for a fight.
The lovers lived together,
Till Jim Reed got in a fight.
All slyot to death by Morris,
Jim cashed his chips that night.
Belle’s lover from her taken,
She rode a dangerous trail;
She lived a life of wanderin’
That sure was bound to fail.
I was a poor young cowpoke,
And money came to slow;
I joined Belle’s wild riders
In old Hew Mexico.

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Song Texts
1511
A mister Starr she married
And moved on to Younger’s Bend,
'Twas there they lived together
Till Belle did meet her end.
We raided in Panhandle,
And we hid out in the Strip;
If we ran out of money,
We*d take another trip.
Then Belle was sorely injured,
And Watson, he was the cause;
But he was just as guilty
Of breakin’ Texas laws.
Bow come, cowhand and herder.
Prospector, gambler and bum;
Avoid gun-totin' ladies,
And don't drink rot-gut rum.
Yes, Belle was sure a tough one;
She led her men to the grave.
But while they were still living,
Each one was just her slave.
********•*♦****■»■•*•*■*. ***** *

No. 137
BENJY HAVENS, OH!
also known as
Benny Havens, Oh!
This is a traditional military song that dates back to
the War of 1812. Benjamin Havens, upon whom this song
bestowed immortality, served as a first lieutenant of
the Highland Palls, company during the 1812 war. Then,

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Song Texts
1512
afterwards, for several years, he lived in a cottage
a short distance from the old cadet hospital. Havens
started out selling only ale, cider, and buckwheat
cakes. Then he began to sell whiskey. As a result,
in 1832, he was expelled from the military reservation.
Undaunted, he opened a tavern on the river's edge just
below the cliffs of Highland Palls, approximately a
mile and a half from the cadet barracks. It was a smart
move. To his tavern, after taps and against regulations,
came the cadets, many of whose names would later be in
scribed on their country's roll of honor.
Original words of this song were written by Lieutenant
O'Brien of the 8th Infantry, who sang it to the Irish
tune, Wearing of the Green. The song was popular with
the troops, and stanza upon stanza was added by many
anonymous troopers. The process of adding lines and
stanzas continued throughout the Civil War, at which
time the song was widely sung by the general pupulation.
Cadets at West Point still sing of "Benny Havens", and
some probably contribute stanzas of their own.
REFERENCES
Randolph, II, 295
Shay (DFW), 114-115
Trident, 156-157
Carmer (SRA), 26-27
Dolph, 563-566
Lomax (ABPS), 540
Luther, 102-103
Tune: Wearing of the Green
Benjy Havens, Oh!
Prom Nevada's hoary ridges,
Prom stormy coasts of Maine
Prom lava beds and Yellowstone,
The story never waned—
Wherever duty called, they went,
Their steps were never slow;

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Song Texts
1513
With "Alma Mater” on their lips
And "Benjy Eavens, Oh!"
Chorus
Oh! Benjy Eavens, Oh! Oh! Benjy Eavens, Oh!
We»ll sing cur reminiscences of Eenjy Eavens, Oh!
When life's troubled sea is o’er,
And our last battle's through.
If God permits us mortals there
His blest domain to view,
Then we shall see in glory crown'd,
In proud celestial row,
The friends we've known and loved so well
At Ben jy Havens, Oh!
<H»** ***♦*# ****♦*.*. ******** # * ####< .

No, 138
BESSIE OF BALLYDUERAY
also known as
Ballentown Brae
Ballington Brae
Bessie of Ballington Brae
Jessie of Ballinton
Brae
Sweet Ballenden Braes
An Irish song that emigrated to America, where, accord
ing to Helen Flanders, it became one of the "favorites
of the Woodsmen," Prooaoly true, because a version was
printed for the first time by Dean, who said he learned
it in the woods,
REFERENCES
Dean, 44-45
Flanders (NSMS), 90-91
Gardner (3SSM), 104-105
Mackenzie, 101

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Song Text3
1514
Bessie of Ballydubray
Now all you young ladies, I beg you draw near,
Por it is of the fate of two lovers you'll'hear;
Of the handsome young Bessie of Ballydubray
And the lord of the moorlands who led her astray.
*Twas one night as he on his pillow did sleep,
Young Bessie came unto him and o'er him did weep,
"Oh, the once blushing cheek, love, it moulders away
•Neath the cold, cold tomb in.Ballydubray.”
Then up from his pillow the young lord did rise:
«It*s the voice of sweet Bessie,” he frantically crie
”0h, if she lies dead no, as the voice did say,
I will lie down beside her in Ballydubray.”
He ordered a servant to saddle his steed,
And over hill and mountain he rode with great speed,
TiH he came to the house at the noon-time of day,
To the house of young Bessie of Ballydubray.
Young Bessie's old father he stood at the gate,
Like a man all forlorn bewailing his fate;
And the young lord came up to offer relief
And inquired of the old man the cause of his grief.
"I once had a daughter,” the old man did say,
"Who nows lies a—mouldering on Ballydubray;
She was fair as the lilies, as proud as a queen,
And as lovely a creature as ever was seen.
"She died broken-hearted, and in great dispair—
Sometimes she was frantic and tearing her hair!
It was over some young man who led her astray,
And enticed her from home on Ballydubray.”

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Song Texts
1515
•Oh, I am that young man!" the young lord then cried.
•And if she had loved me, she’d now be my bride.
But since she is dead, as the vision did say,
I will lay down beside her on Ballydubray.”

No. 139
BETSY BAKER
Through the second and third quarters of uhe 19th
century, this song, Betsy 3aker , was very popular in
England, Canada, and the United States. A version of
the song is in an 1829 chapbook printed by J. Neil,
Glasgow, a copy of which is in the Harvard College
Library. The same Library holds broadsides by T. Birt,
Catnach, Harkness, Spencer, and George Walker.
A parody (see version B below) also became popular in
America. But neither the original (version A below)
nor the parody is related to the dance song, 3etty
Baker, which is recorded in Ford (T1IA), 36.
REFERENCES
Jackson (ESUS), 64
Mackenzie, 353-354
Randolph, I, 423-425
Songster (9), 69-73
Songster (132), 59
Songster (150), 46-48
Williams (FSUT), 219
Betsy Baker ( Version A)
Tune: Yankee Boodle
From noise and bustle far away,
Hard work my time employing,
How merrily I spent each day,
Content with health enjoying.

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Song Texts
1516
The birds would sing and so did I,
As they flew o’er each acre;
And I vowed if ever I did wed
’Twould be with Betsy Baker.
Chorus
To loora loora loora lay,
To loora loora li-lo,
To loora loora loora lay,
To loora loora li-lo.
jn church I saw her dressed so neat,
One Sunday, in hot weather,
With love my heart began to beat
As we sang psalms together.
How piously she hung her head,
And while her voice did shake her,
X vowed if ever I did wed
•Twould be with Betsy Baker.
All over town, from stoop to stoop,
I learned from conversation,
She had come home from boarding-school
All filled with education.
But love made me speak out quite free:
"I own now many an acre—
Will you give me your company?”
"I won’t,” said Betsy Baker.
Now when I heard her dreadful slight,
I thought it best to leave her;
I got no sleep at all that night,
And love brought on a fever.
The doctor he finally came,
His long face like a Quaker;
"Young man,” says he, ’’where is your pain?”
Says I, ’’With Betsy Baker.”

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Song Texts
1517
And since I was not ill enough,
He bled me and he pilled me;
And if I'd taken half that stuff,
I'm certain he’d have killed me.
And suddenly I saw it true:
*Twas life or undertaker-—
That all I really ought to do
Was go see Betsy Baker.
So stright I went 'neath stars above,
Determined to attract her;
But Betsy met and fell in love
With a rattlin' mad play actor.
If she'd marry him, he did say,
A lady he would make her;
And thus he led the girl astray,
And I lost Betsy Baker.
VERSION 3
Parody with same title as version A, written by some
anonymous author for American audiences. For another
version, see Carmer (SRA), 94-95.
My sweetheart is a wonder quite,
And lately I did take her;
Her name you've heard before tonight,
Or else I did mistake her.
Yes, others may be great and good,
On land, on sea, or lake, sir—
Pew names have ever fairer stood
Than my sweet Betsy Baker.

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Song Texts
1518
The ice ran down the Ohio,
The steamboat it impeded;
At last we got away from snow,
Of which we so much needed.
No accident did us befall,
Tho' steamboat was a shaker;
I was not then blown up at all.
Except by Betsy Baker.
At last arrived at Louisville,
We thought ourselves quite lucky
To get so far down our route,
And lodge safe in Kentucky.
My wife she wished to see the men
Half-horse, half-alligator;
I fearful was that they might gouge
My lovely Betsy Baker.
Down Mississippi we did sail,
The moon in her first quarter;
One night the boat ran on a snag
And filled her full of water.
The passengers, both great and small—
Enough to shock a Quaker!—
Had scarcely any clothes at all,
What a sight for Betsy Baker!
******* ***•*•*•■*•■*■•*■**-*••*■*■*■-*■*•**■*■*■*

No. 140
BETSY EVANS
also known as
Bessie Beauty
The Betrayed Maiden
Betsey
Betsey Evans
Betsey the Waiting Maid
Betsy
Betsy and Johnny
Betsy, Betsy from London Bair

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Song Texts
1519
Betsy Brown
Betsy from London
Betsy is a Beauty Bair
Betsy the Waiting Maid
Betty and Johnny
Johnny and Betty
The Lancaster Maid
Pretty Bessie
Pretty Betsey
The Young Man's Misery
On hearing this song today it is difficult to "believe
that it was once one of the most popular songs in the
English-speaking world. To modern ears it has little
meaning and practically no musical appeal, but through
the 18th and 19th centuries it was known and loved by
hundreds of thousands of people.
We know the song originated in England, but we do not
know precisely when, where, or how. In Jour (APL), XII
(1889), 245, Newell traced Betsy Evans back to The
Lancaster Maid, which was sung in Massachusetts as Long
ago as 1800. Louise Pound said the song came down to
us from Colonial days. Prank C. 3rown ar.d Malcolm La7/s
both thought Be1 37 / Evans wa3 a rewrite of the 17th cen
tury ballad, Love Overthrown —a version of which is in
Rollins (?3), VII, 136-138. A stall print issued by
Pitts of Seven Dials as The Betrayed Maiden was reprint
ed in Firth's An American Garland , 69-71.
The song's popularity was probably due to the situation
described in the text; it was something that happened
over and over again to the poor in the British Isles.
During the 17th and 18th centuries, the dread of being
kidnapped and shipped to virtual slavery in the American
colonial plantations was more real than imaginary.
The reality of this general dread among the common folk
is substantiated by historical records. In Rollins (?B),
IV, 37-40, we read: "On May 23, 1682, in the course of
a trial at London it was proved... that there was in
general such a trade as kidnapping or spiriting away
children, and witnesses testified that 'there had been

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Song Texts
1520
above five hundred sent away in two years at Christ
mas last."’
Betsy Evans is one of many songs dealing with that
political, social and commercial abuse of poor
people in 17th and 18th century England.
See and compare: Richard and I in Creighton (MES),
49.
REFERENCES
Brown, II, 253; IV, 147
Campbell & Sharp, No. 74
Cazden, I, 74-75
Creighton (FSNB), 123-124
Creighton (SBNS), 62-63
Eddy, 218-219
Flanders (BMNE), 9-11
Flanders (CSV), 10-11
Gardner (BSSM), 114-116
Greig, I, art. 80
Jour (AFL), XII, 245;
XXIX, 130
Jour (EFDS), III, 244
Laws (AB), 189
McCollum, 107-108
Peacock, III, 666-667
Pound, 66-68
Pound (SFSN), V, 19-20
Quarterly (SFL), VIII,
235-236
Randolph, I, 235-236
Reeves (EC), 51-55
Sharp, II, 4-5
Betsy Evans
Young Be/tsy was a lady fair
Who sailed over from London there;
A servant maid she was bound to be,
Which suited Betsy to a high degree.
In this new house there was a son.
And to his parents a priceless one;
But Betsy was so fine and fair.
He looked upon her and he learned to care.
Her eyes did shine with loving light.
And he told Betsy one summer’s night:
"The love I feel I dare not show,
For my dear parents would make you go.”

Song Texts
1521
MB
His laoth-.r, unseen, stood quite near.
Those words to Betsy she chanced to hear;
And in her mind resolved angrily, •
To send poor Betsy far across the sea.
When morning came and she arose,
She said to Betsy, "Put on your clothes.
It’s to our farm you and I must go,
And there we’ll remain for a week or so."
When to the farm at last they came,
The wealthy woman, much to her shame,
She hired a ship anchored near the town,
And to Virginia Betsy soon was hound.
Back home again the mother came.
To hear Johnny cry out in pain:
"0 mother, where is your servant maid?"
And she replied: "Upon the farm she stayed.
"0 son! 0 son! it’s plain to 3 ee
Your love for Betsy now worries thee;
But love no more—'tis all in vain,
For Betsy has sailed far across the main."
He turned his face unto .the wall.
Then gave himself a hard, deadly fall.
He bade his friends and the world adieu,
And then cried out: "0 mother, it’s you!
It's you!"
0 when she saw her son was dead,
She fell distracted and cried and said:
"If only my son would breathe again,
I’d send for Betsy far across the main!"
*********-************

MB
Song Texts
1522

No. 141
BEULAH LAND
Source Song. This 1709 revival hymn, written by Edgar
Page and J. R. Sweney, has remained popular among the
Protestants since its introduction. Many secular par
odies have been written over the years, and on a wide
variety of subjects. For two of these, see: Dakota
Land (No. 326) and Kansas Land (No. 941) in this MB.
For other versions, see: Benzigler, 83 and Vincent,
(ALS), 28.
Beulah Land
I’ve reached the land of corn and wine.
And all its riches freely mine;
Here shines undimm'd one blissful day,
For all my night has pass’d away.
Chorus
0 Beulah Land, sweet Beulah Land,
As on thy highest mount I stand,
I look away, across the sea,
** Where mansions are prepared for me.
And view the shining glory shore—
My heav'n, my home, forevermore!
My Saviour comes and walks with me,
€
And sweet communion here have we;
He gently leads me by his hand,
For this is heaven’s border land.
A sweet perfume upon the breeze
Is blown from ever vernal trees,
And flow’rs that never fading grow
Where streams of life forever flow.
********-***********

MB
Song Texts
1523

Ho. 142
BIG BILL BRADY
also known as
Bill Brady Duncan and Brady
Brady, He’s Dead and Gone Twinkle, Twinkle,
Depend On Me, Chollie, God Little Star
Knows
This song, reportedly based upon fact, originated
about 1900. Some eay the place of origin was St.
Louie, Mo. Brady, a black man, had a reward on his
head —$1,000. alive and $500. dead. According to
Professor Ronald J. Shay, the man who killed him
was named Bounds, not Duncan, and it happened in
the following manner: Alfred Bounds, a deputy sher
iff, came face to face with Brady on a railroad
track near Purvis and Sumrail, Lamar county, Miss
issippi, beat him to the draw and shot him in each
arm. Wounded, Brady ran. Bounds shot him in the
back, fatally.
REFERENCES
Botkin (MRP), 596-597
Brown, II, 571-572; IV,
287
Dobie (CG), 43
Lomax (OSC), 333-334
Odum (NHS), 209
Perrow, XXV, 151
Sandburg (AS), 198-199
Scarborough (NFS), 85-87
Silverman, I, 73
Big Bill Brady
Down in St. Louie at Twelfth and Carr
Big Bill Brady was a-tendin’ bar;
In came Duncan with a star on his chest,
And he says, ’’Brady, you’re under arrest!”
Chorus
Brady, why didn’t you run?
Big Bill, you should have run i

KB
Song Texts
1524
Brady, why didn't you run.
When you saw ol* Duncan with his Mg
black gun?
Brady told Duncan, "You ain't no fool!
I just come in here to shoot some pool#"
Duncan shot him once, then he shot him twice;
And he says, "Brady, you should-a been nice!"
Down in hell Brady was curious,
Told the devil: "I'm from St. Louie!"
"Well, take off your clothes and step this-a
way,
Knowed you was cornin' and here you will stay."
Final Chorus
Brady, Brady, where you at?
Brady, 0 where you at?
Brady, Brady, where you at?
He*8 a-struttin' thro' hell in a
Stetson hat!
****************************

Ho. 143
THE BIG DECEIVER
also known as
Oh, How He lied!
Old but popular favorite of modern folk-singers, col
lege students, and barroom quartettes. Scholarly folk
collectors have ignored it, but versions may be seen
in Best, 69 and Leisy (SPS), 145.
The Big Deceiver

MB
So E S Texts
1525
He eat down beside her and smoked his cigar,
Smoked his cigar, smoked his cigar;
She sat there beside him and played her guitar,
Played her guitar.
He told her he loved her but it was a lie,
It was a lie, it was a lie;
He used her, abused her, and left her to cry,
Left her to cry.
Forsaken and lonely, she lay down and died,
Lay down and died, lay down and died;
He went to the funeral, but just for the ride,
Just for the ride.
Now up there in heaven flip-flap she flies,
Flip-flap she flies, slip-flap she flies;
And way down in hell he sizzles and fries,
Sizzles and fries.
The moral is simply never to lie.
Never to lie, never to lie;
Or just like that monster you'll sizzle and fry,
Sizzle and fry!
******* ***■«■** ******* ***•»•* ***

No. 144
THE BIG ROCK CANDY MOUNTAIN
This is a "hobo” song that gained wide popularity,
aided in no small measure by the many professional
"country-western” entertainers who sang it on stage,
radio programs and phonograph records. Many versions
are in print, with mo^t in folios issued by regular
music publishing companies and individual artists.

HB
Song Texts
1526
The earliest "in print" version I have seen was pub
lished in 1913 by the Baseball Publishing Company of
Indianapolis.
For a parody, see The Sweet Potato Mountains in
Milburn, 90.
REFERENCES
Agay (1), 56-57
Arnett, 116
Best, 21
Botkin (API), 884-886
Briegel (4), 8-9
Greenway, 203-204
Ives (SA), 231-233
Kennedy (TAB), 115-116
Leisy, 27-28
Lingenfelter, 534-537
Lomax (FSNA), 422-423
Lomax (USA), 278-281
Luther, 265
Milburn, 61, 87
Okun, 178-180
Seeger (6), 66-67
Silverman, II, 202
Whitman, 95
The Big Rock Candy Mountain
On a morning bright, by the dawn's early light,
A brawny bum came a-hiking,
Down the railroad track with his shoulders back.
Just a-lookin* for his liking.
While he hiked along, he hummed a song
•Of a land of milk and honey,
Where a bum can **tay for many a day
And not need any money.
Tag Chorus
Oh! the buzzin' of the Bees in the Cigarette trees,
•Round the soda water fountain,
Near the lemonade springs where the wild birds sing,
In the Big Rock Candy Mountain.

MB
Song Texts
1527
In the Big Rock Candy Mountain,
There'e a land 30 fair and bright.
Where handouts grow on bushes, boys,'
And you sleep out every night;
Where the box cars are all empty, boys.
And the sun shines every day—
I wanna go where there ain’t no snow.
Where the sleet don't fall and the wind
don't blow,
In the Big Rock Candy Mountain,
( Repeat Tag Chorus )
In the Big Rock Candy Mountain
Tou never change your socks,
And the little streams of alchohol
Come trickling down the rocks!
The shacks all have to tip their hats
And the railroad bulls are blind;
There's a lake of stew and of red-eye
too.
And you can paddle all around in a big
canoe
In the Big Rock Candy Mountain,
( Repeat Tag Chorus )
************************************

Mo. 145
BILL CHEATUM
Piddle piece used primarily for "square dancing."
No words recovered. See music under "Tunes" in
this MB.
************************************

MB
Song Texts
1528

Ho. 146
BILLY BOY
also known as
Billie Boy
Can She Bake A Cherry Pie?
Charming Billy
My Billy Boy
My Boy Billy
Where Have You Been
Billy Boy?
Billy Boy is a folk classic; it is an English-Irish
song that is known and sung throughout the English-
speaking world. Practically every music publisher
in the U. S. has published a version of Billy Boy ,
and sometimes more than once. Collectors have also
included versions of the song in their published
works, although many of the more scholarly ones
offer differing opinions as to its origin* Accord
ing to Baring-Gould, Billy Boy is a fore-runner of
Lord Randal. Cecil Sharp, on the other hand, thought
of it as a derivative "burlesque" of Lord Randal (see
Will Davy , My Son in this MB). Whatever the truth
may be, the song shows no sign of diminished popu
larity.
REFERENCES
Armitage, II, 146
Baring-Gould (ENSR), 36
Baring-Gould (GCS), 83
Beadle (1), No. 10, 62
Belden (BS), 499-501
Berger, 11-12
Bertail, 66
Best, 35
Botkin (APPS), 145-146
Bronson, I, 227-233
Brown, III, 166-169; V,
97-99
Brown (BLEC), 10
Bulletin (TFS), III, 94
Cambiaire, 45-46
Campbell & Sharp, No. 89
Cazden, II, 28-31 '
Cazden (MD), 28-31
Chase (TBS), 18
Cole, 6-7
Cox (FSS), 484, 532
Davis (FSV), 193-195
Durlacher, 108
Eddy, 117-120

MB
Song Texts
1529
Emrich (CBF), 27
Plandere (VFSB), 162
Fuson, 105
Gainer, 166-167
Gardner (FSH), 208, 236
Halliwell (NRE), 226
Halliwell (NRNT), 89,
328
Halliwell (PRNT), 259
Henry (FSSH), 383-387
Herd (AMSS), II, 1
Hubbard, 375-377
Hudson (FSM), 278-280
Hugill (1), 450-452
lyes (SA), 30-33
Ives (SB), 190, 168
Johnson (SMM), VI, No.
502
•Johnson (WTS), 225, 230
Jones, 3, 8, 299
Jour (AFL), XXVI, 356;
XXXI, 78, 160; XXXIII,
92; XXXIX, 151
Jour (FSS), VIII, 210
Karpeles (EFS), II, No.
315
Kennedy (AB), 60-61
Kennedy (TAB), 191-193
Kincaid No. 1, 25
Lelsy, 32-34
leisy (LAS), 18
Leiey (SPS), 82-83
Levy, 332-333
Linscott, 166-167
Lomax (ABFS), 320-322
Lomax (PB), 68
Luther, 48-49
Mackenzie (QB), 75
Memoirs (AFS), XXIX, 24-
27
Morris, 420-422
Oberndorfer, 86
Owens (TFS), 10-11
Pound, 231-232
Pound (SPSN), XIII, No. 1
Randolph, I, 391-393
Rimbault (NR), 32-33
Roberts (IP), 114-115
Scarborough (SC), 296,
435
Scott (SA), 29
Scott (FSS), 56
Sharp, II, 38-39
Sharp (100), 132-133
Shearin (SKFS), 30-
Shoemaker (MMP), 121
Shoemaker (NPM), 102,
116-117
Silverman, II, 170
Stout, 24-27
Terry, I, 2-3
Wier (SCLS), 230
Wilder, 56-57
Wolford, 24-25
Wyman (LT), 14-17

MB
Song Texts
1530
Billy Boy
Oh, where have you been, Billy Boy, Billy Boy?
Oh, where have you been, chancing Billy?
I have been to choose a wife, she's the joy of
ay life,
But she's a young thing and cannot leave her mother*
Bid she ask you to come in, Billy Boy, Billy Boy?
Did she ask you to come in, charming Billy?
Yes, she asked me to come in, with a dimple in her
chin.
But she's a young thing and cannot leave her mother.
Bid she ask you to sit down, Billy Boy, Billy Boy?
Bid she ask you to sit down, charming Billy?
Yes, she set for me a chair; she's got ringlets in
her hair.
But she's a young thing and cannot leave her mother.
Can she bake a cherry pie, Billy Boy, Billy-Boy?
Can she bake a cherry pie, charming Billy?
She can make a cherry pie quick as a cat winks
her eye.
But she*8 a young thing and cannot leave her mother.
Can she make* a feather-bed, Billy Boy, Billy Boy?
Can she make a feather-bed, charming Billy?
She can make a feather-bed, place the pillows at
your head,
But she's a young thing and cannot leave her mother.
Did she ask you for a ring, Billy Boy, Billy Boy?
Did she ask you for a ring, charming Billy?
Yes, she asked me for a ring, and I'd give her
anything,
But she's a nice thing and cannot leave her mother.
******************************

MB
Song Texts
1531

No. 147
BILLY GRIMES
also known ass
Across the yields of Barley Billy Grimes, the Rover
Billy Grimes, the Drover Will Ray
This musical bit of social satire was originally
composed as a song for vaudeville.
REFERENCES
Belden (BS), 251-252
Brown, II, 466; IV, 248
Chappell (FSRA), 134-135
Davis (FSY ), 234
Hubbard, 104-105
Hudson (FSM), 281-282
Jour (APL), XXVIII, 173;
HI, 40-41
Morris, 144-147
Pound, 205-206
Pound (SPSN), XIII, No. 2
Quarterly (SPL), VIII,
190-191
Sharp, II, 248
Shoemaker (MMP), 63-65
Shoemaker (NPM), 61-62
Billy Grimes
Tomorrow morning I’m sweet sixteen,
And Billy Grimes, a drover.
Has popped the question to me, Ha,
And wants to be my lover.
He says he's coming here, Mama,
Tomorrow morning quite early,
To take a pleasant walk with me
Across the fields of barley.
You must not go, my daughter dear,
It’s no use now in talking;
You must not go acroes the fields
With Billy Grimes a-walking.

MB
Song Texts
1532
To think of hip presumption, too.
The ugly, dirty drover!
I wonder where your pride has gone.
To think of such a lover.
Old Grimes is dead, you know, Mama,
And Billy*s feeling lonely;
Besides, of Grimes' whole estate
Billy'8 now the owner.
He is the heir to all that*8 left.
Which they say is nearly
A good ten thousand dollars. Mama,
Or some six thousand yearly.
I did not hear, my daughter dear,
That last remark quite clearly;
But Billy is a clever lad,
And no doubt loves you dearly.
Remember, dear, tomorrow morn
To he up bright and early,
To take a pleasant walk with him
Across the fields of barley.
************************

No. 148
BILLY RILEY, 0!
also known as
Oh, Billy Riley Old Billy Riley
This is a British halyard shanty that dates back to
at least the 18th century. According to Smith (BOS),
52, it ”ie one of the real old stagers." It was
never highly regarded by U. S. seamen, which is
probably why I was able to find a version in only
one recognized collection issued in America.
REFERENCES

KB
Song Texts
1533
Colcord, 74
Hugill (1), 452
Sharp (EPC-2), 63
Smith (BOS ), 53
Billy Riley , OJ.
0 Billy Riley, Mister Billy Riley,
0 Billy Riley, 0!
0 Billy Riley, wake him up so cheer*ly,
0 Billy Riley, 0!
0 Billy Riley wag a boarding master,
0 Billy Riley, 0!
0 Billy Riley, make the day go faster,
0 Billy Riley, 0!
0 Billy Riley had a pretty daughter,
0 Missy Riley, 0!
0 Billy Riley threw her in the water,
0 Missy Riley, 0!
0 Missy Riley didn*t like us sailors,
0 Billy Riley, 0!
0 Billy Riley shipped aboard a whaler,
0 Billy Riley, 0!
***********************************

No, 149
BILLY THE KID I
Billy the Kid (William H. Bonney) is supposed to
have killed at least twelve men before being brought
to national attention by a range war in Lincoln
County, New Mexico, Details concerning Billy’s
early years are scarce, but it is known that he
was born in New York City on November 23, 1859.

MB
Song Texts
1534
At some period between then and hi9 twelfth birth
day, Billy was taken West (possibly without a father),
where he lived a rather delinquent childhood. At the
age of twelve, according to some reports, he killed
a man. However, his career as an outlaw did not
really begin until the spring of 1877, when the Lincoln
County War began. After the scattered battles of that
conflict ceased, Billy continued in his career as gun
man and became a cattle rustler as well. He was event
ually arrested, tried for murder, and sentenced to be
hanged. He escaped, killing two guards in the process,
and once again became a fugitive.
Sheriff Pat Garrett, former friend and companion,
shot and killed Billy the Kid (in the home of Pete
Maxwell) on the night of July 14, 1881. Billy*s ex
act age at the time of death was 21 years, 7 months
and 21 days. Shortly after his death the folk process
elevated the name of Billy the Kid from ignorant,
vicious killer and thief to the mythical plateau
of folk giants. He became the subject of articles,
books, stage plays, songs and, in our own time,
motion pictures. Here, of course, we are concerned
with songs dealing with the outlaw*s career. We
offer three of those songs. A fourth, The Ballad of
Billy the Kid , by Henry Herbert Knibbs, is in Songe
of the Lost Frontier (Boston-New York, Houghton
Mifflin Co., 1930), pp. 34-37. That ballad, which
is sung to the tune of the song below, begins:
Ho man in the West ever won such renown
As young Billy Bonney of Sante Fe town;
And of all the wild outlaws that met a bad end,
None so quick with a pistol or true to a friend.
The entire ballad can also be seen in Fife, 266-268.
Billy the Kid is credited to Rev. Andrew Jenkins,
Atlanta, Georgia.

MB
Song Texts
1535
BBPBFJSNCES
Lingenfelter, 319-320
Allen (Cl), 31, 162
Botkin (APL), 106-107
Coleman, 110
Fife, 265-266
Glass (SW), 28-29
Ives (SA), 202-203
Lomax (ABFS), 137-138
Lomax (CS-1938), 141-142
Lomax (FSKA), 387
Patterson (SER), 6-7
Silverman, I, 69
Billy the Kid I
1*11 sing you a true song of Billy the Kid,
1*11 tell of the desperate deeds that he did
Way out in New Mexico long years ago,
When a man's only chance was his own forty-four.
When Billy the Kid was no more than a lad,
He took to the trail and he went to the bad;
In old Silver City, where it all began,
At the age of twelve years he killed his first
man.
Young Mexican maidens played on their guitars,
And sang of young Billy the Kid ’neath the stars;
He was a brave lover, and proud of hi9 name,
And no man could stand against his deadly aim.
Young Billy rode wild, and his killings were vile;
He shot fast, and first, and rode off with a smile.
He rustled some cattle and thought it no sin,
And his guns held notches for twenty-one men.
01* Gov'ner Lew Wallace invited the Kid
To ride in and talk, for a pardon to bid;
But Billy replied, "To hell with the law!
Ho man alive can beat me to the draw!"
Pat Garrett, the sheriff, another fast man,
He gathered a posse and told them his plan:

KB
Song Texts
1536
"We'll put a high price upon Billy's young
head,
And bring him to Justice, alive or shot dead!"
How this is how Billy at last met his fate:
The full moon was shining, the hour was late;
To Pete Maxwell's house Billy went for to hide,
Hot knowing Pat Garrett was waiting inside.
As Billy stood there in the moon-lighted door,
He fell in his tracks, and lay dead on the
floor.
Gunned down by Pat Garrett, who once was his
friend,
Young Billy the Kid did at last meet his end.
There's many a man with a face fine and fair
Who starts out in life with a chance to be
square,
But just like young Billy he wanders astray
And loses his life in the very same way.
•»*«*-»***•*******-***• *********

Ho. 150
BILLY THE KID II
This song, which dates from the first decade of the
20th century, is a dozen or so years older than the
foregoing song, Billy the Kid I. Fife, 268, gives
a text of this song from the unpublished Stella
Hendren collection. An almost identical text is in
Lomax (CS-1919), 344, and, with an additional stanza,
in Lomax (CS-1938), 140. A version is also in Lomax
(ABPS), 136-137.
Billy the Kid II

KB
Song Texts
1537
Billy the Kid was a young bad man.
And he carried a great big gun;
He was always shooting at the greasers.
Just to keep them on the run.
Billy would shoot one ev'ry mornin*
Just to make up his mornin' meal;
If a white man ever dared to sass him,
He was sure to feel his steel.
Billy he kept folks in hot water.
He robbed many a western stage;
And when he was full of rotgut whiskey
He was always in a rage.
One day he chanced for to meet a man,
Who happened to be much badder;
And Billy was shot to death in darkness,
And we ain't none the sadder.
*************************

Ho. 151
BILLY THB KID III
This is the most recent song about Billy the Kid's
career; it was written by Dickson Hall and is in
his LP Album, Outlaws of the Old West (MGM Records).
The song is reproduced here with the author-composer's
permission.
Billy the Kid III
Way out in Lincoln county, a long, long time ago,
They had themselves a range war that swept Hew
Mexico.

MB
Song Texts
1538
John Chisum got it started, just the way they say
he did,
But the one who kept it going was Billy the Kid.
Chorus
Billy, oh, Billy! the wind in the valley whispers
low.
Billy, oh, Billy! you hear his name wherever you go.
Now Billy was a young man but deadly with a gun;
He got into the habit of killing men for fun.
Then he became an outlaw, a price was on his head,
But those who tried to get him were shot down in
stead.
Billy, oh, Billy! the wind in the valley whispers low.
Billy, oh, Billy! where is he now? Oh, where did he go?
When Billy was arrested, Oh! that was quite a day!
The law was gonna hang him, but Billy got away.
He rode up to the mountains, a place where he could
hide,
While the posse in the valley rode *round the country
side.
Billy, oh, Billy! the wind in the valley whispers low.
Billy, oh, Billy! riding alone and no place to go.
His girl was young and pretty; he couldn’t stay away.
He knew he shouldn't do it, but he rode down anyway.
Pat Garrett was there hiding beside her father's bed;
When Billy came to visit, Pat Garrett shot him dead!
Billy, oh, Billy! the wind in the valley whispers low.
Billy, oh, Billy! Billy the Kid of New Mexico!
************************

KB
Song Texts
1539

Ho, 152
BILLY VENERO
also known as
Bill Venero The Ride of Billy Venero
Billy Veniro The Ride of Paul Venarez
Paul Venerez
This «ong of the Southwest has endured despite its
length, though one seldom encounters anyone who can
eing the entire song from memory. According to Ed
win Ford Piper, the song derived from The Ride of
Paul Venarez, a poem by Eben E, Rexford,
REFERENCES
Botkin (WFL), 759-760
Clark (CS), 60-61
Coolidge (TC), 119-122
Fife, 129-131
Prey, 44-45
Garrett (100), 99-101
Larkin, 25-29, 40-45
Lingenfelter, 262-263
Lomax (CS-1919), 299-303
Lomax (CS-1938), 197-200
Ohrlin, 237-239
Queries (7/2/39), 15
Randolph, II, 222-227
Billy Venero .
Billy Venero heard them say.
In an Arizona town one day.
That a band of Apache Indians
Were on the trail of death.
Billy heard of murder done.
Three men killed at Rocky Run—
"They*re in danger at the cow-ranch,"
Said Venero *neath his breath.
Not a moment he delayed
When brave resolve was made,
"Why, man," his comrades told him
When they heard his daring plan,

MB
Song Text3
1540
"You are riding straight to death."
But he answered, "Save your breath.
I may never reach the cow-ranph,
But I’ll do the beet I can."
As he crossed the Alkali,
All his thoughts flew on ahead
To the little band at cow-ranch
Thinking not of danger near.
Vith his quirt’s unceasing whirl
And the jingle of his spurs,
little Chapo bore Venero
O’er the far away frontier.
Lower and lower sank the sun—
He drew rein at Rocky Run:
"Here those men met death, my Chapo"—
And he stroked his glossy mane.
"So will those we get to warn
Ere the coming of the morn.
If we fail—God help my Bessie,*
And he started on again.
8harp and clear a rifle shot
Woke the echoes of the spot.
"I am wounded," cried Venero
As he swayed from side to side.
"While there's life there’s always hope.
Slowly onward I will lope—
If I fail to reach the cow-ranch,
Bessie Lee will know I tried.
"I will save her yet," he cried.
"Bessie Lee shall know I tried—"
And for her 3 ake he then halted
In the shadow of a hill.

MB
Song Texts
1541
Prom his saddle-bag he took
With weak hands a little hook,
Tore a blank leaf from its pages’.
Saying, "This shall be my will,”
Prom a limb a pen he broke.
And he dipped his pen of oak
In the warm blood that was spurting
Prom the wound above his heart.
"Roufce," he wrote, w before too late,
Apache warriors lie in wait.
Goodbye, God bless you, darling—"
And he felt the cold tears start.
Then he made his message fast,
Love*s first message and its last;
To the saddle-horn he tied it,
And his lips were white with pain.
"Take this message, if not me,
Straight to little Bessie Lee."
Then he tied himself to the saddle
And gave Chapo the rein. .
Just at dusk a horse of brown
Wet with sweat came panting down
The little lane at the cow-ranch.
Stopped in front of Bessie's door.
But the cowboy was asleep,
And his slumber was so deep
Little Bess could never wake him.
Though she tried for evermore.
You may have heard the story told
By the young and by the old,
Away down yonder at the cow-ranch
The night the Apaches came.

1542
MB Song Texts
Of that sharp and bloody fight.
How the chief fell in his flight,
And the panic-stricken warriors
When they heard Venero’s name.*
*********************

Ho. 153
BIRD SONG I
also known as
Birds Courting Song A String to My Bow
Court All Night, Sleep The White Owl With the
AH Day White Head
Versions of this song’s theme are available in sever
al forms; and lines and stanzas from one version
often show up in others. All the various forms are
related, however, and may ultimately have an identi
cal source. According to Phillips Barry, the form of
S° n g I goes back to the 17th century English
ballad, The Woody Querlsters (in Roxburghe Ballads .
VI, 301 - 303 ). Por another and perhaps more popular
form, see Bird Song II (No. 154 in this MB).
Two almost identical texts are given as versions of
The Butcher Boj in Barry (PMA), 8 and Jour (API),
XXII, 78.
REFERENCES
Brown, III, 199; V, Bulletin (PSSN), XII, 19
117 Emrich (CBP), 43
Bird Song _I
Says the Robin as he flew,
When I was a young man I choosed two;
If one didn't love me the other one would
And don't you think my notion’s good?

MB
Song Texts
1543
Said the blackbird to the crow:
Why do white folks hate us so?
’Cause ever since old Adam was born
It’s been our trade to pull up corn.
Hoot! said the owl with head so white,
A lonesome time, day or night.
I thought I heard a young girl say
She’d flirt all night and sleep all day.
Said the jaybird hopping in the grass.
Wish I had my bottle and glass
And some fair lady to drink with me—
Oh, how happy I then would be!
Up spoke the lonely turtle dove:
That’s no way to keep her love.
To be her love and heart’s delight,
Just keep her up both day and night.
***********************

No. 154
BIRD SONG II
also known as
Birds* Courting Song
The Blackbird and the Crow
The Crow Song
The Hated Blackbird and
Crow
The Leather-winged Bat
Said the Blackbird to the
Crow
Sapsuck A-sucking Up a
Hollow Gum Tree
Song of the Crow
Too Hoo, Says the Owl
This song is the better known form of The Birds
Courting Song , which comes in several versions
(two of which are given below).
REFERENCES

MB
Song Texts
1544
Agay (1), 41
Arnold, 119
Belden (BS), 32
Botkin (HEP), 883-884
Brown, III, 203; V, 117
Casden, II, 56-59
Davis (PSY), 202-203
Downes (1943), 236
Edwards (CHSB), 64
Ives (SA), 113-115
leisy (LAS), 52
Loesser, 40-41
Lloyd, 76
McIntosh (FSSG), 69
Morris, 197-198
Okun, 143-144
Randolph, II, 355-357
Sharp, II, 304
Silverman, I, 319
Sturgis (SHY), 40
Talley, 183
Wetmore, 10-12
Winn (1), 68
Yolen, 122-123
Bird Song II ( Version A)
Oh, said the blackbird to the crow,
To yonder cornfield I must go;
Pickin' up corn has been my trade
Ever since Adam and Eve was made.
Well, said the redbird to the crane,
Let's pray to God to let it rain.
Pond's all muddy, the creek's all dry,
Wasn’t for tadpoles we'd all die.
Well, said the peckerwood as he flew,
When I was young I courted too;
Pickle she grew and from me fled.
Ever since that time my head's been red.
Well, said the bobwhite in the grass,
Once I did court a fair young lass;
Pickle <*he grew and took to flight.
Ever since then I've hollered bobwhite.
Well, said the orow high in the air,
I, too, did court a lady fair;

MB
Song Texts
1545
Fickle she proved and turned her back.
Ever since that time I’ve dressed in
black.
Well, said the owl up in the tree,
What’s to become of you and me?
Must we suffer? Must we complain?
let*8 all fly away and try again.
(Tbreion B)
Hi! said the little Leather-winged bat,
I’ll tell to you now the reason that
I’ve always had to fly in the night:
Because the Lord is my heart’s delight.
Hi! said the woodpecker sittin’ on the fence,
I once courted a handsome wench.
She proved false and from me fled.
And ever since then my head's been red.
Hi! said the Tomtit as he ran,
Wish I had a bottle in my hand
And two pretty girls to drink with me—
Oh, how happy, happy I would be.
**************************

Ho. 155
THE BITTER WITHY
also known as
The Bridge of Sunbeams
This old carol-ballad, based on the legend of Christ
and the bridge of sunbeams, has generally been ig
nored by folk song collectors in the United States,
but not in England. The "bridge of sunbeams" miracle

MB
Song Texts
1546
from the pseudo-evangelical chronicles has been
traced by Phillips Barry; his findings are recorded
in Jour (API), XXVII, 79-89.
REFERENCES
Friedman, 60-62
Jour (FSS), II, 205, 300;
IV, 29-47
Leach (BB), 689-690
Leather, 181
Lloyd (FSE), 124-125
Notes (4th series, I,
1905), 53
Pub (MLA), XXIII, 141
Sharp (EFC-1), 5
Wells, 188-189
The Bitter Withy
A9 it fell out, on a high holiday,
Some hail from the sky did fall;
Our Saviour asked his mother dear
If he might go and play at ball.
To ball, to ball, my own dear son,
It is time that you were gone;
But don’t let me here of anything wrong
At night when you come home.
So up the roed and down the road
Our little Saviour ran,
And then he met three rich young lords—
And greeted one and all.
Hello, hello, hello, said they;
Good morning, then said he.
0 which of you three rich young lords
Will come play ball with me?
We’re all rich lords’ and ladies' sons,
Born in our bower and hall,
And you are but a poor maid’s child,
Born in an ox’s stall.

ME
Song Texts
1547
Since you are lords* and ladies’ sons,
Born in your bower and hall,
I will make you believe in your latter
•nd:
I f m an angel above you all.
He made a bridge with the beams of the
sun.
And o'er the water crossed he;
The rich young lords followed after him,
And drowned they were all three.
Then up the road and down the road
These young lords* mothers ran,
Saying, Mary mild, fetch home your child,
For ours he has drowned all.
So Mary mild fetched home her child
And laid him across her knee;
And with a band of green withy twigs
She gave him slashes three.
0 withy, 0 withy, 0 bitter withy.
Thou ha«=t caused me to smart;
And the withy shall be the very first
tree
That shall perish at the heart.
*****************************

Mo. 156
THE BLACK BALL LINE
A halyard shanty about the first and most famous
line of packet-e-ships produced in the United State
Ships of the Black Ball Line sailed between New
York and Liverpool, beginning in 1816. These were

KB
Song Texts
1548
little ships, comparatively, ranging between 300
to 500 tons, but they furnished for many* years the
only means of regular communication between North
America and Europe, They sailed regularly from New
York on the 1st and 16th of each month, and earned
a bad reputation for the company. n In order to keep
up their averahe time of three weeks out and six
weeks home," observes Colcord, "the ships were driven
unmercifully, and acquired a bad name among sailors
for the iron discipline maintained aboard...The Black
Ball Liners carried a crimson swallowtail flag with
a black ball in the center, and the same symbol was
painted on their fore topsails."
REFERENCES
Colcord, 53 Sharp (EFC-2), 26
Davis (SSC), 14-15 Shay (ASSC), 38-39
Hugill (1), 291 Whall (SSS), 109
Lomax (ABES), 489
The Black Ball Line
I served my time in the Black Ball line
To me way-aye-aye, hurrah!
It was work like hell, come rain or shine!
Hurrah for the Black Ball Line!
All Black Ball ships are good and true,
To me way-eye-aye, hurrah!
And the sailors like to sail them too,
Hurrah for the Black Ball Line.
Oh, I once knew of a Black Ball ship, etc.
At fourteen knots an hour she'd clip, etc.
Now you should go to Liverpool, etc.
Over there you'll find a Yankee school, etc.

MB
Song Texts
1549
The Yankee sailors you 1 !! see there, etc.
Wear Red-top boots and short-cut- hair,
- etc.
*******************************

Ho. 157
BLACK BART
also known as
The Stage Robb6r
Historical "outlaw" song, Charles E. Boles alias
Black Bart was born in Jefferson county, Hew York.
The last of the famous stage robbers. Black Bart
beceme the most famous outlaw in California between
1875 and 1883. He added insult to injury by leaving
poems in empty strong-boxes for Wells, Fargo detect
ives to read. So far as is known, he never rode a
horse or fired a gun while practicing his trade.
Traced by a laundry mark, Bart was finally arrested
in San Francisco and brought to trial. Charged
with only one robbery, he was sentenced to six years
in the penitentiary. After serving four years, he
was released and returned to San Francisco.
Considering the number of stages robbed by Black
Bart, it could be truthfully said that he made out
like a bandit. Certainly he made out far better
than most outlaws and robbers. Then, suddenly, in
1888 Black Bart disappeared; and he was never seen
or heard from again.
The song below is the only one I've seen that deals
with Black Bart's career, and it is from Dickson
Hall's OUTLAWS OF THE OLD WEST (MGM Records, L? No.
E3263-). The tune is obviously taken from Cotton -
Eyed Joe (see in MB).

MB
Song Texts
1550
Black Bart
Black Bart, Black Bart, don*t you do it!
Believe me when I say,
If you rob that stage tomorrow,
You*11 never, never get away!
Black Bart, Black Bart, don*t be foolish!
You know you*re doing wrong.
You*re gonna lose your wife and children—
Go on home, where you belong.
Black Bart, Black Bart, why eo reckless?
I told you you would fail!
Vhen you face that judge tomorrow,
He*8 gonna send you straight to jail!
Goodbye, Black Bart, it*8 all over!
The truth I*m telling you:
You*re gonna serve time in prison,
And that’ll be the end of you!
*****************************

Ho. 158
BLACKBERRY BLOSSOMS
This old fiddle-banjo dance tune ia technically a
"reel.'’ According to Burchenal, p, 16, who give
a version, thi9 tune 19 played for the dance, The
Bridge of Athione. If there are words sung to thi
tune, I have not seen them. The melody is given
under TUBES, No. 158 , in this MB.
*************************

MB
Song Texts
1551

Mo. 159
BLACK BBSS
also known as
Bonnie, or Bonny Black Bess My Bonny Black Bess
Dick Turpin 1 8 Ride My Poor Black Bess
This is one of several songs dealing with the life
and career of Dick Turpin, an 18th century highway-
nan. For other songs, such as Dick Turpin and the
Lawyer . 0 Rare Turpin . Toppln . or Turpin Hero , see:
Mackenzie, 311; Pound, 157-158; and Williams (FSTJT),
99 * 100 .
Dick Turpin operated in England during the 1730s,
He was captured in 1739 and hanged on April 10 of
that year. This particular song centers on his
ride from London to York (an invention of ballad-
makers). Widely circulating broadsides were issued
by Bebbington, De Marsan, Harkness, Pitts, Ryle, and
Such.
REFERENCES
Ashton (MBS), 266-267
Brown, II, 356-357
De Marsan (S^), I, 262
Pife, 15-16
Priedman, 369-370
Gardner (BSSM), 320-322
Hubbard, 260-261
Lomax (CS), 194, 217
Mackenzie, 313-314
Moore (BFSS), 155-156
Ohrlin, 30-31
Pound, 155-157
Randolph, II, 152-155
Williams (FSUT), 101
Black Bees
When Fortune'8 blind goddess had fled my abode.
And friends proved ungrateful, I took to the road:
The wealthy to plunder, to relive my distress—
I bought you to aid me, my bonny Black Bess.

MB
Song Texts
1552
When dark clouds of mid-night are mantled and
thrown
O'er the face of green nature, how often we're
gone
from the points to the low heath as an unwelcome
guest,
To plunder the wealthy, my bonny Black Bess.
Oh, how gentle you stood when a carriage I'd stop!
What gold and what silver its inmates would drop!
Wo poor men were plundered, nor did we oppress
The widows and orphans, my bonny Black Bess.
When eagle-eyed justice that time did pursue,
?rom Torktown to London like lightning we flew.
Wo toll bars could stop us, wide rivers we'd breast
And in twelve hours we made it, my bonny Black Bess
Hark! I hear the bloodhounds. Dispair is my lot.
For the law now pursues me for the many I've shot!
To save me, old friend, you have done but your best
And now you're too weary, my bonny Black Bess.
They shall never have you, however they try!
Before they come closer, old friend, you must die.
My fate some will pity, but let me confess:
Through kindness I do it, my bonny Black Bess.
Thro all of the ages, when we're dead and gone,
Our tale will be told, and we shall live on.
I'll die like a man and soon be at rest—
Wow, farewell forever, my bonny Black Bess.
***************************

KB
Song Texts
1553

Ho, 160
BLACK IS THE COLOR
also known as
Black is the Color of My My Lear Sweetheart
True Love•s Hair
Credit for collecting and re-introducing this old
and hauntingly beautiful song belongs to John Jacob
Biles. I suspect that he also did a little tinker
ing with both the words and the music. If he did so,
we can only congratulate him for a job well done.
The time is similar to that of Little Sparrow (see
MB).
Also compare: Campbell 4 Sharp, Ho. 85 and Randolph,
I, 297-298.
REFERENCES
Agay (1), 7
Brown, III, 306
Cazden, II, 108
Cazden (ML), 108
Edwards (CHSB), 19
Henry (FSSH), 266
Black Is The Color
Oh, black is the color of my true love's hair;
Her lips are like a rose so fair.
The prettiest face and the prettiest hands—
I love the ground on which she stands.
I love my love. How well she knows!
1*11 follow her where e'er she goes.
The prettiest smile and the prettiest eyes.
She has a look so quietly wise.
Leiey, 34-35
Lomax (FSNA), 206
Ritchie (?S), 94
Sharp, II, 31
Silverman, I, 92
Warner, 33

MB
Song Texts
1554
How winter*s gone and grass grows green.
The tine is past that might have been;
But 9 till I hope, when all *9 said and done.
That you and I shall be as one.
I lay awake and start to weep.
And know that I shall never sleep;
The eun comes up and the sun goes down,
But peace of mind I have not found.
Oh, black is the color of my true love's hair;
She is the fairest of the fair.
I love her now and I always will.
And when she speaks my heart stands still#
*****************************

Ho. 161
BLACK SOLDIER*S SONG
also known as
Hegro Soldier's Song
A Civil War song that was sung by Union troops. It
was said to have been written by an ex-slave drummer
-boy in the 107th Infantry, who remains anonymous.
Black Soldier's Song Tune; Yankee Doodle
You'll see the rebels on the street
Whispering in rotation—
What do they seem to talk about?
Lincoln's proclamation#
How Richmond is a mighty place,
But Grant's sound as a dollar;
And every time he throws a shell,
Jeff begins to holler.

MB
Song Texts
1555
We’ll get our colored soldiers strung
All ’long the line of battle:
I’ll bet my money ’gainst the South—
The rebels will skedaddle!
*************** ***********

Ho. 162
THE BLACK TAIL RAHGE
Margaret Larkin recovered this old cowboy song. She
obtained it from Bob Norfleet, who told her: "It
was back in 1893 that we made up this song in a cow
camp in southern New Mexico. That’s where the Black
Tail Range is, in the Mogoloon Mountains."
REFERENCES
Felton, 84-87 Lomax (CS-1938), 292
Larkin, 140, 141 294
The Black Tail Range
I am a roving cowboy from off the Western Plains,
My trade is cinching saddles and pulling bridle reins.
I can throw a lasso with the most graceful ease,
And I can rope a bronco and ride him where I please.
I started over the plains in eighteen ninety-three,
And the dearest girl in all this world fell in love
with me;
Had I then a little stake, married I’d now be—
The dearest girl in all this world turned her
back on me.
Come all you roving cowboys, if you’re inclined to
roam;
I left my sweet old mother, two sisters and a home.

MB
Song Texts
1556
I left them all one morning when I wan young and
bold.
To follow long-horn*d cattle, boya, through the
heat and cold.
How all you roving cowboys, with mining on the brain,
Start out prospecting cattle on the Black Tail Range;
And if mining proves unfair, a-hunting you can go—
If you can’t kill a black-tail sheep, kill a black-
tail doe.
You hear that boy a-shouting along the Black Tail
hill?
He’s got himself a mountain sheep, and made himself
a kill.
But when at home he does arrive, all from his noble
claim,
He’ll get a sample of my mind— chief-of the Black
Tail Range.
**********************************

Ho. 163
THE BLIND BEGGAR’S DAUGHTER
also known as
The Blind Beggar of Bednall, or Bethnal Green
The earliest known version of this ballad is in the
Percy folio . and Percy said it "was written in the
reign of Elizabeth (I)." He deduced this from the
fact that the arms of England were called the "Queenes
armes," and from the fact that the tune was quoted
in other old pieces written during Elizabeth’s reign.
According to Pepys, the blind beggar was a real person.
In his diary, June 25, 1663, he reports having dinner
with friends and adds: "This very house was built by
the blind beggar of Bednall Green, so much talked of
and sang in ballads.”

KB
Song Texts
1557
Bimbault found the tune in an HS. volume of Lute
Music, left behind by a musician, and dating from
the time of England’s Charles II.
Despite its wide popularity in England, this ballad
Is rarely encountered in American tradition.
REFERENCES
Bell, 271
Chappell (OEPM), II, 16
Ebsworth (RB), I, 38
Eddy, 83-84
Flanders (BMNE), 107-109
Greenleaf, 71-72
Jour (FSS), I, 202
Karpeles, 188-190
Karpeles (EFS), I, 320-322
Jaws N 27, 217
Leach (BB), 694-695
Percy (RAEP), II, 171-
185
Quiller-Couch, 813-824
Sharp, I, 308
Sharp (EFS), II, No. 16
Williams (FSUT), 255-
256
The Blind Beggar’s Daughter
There was a blind beggar who begged day and night.
And he had a daughter that was lovely and bright.
•Shall I seek for my fortune, dear father?" said she.
The favor was granted to Pretty Betsey.
Then Betsey, who was of beauty so bright,
All olad in gray russet, and late in the night,
From father and mother alone parted she.
They sighed and they cried for Pretty Betsey.
She kept on her journey until it was day.
Then halted at Rumford along the highway;
There at the Quuen’s Arms entertained was she—
So fair and well-favored was Pretty Betsey.
She had not been there a month to an end.
But master and mistress and all were her friend;
And every brave gallant, that once did her see.
Fell straight-way in love with Pretty Betsey.

KB
Song Texts
1558
Pair Betsey just sighed and to them did say,
My mother and father I mean to obey.
First, get their goodwill and be faithful to me.
And you shall enjoy your Pretty Betsey,
My father is every day seen,
For he’s the blind beggar of Bednall Green.
But God above knows, and I swear it, said she,
He’s been a good father to Pretty Betsey.
Why then, said a knight, I’m thinking no worse;
I weigh not my love by the weight of the purse.
And beauty is beauty in every degree-
So come marry me, my Pretty Betsey.
Thus was fair Betsey matched to the knight,
And then made a lady all in her own right:
A fairer lady there never was seen
Than the blind beggar’s daughter of Bednall Green.
********************************
Child’s Prayer
Girl’s Death
Orphan
Here we have one of those 19th century "sob" ballads
that went directly from print into the folk stream,
where it has remained.
REFERENCES
Brown, II, 392-395; TV,
218-220
Cox (TBFS), 198
Ho. 164.
THE BLIND GIRL
also known as
The Blind and Helpless The Blind
Child The Blind
The Blind Child " The Blind
Allsopp, II, 203-204
Arnold, 79
Belden (BS), 275-276

MB
Song Texts
1559
Davis (FSV), 115-116
Puson, 146
Henry (FSSH), 371-372
Henry (SSSA), 128-129
Jour (API), XLIV, 75-76
Memoirs (APS), XXIX, 79
Morris, 117-119
Neely, 247-249
Perrow, XXVIII, 170
Quarterly (SPL), 17,
191-192
Randolph, IV, 191-193
Roberts (IP), 189-191
Shearin (SKPS), 32
Stout, 79-80
The Blind Girl
•They tell me, papa, that tonight
You*11 take another bride;
That you will hold her in your arms,
Where my dear mother died.
"Please, papa, do not bid me come
To greet your loving bride;
I cannot meet her in the room
Where my dear mother died.
•My mother'8 picture's on the wall.
Her books are lying near;
And there's the harp she often played.
And there's her vacant chair—
"The chair by which I often knelt
To say an evening prayer—
Oh! Papa, it would break my heart!
I could not meet her there.
"But I will kneel beside my bed
And to our Saviour pray.
That God's right hand shall shield you both
Through life's long dreary way."
He picked her up all in his arms
And laid her on the bed;

MB
Song Text 3
1560
Next morning, at the break of day,
He found his daughter dead.
They laid her by her mother's aide,
And raised a marble fair;
They had engraved these simple words:
"There is no blindness there,"
****** •***•* ****** ************

Mo, 165
THE BLIND MAN
also known as
A Blind Man Lay Beside the The Blind Man Stood Be-
Road, or Way side the Road, or Way
This song reflects how things once were; it tells
us of an age in which very little was done for the
handicapped. People showed their humanity by shedding
tears over the afflicted in countless songs. This
particular song deals with biblical character that
Jesus cured along the road. rFor a different version
of the same theme, see: Downes, 178, or 212; Johnson
(BANS), 108-109; Kennedy (M-l), 106-107.
REFERENCES
Lomax (ABFS), 596 - Odum (NHS), 136
Lomax (FSNA), 473 Sandburg (AS), 452
The Blind Man
A blind man lay beside the way;
He could not see the light of day.
The Lord passed by and heard him say,
"0 Lord, won't you help a me?"
"0 Lord, won't you help a me?"

MB Song Texts 156 I
Jesus died—he was crucified.
A thief was hung on either side*
One lifted up his voice and cried,
"0 Lord, won’t you help a me?" (2)
Blind man stood beside the road,
"0 Lord, won’t you help a poor me?"
And the thief who hung by his side,
"0 Lord, won’t you help a me?" (2)
Lord, I*ve been a sinner too,
But now I want to follow you.
0 hear me pray like sinners do—
0 Lord, won’t you help a me? (2)
******************************

Bo. 166
BLOOD ON THE SADDLE
also known as
Blood The Bloody Cowboy Trail End
This song, composed by Everett Cheetham and made
famous by his friend, Tex Ritter, was inspired by
a horse named Bolshevik that somersaulted and crushed
its rider at a rodeo in Florence, Arizona, in 1926.
The rider, Orville Fisher, Muddy Creek, Oregon, was
given only half an hour to live by a doctor at the
hospital. But six weeks later he walked out of the
hospital and continued to live. He was unaware
that a song had been written about him and his acci
dent until some fifty years later. Cheetham, the
composer, never knew that the hero of his dramatic
ballad refused to die.
To be fair, I must report that Katie Lee says this

MB
Song Texts
1562
8 ong was written by Homy Lowdermilk. What I don't
know is how she cane to that conclusion# Tex Riwter,
who recorded the song and performed it on radio and
on stage for years, told me that Everett Cheetham
wrote the song. I had known Tex Ritter for many years
and I believe his version of the story.
REFERENCES
Coleman, 36
Fife, 112-113
Gardner (BSSM), 253-254
Hull (CB), 46
Lee (TTGC), 156, 190
Lingenfelter, 440
Lomax (CS-1938), 288
Lynn (CS), 16
Silverman, II, 195
Winn (2), 170
Blood on the Saddle
There was blood on the saddle,
And blood all around;
And a great big puddle
Of blood on the ground.
The cowboy lay in it,
All covered with gore;
And he won't go riding
His bronco no more.
0 pity the cowboy.
All bloody and red;
His bronco fell on him
And smashed in his head.
There was blood on the saddle,
And blood on the ground;
And a great big puddle
Of blood all around.
****************************

MB
Song Texts
1563

Ho. 167
BLOOD-RED ROSES
also known as
Come Down, You Bunch of
Roses, Come Down
By Bonnie Bunch of Roses 0
Red, Red Roses
This halyard shanty was adapted from an old British
stall ballad. The 3onny Bunch of Roses (see Ho, 190
in MB). Several similar lines are also found in some
versions of another shanty, Roll the Cotton Down.
REFERENCES
Lomax (FSNA), 54
Scott (BA), 132-134
Silber (HSB), 119
Silverman, II, 260
Doerflinger, 22-23
Hugill (1), 365-367
Hugill (2), 184-186
Ives (SA), 84-85
Blood-Red Roses
My bonnie bunch of roses 0!
Hang down, you blood-red roses, hang down!
It's time for us to roll and go!
Hang down, you blood-red roses, hang down!
Chorus
Oh! You pinks and posies!
Hang down, you blood-red roses, hang down!
Oh! You pinks and posies!
Hang down, you blood-red roses, hang down!
We f re bound away at break of day, etc.
We’re sailing to Iquique Bay, etc.
We’re bound to sail around Cape Horn, etc.
Wish like hell we’d never been born, eto.
0 growl you may but go you must, etc.
But growl too hard your head they'll bust, etc

K3
Song Texts
1564
The gals on shore are straight ahead, etc.
A long hard pull should shift the dead, etc.
Just one more pull and that will do, etc.
So heave and pull and kick her through, etc.
*************************

Ho. 168
BLOW, BOYS, BLOW
also known as
Blow, Blow, Bully Boys, Blow A Yankee Ship and
Blow, Boye, Come Blow Together Yankee Skipper
Halyard shanty, and one of the most popular among
old-time seamen. The "Bully Hayes" referred to in
most texts is said to have been one of the more in
famous American captains. In fact, a .Captain Hayes
was lost in the Rainbow in 1848. There is some dif
ference of opinion among scholars as to whether
"Bully Hayes" and "Captain Hayes" were one and the
same*
Compare: Blow . Blow * Bully Boys . Blow in Niles (SMK)
141J Blow , Bullies . Blow in Morris, 54-55; and Too-
Li-Aye in Eckstorm, 240.
REFERENCES
Adams, 514
Anderson (WY), no
Baltzer, I, 90
Beck (PIS), 150-151
Bone, 57-58
Botkin (HEP), 868-870
Boughton, 122
Bradford, 4-5
Bullen ft Arnold, 29
Chappie (HS), 465
Coloord, 7-8, 50-51
Davis (SSC), 40-41
Doerflinger, 25-29
Downes, 80, 86
Bmrich (FAL), 455-456
Finger (SCCS), 14
Ford (TMA), 328
Grainger, No. 209
Greig ft Duncan, No. 2
Harlow (C), 66-67
Hugill (1), 226-231
Hugill (2), 179-181

MB
Song Texts
1565
Jour (APL), XIX, 24
King, 2
Llnecott, 126-128
Mackenzie, 264
Masefield (SG), 318-319
Meloney, 14
Patterson (SA), 226
Robinson, 40
Samson, 44
Seeger (1), 161
Sharp (EPC-2), 55
Shay (ASSC), 59-60
Shay (IM¥S),'71-72
Smith (BOS), 34-35
Smith (MW), 38-39
Stout, 27
Thompson (BBB), 209
Terry, I, 32-33
Trident, 83
Whall (SSS), 69-71
Whitman, 60
Blow , Boys, Blow
A Yankee ship came down the river.
Blow, boys, blow!
A Yankee ship and a Yankee skipper,
Blow, my bully boys, blow!
How can you tell a Yankee Clipper, etc.
The Stars and Stripes they fly above her,
etc •
Who do you think is the captain of her, etc
Why Bully Hayes, for there is no other, etc
What do you think she’s got for cargo? etc.
Old shot and shell, for to break embargo,
etc.
What do you think they’ll have for dinner?
etc.
Hot water soup, but it’s slightly thinner,
etc.
0 blow today and blow tomorrow, etc.
And blow for every old tar in sorrow, etc.
***********************

KB
Song Texts
1566

Ho. 169
BLOW THE CANDLES OUT
also known as
The Jolly Boatsman
This is a "polite" version of an old English "bawdy"
ballad. It is of uncertain age, but we know it pre
dates the 18th century because a version is given
by Petrie (No. 634). The song reclaimed some of its
old popularity during the American "folk craze" of
the 1950s.
The tune is from the Irish air, The Winding Banks
of Erne.
REFERENCES
Best, 50
Bikel (FF), 64-65
Combs (FSUS), 140-141
Edwards (CHSB), 37
Leisy, 36
Leisy (SPS), 102
Lomax (FSNA), 312-313
Ord, 95
Sedley,"54-55
Shekerjian, 76-77
Silber (HSB), 123
Silverman, I, 118
Blow the Candles Out
When I was apprenticed in London,
I went to see my dear;
The candles were all burning,
The moon shone bright and clear.
I tapped upon her window
And softly called her name;
She rose up to let me in,
Then barred the door again.
I like your good behavior
And thus I often say,
I cannot rest contented
While you are far away.

15
Song Texts
1567
The road? they are so muddy.
We cannot gad about—
So roll me in your arms, love.
And blow the candles out.
Tour father and your mother
In yonder room do lie,
A-huggin' one another—
So why not you and I?
They’re huggin* one another
Without a fear or doubt,
So roll me in your arms, love,
And blow the candles out.
If you should prove successful,
Pray name it after me;
Keep it neat and kiss it sweet,
And bounce it on your knee.
When my hitch is ended.
I'll come home with a shout
And double my indebtedness
By blowing the candles out!
**************************

Wo, 170
BLOW THE HAN DOWN
also known as
The Black Ball Liner Knock a Han Down Shanty Song
One of several shanties that became as popular on
land as at sea, and on both sides of the Atlantic.
It reached the zenith of popularity at sea soon after
the War of 1812, when fast American packet ships took
over communication between the TJ. S. and Europe, mak
ing frequent runs on a regular schedule. For additional

M3
Song Texts
1568
information, see headnoteg to The Black Ball Line
in this MB.
Mote: In thie shanty , " ‘blow ** means " knock . w
REPERENCES
Adams, 319
Agay (1), 3
Agay (2), 62
Arnett, 54
Baltzer, II, 99
Berger, 16-17
Bernard, 434
Best, 133
Bone, 74—82
Boughton, 20
Bradford, 14
Briggs, 87, 89
Brown, V, 499
Bullen 4 Arnold, 27
Cazden, II, 54-55
Cazden (MD), 54-55
Chappie (HS), 488
Colcord, 53-59
Baris (SSC), 42-43
Doerflinger, 18-20
Downes, 82-83, 90-91
Eckstorm, 243-244
Emrich (CBP), 17
Ringer (FB), 157-158
Ford (TMA), 329
Grainger, No. 212
Hugill (1), 200, 203, 214
Hugill (2), 177-178
Iwee (SA), 100-101
Ires (SB), 150-151, 130-131
Jour (AFL), ILIV, 298;
DIX, 109
King, 3
Kolb, 123
Leisy, 37-38
Delay (LAS), 67
Delay (SPS), 183
Dinecott, 128-131
Domax (ABFS), 491-493
Duce, 155
Duther, 81-83
Mackenzie, 273-274
Masefield (SG), 352
Meloney, 19, 22
Oberndorfer, 69
Patterson (SA), 228
Riesenberg, 43
Robinson (July 28), 101
Sampson, 36
Sandburg (AS), 404-405
Scott (FSS), 4
Seeger (6), 38
Sharp (EPC-2), 44-45
Sharp ( PC), 4
Shay (ASSC), 39-40
Shay flMWS), 45-46
Silverman, II, 261
Smith (BOS), 50, 135
Smith (MW), 18
Terry, I, 34

MB
Song Texts
1569
Trevine, 8
Trident, 70-71
Warner, 113
Whall (SSS), 66-67
Whitman, 59
Williams (SC), 77
Williams (SPS), 7
Wood, 62
Blow the Man Down
Oh, blow the man down, sailor, blow the man down!
Make a weigh, heigh, oh! Blow the man down!
Oh, blow the man down, sailor, blow the man down!
Give me some time to blow the man down!
I»m a flying fish sailor and I come from Hongkong!...
Oh, blow the man down, sailor, blow the man down!...
As I was a-walkin* down Paradise street...
A handsome young woman I happened to meet...
I tailed her my flipper and took her in tow..•
And yardarm to yardarm away we did go...
As we were a-going she said unto me...
"A spanking full-rigger is ready for sea...
That spanking full-rigger to New York was bound...
She was very well manned and very well found...
As soon as that packet was clear of the bar...
The mate knocked me down with the end of a spar!..
****************************

No, 171
BLOW, YE WINDS, HIGH 0
also known as
Blow, Ye Winds The Whaling Song
Blow, Ye Winds, In the Morning
This shanty was first a well-known whaling song. The

MB
Song Texts
1570
tune is reminiscent of You Gentlemen of England ,
For an entirely different text, see Bio* , Ye Winds
in Hugill (1), 219. For another, see Blow , Ye Winds ,
In the Morning in Whall (SSS), 1920, 24-25,
REFERENCES
Agay (1), 23
Botkin (AFL), 829-831
Colcord, 191-193
Harlow (C) t 130-131
Hugill (1), 223-224
Huntington, 42-46
Ives (SB), 166-167
Silber (HSB), 69
Silverman, II, 267
Trident, 96
Blow, Ye Winds , High 0!
They advertised in Boston, New York and Albany:
Five hundred young Americans are wanted for the sea.
Chorus
Blow, ye winds in the morning,
And blow, ye winds, high 0!
Clear away your running gear,
And blow, ye winds, high 0!
They take you down to Bedford that famous whaling port,
And give you* to some land sharks to board and fit you
out.
It * 8 then that they will show you their fine Clipper
ships;
They say you’ll have five hundred sperm before you’re
six months out.
It’s now we’re out to sea, my boys, the wind comes
on to blow;
One half the watch is sick on deck, the other half
below.

MB
Song Texts
1571
Then it's to the masthead all of us must go;
And when you see those sperm whales, sing out;
"There she blows!"
Then clear away the boats, my boys, and after him
we*11 travel;
And if you get too near his flujes, he*11 kiok you
to the devil!
How when we've got him upside down, it's tow him
alongside
And over with our blubber hooks, to rob him of
his hide.
Hext comes the stowing down, my boys, and it'll
take both night and day;
And you'll all have fifty cents apiece the hundred
-and ninetieth lay.
How we are bound into Tombas, that damned old whaling
port;
But if you run away, my boys, you surely will be
caught•
0 when we arrive in Bedford, whaling we'll bid adieu;
And if any of you a flogging have got, just put your
skipper through.
Here's to all skippers and mates, I hope you all do
well,
And when you die may the devil just kick you all to
hell!
Once we ere home with ship made fast, and we've got
through our sailing,
A winding glass around we'll pass and damn this
blubber whaling!
*•«**•**«*-» *«#*«***•**«•«*•

MB
Song Texts
1572

No, 172
BLUE BELLS OP SCOTLAND
also known as
The New Highland Lad Where Has Tour High-
Oh, Where? Tell Me, Where? land Laddie Gone?
The original words of this old Scottish song were
written hy John Exenford. The original tune, which
is not at all like a Scottish air, is in Johnson
(SMM), VI, 566. The song as we know it today has
a later text by Mrs. Grant and a tune by Mrs. Jordan,
which dates from May 13, 1800. Ritson printed the
song in his North Country Garland, 1802, under the
title: The New Highland L ad.
Mrs. Jordan's tune is also used for the Protestant
hymn. Celebration in the Harp of Columbia , p. 118.
REFERENCES
Armitage, I, 49
Chappell (PMOT), II,
739
Chappie (HS), 387
Cole, 138-139
Hopekirk, 108-109
Johnson (PS)*, 501-503
Leisy (LAS), 86
Macfarren, 238-239
Mackenzie (SH), 26
Shoemaker (MMP), 196
Silverman, I, 284
Songster (8), 127-128
Whitman, 33-34
Wier (LS), 75
Wier (SWWS), 248
Blue Bells of Scotland
Oh, where, tell me, where
Has your Highland Laddie gone?
Oh, where, tell me, where
Has your Highland Laddie gone?
He's gone with streaming banners
Where noble deeds are done,
And it's, Oh! in my heart
I wish him safe at home.

MB
Song Texts
1573
Oh, where, tell ae, where
Did your Highland Laddie dwell?
Oh, where, tell me, where
Did your Highland Laddie dwell?
He dwelt in bonnie Scotland
▼here blooms the sweet blue bell,
And it*s, Oh! in my heart
I love my laddie well.
Oh, what, tell me, what
If your Highland Lad be slain?
Oh, what, tell me, what
If your Highland Lad be slain?
Oh, no! true love will be his guard
And bring him safe again,
For it* 8 , Oh! my heart would break
If my Highland Lad were slain.
************* ***•»*•* *******

Ho. 173
BLUE-EYED BOY
also
Adieu
Bring Back To Me My
Blue-eyed Boy
Bring Me Back My Blue
eyed Boy
known as
Go Bring Me Back My
Blue-eyed Baby
Go Bring Me Back My
Blue-eyed Boy
*7 Blue-eyed Boy
This gives every appearance of ebing a composite,
except for the chorus. In fact, the chorus may well
be the only original part of the text. All the stanzas
are composed of lines found in various older songs.
REFERENCES

MB
Song Texts
1574
Arnold, 33
Belden (BS), 478-480
Brewster (BSI), 339
Brown, III, 298-299
Henry (BMPSB), 50
Jour (FSS), VII, 69
Owens (T?S), 93-94
Pound, 212-213
Randolph, IV, 260-262
Sandburg (AS), 324
Hudson (PSM), 91
Blue-Eyed Boy
Go, bring me bach my blue-eyed boy,
Go, bring my darling bach to me;
Go, bring me bach my blue-eyed boy,
And I will happy, happy be.
Just lihe a ring that has no end,
It'8 hard to find a real true friend;
But when you find one good and true.
Change not the old one for the new.
Shall I go bound while he goes free?
Must I love him when he don't love me?
Or should I play a childish part
And love him tho he brohe my heart?
Last weeh my true love promised me
He'd tahe me far across the sea;
His heart is harder than a stone,
For he has left me here alone.
Go, dig my grave and dig it deep.
And lay me down and let me sleep;
Upon my breast a snow-white dove,
To show the world I died for love.
******************

MB
Song Text 3
1575

Ho. 174
THE BLUE JUKIATA
also known as
Alferata, the Maid of
Juniata
Bright Alfarata, or
Alfaretta
This song was composed by Mrs. Marion Lix Sullivan,
and was published in 1844. It was immensely popular
through the latter half of the 19th century. It has
survived in oral tradition as well as in print.
EEPERENCES
Luther, 111-112
Oherndorfer, 83
Shoemaker (KMP), 157-158
Shoemaker (NPM), 152-154
Wilder, 92-93
Armitage, I, 114
Carmer (SRA), 45
Chappie (HS), 154
Hubbard, 145
Hudson (PSM), 210-211
Johnson (PS), 279
The Blue Juniata
Wild roved an Indian girl. Bright Alfarata,
Where sweep the waters of the Blue Juniata.
Swift as an antelope, thro the forest going,
Loose were her jetty locks, in wavy tresses flowing.
Happy the mountain song of Bright Alfarata,
Where sweep the waters of the Blue Juniata.
Strong and true my arrows -are, in my painted quiver,
Swift goes my light canoe upon the rapid river.
Bold is my warrior good, the love of Alfarata,
Proud wave** his snowy plume, along the Juniata.
Swift and low he speaks to me, and then his war-
ory sounding,
Brings hie voice in thunder loud, from height to
height resounding.
*************************

MB Song Texts
1576

Ho. 175
BLUE MOUNTAIN LAKE
also known as
The Belle of Long Lake
Come All Te Good Fellows
Dorset’s Song
Moosehead Lake
Lumbermen sang this song in various logging camps
during the 19th century. Helen Flanders said she
■crossed trails with this ballad in the home of Mr.
Herbert Haley on Shrewsbury Mountains, when he spoke
of Dorset’s Song." According to Haley, Charlie
Dorset "lumbered over on a job Griffith had on Long
Lake. There was a fight there where a main licked a
man and Dorset made up this song."
The text is set to a variation of the tune used for
The Little Brown Bulls (see in this MB), which is
a form of the Derry Down air.
For a Nova Scotian variation, see In ' the Month of
October in Creighton (SBNS), 265-266.
REFERENCES
Flanders (NGMS), 174-178 Lomax (FSNA), 115-117
Glass (SERF), 24-25 Lomax (OSC), 226-228
Gray, 60-62 Silverman, II, 408
Blue Mountain Lake
Come all ye good feller6, where’er ye may be,
Come set down awhile and listen to me:
The truth I will tell you, without a mistake,
•Bout the racket we had on the Blue Mountain Lake.
Singing Down, Down, Down Derry Down!
The granahn brothers and big Jimmy Lew,
Meself and Mose Albert an 8 Handsome Pat, too,
Who were all as fine fellers as ever was seenj
We all lumbered for Grafton on Township nineteen.

KB
Song Texts
1577
Now Oliver Mitchell he kept the shanty—
A lazier damn man you never did see!—
He'd loaf round the shanty from morning till night,
And if we said a word he was all set to fight.
One mornin* f fore daylight, Jimmy lew got mad;
He knocked hell out-a Mitchell, makin* us glad.
His wife she just stood there, the truth I do tell,
All tickled to death to see Mitchell cateh hell.
Old Grafton stood there—the damned grizzly drake—
A hand in the racket all ready to take;
Some of the fellows sorta pulled him away,
He said, "Fight and be damned! I got nothin* to say."
Tou may talk of fashions way out in Benzine,
But none will compare with the cook of nineteen;
She is short, thick and stout—and I don't over-rate—
The fellows all called her the belle of long Lake.
So long, you good fellows, adieu to you all,
Christmas is coming and I'm for Glen Fall;
And when I get down there, I*m going on a spree—
•Cause when I have whiskey, the devil*s in me!
Singing Down, Down, Down Derry Down!
************************

No. 176
THE BLUES AIN'T A THING BUT THE BLUES
The "blues" came out of the isolation and homelessness
of the Black population following the American Civil
War, and is not, as many seem to think, rooted in sex.
The blues proper is rooted in poverty: it has been
aptly described as "the po' man's heart disease."
An old blues tanza tells us exactly what the blues

MB
Song Texts
1578
la all about:
Ain*t it hard to atumble
When you got no place to fall?
Or, again:
When it rained down sorrow .
It rained all over me,
lines found in some of the older songs let us know
that there is more to the blues than just poverty:
When you lose your money .
No need to lose your mind.
On the other hand, the blues ignores both love and
money when it cries:
I*m just a-standin* here lookin 1
A thousand miles away ,
The blues is a longing, a hunger; what it desires
most of all is a physical and spiritual home—a plac
to belong, and something, anything , to believe in.
Above all, the blues is personal. The man who feels
blue is not concerned with society; he sits down and
says to himself:
I»m 8lttin t here wonderin*
If a match-box would hold my clothes.
SpeAking musically, however, the blues is much more
complicated than it seems. For example, "blues sing
ing" is invariably marked by individual style on the
part of each singer and player. Unexpected chords
break the familiar patter; there are dissonances,
subtle shadings of tone, and improvised runs of
melody. To understand the blues, one must realize
from beginning to end that a human and a musical
conversation is taking place; that the singer and
the instruments are speaking and answering back,
voice against voice. The whole process is similar
to the antiphony of Bach, On the other hand, per
haps, it is as simple as Huddie Ledbetter said:

KB
Song Texts
1579
•Blues was compose up by the Negro people when they
was under slavery. They was worried." Certainly
the blues was anticipated by the Negro spirituals.
The oldest blues that living singers remember are
songs like CARELESS LOVE, JOE TURNER , and PALLET ON
THE FLOOR . Yet there was a great number of blues
melodies and texts long before these songs were
formed, specifically among Southern blacks. There
fore it is not surprising to learn that a large num
ber of people still believe that the rural, or country
blues pieces are our only genuine blues songs. The
modern, sophisticated songs, they say, are nothing
but a mockery. Modern blues .songs", they say, are
too slick, too shallow; that too much emphasis is
placed upon sexuality. In the words of Big Bill
Broonzy, the only place to hear a "real blues singer
is the remote backwoods of the South."
Whatever we may say about our blues song., it is im
portant to know that they have shaped all our jazz
musio and, although technically just one of many
sources, they have been rightly described as "the
soul of good jazz." I am not implying that the blues
pieces are the best of our folk songs. Far from it.
But taken as a whole they are the most influential
and the most typical of our country.
The song below is a composite piece; it was taken
down from the singing of Jesse Rodgers who may or
may not have put it together.
For a similar song, eee Be Blues Ain' Nothin* But
a Good Man Feelin* Blue in Downes, 316, or 372; Sand
burg (AS), 234-235; and Silverman (FB), 195.
The Blues Ain f t A Thing But The Blues

KB
Song Texts
1580
The blue? in more than sorrow,
•Cause sorrow you can lose;
The blues in more than sorrow,
•Cau«e sorrow you can lose—
Oh lawdy, lawd!
The blues ain*t a thing but the
blues!
When I woke up this mornin*
Some rascal done stole my shoes;
etc
Mow if life was a union,
I couldn*t pay my dues;
etc
There ain»t no need to worry,
Jus* drown myself in booze;
etc.
*******************************
Wo. 177
the blue tail fly
also known as
Jimmie Crack Corn
Popular 19th century minstrel-show song. Words and
jmsic are credited to Dan Emmett, composer of Ui^i s
and many other songs of that era. Unfortunately,
this song was frequently published in sheet-music
form without mention of author or composer. One
such piece of music is dated 1844. Abraham Lincoln
liked the song and is known to have sung it often
while a circuit riding lawyer in Illinois.
Versions of The Blue Tail Ply have been recovered
by collectors under unusual titles. Frank C. Brown

MB
Song Texts
1581
has a version which takes its title from the first
line of an incorporated stanza, I Had A Great Big
House. Alfred M. Williams recovered a version in
England with the title, So Early In The Morning.
Two versions (A ft B) are given below. Version A was
recorded by Riley Shepard on King Records in the
1940s. Version B was published by Keith*s Publishing
House, Boston, in 1844.
REFERENCES
Agay (2), 70
Arnett, 66
Best, 47
Botkin (SFL), 709-710
Brown, III, 496-498
Coleman, 64
Emrich (CBF), 10
Finger (FB), 166-167
Priedman, 453-455
Ives (SA), 188-189
Kennedy (TAB), 114-115
Lair (SLL), 48
leisy (LAS), 16-17
Leisy (SPS), 58-59
Lomax (FSNA), 505-506
Lomax (PB), 63
Luther, 231
Morris, 207-208
Nathan, 429-434
Owens (TFS), 125
Scarborough (NFS), 191
201-203
Scott (BA), 33
Seeger (1), 124-125
Seeger (6), 12
Shay (LFW), 116-118
Silverman, II, 290
Williams (FSUT), 178
The Blue Tail Fly ( Version A)
When I was young I used to wait
On master and serve his plate;
I*d pass his bottle when he got dry.
And brush away the Blue Tail fly.
Chorus
Jimmie crack corn and I don*t care!
Jimmie crack corn and I don*t care!
Jimmie crack corn and I don*t care!
My master*s gone away.

Song Texts
1582
When he’d ride in the afternoon
I*d follow after with a hick’ry broom;
The pony being rather shy
When bitten by the Blue Tail fly.
The pony run, he jump, he pitch—
Threw my master in a ditch!
He died and the jury wondered why—
The verdict was the Blue Tail fly.
They buried him *neath the ♦simmon
tree,
His epitaph is there to see:
Beneath this stone I*m forced to lie,
A victim of the Blue Tail fly.
( Version B)
0 when you come in Summertime,
To South Carlinar’s sultry clime,
If in de shade you chance to lie,
You’ll soon find out de Blue Tail fly—
An scratch *im wid a brier too.
Bar's many kind ob dese here ting 9 ,
Prom diff*rent sort ob insects springs;
Some hatch in June, an’ some July,
But August fotches de Blue Tail fly.
An scratch * im wid a brier too.
When I was young I used to wait
On Massa's table an* hand de plate;
I*d pass de bottle when he dry,
An' brush away de Blue Tail fly.
An* scratch *im wid a brier too.
Ben arter dinner raassa sleep,
He bid me vigilance to keep;

Song Texts
1583
An* when he gwine to shut he eye,
He tell me watch de Blue Tail fly.
An* scratch *im wid a brier too.
When he ride in de arternoon,
I foller wid a hickory broom;
De pony bein' berry shy
When bitten by de Blue Tail fly.
An* scratch *im wid a brier too.
One day he rode aroun' de farm,
De flies so numerous did swarm;
One chance to bite *im on de thigh—
De debble take dat Blue Tail fly!
An* scratch *im wid a brier too.
De pony run, he jump, he pitch.
An* tumble aassa in de ditch;
He died, an' de Jury wonder why—
De verdict was de Blue Tail fly.
An* scratch *im wid a brier too.
Dey laid him under a simmon tree,
His epitaph am dar to see:
Beneath dis stone I*m forced to lie,
All by de means ob de Blue Tail fly.
Ole Massa's gone, now let him rest.
Dey say all tings am for de best.
I neber shall forget till de day I die,
Ole Massa an' de Blue Tail fly.
An* scratch *im wid a brier too.
********************

MB
Song Texts
1584

Ho. 178
THE BLUE VELVET BAND
also known as
The Girl In, or With the Blue Velvet Band
According to John Henry Johnson, the "age and an
cestry of this gem are hidden in the dim recesses
of the past." The words, according to Charles
0*Brien Kennedy, were written by John F. Leonard.
We only know that the poem was revived in print by
Captain Billy Fawcett in his Smokehouse Poetry ,
which leaves the name of the person who finally
set the words to music unknown.
REFERENCES
Davidson (SRMF), 45-46 Randolph, IV, 115-117
Johnson (BBLL), 52-54 Shay (PF-2), 168-172
Kennedy (AB), 22-25 Shay (PF-3), 213-216
Milburn, 162-164
The Blue Velvet Band
I met a young maiden in Frisco,
The hour was just about nine;
She planted the evidence on me
At the corner of Kearney and Pine.
Her face had the first flush of nature,
And her bright eyes seemed to expand;
Her hair fell in rich, brilliant masses,
All entwined in a blue velvet band.
To a house of gentle ruination,
She invited me with a sweet smile;
She seemed so refined, gay and charming
That I thought I would tarry awhile.
We went to a well-kept apartment
That stood on the third floor above;

MB
Song Texts
1565
And I thought my«elf truly in Heaven,
All alone with the Goddess of love.
What struck me the most was an object
Designed by an artistic hand—
The costly lay-out of a hop-fiend.
And that fiend was my Blue Velvet Band.
Upon a pile of robes and pillows
She reclined right there on the floor;
Then we hit the pipe and I slumbered—
I ponder it o’er and o’er.
• Tis months since the craven arm grasoed me,
And in bliss did my life glide away;
Prom opium to "dipping" and thieving,
She artfully led day by day.
One evening I came home so dreary,
With swag from a jewelry store;
I heard the voice of my loved one,
As I quietly opened the door.
"If you’ll give me a clue to convict him,"
Said a stranger, in tones soft and bland,
"You’ll then prove to me that you love me."
"It’s a go," said my Blue Velvet Band.
A few minutes before I was hunted
By the cops, who wounded me too,
And my temper was none the sweeter,
As I flung myself into view.
The copper, not liking the glitter
Of the Colt ’44’ in my hand,
He hurriedly left thro the window,
Leaving me with my Blue Velvet Band.
What happened to me I will tell you:
I was ditched for a desperate crime;

MB
Song Texts
1586
There was hell in a bank at midnight,
And my pal was killed in his prime*
A convict of hard reputation,
Ten years of hard grind I did land;
And I often thought of the pleasures
I had with my Blue Velvet Band.
Long years ago this all happened,
And the story belongs to the past;
I forgave her, but just retribution
Claimed this fair, false one at last.
She slowly sank lower and lower,
Down through life’s shifting sand,
And finally she died in a hop-joint—
Farewell to my Blue Velvet Band.
******************

No. 172
THE BOATMAN'S DANCE
also known as
The Boatman's Song Dance the Boatman's Dance
Hi Yo Boat Row
This wae an extremely popular mid-19th century song,
the chorus of which was well known to Ohio boatmen
long before publication. The tune was composed by
Dan D. Emmett, who also contributed several original
stanzas. It was published in sheet music form by
two different publishers in 1843, one crediting
Emmett and the other crediting no one. It qualifies
as a source song because its melody was used over
and over again for different songs. For examples,
see The Gold Seeker III & VII in this MB.
A variation, Hi To Boat Row, is in Brown, III, 256.

MB
Song Texts
1587
Versions of Boatman’s Dance have always been avail
able in print since its first appearance, but it has
also been recovered by folk song collectors in all
areas of the United States,
REFERENCES
Botkin (MR?), 566-567
Carmer (SRA), 155-156
Chappie (HS), 76-77
Glass (SFRF), 56-58
Hugill (1), 493
Reach, 38
Luther, 231-232
Minstrel, 146-147
Nathan, 320-323
Siegmeister, 58-59
Silverman, II, 272
The Boatman*s Dance
The boatmen dance, the boatmen sing,
The boatmen do most everything!
And when the boatmen go to town,
They throw their money all around.
Chorus
Oh! dance the boatman’s dance!
Oh! dance the boatman's dance!
We dance all night *til broad day light,
Go home with the girls in the morning,
Tes, here we go, yes, here we go.
Floating down the Ohio,
The teamsters should all stay on shore,
The river hogs should ramble more;
The boatmen work and then unwind,
And leave their troubles far behind,
I went aboard the other day,
To see what the Captain had to say;
We drank a Jug of passion Juice,
And wound-up in the calaboose.

MB
Song Texts
1588
The "boatman ie a thrifty man,
Always does the very best he can;
The pretty girls I've seen in life
Were always some one else's wife.
***********************

Mo. 180
BOBBIN' AROUND
An 1855 "pop" song by W. J. Florence; it was pub
lished by S. C. Jollie, St. Nicholas Hotel, N. T.
C. The song's popularity quickly inspired a parody
in the California gold fields. See Nippln* Round
in MB.
REFERENCES
Black, 38 Jordan, 221
Dwyer, 129 Sherwin (SGM), 22
Bobbin* Around
In August last on one fine day,
A bobbin* around, around, around.
When Josh and I went to make hay,
We went a bobbin* around.
Says Josh to me let's take a walk, etc.
Then we can have a private talk, etc.
We walked along the mountain ridge, etc.
Till we got near Squire Slipshop's bridge, etc.
Then Josh and I went on a spree, etc.
And I kissed Josh and Josh kissed me, etc.
Then Josh's pluck no longer tarried, etc
And he say3 to me let's get married, etc

MB
Song Texts
1589
I knew he loved another gal, etc.
They called her bow-legged, crooked-
shin, curly-toothed Sal, etc.
*********************************

No, 181
BOBBY SHAFTOE
An old English nursery song that was once well-known
in the United States.
REFERENCES
Armitage, II, 106
Bertail, 105
Brown, III, 183-184
Davie (FSV), 200
Halliwell (NR), 149
Ivee (SA), 72-73
Rimbault (NR), 42
Stokoe, 12-13
Winn (1), 87
Bobby Shaftoe
Bobby Shaftoe's gone to sea.
Silver buckles on his knee;
He'll come back and marry me,
Pretty Bobby Shaftoe.
Bobby Shaftoe*e fat and fair.
Combing down his yellow hair;
He's my love for ever more,
Pretty Bobby Shaftoe,
Bobby Shaftoe*e good and kind.
Sailing on the salty brine;
I'll be his and he'll be mine,
Pretty Bobby Shaftoe.
•**#*#«***#*«*** •»*■»*

MB
Song Texts
1590

Ho, 182
BOHUNKUS AND JOSEPHUS
also known as
Josephus and Bohunkus
Origin of this old song is not known. Until the late
1940s the song was popular among college students
throughout America, Many folk versions contain staneas
found in Old Grimes Is Dead (see in MB), Perrow has
a version from Mississippi with a stanza from Uncle
Hed affixed. The tune is Auld Lang Syne,
REFERENCES
Brown, III, 372-374;
V, 227
Bulletin (HPL), III, 5
Chappie (HS), 383
Davie (PSV), 145
Lewis, 111
Luther, 254
Most (PCS), 71
Perrow, XXVI, 125-126
Randolph, III, 177-178
Songs (15), 51
Spaeth (REW), 91-94
Bohunkus and Josephus Tune; Auld Lang Syne
There was a farmer had two sons,
And these t o sons were brothers;
Bohunkus was the name of one,
Josephus was the other 1 s.
Now these two boy9 are dead and gone,
Long may their ashes rest;
Bohunkus of the cholera died,
Josephus by requestl
Now these two boys, their story told,
And they did tell it well—
Bohunkus up to heaven went,
Josephus down to hell!
******************

MB
Song Texts
1591

Ho. 183
BOIL THEM CABBAGE DOWN
also known as
Bile Bern Cabbage Down Cooking Dinner
This is known primarily as a hoedown fiddle time.
The words, except for the chorus, are found in
other songs, such as: The Kicking; Mule B, I Ain*t
Got Time To Marry , Liza Jane III , and Old Joe Clark.
Also compare Kassa Had A Little Yaller Gal in Henry
(PSSH), 436 and Cooking Dinner in Talley, 156.
REFERENCES
Best, 138-139
Botkin (APPS), 145
Botkin (SPL), 710-711
Brown, III, 519; 7,
290
Coleman, 96
Lomax (FSNA), 506-507
Richardson (AMS), 88
Scarborough (NPS), 124
Silverman, I, 364
Steely, 221-224
White, 303-304
Boil Them Cabbage Down
Went up on the mountain
Just to give my horn a blow;
Thought I heard my true love say,
"Yonder comes my beau!"
Chorus
Boil them cabbage down,
Bake that hoe-cake brown,
Craziest song I ever heard:
Boil them cabbage down.
Took my gal to the blacksmith shop
To hhve her mouth made small;
She turned around a time or two,
Then swallowed shop and all.

MB
Song Texts
1592
Someone stole my old coon dog,
Wish they'd bring him back;
He chased the big hogs thro the fence,
And the little ones thro the crack
Met a possum in the road,
Blind as he could be;
Jumped the fence and whipped my dog.
And bristled up at me.
Once I had an old gray mule.
His name was Simon Slick;
He*d roll his eyes and back his ears.
And kick and kick and kick.
Possum up a simmon tree,
Raccoon on the ground;
Raccoon says, "Come on now,
Shake them eimmons down!"
I»ve heard some old folks say
There's gold in them there hills;
But I've lived up there thirty years
And all I've seen was stills!
I wish I had a needle now,
With thread that I could sew;
I'd sew my gal to my coattail
And down the road I'd go.
***********************

No. 184
THE BOLD FISHERMAN
also known as
Down By The Riverside
A carol. Origin and source unknown. According to Lucy
Broadwood, the song, as it appears on broadsides, is
"a vulgar and secularized transmutation of a mediaevil

Song Texts
1593
MB
allegorical legend," It is not related to the several
other songs that are sometimes known as Down By The
Riverside , Nor is it related to The Bold Fisherman
in Siegmeiater, 20-23, which begins:
There was a bold fisherman
Who sailed out from Pimbeco ,
To slew the wild codfish
And bold mackeral .
The song as given below circulated orally in America
for many years, specially in the Appalachians and in
Hew England,
REFERENCES
Broadwood (ECS), 110
Flanders (BENE), 218-219
Jour (FSS), I, 138; V,
132
Leach (BB), 692-693
Reeves, 106-107
Sharp (100), 96-97
Silverman, II, 220
The Bold Fisherman
As I walked out one May morning
Down by the riverside,
•Twas there I saw a bold fisherman
Come rowing over the tide.
Come rowing over the tide,
*Twas there I saw a bold fisherman
Come rowing over the tide,
I said to the bold fisherman,
"Why are you fishing here?"
*I*m fishing for your own soul's sake
All down the river clear.
•All down the river clear,
I'm fishing for your own soul’s sake
All down the river clear,"

MB
Song Texts
1594
He rowed his boat toward the side,
Which was hie full intent;
Then he took hold of her lily-white hand
And down the stream they went.
And down the stream they went, etc.
Then he pulled off his morning gown
And threw it over the sea;
And there she spied three robes of gold
All hanging down hi9 knee.
All hanging down hi9 knee, etc,
Down on her bended knees she fell,
"Pray, sir, pray pardon me
Por calling you a fisherman
And a rover down the sea!
"And a rover down the sea, etc.
•Rise up, rise up, my pretty fair maid,
Don*t mention that to me;
Por not one word that you have spoke
Has the least offended mo.
"Has the least offended me, etc.
«
"Now we*11 go to my father’s hall,
And married we will be,
And you shall have your fisherman
To row you on the sea,
"To row you on the sea, etc.
Off they went to his father’s house,
And married now they be;
And she has got her fisherman
To row her on the sea.
To row her on the sea, etc,
*-****«*******•*******♦*

MB
Song Texts
1595
No. i§5
THE BOLL WEEVIL
also known as
Ballad of the Boll Weevil The Boll Weevil Holler
Ballet of de Boll Weevil Boll Weevil Song
The Boll Weevil Blues Mister Boll Weevil
This is a song about a bug, the boll weevil, which
invaded Texas from Mexico around the end of the 19th
century, creating havoc in the cotton fields. Bow
the boll weevil is known and dreaded wherever cotton
is grown in the United States. The song is a creation
of black people; it has an appeal that keeps it popular.
Carl Sandburg gives two distinct versions in his Ameri
can Songbag and, for reasons that escape me, he
separated them by more than 200 pages. Country-Western
performers have kept the song alive, and some of them
have even claimed authorship.
REFERENCES
Agay (1), 26
Lomax (NFS), 184
Arnett, 140
Lomax (USA), 225
Botkin (AFL), 916-918
Luther, 266-268
Botkin fSFL), 751
Morris, 188-190
Botsford, I, 6-7
Richardson (AMS), 90-91
Brown, III, 245-247
Sandburg (AS), 8-10 ft
Coleman, 66
252-253
Downes, 252, 294
-Scarborough (NFS), 77-79
Friedman, 319-322
• Scott (BA), 316-318
Hudson (FSM), 199-200
Scott (FSS), 21
Jour (AFL), XXVIII, 15
Siegmeister, 40-41
Laws (NAB), 241
Silverman, II, 42, 357
Leisy, 39-41
Silverman (FB), 114-115
Leisy (SPS), 64-65
Warner, 29
Loesser, 264-265
White, 351-353
Lomax (ABFS), 112-117
Whitman, 80
Lomax (FSNA), 535-536
Tolen, 204-205

MB
Song Texts
1596
The Boll Weevil
Now let me tell you 'bout the boll weevil:
It*? a little black bug, you know.
He showed up down in Texas,
And said he came from Mexico.
He was looking for a home,
Just a-looking for a home!
Well, the first time I saw the boll weevil
He was standing on the Square;
The next time I saw the boll weevil,
He had his whole family there!
They were looking for a home,
Just a-looking for a home!
I said to the little boll weevil,
"What makes your face so red?"
The boll weevil laughed and answered:
"It's a wonder I ain't dead!
I've been looking for a home,
Just a-looking for a home!"
The boll weevil met up with a farmer
Who had a cotton farm.
The boll weevil said to the farmer,
"Now I don't mean no harm—
I'm just looking for a home,
Just a-looking for a home!"
The farmer took the boll weevil,
And he buried him in the sand.
The boll weevil said to the farmer,
"I'll do the best I can—
Wanna thank you for my home,
Just a-thank you for my home."

KB
Song Texts
1597
The farmer took the toll weevil.
And he buried him in ice.
The boll weevil said to the farmer,
"It*s mighty cool and nice—
Wanna thank you for my home,
Just a-thank you for my home."
The boll weevil said to the farmer,
One bright and sunny mom,
"If I can't eat your cotton
I'll have to eat your corn,
Cau°e I gotta have a home,
Just a-gotta have a home!"
Now if any one should ask you
Who wrote thi«* little song,
You can say it was that farmer.
Who had to move along—
He was looking for a home.
Just a-looking for a home.
***#***#•*■»** ****** ********

No. 186
BOLSUM BROWN
•
This song is probably of Negro origin, but I can't
stipulate when or where. A similar version is in
Sandburg (AS), 355.
Bolsum Brown
There's a red light on the track for Bolsum Brown,
For Bolsum Brown, for Bolsum Brown;
There's a red light on the track,
And it'll be there when he comes back.
There's a red light on the track for Bolsum Brown.

MB Song Texts
1598
Come along, darlin' Clara, come along,
Come along, come along;
There’s a red light on the track,
And it’ll be there when he comes back.
There’s a red light on the track for
Bolsum Brown.
Working hard for my baby, working hard,
Working hard, working hard;
There’s a red light on the track,
And it’ll be there when he comes back.
There’s a red light on the track for
Bolsum Brown.
*****************************

No. 187
BOMB THROWING TIME
also known as
The Bomb Song
This is a modern folk song; it was born during the
Great American Depression. The theme dates much
farther back, however, and was sung as early as
the 1890s. Song was taken over by college students.
A version is in Best, 31.
Bomb Throwing Time
In an anarchist’s garret, so lowly and so mean—
Oh, smell the pungent odor of nitro-glycerine!—
They’re busy making fuses and filling cans with nail
And the little Slavic children set up this mournful
wail:
"0, it’s sister Jenny’s time to throw the bomb!
The last one it was thrown by brother Tom.
Poor mama's aim is bad, and the Copskys all know dad
So it’s sister Jenny’s time to throw the bomb!”

MB
Song Texts
1599
Sister Jenny took the bomb and started off*
"0 mind you now,” said Mama, ”to blow the Temple—
hoff.”
And so the family waited while the dawn turned
into day,
And the little Slavic children sang out this mourn
ful lay:
"0, it'e brother Ivan's time to throw the bomb!
Sister Jenny's gone the way of brother Tom.
Poor mama'8 aim is bad and the Copsky's all know
dad.
So it's brother Ivan's time to throw the bomb!”
#**#*#***************************

Ro* 188
THE BONNIE WEE WINDOW
also known as
A Bonnie, Wee Lassie Cute Little Window
The Bonny Sweet Window The Neat Little Window
Considering its humorous lyric and catch tune, this
Scottish song is not as popular as it might be.
REFERENCES
Creighton (FSNB), 162-165 Ord, 99-100
Ives (SB), 202-203 Randolph, I, 431-432
The Bonnie Wee Window
A bonnie wee lassie with the name of Sweet Nell,
She lived in a house where Grandma did dwell;
The house it was small and the windows no less—
Each had four panes, but one needed glass.
Chorus
That cute little window, that nice little window.
That square little window where her Grandma dwelled

MB
Song Texts
1600
One night as old granny had gone to her bed,
Jack, the farm-boy, with hair cherry red,
Came over the fields his sweet Nell to see—
And there by the window a-courting sat he.
That cute little window, etc.
Said Jack to sweet Nellie, ”Let me tell you this:
Before we do part you should give me a kiss.”
So sweet was the kiss and so loud was the smack—
That to his surprise he couldn't pull his head
back.
Prom that little window, etc.
He ripped and he tore and he cursed and he swore!
Grandma heard the racket, jumped out on the floor;
She grabbed for the poker and a lick she gave one—
Another like that would have broke his backbone,
With his head in the window, eto.
She lifted the ladle from out of the pot;
Nobody e'er took the beating he then got!
He ran down the road with backside aflame,
And around his shoulder was the sash and the
frame
Of that cute little window, etc.
•Twas early next morning before the daylight.
He sent for a glazier to make every thing right;
He thought of old granny, and all of his pain,
And swore he'd ne'er kiss thro a window again!
That cute little window, etc.
9 *
************************

MB
Song Texts
1601

No. 182
THE BONNY BROOM
also known as
The Bonny, Bonny Broom Broom of the Cowdenknowes
The Broom, the Bonny Broom
This Scottish "ballad was never extensively popular in
the United States. Many versions have been collected
in Great Britain, several of them by Herd, Kinloch,
Gibb, Motherwell and Scott. The tune is known to have
circulated prior to the union of the crowns of England
and Scotland (1603). The text of the chorus is all
that remains of the original words. Cowdenknowes is
a district in Lauderdale, Scotland, once overgrown
with broom. Luring the 17th century the tune was ueed
for many songs. Por information on these songs, see
Chappell (PMOT), II, 458. Incidentally, Chappell be-
lived the tune to be English rather than Scottish.
The first Scottish version printed i 3 in Allan
Ramsay's Tea Table Miscellany , published in 1724.
REPERENCES
Barry (BBM), 293-295
Buchan (ABS), I, 172
Child, IV, 191-209
Herd (1769), 308; (1776),
I, 98
Johnson (SMM), No. 110
Kinloch (ASB), 160, 167
Moore (BPSS), 106-109
Scott (MSB-1803), III,
280; (1833), 37
Thomson (OC), I, 18-20
The Bonny Broom
How blithe each morn was I
To see my swain come o'er the hill!
He leapt the stream, and ran to me;
I met him with good will.
Chorus

MB
Song Texts
1602
0, the broom, the bonny, bonny broom.
The broom of the Cowdenknowes!
I wish I were with my sweetheart.
And we were bride and groom.
0, the broom, the bonny, bonny broom.
I neither wanted ewe nor lamb,
While his flocks near me lay;
He gathered in my sheep at night,
And cheered me all the day.
He tuned his pipe and reed so sweet,
The birds stood listening by;
E*en the dull cattle stood and gazed,
Charmed with his melody.
While thus we spent our time by turns
Betwixt our flocks and play,
I envied not the fairest dame,
Though e'er so rich and gay.
Hard fate! that I should banished be.
Gang heavily, and mourn,
Because I loved the kindest swain
That ever yet was born!
Adieu, ye Cowdenknowes, adieu!
Parewell, all pleasures there!
Dear God! restore to me my swain—
That’s all I crave or care.
****************************

Ho. 190
THE BONNY BUNCH 0? ROSES
also known as
Bold Blucher
Bonnie Bunch o' Roses
The Bunch of Roses 0
Young Napoleon
This European ballad dates back at least to the first

MB
Song Texts
1603
part of the 19th century. Originally it circulated
as a braodside under the title, Young Napoleon , or
The Bonny Bunch of Rogeg, According to Scott (BA),
105* the text "is cast in the form of a dialogue
between Napoleon Bonaparte’s son, the Duke of
Reichgtadt (1811-1832), and his wife, the Empress
Marie Louise, after the Emperor’s fall from power
and exile to St. Helena," Peacock, III, in his notes,
says: "The Napoleon of this song is the Emperor’s
son by his second marriage to Marie Louise of Austria
Austria," who "was kept a virtual prisoner in the
Austrian court at Vienna" after the Allies refused
to recognize his rights of succession. Napoleon II
died of Tuberculoisis at the age og twenty-one.
Mackenzie, who recovered two versions in Nova Scotia,
tells us: "The ancients who sang the ballad for me
took pains in each case to elucidate the symbolism
of the 'bunch of roses' (i.e., England, Scotland and
Ireland) before beginning the performance...."Several
collectors insist that the ballad is in the stanza
form of an older ballad, The Bunch of Rushes , and
was often sung to the same tune.
This ballad was extremely popular throughout 19th
century America, as can be demonstrated by the num
ber of times it was published here. Broadsides of
it were issued on both sides of the Atlantic.
A derivative, Blood Red Roses , can be seen elsewhere
in this MB.
REFERENCES
Baring-Gould (SW), No. 27
Buchan A Hall, 148-149
Christie, II, 232-233
Creighton (SBNS), 140-142
Greenleaf, 170-171
Greig, No. 94
Greig A Duncan, No. 155
Hayward, 17-18
Hughes, II, 92-100
Huntington, 207-209
Jour (FSS), II, 276;
Jour (IFSS), XV, 31
K&rpeles (EFS), II, No.
Ill, 17, 56
303

MB Song Texts
1604
Laws J 5, 131
MacColl & Seeger, 270-272
Mackenzie, 188-189, 399
Marsh (SSM), III, 42-44
0*Conor, 127
O'Lochlainn, 32-33
Ord, 301-302
Peacock, III, 988-989
Reeves (EC), 63
Scott (BA), 105-107
Songster (12), 42-44;
(14), 42-44;
(61) , 222-223
(62) , 120-122
(63), 90-92;
(103), 55-57
Wehman (ISB), No, 1,
49-50
Yeats, No, 4
Zimmerman, 190-191
The Bonny Bunch of Roses
By the borders of the ocean,
One morning early in the month of June,
While little birds were a-warbling
A sweet and cheerful tune,
I overheard a lady
Who seem'd to suffer grief and woe,
Conversing with young Bonaparte
About the bonny bunch of roses 0.
"My son, don't be so venturesome,
For England has a heart of oak:
England, Ireland, Scotland—
Such a unity cannot be broke.
Remember how your father
In St, Helena now lies low;
If you attempt to follow,
Beware the bonny bunch of roses 0!"
Then up stepped young Napoleon,
And took his mother by the hand,
Saying, "Mother dear, have patience
Till I am able to command,
I will raise a mighty army
And through all the dangers go,

MB
Song Texts
1605
And in spite of all the universe
I'll gain the bonny bunch of roses 0!”
"Tour father raided great armies.
And had kings to bear his train;
He was s6 well provided, son.
He swept the world for gain.
But when he came to Moscow, son,
High overpowered by driving snow,
The city was a-blazing,
And he lost the bonny bunch of roses 0!"
"0 please believe me, mother,
For I'm on my dying bed;
If I had lived, I'd have been brave
And crowned my fair youthful head.
But while our bones lie moldering,
And weeping willows o'er us grow,
The fame of great Napoleon
Shall shame the bonny bunch of roses 0!"
*****************************

No. 191
THE BONNY IRISH BOY
also known as
The Bonny Young Irish Boy My Bonny Irish Boy
Lament of the Bonnie Irish My Bonny Young Irish
Boy Boy
This song has both a common title and a common theme.
For eong with similar story, see The Irish Girl I, II ,
III & IV in this MB. For song with like title, see
Greig, No. 48; Ord, 162-163, and Peacock, II, 560-
561.
REFERENCES

MB
Song Texts
1606
Gardner (FSH), 214-215
Greenleaf, 192-193
Hubbard, 136
Jour (FSS), I, 17
Kidson (TT), 152-153
MacColl & Seeger, 217
219
Peacock, II, 562-563
The Bonny Irish Boy
Come all you young and pretty maids,
Come listen while I relate
A tale of broken-hearted love
And my own poor wretched state.
A handsome, bonny Irish boy
Has made me thus complain;
For I am here in Bedlam now,
And here I must remain.
When first he came a-courting me,
That bonny Irish boy.
He called me his jewel,
His heart*s delight and joy.
He told me that he loved me true,
And filled my heart with pride;
He said if I would marry him,
He*d never leave my side.
Then suddenly he took flight,
And sailed over the main;
He never even said goodbye,
And never came again.
Now some other fair maiden
«y true love does enjoy,
While I am left lamenting for
My bonny Irish boy.

KB
Song Texts
1607
Alone I live in sorrow,
Alone with grief and woe,
And all because an Irish boy
Came courting me for show.
************************

No. 192
THE BONNY SCOTCH LAD
also known as
Bonnets So Blue His Bonnet So Blue
The Bonnie Scotch Lad The Jacket So Blue
This song dates from 1805-1810 and was published
around 1835 in the United States. Soon thereafter,
the song was adapted to frontier conditions by an
unknown American pioneer (see JACKET SO BLUE else
where in this MB).
For British versions of The Bonny Scotch Lad , pub
lished in the 19th century, see Yorkshire Anthology
edited by J. C. Halliwell (1851).
REFERENCES
Belden (BS), 301
Cazden, I, 76-77
Creighton (FSNB), 97
99
Ford (VSBS), 213
Gray, 111-114
Greig, art. cv
Karpeles (EFS), II, No
3e4
Logan, 101
Moore (BFSS), 252-253
The Bonny Scotch Lad
♦Twas down in a valley near a town in Yorkshire,
I lived at my ease and was free from all care;
I lived at my ease and had sweetheart's a few,
Till I met with a lad in his bonnet so blue.

MB
Song Texts
1608
A regiment of soldiers, as you shall soon hear,
Prom Scotland to Kingstone came aboard for to steer;
There was one lad amongst them, I loved him so true—
He's a bonny Scotch lad with hie bonnet so blue.
His cheeks were like roses, his eyes like two sloes;
He's proper end handsome wherever he goes.
Besides, he's good-natured, and comely to view—
He's a bonny Scotch lad with his bonnet so blue.
It was early one morning I rose from my bed,
I called for my own maid, and to her I said:
"Come, dress me as well as your two hands can do;
I'm to see the Scotch lads with their bonnets so blue.”
When I came to the regiment it was on parade;
I listened intently to talk that was made.
His name was Charles Stewart, I love him so true—
He's a bonny Scotch lad with his bonnet so blue.
My love he passed by with a gun in his hand;
I strove to speak to him, that he might understand.
I strove to speak to him, but by me he flew—
And my heart went along with his bonnet so blue.
I said, "My dear jewel, I'll buy your discharge.
Prom the army I'll free you and set you at large.
If you can but love me, my heart will be true—
0 how well I love you with your bonnet so blue."
He says, "My fair lady, now listen to me:
I have a true sweetheart, and will soon married be.
The girl that I love, she'll always prove true—
And I’ll ne'er put a stain on my bonnet so blue."
I'll send for a sculptor, an artiet of skill,
To make me a likenes* of Charles, as he will;
And in my bed-chamber so oft will I view
My bonny Scotch lad with his bonnet so blue.
*****************

MB
Song Texts
1609

No. 193
THE BOSTON BURGLAR
also known as
Boston City
The Boston Smuggler
The Bugle Boy
Charlestown
Charlie's Town
The Convict's Song
Covington
Prank James, the Burglar
I Was Born and Raised In
Covington
The Jail at Morgantown
The Louisville Burglar
Prisoner's Song
The Springfield Burglar
This song is an adaptation of BOTANY . BAY (see No.
194 in this MB). Or, as some suggest, it could he
an adaptation of Henry's Downfall , or Young Henry
the Poacher , a broadside ballad issued by Catnach,
Such, Bebbington, Cadman, and W. R. Walker,
According to Sigmund Spaeth, the authorship of The
Boston Burglar i<= credited to "M. J. Fitzpatrick.”
He was probably referring to the version published
in New York by Edward B. Marks, since that is the
version he reprints. But the song- was published much
earlier by H. J. Wehamn, another New York publisher.
In fact, Wehman published the song twice-in sheet
music form in 1881 and in broadside (No. 480). Then
Wehman included it in The Vocalist's Favorite Songs
ter . 1885, p. 179.
American versions traveled back to Scotland, where
the song became known as The Boston Smuggler.
For a sharply variated version, see As I Sat Down
To Play Tin-Can in Lomax (OSC), 308.
REFERENCES
Arnold, 52-53
Brewster (BSI), 223-225
Brown, II, 554-557; IV,
281-282
Chappell (FSRA), 100-101
Cox (FSS), 296-299
Cox (TBFS), 106
Creighton (SENS), 206
Davie (FSV), 280
Eddy, 204-206

MB
Song Texts
Edwards (OS), 12-13
Finger (FB), 88-89
Flanders (VFSB), 53-54
Friedman, 222-223
Gardner (BSSM), 335-336
Gray, 90
Greig, No. 132
Hubbard, 249-251
Kennedy (AB), 164-165
Kennedy (TAB), 303-304
Laws L 16
Leach, 254-255
Lomax (CS-1919), 147
Lomax (CS-1938), 203
1610
MacColl & Seeger, 284
Morris, 387-388
O'Lochlainn, 88-89
Owens (TFS), 81-82
Pound, 57-60
Pound (SFSN), VIII, No.
5
Randolph, II, 37-39
Scarborough (SC), 289-
296, 433-435
Sharp, II, 66-69
Silverman, I, 63
Spaeth (REW), 177-179
The Boeton Burglar
I was born in Boston, boys,
A city you all know well,
Brought up by honest parents—
The truth is what I'll tell.
Brought up by honest parents,
And raised most tenderly,
Till I became a sporting lad
At the age of twenty-three.
My character was taken,
And I was locked in jail;
There was none that I knew of
Who could get me out on bail.
The jury found me guilty,
The judge he wrote it down.
And when he passed my. sentence
I was off to old Charlestown.
I saw my aged father
A-pleading at the bar;

MB
Song Texts
1611
I saw my darling mother
A-looking from afar,
And tearing out her gray locks
As the tears came rolling down,
Crying, "Son, what have you done,
To be sent to old Charlestown?"
They put me on an Eastern train,
One cold December day,
And every station we passed by
I heard the people say:
There goes the Boston Burglar,
In chains securely bound;
For robbing Sheffield bank
He must got to old Charlestown."
Now you who have your liberty,
Pray keep it while you can,
And don’t go roam the streets at night
A-breaking laws of man.
For if you you'll surely rue,
And end up just like me—
Serving time for twenty years
In the penitentiary.
***********************

No. 194
BOTANY BAY
An old British ballad said to be the prototype for
many ether prison songs, including the previous one,
The Boston Burglar (No. 193).
Botany Bay, an inlet on the coast of New South Wales,
was the first landing place of Captain Cook in 1770.
The penal colony, established in 1787, quickly became
famous and was the subject of many ballads. Some years

ME
Song Texts
1612
later the colony was moved to an area that is now
a suburb of Sydney, Australia. For an entirely dif
ferent song with an identical title, see Randolph,
I, 374-375.
REFERENCES
Ashton (MSB), 359-360
Barrett, No. 52
Cambiaire, 69-71
Christie, II, 67
Flanders (CSV), 44-45
Flanders (NGMS), 253-254
Friedman, 220-222
Gardner (BSSM), 323
Greig, I, art. 45
Jour (FSS), V, 85-86
Karpeles (EPS), II, 139-
142
Laws L 16 A, 174
Sharp (EPS), II, 90-91
Sharp (100), 198-199
Silverman, II, 385
Sturgis (SHV), 32
Trident, 116-117
BOTANY BAY
I was raised up in London town,
A place I know so well;
Raised up by honest parents,
The truth to you I’ll tellx
Rai°ed up by honest parents,
And reared moot carefully.
And I became a roving lad.
Which proved my destiny.
They stood me up before a Judge
When I wa« twenty-three.
Because of my wrong-doing,
The Judge he said to me:
"You broke the laws of England,
For which you now must pay.
You are to be transported
Across to Botany Bay!"

MB
Song Texts
1613
I left my darling mother there—
Don't worry her, I pray—
It is not her fault at all
I'm being shipped away;
And to the grief she's feeling,
I hope no one will add—
Remember, she has done no wrong—
I am the one who's bad.
They sailed us down the river
The twentieth of May,
And every ship we passed by,
I heard the sailors say:
"There goes a load of bad ones!
They're being shipped away,
To work as slaves and prisoners.
And live at Botany Bay.”
******* ********* *******

No. 195
BOUND TO GO
also known as
March On, Member
A spiritual that has survived also as a boat and
inarching song.
REFERENCES
Allen (SSUS), 22-23 Lloyd, 136
Jubilee (PS), 28 Scott (BA), 202-203
Bound To Go
I'll build my house upon the rock,
0 yes. Lord!
No wind, no storm can blow it down,
0 yes, Lord!

MB
Song Texts
1614
Chorus
March on, member, bound to go!
March on, member, bound to go!
Left St. Helena, bound to go!
Brother, fare you well.
He built a house on shifting sand, etc.
A strong wind come and blow it down, etc.
I am not like that foolish man, etc.
He built his house upon the sand, etc.
«**•**«***#**#

Ho. 196
THE BOY AND THE STRANGER
also known as
The Devil and. the School
Child
The False Fiddle, or Fidee
The False Knight
The False Knight and the
Wee Boy
False Knight on the Road
False Knight Upon the
Road
Fause Knight and the We
Boy
The Fause Knight On, or
Upon the Road
The Smart Schoolboy
This ballad is both old and rare in U. S. tradition.
The tale of a mere schoolboy confounding the Devil is
common to folklore; it is also ancient. As a ballad,
however, the story has never enjoyed an extensive
popularity. For an interesting Irish version, see:
Modern Language Review , XII . 203.
REFERENCES

MB
Song Texts
1615
Baring-Gould (BNSR), 3
Barry (BBM), 11-14
Belden (BS), 4
Brewster (BSI), 29-30
Bulletin (FSSN), XI, 8
Campbell & Sharp, No. 1
Child, I, 20-22; V, 411
Coffin, 31
Creighton (SBNS), 1-2
DAVIS (TBV), 61, 549
Flanders, I, 79-81
Flanders (BMNE), 46-47
Jour (AFI), XXIV, 344;
XXX, 285-286;
LIV, 208
Moore (BFSS), 11-12
Niles (BB), 21-23
Pound, 48
Roberts (IP), 6-8
Roberts (SBS), 89-90
Sanders, 84-85
Sharp, I, 3-4
Sharp (AEPS), 20-21
Wells, 174-175
The Boy and the Stranger
"Oh, where do you go?"
Said the stranger along the road.
"I’m on my way to school,"
Said the boy as he bravely stood.
"And what is on your back?"
Said the stranger along the road.
"It*8 nothing but my books,"
Said the boy as he bravely stood.
"And what have you learned?"
Said the stranger along the road.
"Distrust the likes of you,"
Said the boy as off he ran.
*♦*#********#*■»*-»** **********

No. 197
BOYS AND GIRLS IN THIS COUNTRY
also known as
Arizona Boys and Girls A Comical Ditty

MB
Song Texts
1616
There are many versions of this humorous "put down"
song, with most being the result of regionalization
by singers in communities where the song was being
sung. For an interesting variation, see The Boys
Around Here in Randolph, III, 215-216, Also compare
Young Folks 1 Dispositions in Payne (SBGG), 236,
We give two versions of the song below, with version
A being non-regional and version B specifically
regional.
REFERENCES
Belden (BS), 430
Cox (FSS), 250-253
Lomax (CS), 211-213,
256-258
Memoirs (AFS), XXIX, 96
Moore (BFSS), 296-297
Pub (TFLS), VI, 236-237
Randolph (Ozarks), 220-
221
Stout, 96-97
Boys and Girls in This Country ( Version A)
If all you young people will kindly come near,
A comical ditty you*re going to hear.
American fellows believe that romance
Is courting the ladies and learning to dance!
Let f em go! Fie-10, la lurry, fie-lo!
The girls in this country are Just like a cat;
They laugh and they giggle, and don't know what at.
They think they are lovely, so pretty and wise;
They flirt with the fellows and tell them all lies.
Let 'em go!, etc.
The boys in this country are striving for fame:
Get something for nothing—that's playing the game.
They wear their hair longer than girls that they
date,
And value good music as something to hate.
Let *em go!, etc.

KB
Song Texts
1617
American parents, the rich and the poor,
Are happy to see them go out of the door.
The girls and the fellows disturb us, you see,
Por they are the people that we used to be.
Let *em go!, etc.
(Version B)
Come now, you good people, I pray you stand near:
A funny new ditty I'll sing in your ear.
Arizona boys are out to advance;
They flirt with the girls and offer romance.
And it»s down, down low,
hi du ra, down low!
They'll take up their stirrups, they'll brush and
they'll rub,
Their old dirty boots they'll black and they'll
scrub;
They'll ride on their ponies with whips in their hand
And tell all the ladies they own house and lands.
And it's down, etc.
Now I'm not complaining, but isn't it sad?
And look at the ladies—they're ten times as bad!
Their frazzled old bonnets with ribbon they'll trim,
And look like a crow set out on a limb!
And it's down, etc.
They'll dab on the powder and put on the paint,
They'll go to a meeting as mute as a saint;
But once they arrive there, the truth I'll disclose:
They spend their time planning on how to get beaus.
And it's down, etc.

MB
Song Texts
1618
They’re always a-laughing, in vain to he wise!
They couldn’t get married to save their own lives!
Girls in Arizona will sit on your lap,
But if you should kiss one, your face gets a slap!
And it’s down, etc.
It*s time now, I think, for my story to end;
I fear there is someone that I might offend.
But if anyone here should now take offense,
Go straight to the Devil and seek recompense!
And it’s down, etc.
********** ************ *************

Ho. 198
THE BRAES OP STRATHBLANE
aleo known as
The Braes of Strablane The Braes of Strachblane
A Scottish song rarely encountered in American tra
dition, but one that is known in 90 me areas of the
country.
As Kidson pointed out, ’’The air is peculiar in
structure, and i<= no doubt an old one.”
REFERENCES
Pord (VSBS), I, 76
Greig, No. 18
Hubbard, 102-103
Kidson (TT), 90-91
MacColl & Seeger, 187
189
Ord, 125
Peacock, II, 499-500
The Braes of Strathblane
As I went a walking one fine summer’s day,
Down by yon green meadows I did carelessly stray;
I spied a fair maid—she was standing her lane,
And bleaching her clothes on the braes of Strath
blane,

MB
Song Texts
1619
I stepped up to her as I seemed for to pass,
"You are bleaching your clothes, my bonny lass;
It’s a twelvemonth and better since I had you in
mind,
And for to get married, if you’re so inclined*”
"To marry, to marry, sir! I am too young.
I know you young men have a flattering tongue.
My father and mother quite angry would be
Were I to marry a rover like thee,"
The young man turned ’round, a tear in his eye:
"I wish you good morning and tell you good-bye;
I wish you good morning, and to ease my own pain,
I’ll go court another on the braes of Strathblane."
"0 stay awhile, laddie, you've quite won my heart,
And here in my hand, love—we never shall part!
No, we never shall part till the day that we die;
May all good attend us whatever we try."
"0 now you’ve consented, and I thank you in kind,
But since we last spoke, love, I’ve altered my mind.
The clouds look heavy, and I think it will rain-"
So we shook hands and parted on the braes of Strath
blane *
************************* ****************

No. 199
THE BRAMBLE BRIAR
also known as
The Apprentice Boy
The Bamboo Briars
Boomberry Briars, or
Brier
The Branbury Briars
The Bridgewater Parmer
Bruton Town
Burlington Town
The Constant Parmer’s Son
The Cruel Brother

MB
Song Texts
1620
The Bitch of Briars
The Hunt
In Brunton Town
In Bruton Town
In Seaport Town
In Strawberry Town
The Jealous Brothers
Late One Sunday Evening
Lord Burling*s Sister
Lord Burlington's Sister
The Merchant's Daughter
The Murdered Servant
Man
The 'Prentice Boy
Seaport Town
Strawberry Town
This ballad tells an old, old story. In fact, it is
identical to the story told in Boccaccio's Isabella
and the Pot of Basil in the DECAMERON. The story
was also told by Keats in a poem of the same title.
Despite its popularity during the Middle Ages and
later in ballad form, the piece was omitted by Pro
fessor Francis J. Child, who made no mention of it
in his English and Scottish Popular Ballads.
Several versions of this ballad share titles with other
songs, one of which has led to some erroneous references
by several collectors (.see version B below),
REFERENCES
Belden (BS), 109-111
Brewster (BSI), 193-195
Broadwood (ETSC), 28
Brown, II, 229; IV, 135
Bulletin (TFS), II, 27
Campbell & Sharp, No. 38
Cox (FSS), 305-307
Cox (TBFS), 70
Cox (TBWV), 57-59
Creighton (MFS), 118
Creighton (TSNS), 141
Davie (FSV), 64
Eddy, 85-87
Gardner (BSSM), 59-61
Gillington (SOR), 10
Henry (FSSH), 161
Hubbard, 49-50
Hudson (FSM), 154-155
Jour (AFL), XX, 259; XXIX
165; XXXV, 359; XLV,
48, 51; XLVI, 25
Jour (FSS), I, 160; II,
42; V, 123
Karpeles (EFS), I, 280
Laws, S 32
Leach (BB), 705-707
MacColl & Seeger, 106-107
Mackenzie, 90-91

MB
Song Texts
1621
Mackenzie (QB), 154
Moore (BBSS), 159-162
Owens (TPS), 48-49
Pound, 53, 76
Pound (SPSN), V, 20
Pub (MLA), XXXIII, 327
Pub (TPIS), II, 6; XXIII,
83
Quarterly (SPL), V, 176
Randolph, I, 380-382
Sewanee Review, XIX, 222,
321
Sharp, I, 380-382
Sharp (EPS), I, 4-5
Sharp (PSPS), No. 12
Sharp (100), 4
Williams (EPS), 24
The Bramble Briar
In Seaport town there lived a merchant,
He had three sons and a daughter fair;
And among them all wa° the handsomest boy,
Who was the daughter's only care.
One evening late they were a-courting,
The eldest son happened to be near;
He went and told hi® younger brothers,
n We cannot have her lover here.
"I know he thinks he'll wed our si=ter,
And you should see how they behave;
But all his dreams will soon be ended,
Por we shall put him in his grave."
They rose up early the next morning
And called to them their sister's beau.
This poor young man they all did flatter,
And said they should a-hunting go.
They wander'd o'er the hills and mountains,
And through the woods all overgrown;
And way out there in a lonesome place,
They killed the boy and went back home.

MB
Song Texts
1622
Now when they met their lovely sister.
She said, ”0 where is the serving-man?
I asked because you seem all worried,
So tell me, brothers, if you can.”
**We lost him there where we were hunting,
And do not know where he might be,
And that is why we seem to worry.
But none of this should worry thee.”
That very night, as she lay sleeping,
Her lover came to her beside
All cover'd o'er with blood, and weeping—
The girl then knew that he had died.
She rose up early the next morning,
And she did sigh and make a moan;
"I'll go," she said, "to find my lover
And bring his blood-soaked body home."
She found him there in bramble briar,
And her poor heart did burst with woe;
She said, "My love, I'll stay here with you,
But first I must let some one know.”
Her brothers three were all convicted,
And she heard the death-bell clang;
She saw her love in the bramble briar,
And she was glad to see them hang.
( Version B)
aka The Constant Farmer'° Son
There was a farmer's daughter, near Dublin town did
dwell,
So modest, fair and handsome—her parents loved her
well.

MB
Song Texts
1623
She was admired by lords and dukes, but all their
hopes were vain;
There was but one, a farmer's son, young Mary's
heart could gain.
All summer Willie courted her and fixed their wedd
ing day;
Her parents both gave their consent, but her brothers
they did say:
"There lives a lord that pledged his word, and if
you do him shun,
We will betray and then will slay your constant
farmer's son,"
There wes a fair not far from home, her brothers
went to play;
They asked Willie to go along, to pa«s the time
away.
But on returning home at night they swore his race
was run;
And with a stake the life did take of her constant
farmer's son.
As Mary on her pillow lay she dreamed a dismal dream;
She dreamt she saw her true love dead, his blood a-
flow in streams.
She then arose, put on her clothes, to seek her love
did run,
And dead and cold she did behold her constant farmer'
son.
The bitter tears ran down her cheeks and mingled
with hi® gore;
She cried in vain to ease her pain and kissed him
o'er and o'er.
She gathered leaves from off the trees, to shade
him from the sun,
And a night and day were passed away with her
constant farmer's son.

MB
Song Texts
1624
When hunger it cane creeping on, Poor Mary cried
with woe;
And for to find his murderers unto her home did go,
"0 parents dear, you soon shall hear of a shocking
deed that'« done—
In yonder vale lies dead and pale my constant
farmer's son.
Then up did stand her eldest brother, saying, "In
deed it was not me."
The same replied the younger one, and cursed most
bitterly,
"Brothers," she said, "don't turn so red, or try the
lav; to shun;
You did the deed and you'll surely bleed for my
constant farmer's son,"
The brothers then did own their guilt and for the
same did die,
And Mary fair, in deep dispair, she never ceased
to cry.
Her parents then did fade away, their span of life
all run,
And Mary cried and of sorrow died for her constant
farmer's son.
********************************

No. 200
THE BRASS MOUNTED ARMY
Every war produces "complaint" songs such as this one,
which comes down to us from Civil War soldiers,
REFERENCES
Lomax (FSNA), 348 Randolph, II, 273 Silverman, II,
306

MB
Song Texts
1625
The Braes Mounted Army
0 whiskey is the monster
That ruins great and small,
But in old Kirby's army,
Headquarters gets it all!
Chorus
0, how do you like the army,
The brass mounted army,
The high falutin' army,
Where eagle buttons rule?
They drink when there is plenty,
Altho they think it hard,
But if a private touches it,
They put him under guard.
Our army is more richer
Than when the war begun,
Furnishes three tables
But all they set is one.
The first is richly laden
With chicken, goose and duck;
The next is pork an' mutton
The third is pore old buck.
Our Generals eat the poultry,
They get it very cheap;
Our colonel® and our captains
Devour the hogs and sheep.
Our soldiers git so hungry
They're bound to pres® a pig;
The biggest stump in Dixie
They're sure to have a dig.

MB
Song Texts
1626
On every big plantation,
Or a big holder’s yard—
Just to save his property,
Our Generals place a guard.
Altho my song is ended,
It’s beautiful and true,
Still poor men and the widders
Should have a line or two.
For them no guard is stationed,
Their fence is often burned,
Their property's molested,
As long ago we learned.
***************************

No. 201
THE BRAVE SERVANT GIRL
also known as
The Beautiful Damsel
The Box upon Her Head
The Dauntless Maid
The Fair Damsel from
London
It's of a Pretty Fair
Maid
The Maid and the Robber
The Staffordshire Maid
The Undaunted Female
This song first gained popularity as an English broad
side, then traveled to North America and became popu
lar on the frontier. Unfortunately, it has survived
only in fragmented versions, notably in Utah and in
Nova Scotia,
REFERENCES
Broedwood (ECS), 60
Greig, 8rt. xxxv
Greig & Duncan, No. 268
Hubbard, 267-268
Jour (EFDSS), IX, 186
Jour (F3S), VIII, 129

MB
Song Texts
1627
Xarpelee (EPS), II, No. 209 Mackenzie, 321-322
laws, L 3, 166 Williams (PSUT), 280
The Brave Servant Girl
There was a rich old merchant who in London did dwell,
With wife and with daughter who loved him quite well;
They had a servant girl who served them one whole year,
A brave young maiden of whom you shall hear.
One night as she lay sleeping this young girl did dream
Her father wss dying, or so it did seem;
And early next morning to the master ehe goes
Demanding her wages, her box, and her clothes.
She put the box upon her head, her journey began,
And eoon she did meet a stout and able nan.
Said he, "My pretty fair maid, I bid you good day;
Allow me to show you a much shorter way,"
He took her by the hand and then led her into a lane.
Said he, "My pretty fair maid, I mean to tell you plain:
Deliver up your money without fear or strife,
Or else this very moment I will take away your life."
The tears from her eyes like two fountains did flow,
"0 where shall I wander? 0 where shall I go?"
And while this young fellow searched round for his
knife,
The beautiful maiden did take away his life.
She took up her box again and quickly she ran,
But soon she did meet with a noble gentleman.
Said he, "My pretty fair maid, where are you going
bo late?
And what was the noise that I heard at yonder gate?

MB
Song Texts
1628
"That box upon your head, does it to yourself belong?
To your master or your mistress, have you done wrong?
To your master or your mietresp you have done some
thing ill,
For not one moment from trembling have you stood still.
"The box upon my head, sir, to me it does belong;
To my master and my mistress I have done nothing wrong.
To my master and my mistress I have done nothing ill,
But I fear in my heart for a man I have killed.
"He demanded my money and I soon let him know,
But when he reached for his knife, I struck him a blow.
She took him by the hand and led him to the place
Where that stout, able fellow lay bleeding on his face.
They searched him all over, to see what he had got;
He had three loaded pistolp, some powder and some shot;
He had three loaded pistols, eome powder and some ball,
A knife and a whistle, more robbers for to call.
He put the whittle to his lips, blew loud and shrill,
And four stout, able fellows came tripping down the
hill.
The gentleman shot one, and that most speedily,
And the beautiful young maid shot down the other three,
"0 now, my pretty fair maid, for judging you wrong,
I'll make you my charming wife before very long;
I'll make you my charming wife for what you have done,
For taking your own part and firing of your gun."
*********************

MB
Song Texts
1629

No. 202
BRAVE WOLFE
also known as
Death of General Wolfe The Plains of Abraham
On the Plains of Abraham Quebec
The death of General Wolfe in 1759 generated speeches,
poems and songs. The song below was written in the
American colonies; it is one of two surviving ballads
based on Wolfe's death at Quebec. He was engaged to
be married to Katherine Lowther at the time, which
accounts for the lines dealing with his courtship.
Wounded three times in battle, Wolfe died September
13, 1759. This ballad appeared shortly thereafter.
In time, traditional use resulted in words, lines and
stanzas being changed.
Brave Wolfe was extensively popular among American
colonists, and versions appeared in dozens of publi
cations, including newspapers and magazines. The piece
known as Bad News Has Cone To Town (see version B be
low) is hardly more than an extraction.
The English song, Bold General Wolfe , which may be seen
in Williams (FSUT), 162-163, is not related to the one
given here.
REFERENCES
Boston (M), III, 42
Carmer (SRA), 61-62
Combs (FSMEU), 176-178
Combs (FSUS), 153-155
Downes (1943), 50-51
Flanders (BMNE), 120-122
Flanders (VFSB), 55-57
Ford (BB), Nos. 1157-1160
3049-3052
Friedman, 288-290
Greenleaf, 96-98
Howe (100), 242
Jackson (ESUS), 174
Laws (NAB), 118
Leach (BB), 716-719
Lomax (FSNA), 42-43
Mackenzie, 198-100
McCarty, III, 8-10
New (2), 118-121
Randolph, IV, 101-1C3

MB
Song Texts
1630
Scott (BA), 36-38
Shoemaker (MMP) , 108-111
Shoemaker (NPM), 105-107
Silher (SI), 33-34
Silverman, II, 301
Soldier, 8-10
Songster (8), 209-212
Songster (50), 152-154
Songster (61), 45-47
Songster (62), 133-135
Songster (84), 242-243
Songster (126), 45-47
Songster (179), 100-102
Thomas (CAB), Nos. 55, 58
Thompson (33B), 323
Vinson, 16-17
Brave Wolfe (Version A)
Cheer up your hearts, young men, let nothing fright you;
Be of a gallant mind, let that delight you.
Let not your courage fail, till after trial,
Nor let your fancy move at the first denial.
I went to see my love only to woo her;
I went to gain her love, not to undo her.
Whene’er I spoke a word my tongue did quiver;
I could not speak my mind while I was with her.
Love, here’s a diamond ring, long have I kept it—
*Tis for your sake alone, long may you wea r it.
When you this posy read, think on the giver—
Oh, love, remember me, or I’m undone forever.
Brave Wolfe then took his leave of his own dear jewel.
Most surely did she grieve, saying, "Don’t be cruel."
Said he, "'Tis for a space that I must leave you."
Yet, love, where'er I go, I'll not forget you."
So then this gallant youth did cross the ocean,
To free America from her invasion.
He landed at Quebec with all his party,
The city to attack, both brave and hearty.

MB
Song Texts
1631
The drums did loudly "beat, the colors were flying;
The purple gore did stream, and men lay dying.
When shot from off his horse, fell this brave hero;
And we lament his loss in weeds of sorrow.
The French began to break their ranks, and flying,
Brave Wolfe began to wake as he lay dying;
He lifted up his hand while guns did rattle,
And of his army asked, "How goes the battle?"
His aide-de-camp replied, "’Tis in our favor.
Quebec, with all her pride, we soon shall have her.
She f ll fall into our hands with all her treasure."
"0 then," Brave ?/olfe replied, "I die with pleasure.
( Version B )
aka Bad News Has Come To Town
The "bad news" stanza is almost identical to the 3rd
stanza of an English song, A 31acksmith Courted Me,
Which is in Butterworth, 4-5. This song, originally
known as The Unconstant Maiden , was published in
1690.
I went to see my love, never to leave her;
I meant to be her love, and would not deceive her.
But when I tried to speak my poor heart would quiver
I could not «=peak my mind while I was with her.
Chorus
Bad news has come to town, bad news is carried;
Bad news ha® come to town: My love is married.
Bad news has come to town, and I am weeping;
Somebody stole my love while I lay sleeping.

MB
Song Texts
1632
Here is a chain of gold, for years I have kept it;
Here is a ring of gold, dear, won’t you accept it?
But when I tried to speak my poor heart would quiver;
I could not speak my mind while I was with her.
********■***•**■******■*•*■*■*■#-*•#•■#•

No. 203
BRENNAN ON THE MOOR
also known as
Bold Brennan Brandon on the Moor
Bold Breannan on the Moor Young Brinnon on the Moor
This Irish song celebrates the career of William
Brennan, a highway robber, who operated in County
Cork. He wa* captured and hanged in 1804. In Maine,
a local tune-smith appropriated the melody for a song
called Bracey on the Shore (see Eckstorm, 332-334).
Age of Brennan on the Moor is debatable, but we know
it does not predate 1804. Joyce, who published a
version in 1909. remarked that he had "some copies
in sheets printed by Haly of Cork sixty years ago."
American and English broadside versions were issued
by Bebbington, Be Marsan, W. Portey, Partridge,
Such, and Wehman.
REFERENCES
Belden (BS), 284-286
Cazden, I, 72-73
Creighton (TSNS), 236
Belaney (I3B), I, 13
BeMarsan (SJ), I, 21
Farnsworth, 6-7
Flanders (VFSB), 98-99
Ford (VSBS ) , II, 56-61;
(1904), 245
Friedman, 371-374
Gillinton (HFS), 7-9
Greig & Buncan, No. 258
Hubbard, 258-259
Ivee (SA), 10-12
Ives (SB), 52-54
Joyce (OIFMS), No. 379
Kideon (TT), 123-126
Laws, L 7, 169

MB
Song Texts
1633
Leach (BB), 745-747
Leisy, 42-44
Sharp (PSFS), No. 26
Silber (HSB), 122
Sharp, II, 170-171
Lomax (OSC), 317-319
Mackenzie, 309-310
Silverman, I, 61
O'Lochlainn (2), 144
Randolph, II, 168
O'Conor, 59
Scott (BA), 264-266
Songster (155), 58-59
Songster (190), 28-29
Wehman (ISB), I, 106
Wells, 300-301
Brennan on the Moor
It*a of a brave highway-man
A story I will tell:
His name was Willie Brennan,
And in Ireland he did dwell.
It was on the Kilwood Mountain
He commenced his wild career,
And many a wealthy nobleman
Before him shook with fear.
Chorus
It was Brennan on the Moor,
Brennan on the Moor;
Brave, bold and undaunted was
Young Brennan on the Moor!
A brace of loaded pistols
He carried night and day,
But never robbed a poor man
Upon the King's Highway.
Y/hat he'd taken from the wealthy.
Like Turpin and Black Bess,
Bold Brennan did divide it
With a widow in distress.

MB
Song Texts
1634
One night he robbed a packman,
His name was Hedler bawn;
They travelled on together
Till the day began to dawn.
The pedlar seeing his money gone,
Likewise his watch and chain,
He at once faced up to Brennan
And robbed them back again.
When Brennan saw the pedlar
Was as good a man as he,
He took him on the highway,
A companion for to be.
The pedlar threw away his pack
Without any more delay,
And proved a faithful comrade
Until his dying day.
Bold Brennan being an outlaw
Upon the mountain high,
Where cavalry and infantry
To take him they did try.
He laughed at them with scorn,
Until at length, it's said,
A false friend did betray him
For the price on his head.
In the county of Tipperary,
In a place they call Clonmore,
Willie Brennan and his comrade
One day did suffer sore.
He lay among the fern
Which was thick upon the field,
And nine wounds he had received
Before he came to yield.
Then Brennan and hi® companion,
knowing they had been betrayed,

MB
Song Texts
1635
Fought with the counted cavelry.
And a noble battle made.
He lost hi* foremost finger,
Shot off by a well-aimed ball.
And Brennan and his comrade
Were captured after all.
So they were taken prisoners,
In irons they were bound
And conveyed to Clonmel Jail,
With strong walls all around.
They were tried and found guilty,
The judge made this reply:
"For robbing on the King's Highway,
You are both condemned to die!"
*************************

No. 204
BRIAN O'LINN
also known as
Bryan O'Lynn
Brynie O'Linn
Barney O'Lynn
Brien O'Lynn
An Irish satirical song that wa« adaptated from
Tom Bolynn (see in MB). Tom Bolvnn is a 16th
century Scottish song. The tune is similar to
Sweet Betsy From Pike.
REFERENCES
Brown, II, 459-460
Hubbard, 322
Jour (AFL), LIV, 83-84
Lomax (OSC), 117-118
O’Conor, 64
O'Lochlainn, 30-31
Owens (TFS), 110
Randolph, III, 231-232
Wehman (ISB-1937), 70
Wells, 167
Williams (FSUT), 181

MB
Song Texts
1636
Brian O’Linn
Brian O’Linn had no britches to wear;
He got a sheepskin for to make him a pair.
"With the fleshy side out and the wooly
side in,
They’ll be pleasant and cool," says Brian
O’Linn.
Brian O'Linn had no shirt on his back—
*Twas ea«y to borrow an old ’tater sack;
He puckered the ‘tater sack under his chin,
"It’ll answer for ruffles," say<= Brian O’Linn.
Brian O'Linn had no hat for his head;
He stuck on a pot he stole from the dead.
He murdered a cod and cutt off its fin,
"It’ll pass for a feather," says Brian O’linn.
Brian O'Linn had no watch to put on;
He scooped up a turnip and made himself one.
Then he planted a cricket right under his skin,
"They’ll think it’s a-ticking," says Brian
O’Linn.
** **** ******* ************ •***•«■* *

No. 205
THE BRIDE’S DEATH
also known as
The Awful Wedding The Green Willow
Down In My Garden The Green Willow Tree
The Faultless Bride The Wedding
A 19th century "tear-wringer" with a story far from
being original. The idea wa« borrowed from a much
older son?, The Plymouth Tragedy , a ballad which, in
turn, was something like The Noblscan 1 ° Wedding. The
song, Johnny Doyle , also tell<= a similar tale.

MB
Song Texts
1637
Thi* i* not to «ey th c t the pong* are copies of one
another, only that the baeic theme is the same in
all three. There i« also a relationship between
The Bride * s Death and the comic music-hall song,
All Round My Hat. For an explanation, see Gilchrist*
article in Jour (FSS), VIII, 203-205.
REFERENCES
Ashton (MSB), 173
Belden (BS), 165-166
Campbell & Sharp, No. 105
Graves, No. 94
Greig, I, art. 24
Hubbard, 47-48
Jour (AFL), XXIV, 339
Jour (FSS), VIII, 4-5
Joyce (OIFMS), No. 413
Karpeles, 124-125
Karpeles (FSN), II, 135-
139
laws, P 31
Moffat (MI), 98
Ord, 132-133
Peacock, III, 691-697
Petrie, 490-495
Reeves (EC), 44
Sharp, II, 83
The Bride * a Death
1*11 tell you of an awful wedding,
Where two true lovers proved unkind;
She began to reflect on her former romance,
And her old true love remained in her mind.
They were all seated at the table,
Where every one would sing a song;
And the first to sing was her old true lover,
And these are the words that he sang all along.
"If any one should ask the reason
Why I am dressed so strange tonight,
I*m crossed in love and out of season;
I»ve lost my only heart’s delight.

Song Texts
1638
MB
"So I’m all dressed in strange attire,
And I’ll wear it for a week or two;
And one day soon I hope to lose my pain,
And trade my old love for a love that’s new,
"Oh, how can you sleep on another man’s pillow,
When you loved me more than words can tell?”
To bear it any longer she was not able,
And down at the bridegroom’s feet she fell.
She «aid, "There is one thing that I desire.
And I pray you will not deny me:
I wish this night to lie by my mother,
And all that love me lie with thee,”
This strange request her husband granted,
And with watery eyes all went to bed;
And when they rose up early in the morning,
They learned that the young bride was dead,
*** *********■*•**•*•*•*■•*■■*■* *

Wo, 206
BRIGHAM YOUNG I
• —*
also known as
Brigham Young, Brigham Young Brigham Young and Brother
Jeddie
The Mormon leader Brigham Young inspired many songs,
and this is one of them. Unfortunately, the unfavor
able songs gained the widest popularity outside Utah,
Strangely, the folk status of many critical songs
was established by the Mormons themselves.
The "brother Jeddie” referred to in the text is
Jedediah Grant, the first mayor of Salt Lake City
(1852), The text below is from Hubbard, 413,

KB
Song Texts
1639
Brigham Young I Time; All Noddin'
Brigham Young saw the lights
Of the Saints a-burning blue,
And he sent for Brother Jeddie,
Who was always firm and true,
To stir up the watchmen
And rally round the post,
For the Devil's up and doing
And stirring up his host.
Chorus
To find us a-noddin', a nid, a nid a-noodin',
To find us a-noddin' to our mountain home,
*********************************

Bo, 207
BRIGHAM YOUNG II
also known as
Brigham Young, the Western This is the Place
Pioneer
This is one of the many songs celebrating the life
and deeds of Brigham Young, Versions have circulated
far and wide, but mostly west of the Mississippi,
REFERENCES
Cheney, 70 Fife (SSS), 327 Lingenfelter, 561
i
Brigham Young II TUne: Casey Jones
Come all you people if you want to hear
A etory about a brave pioneer;
Brigham Young is the pioneer's name,
In the Salt Lake Valley he won hie fame.

MB
Song Texts
1640
Chorus
Brigham Young, the western pioneer!
Brigham Young won a noble race!
Brigham Young made a broad statement
When he raised up on his elbow
And said, "This is the place!”
He told his people on the Mississippi River,
•You better get ready, for we’re leaving for
ever.
We'll turn our faces straight to the West,
And don’t get discouraged—we will do our
best,”
They reached Salt Lake on July the Twenty-
fourth,
A thousand miles of travel and they were tired.
Of course,
Old Brigham wac sick, weariness was on his face,
But he raised upon his elbow and said, "This is
the place!”
Some went to California, They wouldn’t take
advice;
Yhey didn’t seem to prosper—lived as poor as
church mice.
Some joined other churches, but I have a little
hunch
They wished to hell they hadn’t quit the
Mrgham Young bunch,
£hey met old Jim Bridger in the country of
IPyroming;
Ke^d give a thousand dollars for a head of
corn a-growing.
They instituted irrigation, and they had fine
crops,
’•TdLl along came the crickets and the old
grass-hops.

MB
Song Texts
1641
The crickets and the grasshoppers, they got so
awful bad
The saints tried to kill 'em, and fought ’til they
were madi
The Lord sent the sea gulls, in about two shakes—
How they heaved ’em over in the Great Salt Lake!
Once they had a celebration up in old Cottonwood;
They were happy and doing the very best they could.
Then news cane to Brigham, Johnston’s army on the
wing;
"Before we let them enter we'll destroy everything!"
He built a big theater, erected many schools,
To educate the children—’cause they wanted no fools.
He called 'em his busy bees—they built a lot of
hives—
And he ought to go to heaven with his nineteen wives.
***************************

No. 208
BRIGHAM YOUNG III
also known as
Oh, Brigham,‘Brigham
Young
Old Brigham Young Was a
Mormon Bold
Here we have a satirical tribut to the Mormon leader.
Ju«t how popular in general the song was is question
able, but it was widely sung by Mormons.
REFERENCES
Cheney, 176-178
Fife (SSS), 121-123
Hubbard, 408-409
Lingenfelter, 212-213
Lomax (ABFS), 432-433
.Lomax (CS-1919), 401-402
Lomax (Cs-1938), 400-401
Silber (SGAW), 83-88
Songster (141), 53

MB
Song Texts
1642
Brigham Young III
Old Brigham Young was a Mormon hold,
And the leader of the roaring rams;
He’s a shepherd of a heap of pretty little sheep,
And a nice fold of pretty little lambs.
Well, he lived with five and forty wives
In the city of the Great Salt lake,
Where they woo and coo as pretty doves do,
And cackle like ducks to a drake.
Chorus
Oh, Brigham, Brigham Young! It's a miracle how
he survives
With his roaring rams and his pretty little lambs
And his five and forty wives!
There is no man like old Brigham Young,
And none so curious and queer;
Tho* his rights are double, he is never out of
trouble,
And it gains on him every year..
Oh, he sets in his state and bears his fate
In a steady sort of way-
When there’s one wife to bury, there’s another
one to marry,
And a child is born every day.
Old Brigham Young was a stout man once,
But now he's thin and old;
And it's a pity to state there's no hair on his
pate,
Which once held a covering of gold.
For his oldest wives won't have white wool,
And the youngest won't have red.
So, with tering it out, and taking turn about,
They have pulled all the hair from his head.

MB
Song Texts
1643
Now the oldest wive® ju«t talk all day.
And the youngest just sing songs;
And among all the crowd he has it kinda loud—-
They’re as noisy as Chinese gongs.
Whenever they dance, it's a game of chance,
For some never gain the prize;
And they finish the night with tabernacle fight,
And scratch out one another’s eyes*
If any man envies old Brigham Young,
Let him journey to Great Salt Lake;
And if he has the measure to take on the pleasure,
He’ll find it a big mistake.
One wife at a time—that ain’t no crime!
One’s enough, there’s no denial;
So before you strive to take on forty-five,
Take three for a month on trial.
♦*****•***■***•*•***■)<•-*■******

No. 209
BRIGHAM YOUNG IV
also known as
Old Brigham
In 1868 the text of thi® song was credited to J. W,
Conner. However, the same text is in the 1857 edition
of Put ’ 8 Golden V>’est Songster, The song is a typical
satire of Mormons and their way of life, stressing
the interest in polygamy. The version below is far
from complete, but its intentions are clear.
REFERENCES
Conner, 23
Fife (SSS), 123
Lingenfelter, 210-211
Lomax (CS-1919), 399-400
Lomax (CS-1938), 399-400

MB
Seng Texts
1644
Brigham Young If Tune: V illkens and Dinah
I will sing you a song
That has often Been sung,
About that old Mormon
They called Brigham Young;
His wives they were many,
And were strong in the lungs,
As Brigham found out
By the length of their tongues.
Ri tu ral, lol, lu ral.
Oh, sad is the life
That a Mormon must lead,
But Brigham he clung
All thro life to his creed.
He said it was fun—
*Twas true, there’s no doubt—
To watch the young wives
Knock the old wives about.
Ri tu ral, lol, lu ral.
"Oh, I love one and all,"
Old Brigham said slow,■
"So do not provoke me
Or my anger will show.
What would be our fate
If found here in a row,
If Uncle Sam comes
With his row-de-dow-dow?"
Ri tu ral, lol, lu ral.
*****************

MB
Song Texts
1645

No. 210
BRING BACK MY BONNIE TO ME
also known as
Bonnie
My Bonnie
My Bonnie Lies Over
the Ocean
This is one of the best known old songs in the English-
speaking world. It first appeared in print as, My
Bonnie ; it was introduced in William H. Hill's Student
Songs (2nd edition), in 1882, published by T. B. Harms
& Company. Words and music are credited to H. J. Fulmer
(an alias used by Charles E. Pratt). Since then the
song has appeared in hundreds of songbooks, including
tho«e used in the public schools. The tune has been
used many times by other songwriters, making Bring
Back My Bonnie t_o Me a source song. For examples, see
Cowboy 1 q Meditation _I and My Family II elsewhere in
this MB.
A parody sung by college students is given below as
version B.
REFERENCES
Best, 6
Chamberlain, 69
Chappie (HS)., 178
Ford (OTFM), 15
Leiey (SPS), 76-77
Luther, 260
Mackenzie (SH), 27-28
Most (PCS), 9
Silverman, I, 162
Songs (15), 89
Waite, 22-23
Wier (SW7/S), 181
Winn (2), 128-129
Bring Back My Bonnie To Me ( Version A)
My Bonnie lies over the ocean,
My Bonnie lies over the sea;
My Bonnie lies over the ocean—
Oh, bring back my Bonnie to me.

MB
Song Texts
1646
Oh, blow, ye winds, over the ocean,
And blow, ye winds, over the sea;
Oh, blow, ye winds, over the ocean,
And bring back my Bonnie to me.
Chorus
Bring back, bring back,
Bring back my Bonnie to me!
Bring back, bring back,
Oh! bring back my Bonnie to mel
The winds have blown over the ocean,
The winds have blown over the sea;
The winds have blown over the ocean,
And brought back my Bonnie to me.
(Yersion B)
My Bonnie has tuberculosis,
My Bonnie has only one lung;
My Bonnie can cough up raw oysters
And roll them around her tongue!
Chorus
Bring back, bring back,
Bring back my Bonnie to me, to me,
Bring back, bring back,
Oh, bring back my Bonnie to me.
My Bonnie's complexion was lovely,
Her face, it was beauteous to see;
One day she got caught in a rainstorm—-
Oh, bring back my Bonnie to me.

MB
Song Texts
1647
My Bonnie leaned over the gas tank.
The height of its contents to see;
I lighted a match to assist her—
Oh, bring back my Bonnie to me!
*********************** ***.«.*-a.*.*** *

No. 211
THE BRITISH GRENADIERS
Although this song’s tune is widely known and deeply
steeped in American tradition, the song itself was
generally ignored by American collectors# The tune,
originally called Nancy , or Sir Howell’s Delight ,
dates back to the 1630s. Sometime following 1678
the tune was used for The British Grenadier We
know that Grenadiers does not pre-date 1676, because,
as Chappell remarked, that was the year when ”the
Grenadier Company was first formed...” The tune has
since been used for many songs. Eor some American
examples, see American Taxation and The Liberty
Song IV in this MB. Also see The Mountain Battery
in Dolph, 49-51.
REFERENCES
Adler, 46
Bantock, 24
Chappie (KS), 44
Gilbert (100), 12
Lawrence, 36
Silber (SI), 142
Silverman, II, 304
Whitman, 31
The British Grenadiers
Some talk of Alexander,
And some of Hercules,
Of Hector and Lysander,
And such great names as these;
But of all the world’s brave heroes
There’s none that can compare,

MB
Song Texts
1648
With a tow row row row row row,
To the British Grenadier*
Whene'er we are commanded
To storm the palisades,
Our leaders march with fuses
And we with hand-grenades;
We throw them from the glacis
About the enemies’ ears,
Sing tow row row row row row,
For the British Grenadiers.
Then let us fill a bumper,
And drink a health to those
Who carry caps and pouches
And wear the louped clothes:
May they and their commanders
Live haopy all their years,
With a tow row row row row row,
For the British Grenadiers.
♦ ♦•a-******-****** *********

No. 212
THE BROKEN-HEARTED LOVER
also known as
Charles Graeme
Cold Blows the Wind
Cold Blows the Winter’s
Wind
The Ghost and Sailor
The Green Grave
The Restless Dead
The Restless Grave
The Resurrected Sweet
heart
The Unquiet Grave
The Wind Blew Up, the
Wind Blew Down
The idea expressed by this song is one deeply rooted
in the folklore of many peoples. It is based on the

MB
Song Texts
1649
■belief that excessive weeping or grief for a de
parted loved one is wrong, even sinful, because it
disturbs the rest of the dead in his or her grave.
Many ancient songs use this theme to tell their
stories. This sone, however, is not ancient; it
dates from the 19th century. Some scholarly col
lectors suggest that The Broken-Hearte_d_ Lover is
a variant of The Bestless Ghost (see elsewhere in
MB).
The text, in the case of this song, is more stable
than the tune. Bronson, for example, gives no less
than 43 different tunes for this ballad.
REFERENCES
Baring-Gould (SW), 12-13
Broedwood (ECS), 34—35
Broadwood (ETSC), 50, 54
Brown, II, 94-95
Buchan, I, 268
Burne, 542, 651
Child, II, 234-238
Coffin, 82-83
Davis (FSV), 17
Davis (MTBV), 157
Dean-Smith, 113
Emrich (FAL), 578
Flanders, II, 184-186
Flanders (BMNE), 232
Folk-Lore Record, I, 60
Friedman, 32-34
Gilbert (100), 8
Greenleaf, 23-24
Houseman, 88-90
Jour (EFD8S), IV, 49
Jour (FSS), I, 119, 192
Karpeles, 58-59
Kinsley, 96-97
Leach (BB), 262-263
Leather, 202-203
Niles (BB), 173-180
Niles (MSHF), 18-19
Notes (5th series), VII,
387 , 436
Pdacock, II, 410-411
Quiller-Couch, 140—141
Reeves (EC), 272-274
Ritchie (FS), 64
Sedley, 193-194
Sharp (EFSC), 63
Sharp (100), 56-57
Shekerjian, 48-49
Silverman, I, 209
Wells, 154-155
Williams (FSUT), 76

MB
Song Texts
1650
' The Broken-Hearted lover
The wind blew warm, the wind blew cold,
And brought some drops of rain;
"My own true love, my own true love,
My heart is filled with pain*
My heart is filled with pain.
"The wind blows cold today, my love,
There falls a chilly rain;
I never had but one true-love,
And she in her grave was lain. (2)
"I’ll do as much for my true-love
As any lover may;
I’ll sit and mourn beside her grave
Until death takes me away." (2)
He mournful set beside her grave,
Until she heard him weep;
"Why do you mourn beside my grave,
Disturbing peaceful sleep?" (2)
"It’s me, it’s me, my own true-love,
Who longs to hear you speak;
For I Y^ould kiss your cold, cold lips—
One kiss is ell I 9 eek." (2)
"My lips are cold as clay, my love,
My breath is earthly strong;
If you should kiss these lips, my love,
Your time would not be long. (2)
"Lament no more for me, sweetheart,
For death we must obey;
Go find yourself another love,
For I am turned to clay," (2)
•****•*•******-»•*•****•*•* ****

KB
Song Texts
1651

No. 213
BROWN EYES I
also known as
Oh, Those Brown Eyes Those Brown Eyes
This Is whet, until the late 1940s, was called "a
hillbilly” song. It was very popular during my boy
hood and remained a staple item on country-type
radio programs until stations became automated and
program® were centralized. For another version, see
Roberts (SBS), 114-115.
Brown Eyes I
One evening when the sun was low,
Brown Eyes whispered, ”1 must go.”
Rot one moment would she wait—
She kissed my cheek and left the gate.
Chorus
Oh, those brown eyes I love so well!
Oh, those brown eyes I long to see!
How I sigh for those brown eyes—
Strangers they have grown to be.
One night we met upon the street,
I bowed my head and could not speak;
With another by her side,
I knew she’d never be my bride.
One year ago Just from today.
They laid my darling brown eyes away.
life is filled with misery
Since those brown eyes no longer see.
* ***■**#■* ****•*■•* •**•**

MB
Song Texts
1652

No. 214
BROWN EYES II
also known as
Beautiful, Beautiful Brown Eyes
This is a composite-type song, lines and stanzas
were taken from several other 19th century "tem
perance” songs, combined and set with a catchy re
frain, and made into a new song. Its rebirth in
1936 was due to a version recorded by Piddlin' Arthur
Smith and Alton and Rabon Delmore (The Delmore Bro
thers). It was revived again in the 1950s, but its
new popularity was not related to the song's earlier
purpose. Its continuing popularity is attested to
by the fact that ASCAP (The American Society of Com
posers, Authors and Publishers) has approximately
fifty different versions of the song on file.
For other versions, see: Leisy, 24-25 and Randolph,
II, 417.
Brown Eyes II
Billy, oh, Billy, I love you,
Love you with all of my heart;
You promised that we would be married,
But whiskey has kept us apart.
Chorus
Beautiful, beautiful brown eyes!
Beautiful, beautiful brown eyes!
Beautiful, beautiful brown eyes!
I'll never drink whiskey again.
Seven long years I've been married,
Wish I was single again;
You never know nothin* of trouble,
Until you have married a man.

MB Song Texts 1653
Early each mornin* I ripe up,
I work and toil all day;
It's supper to cook in the evening,
And then put the children away.
Down to the barroom he staggered.
Staggered and fell at the door;
The last words he ever did utter—
"1*11 never get drunk any more.”
*************************

No, 215
THE BROWN GIRL
also known as
The Bonny Brown Girl Doctor
When a ballad ha? both title and story-theme in com
mon with other songs, the temptation to associate
all of them as "aform," or "type” or "variety" is
very great. In such cases, therefore, the research
student mu«t be careful of references given by the
collectors of *uch songs.
There are other songs in this Master Book known as
The Brown Girl, two of which tell a similar story, but
neither is related to the other. Nevertheless, many
collectors have lumped all these songs together in
their published works as "Brown Girl" songs. Some,
eager to associate their finds with the Child ballads,
list "Brown Girl" themes as "secondary forms of
Child. No. 295 (which, incidentally, is the ballad...
given here), I take the position that the relation
ship between The Brown Girl and Sally the Rich Southern
Lady is no closer than, say, the relationship between
a Robin Hood ballad and a Jesse James ballad. In the
latter case, about all they have in common is the fact
that both were robbers.

MB
Song Texts
1654
REFERENCES
Cambiaire, 115-116
Child, V, 166-168
Henry (FSSH), 134-135
Kinsley, 355-356
Leach (BB), 678-680
Quiller-Couch, 800
The Brown Girl
I am as brown as brown can be,
And my eyes are black as sloe;
I am brisk, as you can see.
And wild as a forest doe.
My love he was so high and proud,
His fortune too was high;
He loved another fair pretty maid
.And thereafter passed me by.
He sent a letter to my home,
He sent it from the town,
Saying no more he loved me,
Because I was so brown.
I sent his letter back again,
Saying he soon would be forgot;
Whether he loved or fancied me
Was something I valued not.
When near six months were over-passed,
And contempt for him had grown,
Then did my lover, once so bold,
Lie on his bed and groan.
First sent he for the doctor-man,
"Oh, doctor, find a cure!
The pain« that now do torture me
I can not long endure."

MB
Song Texts
1655
Then did he send from out of town.
And he pent for none hut me;
He pent for me, the brown, brown girl
Who once hip wife should be.
How you shall hear what love she felt
For this poor love-sick man,
How all one day, a simmer's day,
She walked and never ran.
Oh, when she came to his bedside,
Where he lay sick and weak,
0 then for laughing she could not stand
Upright upon her feet.
"You flouted me, you scouted me,
And many another one;
Now the reward is come at last,
For all that you have done,"
The rings she took from off her hands.
Removed them two and three,
"0 take, 0 take thepe golden rings.
By them remember me."
"My love," said he, "Forget, forget,
My iove, forget, forgive;
0 grant me yet a little space,
That I may be well and live."
"0 never will I forget, forgive,
Nor offer you relief;
1*11 dance above the green, green
grave
Where you do lie beneath,"
•*■*******■*•*■■*•****#•**•***

MB
Song Texts
1656

No, 216
BUCHANAN VS FREMONT I
also known as
'The White House Chair
The American Presidential campaign of 1856 was not
the mo c t musical campaign in U, S, history, but it
did produce two songs of some significance: one for
the winner, one for the loser. The more popular song
of the two wa« distributed by the losing candidate’s
party. Here we deal with the winner: James Buchanan,
15th President (1857-1861),
Buchanan, 10-year Congressman, U, S, Minister to
Russia, 3-term U. S. Senator, Secretary of State
during Polk's administration, President Pierce’s
special representative in Great Britain, was nomi
nated by acclamation at the Democratic Convention
(after 16 ballots) in 1856, John C. Breckinridge
of Kentucky was nominated as his running mate.
It was a three-party race. The new Republican Party's
candidate was John C, Fremont (see Buchanan vs
Fremont II). The American Party (Know-Nothings),
nominate ex-President Millard Fillmore, When the
votes were counted, Buchanan was the winner with
174 electoral votes to 114 for Fremont. Fillmore
received only 8 electoral votes.
The Democrats sang and distributed several pro-
Buchana and several anti-Fremont songs, none of which
survived in tradition. The song below was rescued
by a mu*ic publisher some twenty-one years after the
composer’s death. But only because the composer was
better known than the ex-President for whom he wrote
the song. Why Stephen Foster wrote a political cam
paign song is another matter, although one suspects
that his sister’s marriage to Buchanan’s brother may
have been the reason.

MB
Song Texts
1657
Buchanan vs Fremont I
let all our hearts for Union be,
For the North and South are one;
They've worked together manfully,
And together they will still work on.
Chorus
Then come ye men from every State,
Our creed is broad and fair;
Buchanan is our candidate,
And we'll put him in the White House
Chair.
We'll have no dark, designing band,
To rule with secret sway;
We'll give to ell a helping hand,
And be open as the light of day.
***************************

No, 217
BUCHANAN YS FREMONT II
also known as
Fremont and Freedom Fremont Campaign Song
This was the most popular song of the 1856 Presiden
tial campaign, and it was written to help the new
Republican Party's candidate, John C. Fremont.
All parties and candidates were well represented
musically. For pro-Fillmore songs, see The Union
Wagon and Wide Awake Yankee in Silber (SAVB), 75.
For several other pro-Fremont songs, see Freedom .
Freemen . Fremont! . Huzza for the Railroad . The March
of Freedom , amd We'll Give ' em Jessie , see Silber
(SAVB), 69-71.
For another version of the song given below, see
Jordan, 128-131.

MB
Song Texts
• 1658
Buchanan vp Fremont IT Tune: Few Bays
A song I've got, my friend*?, for you,
Few day?, few days!
The tune and style will please you too,
For we're going home.
Fremont and freedom is our word,
Few days, few days!
We've nailed our flag and drawn our sword,
For we're going home.
Chorus
For there's the White House yonder,
Few days, few days!
Fremont and Dayton's "bound there,
We're going home.
We can't be kept back longer,
Few days, few days!
Ev'ry day we're growing stronger,
We're.going home.
Old ten-cent Jimmy is no go!, etc .
And Breckinridge is far too slow!, etc .
They both endorse weak Pierce's reign, etc .
Which on our country leaves a stain! etc.
Old Benton say= he's out for Buck, etc .
But his finger on his nose is stuck! etc
Fremont's the man, he surely knows, etc.
Or, if he don't, his daughter does! etc .
************************

MB
Song Texts
1659

No. 218
BUCKEYE RABBIT
also known as
Big-Eyed Rabbit Buckeye Rabbit's Daughter
This is one of thos "put together" songs, taking
lines from various other old songs and welding them
into an independent piece. Traveling minstrel shows
made frequent use of this type song, which probably
explains the high number of "rabbit" and "possum"
refrains encountered everywhere in the South. For
references to such songs, see Brown, III, 206,
Also see and compare Buck-Eyed Rabbit! Whoopee! in
Talley, 175. For a similar piece, see I've Been to
the East in Ames (MPP), 303-304 and Botkin (APPS),
213.
For other versions of the song below, see Arnold,
120 and Lomax (FSNA), 504.
Buckeye Rabbit
Now if I had a scoldin' wife,
I*d whip her ev'ry morn,
Then take her down to Birmingham
And trade her off for corn.
Chorus
Buckeye Rabbit, shoo shoo!
Buckeye Rabbit, shoodah!
Buckeye Rabbit, shoo shoo!
Buckeye Rabbit, hoo-hah!
When I want somethin' very sweet,
I go to Sugar town;
I climb up in that sugar tree
An f I shake that sugar down.

MB
Song Texts
1660 '
I've traveled east, I've traveled west,
I've been to Arkansas,
An' Buckeye Rabbit's daughter
Is the best I ever saw.
I went down to my sweetheart's house,
Just like I've done before;
She fed me from an' old dog's trough,
So I don't go there no more.
****•*•*•*■*•*•*•*■****•**•*•**■*■*•*■**

No. 219
BUFFALO BOY
also known as
The Mountaineer's Courtship
This song has been doctored repeatedly by profession
al collectors and folk-singers. The tune is popular
among modern square dance groups and musicians. Accord
ing to Alan Lomax, the version he printed was a "com
posite version of The Mountaineer's Courtship ...and
Buffalo Boy ..." He also noted the similarity between
the tune of this song and that of The Old Gray Goose
is Bead.
REFERENCES
Bikel (FF), 206-207
Burlacher, 118
Leisy, 44
Leisy (SPS), 90
Lomax (FSNA), 315
Silber (HSB), 97
Silverman, I, 356
Winn (2), 88
Buffalo Boy
When are you coming to court me
court me, court me?

MB
Song Texts
1661
When are you coming to court me,
darlin' Buffalo Boy?
I will be coming next Sunday,
Sunday, Sunday;
I will be coming next Sunday,
If the weather io good.
When will we be married,
married, married?
When will we be married,
darlin' Buffalo Boy?
We will be married in a week,
in a week, in a week;
We will be married in a week,
If the weather is good.
Who will you bring to the wedding,
wedding, wedding?
Who will you bring to the wedding,
darlin* Buffalo Boy?
I*m gonna bring all my children,
children, children;
I*m gonna bring all my children,
if the weather is good.
Never knew that you had children,
children, children;
Never knew that you had children,
darlin' Buffalo Boy,
There won't be no Sunday wedding,
wedding, wedding;
There won't be no Sunday wedding—
Married life ain't no good!
************************

MB
Song Texts
1662

No, 220
THE BUFFALO HUNTERS
also known as
The Buffalo Hunt The Buffalo Song
Here we have a western frontier song that celebrates
an occupation that was deliberately destroyed by
those who practiced it,
REFERENCES
Fife, 4-5
Glass (SW), 50-51
Gordon (0SMS-4/20/25),
91
Haley, 203
Lingenfelter, 412-413
Lomax (CS), 185, 343
Pub (TFLS), XVIII, 5
Thorp & Fife, 208
The Buffalo Hunters
Come all you pretty fair maids,
These lines to you I write;
We're going on the range
As we poor hunters do,
While those tender-footed fellows
All stay at home with you.
Our game it is the antelope,
The buffalo, elk and deer;
They roam these broad prairies
Without the least of fear.
We rob them of their robes
In which we think no harm,
To buy us chuck and clothing
For to keep our bodies warm.
The buffalo is the largest
And the noblest of the van,
He sometimes refuses
To throw up his hands,

MB
Song Texts
1663
With hie shaggy mane uplifted,
And face toward the slcy,
As if to say, '’I'm coming,
So hunter mind your eye!”
All the day long
We go tramping around,
In search of the buffalo
That we may shoot them down!
Armed with our trusty rifle
And belt of forty rounds,
We send them up Salt River
To their happy hunting grounds.
While armed with Sharpe rifle
Or the Neddie gun so true,
We cau«*e the "buff" to bite the dust,
For they send their bullets through.
And when we come upon them.
If our guns have no defects,
We cause them to throw up their hands
And pass us in their checks.
Our houses are made of buffalo hides.
We build them tall and round;
Our fires are made of buffalo chips,
Our beds are on the ground.
Our furniture is the camp kettle,
The coffee pot and pan;
Our chuck is buffalo meat and bread
Intermingled well with sand.
Our neighbors are the Cheyenne,
The Arapaho and Sioux;
Their mode of navigation
Is the buffalo-hide canoe.

MB
Song Texts
1664
And if they all should emigrate,
I'm sure we wouldn’t care,
For a peculiar way they have
Of raising hunters' hair.
The hunters are jolly fellows,
They like their lager beer;
But when it comes to preference,
They drink their whiskey clear!
Now that you've heard my song,
You must not think it queer
If I take a drink of whiskey
Or perhaps a lager beer.
****** ************ **********

No. 221
THE BULL-DOG ON THE BANK
also known as
The Bull Dog
This song apparently originated sometime during the
first part of the 19th century, at a time when young
men were apt to get together, toss a tankard down and
harmonize a song or two. In various colleges some
students made their own contributions, such a=< the
the stanza in Pound (SPSN), XXVII, No. 8, p. 70,
which goes:
Pharaoh's daughter on th e bank .
Little Moses in the pool .
She fished him cut with a telegraph pole
And sent him a long to school ,
Singing tra la la la la lidy-whoo .
So we are dealing here with a college as well as a
drinking song.

Song Texts
1665
MB
REFERENCES
Chamberlain, 114
Chappie (HS), 393
Ford (TMA), 320-321
Lewis, 36
Loesser, 306—308
Most (PCS), 77
Oberndorfer, 123
Waite, 92
The Bull-Bog on the Bank
Oh! the bull-dog on the bank!
And the bull-frog in the pool!
Oh! the bull-dog on the bank!
And the bull-frog in the pool!
Oh! the bull-dog on the bank!
And the bull-frog in the pool!
The bull-dog celled the bull-frog
A green old weter fool#
Oh! the bull-dog stoop’d to catch,
And the snapper caught his paw!
Oh! the bull-dog stoop’d to catch,
And the snapper caught his paw!
Oh! the bull-dog stoop'd to catch.
And the snapper caught his paw!
The pollywog died a-laughing
To see him wag his jaw.
Says the monkey to the owl,
”0 what’ll you have to drink?”
Says the monkey to the owl,
"0 what’ll you have to drink?”
Says the monkey to the owl,
"0 what’ll you have to drink?”
Since you are very kind,
1*11 take a bottle of ink#
**************** ********

MB
Song Texts
1666

No. 222
THE BULL-WHACKER
also known as
The Good Boy-
According to Sandburg (AS), 203, this i9 ”a high
brow folk song which has several variants.”
See and compare Root , Hog or Lie in MB.
The Bull-Whacker
I'm just a bullwhacker, full of rum and riot!
I've never had me a day of peace and quiet.
I've spent my life haulin' freight across the
prairie,
And there ain't nothing that I didn't carry.
I've never been wed, altho' I've often yearned to;
I've chased ev'ry woman my fancy turned to.
I've been a rough hombre, 'cause it was expected,
But here I am now unloved and unrespected.
******** ******** a-**********************

No. 223
BULLY OE THE TOWN
also known as
The Bully Song Looking for the Bully
I'm Looking for the Bully of the Town
Looking for the Bully The New Bully Song
This is a 19th century ragtime song, written and com
posed by Charles E. Trevathan and made famous by the
singer, May Irwin. Nevertheless, it has a folk tra
dition of sorts despite having always been easily

MB
1667
available in print,
A traditional version collected by Wheeler (SB),
100, is given below as version B,
REFERENCES
Agay (2), 198-199 Odum (FSFP), 293
Charters, 42-43 Odum (NHS), 203-204
Leach (BB), 767 Silverman, II, 154
Bully of the Town ( Version A)
I'm looking for that bully,
The bully of the town;
He*a pickin’ on the poor folks,
And a layin’ their bodies down,
I’m looking for that bully,
And he must be found.
I’m a Kentucky rambler
And I don’t allow
No blow-hard river roustabout
To raise a nasty row,
I’m looking for that bully,
The bully of the town.
Chorus
When I walk the Levee round, round, round, round,
When I walk the Levee round, round, round, round,
When I walk the Levee round, I'm looking for the
bully of the town,
I’m going down the street
With an axe in my hand,
I’m looking for that bully,
For to sweep him off this land,
I'm looking for that bully,
And he must be found!

MB
1668
I brung ’long my razor,
For to cut him deep;
And if I gee that bully, boyg,
1*11 put him right to sleep?
I’m looking for that bully,
The bully of the town.
( Version B)
aka
Stacker Lee
Stacker Lee is lookin' fo* the Bully,
The Bully can’t be found;
Now we're goin* to walk the Levee roun',
roun',
Goin' to walk the Levee roun*,
I'm looking for the bully of your town,
I'm lookin' fo' the Bully,
The Bully must be found!
I'm lookin' for the Bully, boys,
To lay his body down,
I'm lookin' for the Bully of your town!
* *****************************

No, 224
BUNKER HILL I
also known as
The American Hero The Ballad, or Battle of Bunker
Hill
This is a poem that became a song. Originally called
The American Hero , the poem had been written by one
Nathaniel Miles just before the battle at Bunker Hill

MB
Song Texts
1669
occurred. Following the September 1775 battle, one
Andrew law, a graduate of Rhode Island College, set
the poem to music# People naturally associated the
song with the battle at Bunker Hill and it was soon
being referred to accordingly.
This song is not related to the other three Bunker
Hill somgs which follow: Bunker Hill II, III & IV.
REFERENCES
Agay (2), 24
Botkin (NEF), 851-852
Downes, 58-59, 64-65
Jackson (ESUS), 179
Lawrence, 58-59
Rabson, 72-73
Silber (SI), 114
Vinson, 40-41
Bunker Hill I
Oh, the Redcoats came down to the foot of the hill,
In barges and rowboats, some great and some small;
They twadled and dawdled and tarried until
We feared that they would not attack us at all.
Let the foemen draw nigh ’til the white of his eye
Comes in sight of our rifles and then let it fly!
We’ll prove to Columbia, to Britain and Spain,
How justice will triumph when free men take aim.
While all their hearts quick palpitate for havoc
Let slip your bloodhounds, nam'd the British lions;
Dauntless, as death stares, dauntless, as death
stares.
Nimble as the whirlwind, dreadful as demons.
Still shall the banner of the king of heaven
Never advance where I’m afraid to follow;
While that precedes me, while that precedes me,
With an open bosom, War, I defy thee.
Fame and dear Freedom lure me on to battle,
While a fell despot, grimmer than a Death's Head,

KB
Song Texts
1670
Strings me with serpent, strings me with serpent
Piercer than Medusa*e, to encounter.
Life, for my country and the cause of Freedom,
Is hut a trifle for a worm to part with;
And if preserved, and if preserved
In so great a contest, life is redoubled.
*****************************

No. 225
BUNKER HILL II
This song was also a literary creation, but it has
a place in American history and tradition. It was
first sung at the dedication of Bunker Hill Monument,
June 17, 1843. The words were written by James B.
Taylor, the music by Henry L. Tuckerman. Versions have
appeared in many song books, but I have not found one
in a folk collection. The version below is from
Chappie (HS), 200-201.
Bunker Hill II
Lonely and still was the wood and hill,
And the waves below yet slumbered;
The breezes light of a summer night
All the dewy hours numbered.
The sentry’s tramp from the foeman’s camp,
With his tone of hasty warning,
Came low and clear to the yeoman’s ear
As he wstched the early dawning.
The heroes thought as they bravely wrought
Their country's altar rearing,
Of a noble land by valor's band
Made free and home endearing.

MB
Song Texts
J\ 1671
In firm array when broke the day.
The deadly charge they waited.
And aide by aide in gilent pride
With akill their prowess mated.
Then wav’d the sword, then blood was pour’d.
Oppression’s host dismaying,
Death ront the air and the cannons' glare
O’er Freedom’a birth were playing.
And that green height, with evening light
Its crimaon turf o’er-ahading,
Had holy grown as Freedom’s throne
like her starry orown unfading.
Todey a throng with festal song.
The sacred mount o'er flowing,
Have gathered there with pomp and prayer,
All hearts with rapture glowing.
On the gory bed of the martyred dead,
Its shade majestic eleeping,
Standa Freedom’s pile in glory's smile.
Eternal vigil keeping.
••#»**•***#****«*««****•*****«***

Mo. 226
BUNKER HILL III
also known as
Bunker’s Hill
This song expresses an English-Tory view of the battle
at Bunker Hill. The version below consists of only
four of the original ten stanzas.
REFERENCES
Brand (S-76), 46 Lawrence, 56-57 Songster (8), 194

MB
Song Texts
1672
Bunker Hill ITI
The seventeenth of June, at Break of Bay,
The rebel® they surprised up,
With their strong workg, which they'd thrown up,
To burn the town and drive us.
But soon there was an Order came
An Order to defeat them.
Like Rebels stout, they stood it out,
And thought we ne’er could beat them.
About the hour of ten next day,
An order came for marching;
With three good flints and sixty rounds,
Each man was to discharge them.
Then we march'd down to the Long Wharf,
Our boats were ready waiting,
With Expedition we embark'd
Our ships were cannonading.
Prom cops-Hill Batt'ry, near Charles Town,
The Twenty-fours they played.
And from three Frigates in the stream.
Who very well behaved.
The Glasgow Frigate clear'd the shore,
All at the time of landing,
With her Grape shot and cannon-balls.
No Rebels near could stand them.
But when our boats all filled were
With officers and soldiers,
Of as good troops as England had,
We cared not who opposed us.
But when our boats all filled were,
Drawn up in line of battle,
Like show'rs of hail the shot did fly,
And cannons loud did rattle,
***•**•*■■* ***-*■*•* * **•*■» **•*■* *•**•**•

MB Song Texts
1673

No, 227
BUNKER HILL 17
also known as
The Sword of Bunker Hill
Although this is another literary song, it has a
place here because of its historical and traditional
interest. The words were written by William Ross
Wallace (1819-1883) and the music was composed by
Bernard Covert, a professional entertainer.
REFERENCES
Chappie (HS), 316-317 Lewie, 45
Flanders (BMKE), 224-225 Johnson (FS), 552-553
Grand Army, 40-41
Bunker Hill' IV
He lay upon hia dying bed,
Hie eyes were growing dim,
When with a feeble voice he call’d
His weeping son to him.
"Weep not, my boy!" the vet’ran said,
"I bow to heav’n’s will.
But quickly from yon antlers bring
The Sword of Bunker Hill."
But quickly from yon antlers bring
The Sword of Bunker Hill."
The eword was brought, the soldier’s eye
Lit with sudden flame;

MB
Song Texts
1674
And as he grasp’d the ancient blade
He murmured Warren’s name,
Then said, "My boy, I leave you gold—
But what is richer still,
I leave you, mark me, mark me now,
The Sword of Bunker Hill.
I leave you, mark me, mark me now,
The Sword of Bunker Hill.
"Oh, keep the sword!” his accents
broke—
A smile, and he was dead!
His wrinkled hand still grasp'd the
blade
Upon that dying bed.
The son remains, the sword remains—
Its glory growing still—
And twenty millions bless the sire
And the Sword of Bunker Hill.
And twenty millions bless the sire
And the Sword of Bunker Hill.
*********************

Ho. 228
THE BURNING OF THE BAYOU SARA
also known as
The Blcera City; of Bayou Sara
B’y * Sara Burned Down
Ship end train wrecks were big news to Americans of
the 19th century, end ballad-makers were fascinated

MB
Song Texts
1675
by such disasters. Even the burning of a river boat,
such as the Bayou Sara , resulted in at least one song.
The Bayou Sara , however, inspired two songs, both of
which are given below as A and B.
According to Wheeler (SB), "The City of Bayou Sara
was a wide-wheel packet; it was owned by the St. Louis
and New Orleans Anchor Line. She was built in Jeffer
sonville, Indiana, in 1884..." According to Belden
(BS), the Bayou Sara "was the queen of the Anchor line
fleet or River vessels, and was burned—a total loss—
at the New Madrid levee on the night of Saturday,
5 December, 1885, when she had been in service a
little more than a year."
The fire occurred around 11 p. m. Captain J. Baker,
all the passengers and most of the crew were saved.
Por other versions of A and B, see: Belden (BS), 423
and Wheeler (SB), 41.
Burning of the Bayou Sara ( Version A)
Way down the river an' I couldn't stay long,
B*y f Sara burned down;
The fire broke out and she was gone,
B'y* Sara burned down.
The people began to run an' squall, etc.
When they began to look, they was about to fall, etc.
Looked o'er my shoulder and what'd I'd see? etc.
The cap'n an' the mate was runnin' after me, etc,
See two bright angels at my side, etc.
Lord, 0 let me go to heaven, we all cried, etc.
VERSION B
01» Charlie he lay a-sleeping,
And he was sleeping real sound

MB
Song Texts
1676
When the fire broke out in the deck-room,
The night the Bayou Sara burnt down.
Chorus
Oh, the Bayou Sara hollered!
And the Bayou Sara churned!
The people on shore cried and prayed
The night the Bayou Sara burned.
Now when she sailed from St. Louis,
She had five hundred men;
When she anchored at New Madrid,
She only had one hundred and ten!
Ain’t that a God awful pity?
Ain’t it a sin and a shame
That a fire broke out in the deck-room
And there ain't nobody to blame?
The Bayou Sara was built right.
The Bayou Sara was strong,
But she sailed up to New Madrid,
And now the Bayou Sara is gone!
*********************

No. 229
BURY ME BENEATH THE WILLOW
also known as
Down By the Weeping Willow Under the Willow Tree
0 Bury Me 'Neath the Weep- The Weeping Willow
ing Willow Tree The Weeping Willow Tree
This song is not as ancient as the tradition expressed
in the text may suggest. The willow tree is an ancient
symbol of unrequited love, and is so used in folklore.
This song, which uses the willow tree in the tradition
al manner, is still performed frequently by professional

MB
Song Texts
1677
"country-western'’ entertainers.
REFERENCES
Belden (BS), 482-483
Brown, III, 314-317;
Y, 189-190
Cambiaire, 85
Carmer (SRA), 39
Davis (FSV), 78-79
Puson, 126
Henry (BMFS), 40
leisy, 46-47
Leisy (SPS), 15
Neely, 228-229
Owens (TPS), 91-92
Pub (TPLS), XXIII, 144-
145
Randolph, IV, 228-230
Richardson (AMS), 56
Roberts (IP), 214-215
Sandburg (AS), 314-315
Silber (HSB), 53
Silverman, I, 108
Bury Me Beneath the Willow
My heart is sad and I am lonely
Since my darling went away;
And I'm thinking of him only,
Hoping he'll return to me.
Chorus
Oh, bury me beneath the willow,
'Neath the weeping willow tree,
And when he knows where I am sleeping.
Then perhaps he'll weep for me.
Tomorrow was our wedding day—
Lord, 0 Lord, where can he be?
Gone, he's gone, to love another
And no longer cares for me.
************************

No. 230
BUXTER'S BOLD CREW
also known as
Huster's Bold Crew The Lorena Bold Crew
Aside from the fact that it tells a story of a battle
with a pirate, there is little to report concerning

MB
Song Texts
1678
this ballad. For other versions, see: Brown, II, 353,
IV, 204 and Chappell (FSRA), 52-53.
Buxter' s Bold Crew
As we sailed over the wide ocean, I spied a fair sail;
All under her foreyard there flew a black flag.
*0 my god!” cried our captain, ”0 what shall I do?
If they be bold pirates, they will heave us to!”
Up spoke our noble, brave first mate, "Boys, that they
can't do!
We'll hoist our main topsail and see this thing thro'.
"We will turn our jackets all 'round, the linings
are bright red—
If they be bold pirates, they'll feel a great dread!"
They quickly sailed down on us, and hailed us just so:
"Where are you from, my boys, and where do you go?"
Our noble captain answered, and he let them know,
"We are just from New England, and bound for Bordeaux."
They tried us to the windward, but nothing could they do
Then they tried us to leeward for an hour or two.
"Now we have got clear, boys—Here's cup and here's can;
Here's a drink of good brandy for every good man.
"Let's drink to your sweethearts, let's drink to your
wives;
And one more for the 'prentice, for saving of our lives.
Oh, here's to the sailors and pretty girls they knew,
And a drink in remembrance of Buxter's bold crew!
*************************

KB
Song Texts
1679

Ho. 231
CALIFORNIA BLOOMER
This is one of many songs "by J. A. "Old Put" Stone,
who "borrowed well-known tunes and wrote his own words
to them* This time, he used the tune of Lucy Long (see
Ho. 1085 in MB).
REFERENCES
Black, 36-37 Lingenfelter, 103
Dwyer, 125 Vitus, 10
Grant (SF), 159
California Bloomer Tune: Lucy Long I
Miss Elia is a gallus nag.
Kiss Elia she is neat—
Her eyes look like a saffron bag.
And, Lord, what awful feet!
I saw Miss Ella on the Platte
Where she got alkalied;
Her jackass he was rolling fat,
And straddle she would ride.
She's from Lumpkin County, Georgia.
I know her like a book.
I used to see her wash her feet
In Johnson's saw-mill brook.
Miss Ella has a claim, they say,
And works it all the while;
She creviced round the other day.
Panned out a little pile.

MB
Song Texts
1680
She’ll get it all after awhile,
If patiently she waits;
I'll leave her when I make a pile,
And vamose for the States!
1HHHh*******-»**********

No. 232
CALIFORNIA JOE
This is a poem by Captain Jack Crawford, a professional
Indian fighter and one time Chief of Scouts to the U.
S. Army. The words were later discovered by some un
known person who noticed that they matched the tune of
The Lad With The Auburn Hair (see in MB).
REFERENCES
Larkin (1931), 134-137 Lomax (CS-1919), 139-146
Larkin (1963)., 135-139 Lomax (CS-1938), 346-353
Lingenfelter, 104-105 Roberts (IP), 176-181
California Joe Tune: Lad With the Auburn Hair
Now, boys, you don’t like falsehood,
So I’m not going back
To say a word this evening
That ain’t a gospel fact.
Now set yourselves and listen:
I’ll tell you, let me see,
I think it was in ’fifty,
From then to 'sixty-three.

MB
Song Texts
1681
You've all heard tell of 3ridger—
I used to run with Jim—
And many a hard day's scouting
I've done along with him.
Well, once near old Port Heno,
A trapper used to dwell;
We called him old Pap Reynolds—
The souts all knew him well.
One night in the spring of 'fifty
We camped on Powder River;
We killed a calf of buffalo,
And cooked a slice of liver.
While eating quite contented,
We heard three shots or four;
Put out our light 3 and listened,
Then heard a dozen more.
We knew that old Pap Reynolds
Had moved his traps up here,
So, picking up our rifles
And fixing on our gear,
We mounted quick as lightning,
To save was our desire.
Too late, the painted heathen
Had set the house on fire.
We hitched our horses quickly
And waded up the stream.
And there amongst some bushes
I heard a child-like scream.
And there close beside me
A little girl did lie.
I picked her up and whispered,
"I'll save you or I'll die."

MB
Song Texts
1682
lord, what a ride! Old Bridger
Had covered my retreat.
At times the child would whisper,
In a voice so low and sweet,
"Dear Papa, God will take him
To Mama, up above.
There is no one left to love me,
There is no one left to love."
The little one was thirteen
And I was twenty-two.
I says, "I'll be your father,
And I'll love you just as true."
She nestled to my bosom,
Her hazel eyes so bright.
Look up and made me happy,
Though close pursued that night.
A month had passed, and Maggie—
We called her Hazel Eye—
In truth was going to leave us,
Was going to say goodbye.
Her uncle. Mad Jack Reynolds,
Reported long since dead,
Had come to claim our angel,
"His brother's child," he said.
By a laughing, dancing brook
A little cabin stood;
Being wearied with a long day's scout,
I spied it in the wood.
The pretty valley stretched beyond,
The mountains towered above,
And close beside that brookling
I heard the cooing of a dove.

MB
Song Texts
1683
While drinking from my juggery,
And resting in my saddle,
I heard a gentle rippling.
Like the dipping of a paddle.
And turning to the eddy,
A strange sight met my view:
A maiden with a rifle
In a little bark canoe.
She dropped her little rifle
And sprang from the canoe.
She said, "I was mistaken,
I taken you for a Sioux.
Your long hair and your buckskin
Look warrior-like and rough;
My bead was spoiled by sunshine,
Or I'd a-killed you sure enough.”
It's one more glance she gave me.
And then hung down her head.
"My dear, my bold preserver,
They told me you were dead.
It's been a long, long time, Joe.”
With tear drops in her eye,
I pressed her to my bosom.
My long lost Hazel Eye.
"It's he who claimed me from you,
My unice, brave and true,
Lies sick in yonder cabin—
He oft-times speaks of you.
'If Joe was living, Maggie,'
He said to me last night,
He’d care for you, dear Maggie,
When God puts out my light.'”
************ *******

MB
Song Texts
1684

No. 233
CALIFORNIA STAGS COMPANY
Another lyric by the gold-rush poet, J. A. "Old Put"
Stone. In this instance, Stone wrote words to match
the popular tune. Dandy Jim Prom Caroline (see in 1
MB).
REFERENCES
Black, 34-35
Dwyer, 140-141
Grant (SF), 70-71
Handy (1), 431-433
Lengyel, 75
Lengyel (HB), 50
Lomax (CS-1919), 411-412
Lomax (CS-1938), 393-394
Silber (SGAW), 130-131
Songster (141), II, 51
Vitus, 22
California Stage Company Tune: Dandy Jim From Caroline .
There's no respect for youth or age,
On board of a California stage;
But pull and haul about for seats
As bed-bugs do among the sheets.
Chorus
They started as a thieving line
In eighteen hundred forty-nine;
All "opposition" they defy,
So the people must "root hog or die."
You're crowded in with Chinamen,
As fattening hogs are in a pen,
And what will more a man provoke
Is musty plug tobaccc smoke.
The ladies are compelled to sit
With dresses in tobacco spit;
The gentlemen don't seem to care.
But talk on politics and swear.

MB
Song Texts
1685
The drivers, when they feel inclined,
Will have you walking on behind.
And on your shoulders lug a pole,
To help them through some muddy hole.
The dust is deep in summer time,
The mountains very hard to climb;
And drivers often stop and yell,
"Get out, all hands, and push up hill!"
They promise, when your fare you pay,
"You'll have to walk but half the way."
Then add aside, with cunning laugh,
"You'll push and pull the other half!"
They have and will monopolize
The business, till the people rise
And send them "kiteing" down below,
To start a line with Bates and Rowe!
************************

Ho. 234
CAL'S COUNTRY DANCE
This is an old dance-fiddle tune we used to play on
the radio and at public performances and square-
dances. It is a tune known to practically every
"old time" fiddler, whether professional or not.
The tune has no lyric that I am aware of, except
dance "calls" which are usually "made-up" on the
spot by individual "square dance callers."
See tune under TUNES (No. 234) in this Master Book.
**************************

MB
Song Texts
1686

No. 235
THE CAMPBELLS ARE COMING
Source Song. The melody of this old Scottish 3ong has
always been a favorite with German composers. It is
the chief theme in Bruch’s Cantata ’’Pair Ellen” and
Volkmann used it as a battle theme in his Richard III
Overture-even though the Battle of Bosworth took
place in 1485 and the theme was not composed until
1568.
Germans were not the only borrowers of this tune, how
ever. Sir 7/alter Scott used it for his Bonnie Dundee.
In Australia, the tune was used for A Billy of Tea , and,
during the American Civil War, the Confederates used
the time for their song, The Yankees Are Coming.
For an American political campaign song using the tune,
see Jackson vs Adams IV (No. 850) in this Master Book.
REFERENCES
Adler, 40
Amer (13), 57
Chappie (HS), 37
Elson, 86-87
Ford (OTFM), 6
Ford (TMA), 110, 315
Gilbert (100), 20
Greig & Duncan, No. 116
Hopekirk, 144-145
Johnson (FS), 513-515
Leisy (LAS), 84-85
Macfarren, 168-169
Mackenzie (SH), 98-99
Oberndorfer, 42
Ryan, 164
Songs (15), 243
Whitman, 191
Wier (SWWS), 244-245
Wilder, 48-49
Winn (2), 204-205
The Campbells Are Coming
The Campbells are coming, 0 ho, 0 ho!
The Campbells are coming, 0 ho, 0 ho!
The Campbells are coming to bonnie Loch Leven,
The Campbells are coming, 0 ho, 0 ho!

MB
Song Texts
1687
The great Argyle, he goes before,
He makes the cannon loudly roar;
Wi* sound of trumpet, pipe and drum,
The Campbells are coming, 0 ho, 0 ho!
The Campbells they are all in arms.
Their loyal faith and truth to show;
Wi' banners rattlin' in the wind.
The Campbells are coming, 0 ho, 0 ho!
*******************

No. 236
CAMPTOWN RACES
Source Song. This is a Stephen Poster song. The tune
has been borrowed over and over again by songwriters.
Lyrics were written to the time even when it was new.
For example, four such songs are in this Master Book :
No. 8, Abraham Lincoln VI; No. 377 , Gold Seeker II ;
No. 386, Gold Seeker XI: and No^ 1794 , We*11 Sweep
Them Off the Land.
This song has been published innumerable times and is
readily available in music folios, books and sheet-
music form.
REFERENCES
Best, 38
Brown, III, 504-505
Chappie (HS), 352-354
Downes (1943), 154
Hugill (1), 110-111
Leisy (LAS), 24-25
Lloyd, 90-91
Loesser, 109-111
Luther, 138
Pound (SFSN), XXIII, No
Seeger (6), 40
Silverman, II, 161
Spaeth (REW), 44-46
Wilder, 36-37
Camptown Races

MB
Song Texts
1688
Be Camptown ladies sing dis song,
Boo—dan! Doo-dah!
Be Camptown race track nine miles long,
Oh, doo-dah day!
I come dar with my hat cav’d in,
Boo-dah! Boo-dah!
I got a pocket full of tine,
Oh, doo-dah day!
Chorus
Bey gwine to run all night,
Bey gwine to run all day!
I»ll bet my money on de bobtail nag,
Somebody bet on de bay.
Be long-tail’d filly an de big black hoss,
Boo-dah! Doo-dah!
Bey fly de track, and dey both cut across,
Oh, doo-dah day!
Be blind hoss stick’n in a big mud-hole,
Boo-dah! Doo-dah!
Can't touch de bottom wid a ten—feet pole.
Oh, doo-dah day!
Old muley cow came onto de track,
Doo-dah! Doo-dah!
De bobtail fling her ober his back,
Oh, doo-dah day!
Dey fly along like a railroad car,
Doo-dah! Doo-dah!
Runnin' a race wid a snootin' star,
Oh, doo-dah day!
*************** ************

MB
Song Texts
1689

Wo, 237
CAWTO DE CUNA AL NINO JESUS
also known as
A La Hu
Duermete, Nino Undo
Cradle Song of the Infant Jesus
This is a lullaby from Los Pastores . a medieval
mystery play of the Nativity. Wherever there are
communities of Spanish-speaking people, the play
is performed each year at Christmas time.
Though some believe the work dates back to the Con
quest, all that is known for certain is that the
play was introduced into New Mexico and the South
west by Spanish missionaries during the 16th century.
According to Luisa Espinel, who was the first to
publish a version from traditional sources, "There
are many existing versions but all are in the classic
verse of 16th century Spain."
REFERENCES
Silber (HSB), 145
Silber (SGAW), 36-37
Silverman, I, 260
Warner, 149
Canto Be Cuna A1 Nino Jesus
Duermete, Nino Lindo,
En los brazos del amor,
Que te arro—11a tu madre
Cantandote aiarru.
No temas a Herodes
Que nada te ha de hacer
Que en los brazos de tu madre
Nadie te ha de ofender.
ENGLISH TEXT

MB
Song Texts
1690
Sleep, oh! "beautiful child,
Sleep within the arms of love;
Tenderly mother holds thee,
While the angels all sing above.
Alaroo, alalre, alaroo, alale,
While the angles sing above.
Have no fear of King Herod,
There is nothing he can do;
For in the arms of your mother,
None will ever prove harmful to you.
************************

No. 238
CAPTAIN GLEN
also known as
Captain Glen's Unhappy Voyage to New Barbary
This ballad belongs to the body of songs that deal
with crime, guilt and supernatural discovery. It
is based on the ancient belief that the anger of the
sea cannot be soothed until the guilty party ( a
criminal who during the voyage is detected by super*-
natural means ) is punished for his crime.
The punishment is always the same: the guilty party
is removed from the ship, usually by throwing him
overboard. This theme is as old as the story of
Jonah, in the Bible.
REFERENCES
Ashton (RSS), 82
Chappell (FSRA), 61-62
Christie, I, 240-24-1
Creighton (SBNS), 111-112
Ebsworth (RB), VIII, 141
Greig & Duncan, No. 191

MB
Song Texts
1691
Jour (API), XX, 261-264;
XXVI, 177-178
Jour (FSS), V, 263-265
Kidson (GEPS), 110-111
Logan, 47-50
Mackenzie, 238-248
Masefield (SG), 199-202
Notes (3rd series), XI,
419-428
Songster (61), .76-78
Songster (62), 210-213
Songster (128), 76-78
Stone, No. 56, 100-103
Captain Glen
There was a ship, a ship of fame,
And it was bound across the main;
About one hundred and fifty sailing men
Were signed aboard to bring her in.
Now Captain Glen's our skipper's name,
He was a brisk and lively man—
As bold a sailor as ever crossed the sea,
For he was bound to New Barbaree.
Just at the hour of twelve one night,
The captain called in horrible fright;
Unto the boatswain he did call,
And told him his secrets all.
"All for the love of a harlot fair,
I killed a man in Temple Square;
I let another man take the blame,
And he was hanged, unto my shame."
"0 Captain Glen, if that be so.
Don't let the men in our crew know;
Keep the secret within your breast
And pray that God will give you rest."
When morning came a storm did rise
And took us all by some surprise;

Song Texts
1692
MB
The sea broke over us, fore and aft,
Till scarce a man on deck was left.
Right then our boatswain did declare
Our Captain was a murderer!
The news enraged the whole ship's crew,
And overboard the Captain we threw.
Now with the Captain dead and gone,
We made a vow to carry on;
The winds grew calm as calm could be.
And we sailed on to New Barbaree.
****** ****************

No, 239
CAPTAIN JINKS OP THE HORSE MARINES
Well known and widely sung in the United States during
the 1370s and afterward, this song has established a
long record in tradition. Horace Lindgard, author of
the words, introduced the song in the United States
in 1869* The music was composed by T. Maclagan. Al
though Captain Jinks is available in literally hundreds
of folios and song-books, it still qualifies as a piece
of traditional American music.
REFERENCES
Agay (2), 156-137
Ames (MPP), 308-309
Ball, 24
Brown, III, 119; V,
Dolph, 27-29
Burlacher, 68
Elsom & Trilling, 236-239
Ford (OTFM), 14
Ford (TMA), 120, 143
Gardner, 18
Gardner (FSH), 236
Gardner (SPPG), 95
Kennedy (AB), 214-215
60-61
Botkin (APPS), 154-159
Cambiaire, 139
Chappie (HS), 54
Cox (SG), 242

MB
Song Texts
1693
Kennedy (TAB), 220-221
Lair, 23
Levy, 34-4-345
Loesser, 172-173
Luther, 209, 212
McLendon, 203
Memoirs (APS), XXIX, 23,
30
Osborn, 143
Piper (SPPG), 285
Pound (SPSN), XXVI, 5
Price, 14
Randolph, III, 354-356
Randolph (OPP), 231-232
Ryan, 56
Shaw, 379
Silverman, II, 205
Spaeth (WSM), 47-48
Whitman, 50
Wilder, 63-65
Wolford, 27-29
Captain Jinks of the Horse Marines
I'm Captain Jinks of the Horse Marines,
I feed my horse on corn and beans,
And sport young ladies in their teens,
Though a Captain in the Army.
I teach the ladies how to dance,
How to dance, how to dance,
I teach the ladies how to dance,
Por I'm the pet of the Army.
I joined the corps when twenty-one—
Of course I thought it capital fun—
When the enemy comes of course I run,
Por I'm not cut out for the Army.
When I left home, Mama, she cried;
When I left home, Mama, she cried:
"He's not cut out for the Army!"
The first time I went out to drill,
The bugle sounding made me ill!
Of the battle field I’d had my fill,
Por I’m not cut out for the Army.

MB
Song Texts
1694
The officers, they all did shout,
They all did shout, they all did shout,
The officers, they all did shout:
"Why! kick him out of the Army!"
****************■**•'****♦'*■*

No. 240
CAPTAIN KIDD
also known as
Kidd the Pirate
My Name is Robert Kidd
The Pirate
Robert Kidd
William Kidd
As I Sailed
Ballad of Captain Kidd
Bold Kidd the Pirate
Captain Robert Kidd
Kidd’s Lament
Captain Kidd’s first name was not Robert (as is
stated in many versions of the song, but William.
William Kidd was born in Scotland in 1650 or ’54,
depending on the record one reads. Kidd followed
the sea from his youth. In 1689 he settled in New
York.
The part of Kidd's life that passed into history and
legend began in 1695» when Robert Lingston, New York,
arranged in London with Lord Bellomont, governor desig'
nate of Massachusetts, for a privateering expedition
under Kidd's command. This arrangement involved Kidd
in political dealings that eventually resulted in his
death on the gallows. The facts, in brief, relate
that Kidd sailed from England to New York in the
Adventure Galley , April 1696. Then he sailed from
New York to Madagascar and the East Indies the follow
ing September, carrying with him a commission to sup
press piracy.
Kidd was accused of turning pirate himself, and of

MB
Song Texts
1695
murdering one of his own men. When he returned, land
ing at Boston, he was arrested by the Governor and
sent to England to stand trial.
In England, Kidd received what has come to be regarded
as a scandalously unfair trial. Unfair or not, Kidd’s
guilt or innocence has never been satisfactorily
established. The charge of ’’legal unfairness’’ is
based upon the fact that he was allowed no counsel and
no opportunity to send for witnesses or papers, altho’
he stoutly mainted his innocence.
Kidd, along with nine of his men, was sentenced to be
hanged in London. That sentence was carried out at
Execution Dock, Wapping, on the shore of the Thames,
May 23, 1701.
It is reported that copies of the song about Kidd
were first sold for two—pence on the day of his exe
cution. The original broadside is in the Crawford
Collection (catalogue 1890, No. 84-3, p. 301). Por a
reprint, see Pirth’s Naval Songs and Ballads, 134-137.
The ballad became (and remained) popular in both Eng
land and America. As a result, Kidd's imaginary exploits
became the fruitful theme of sailors* yarns as well as
a lurid ballad in Scotland that is sung to the air of
the popular Whig song: Ye Jacobites By Name Give Ear .
The identical stanza pattern of Captain Kidd was used
earlier, in 1659, for a song about the man who presided
over the court that condemned Charles I:
John Bradshaw was his name,
How it stinks! How it stinks?
Another popular folk song using the same verbal pattern
and tune is Sam Hall (see in MB), and it is thought by
some to be the original user of the melody.
Por a different Captain Kidd, see: Armitage, II, 26.
REFERENCES

MB
Song Texts
1696
Amer (8), 102-107
Brown, II, 350
Colcord, 69, 141-144
Colonel, 271-272
Downes (1940), 34-46
Downes (1943), 40-41
Eckstorm, 246-249
Elton, 76
Father Kemp, 80
Finger (FB), 29-32
Flanders (BMNE), 16-17
Ford (BB), No. 3078
Friedman, 366-368
Gardner (BSSM), 318-319
Hale, 37, 40-46
Jayes (SSS), 16-18
Howe (100), 277
Hudson (FSM), 238
Hudson (SC), 4
Hugill (1), 449
Ives (SB), 47-49
Ives (TA), 43-44
Johnson (BBLL), 49, 88
Johnson (FS), 171-173
Linscott, 131-134
Lomax (ABPS), 501-504
Lomax (FSNA), 15-16, 70
Mackenzie, 278-282
Masefield (SG-1928), xviii
Morris, 51-52
New (2), 102-107
Peacock, III, 837-839
Pound, 160
Pound (SFSN), VIII, No. 1
Queries (7/11/37), 23
Reeves, 132
Shay (ASSC), 187-189
Shay (IWS), 73-74
Shay (PF-1), 57-60
Shay (PF-3), 27-29
Silverman, II, 271
Songster (61), 28-32
Songster (62), 192-196
Songster (126), 28-32
Songster (148), 186-189
Thomas (CAB), Nos. 72, 73
Whall (SSS), 9
Captain Kidd
0 my name was Robert Kidd, as I sailed, as I sailed,
0 my name was Robert Kidd, as I sailed;
My name was Robert Kidd, God's laws I did forbid.
And most wickedly I did, as I sailed, as I sailed,
as I sailed.
I murdered V/illiam Moore, as I sailed, as I sailed,
I murdered 7/illiam Moore, as I sailed;

MB
Song Texts
1697
I murdered William Moore and left him in his gore,
Hot many miles from shore, as I sailed, as I sailed,
as I sailed.
And being evil still, as I sailed, as I sailed.
And being evil still, as I sailed;
And being evil still, my gunner I did kill
And his precious blood did spill, as I sailed, as I
sailed, as I sailed.
I steered from sound to sound, as I sailed, as I sailed,
I steered from sound to sound, as I sailed;
I steered from sound to sound, and many ships I found,
And most of them went down, as I sailed, as I sailed,
as I sailed.
Had ninety bars of gold, as I sailed, as I sailed,
Had ninety bars of gold, as I sailed;
Had ninety bars of gold and treasures manifold,
With riches still untold, as I sailed, as I sailed,
as I sailed.
0 eleven ships I saw, as I sailed, as I sailed,
0 eleven ships I saw, as I sailed;
0 eleven ships I saw without a single flaw,
They brought me to the law, as I sailed, a3 I sailed,
as I sailed.
So take warning now by me, for I must die, for I must
die,
So take warning now by me, for I must die;
So take warning now by me and shun bad company,
Or come to hell with me, for I must die, for I must
die, for I must die!
***************** *****

MB
Song Texts
1698

No. 241
CAPTAIN SPENCER
also known as
Patrick Spenser Sir Patrick Spence, or Spens
This ballad was first printed in 1765 by Thomas Percy
in his Reliques of Ancient English Poetry . By then,
of course, it was already considered to be an old song.
Only two texts have been recovered in the United States,
and both are probably from previously printed versions.
Research resulted in two varying stories: one relates
a voyage of Sir Patrick Spens, including the shipwreck;
the second, and more complete story, relates that Spens
was sent either to take a princess to Norway or to
bring her home. The princess was either the daughter
of the King of Norway or the King of Scotland.
According to Motherwell, the ballad tells us of an
actual event: "The bringing home of Margaret of Norway
in 1281 when many of the ships sent to transport her
foundered and their crews perished.'* This must remain
in the category of conjecture, however, because the name
of Sir Patrick Spens, or Spencer, appears in none of the
English or Scottish records.
We give on one text below but give two tunes in the
TUNES section, where B is taken from Child, V, 415.
REFERENCES
Brown, II, 63-64; IV, 29
Buchan (ABS), I, 1-2
Buchan (GSEI), 196
Child, I, 17-32; V, 415
Creighton (PSNB), 6-9
Friedman, 297-301
Greig & Duncan, No. 17
Herd (AMSS-1769), 243
Herd MSS, II, 27
Houseman, 171-173
Jamieson, I, 157
Kinloch MSS, I, 281
Kinsley, 311-312
Leach (BB), 179-184

MB
Song Texts
1699
Muir, 188, 231
Niles (BB), 132-136
Percy (RAEP), I, 98-102
Rimbault (MIPS), 47
Sanders, 1-4
Scott (BA), 25-27
Scott (MSB), III, 64
Wells, 279
Whiting (TBB), 65-67
Captain Spencer
There sits the king in Dunfern Town,
Partaking of his wine:
"0 where will I find a brave skipper,
To sail this ship of mine?"
0 then did speak an olden knight
Beside the king's right knee:
"Take Captain Spencer, the best sailor
That ever sailed the sea."
The king then wrote a long letter;-
He sealed it with his hand,
And sent it to that same captain,
Who walked along the strand.
"Now who, I wonder, did this thing?
Who told the king of me,
• To send us out this time of year
To sail upon the sea?"
They raised their sails on Monday morn,
With all the speed they may;
They landed well in old Norwar
Upon a dreadful day.
The ladies wrang their fingers white,
The maidens tore their hair,
All for the sake of their true loves
Gone sailing over there.

MB
Song Texts
1700
Now forty miles off Aberdeen
•Tis fifty f athoms deep,
And Captain Spencer is lying there
With Scot lords at his feet.
***********************

No. 242
CAPTAIN WARD AND THE RAINBOW
This is an English ballad with a historical theme. The
texts tells of the efforts of the English monarch to
capture John Ward of Kent, who had become a pirate
sometime between 1604 and 1609.
According to Child, Ward commenced his career "by
inducing the crew of a king's ship...to turn pirates
under his command...He seems not to have been heard
of after 1609, in which year Ward and his colleague,
Danseker, were spoken of as the 'two late famous
pirates'..."
Apparently Ward was hanged.
According to Barry, this ballad arrived in the United
States around 1800.
REFERENCES
Barry (BBM), 347-363
Bell (EB), 167
Buchan MSS, II, 245, 417
Child, V, 143-145
Coffin, 154-157
Ebsworth (BB), I, 65
Ebsworth (RB), VI, 426
Emrich (FAL), 475-476
Flanders, IV, 264-270
Flanders (BMNE), 204-206
Flanders (VFSB), 242-244
Friedman, 362-366
Gardner (BSSM), 216
Greig & Duncan, No. 39
Greig & Keith, 239-240
Halliwell (ENBE), 59
Jour (AFL), XXX, 332
Kinloch MSS, II, 265; V,
109
Leach (BB), 670

MB
Song Texts
1701
Peacock, III, 840-841
Pepys, IV, No. 195
Shoemaker (NPM), 300-301
Songster (59), 226
Captain Ward and the Rainbow
Come, all you lusty sailors bold
And sound the fife and drum;
I'll tell you of a rank pirate
That on the seas has come.
His name we know is Captain Ward,
Right well it does appear;
There has not been a rank robber
Pound out this thousand year.
He wrote a letter to his King
And spoke of being free;
He asked the King to take him in
With all his company.
"0 no, 0 no!" then said the King,
"For no such thing can be;
For you have been a rank robber
All on the deep blue sea!
"You have deceived the King of France,
And then the King of Spain.
So how can you prove true to us
When you proved false to them?"
Then Captain Ward he said, "My boys,
Once more we'll sail the main.
To see what prizes we can find
Out there near France and Spain."
They sailed the sea from West to East,
They sailed and took their rest.
Till they espied a lofty ship
A-sailing from the West.

MB
Song Texts
1702
They bore right down upon that ship,
A rank and wicked thing;
They robbed the ship of its cargo
And bid them tell the King.
Now when the King had word of this.
His heart with grief was sore,
To think his ships no more could sail
As they had done before. +
With that our King then provided
A ship of worthy fame:
The Rainbow was a gallant ship,
If you would know her name.
He rigged her and he freighted her
And sent her to the sea
With five hundred gallant men
To bear her company.
They sailed East, and they sailed West,
But nothing did they spy
Till they came to the very spot
Where Captain Ward did lie.
They fought from early morning on
Till eight o’clock at night;
At last the gallant old Rainbow
Began to take her flight.
"Go home, go home," said Captain Ward,
"And tell your King for me,
If he reigns King upon the land,
I’m King upon the sea!"
**** •*■*•****■)«■•*■*-•*** *

MB
Song Texts
1703

No* 243
CARELESS LOVE
also known as
Love, Oh Love, Oh Careless Love Oh, Careless Love
This song, it is claimed by many, originated among
Southern Blacks. On the other hand, it comes to us
in such polished form that it is difficult to re
gard it as anything other than a professional cre
ation. Wherever and however it originated, Careless
Love is one of the more popular traditional songs in
American folklore. Technically, it is a "country
blues" song.
Although Careless Love has been published and recorded
innumerable times, its title is not exclusive. Other
songs known by the same or similar title are:
The Sailor's Sweetheart
The Seven Seas, and
Come My Little Pink .
For a song containing similar lines, see: Baby . What
Have I Done? in Odum (PSPP), 280-281.
Two versions are given here. Version B is an early
version as sung by Southern Blacks.
REFERENCES
Agay (1), 14
Best, 47
Botkin (AFL), 901-902
Brewer, 175
Downes (1940), 214-215
Downes (1962), 254-255
Emrich (FAL), 539-540
Henry (BMFS), 24-25
Ives (SA), 128-129
Ives (SB), 192 •
Leisy, 54-55
Leisy (LAS), 20
Leisy (SPS), 63
Lomax (PB), 133
Lomax (USA), 64-65
Lunsford, 40-41
Moore (BFSS), 358-359
Odum (NWS), 157
Okun, 60-61
Perrow, XXVIII, 147

MB
Song Texts
1704
Randolph, IV, 306-308
Richardson (AMS), 50
Sandburg (AS), 21
Scott (SA), 51
Seeger (6), 11
Siiber (HS3), 95
Silverman, I, 107
White, 326-327
Careless Love ( Version A)
Oh, love! Oh, love! Oh, careless love!
Oh, love! Oh, love! Oh, careless love!
Oh, love! Oh, love! How can it be?
I love someone who don't love me.
Lord, I wish that train would come, (3)
And take me back where I come from.
Pass my door and don't come in, (3)
I'll never trust my heart again.
Wish you knew just how I feel, (3)
Jus' like a spoke without a wheel.
All you do is make me cry, (3)
• I wish somehow that I could die!
VERSION B* * * * *
Love, oh love, oh careless love! (2)
You can't love no one, an' you can't
love no two—
Jes’ love the one that say love you.
Ef I nevuh see you no mo'! (3)
Was the foot steps roun' yo' do'.
My Mama tol' me, my Papa too, (3)
Don't let no one make a fool o' you.
♦From Wheeler ' ( SD) , 89-90»
***** + ***** **********

MB
Song Texts
1705

No. 244
CAROLINE
also known as
Un, Deux, Trois
This is a Creole song which, according to Krehbiel, is
a Coun.lai —a type of dance. Song was also sung by the
slaves on Southern plantations.
REFERENCES
Allen (SSUS), 111, 169 Oberndorfer, 32
Krehbiel, 139 Scarborough (NFS), 120
Lomax (ABFS), 218
Caroline
Un deux trois, Caroline,
Qui fais comme sa ma chere?
Un deux trois, Caroline,
Qui fais comme sa ma chere?
Celui mo lais, celui mo prends.
Papa dinon, Manman dinon,
✓
C'est li mo .oule, c'est li ma pren;
/
Ya pas I'arzan pou^achte cabanne,
C’est li mo w oule, c'est li ma pren.
ENGLISH
One, two, three, Caroline,
Tell us what's the matter with you?
One, two, three, Caroline,
Tell us what's the matter with you?
Papa says yes, Mama says no!
Papa says yes, Mama says no!
I want only him. He wants only me.
I want only him. He wants only me.

MB
Song Texts
1706

No. 245
CAROLINE OP EDINBOROUGH TOWN
also known as
Caroline of Edinburg Town Edinburgh Town
A Scottish song that became popular in both England
and the United States. One of the oldest published
versions is a broadside by Pitts, Seven Dials, London.
The tune was borrowed in America by the pioneers
who crossed the Great Plains, on their way to Cali
fornia. See Crossing the Plains in MB.
REFERENCES
Black, 47
Brown, II, 358; IV,
207
Chappell (PSRA), 91-92
Cox (PSS), 362-363
Creighton (MPS), 99-100
Davis (FSV), 40
Dean, 53
Dwyer, 41-42
Eddy, 165-166
Flanders (NGMS), 79-83
Gardner (BSSM), 64-65
Greig, Nos. 70, 72
Hudson (PSM), 143-145
Huntington, 137-141
Jour (APL), XXXV, 362;
LII, 14; LX, 224
Laws P 27
Linscott, 183-185
Lomax (ABPS), 427-428
Mackenzie, 94-95
MacColl & Seeger, 184-185
Moore (SPSS), 172-174
Ord, 186-187
Randolph, I, 240-243
Sharp, I, 404
Shearin (3BCM), 10
Sherwin (SGM), 10-11
Shoemaker (MMP), 210-211
Shoemaker (NPM), 206-207
Treat, 14-15
Caroline of Edinborough. Town
Come all young men and maidens.
Attend to my rhyme;
It's of'a fair young woman
Who’s scarcely in her prime.

MB
Song Texts
1707
She’s blooming like the roses,
And admired by all around:
Her name is loving Caroline
Of Edinborough town.
Now Henry was a Highland man,
And she would share his name;
But when her parents learned of it,
They did not like the same.
Young Henry was offended,
And to her he did say:
"Arise, my dearest Caroline,
And with me run away.
"We will go up to London town,
And there we'll wed with speed;
And then lovely Caroline
Shall know happiness indeed."
Enticed she was by young Henry,
She wore her finest gown;
And off the went with Caroline
Of Edinborough town.
Across the lofty mountain roads
The two of them did roam,
And soon arrived in London town.
Par from their native home.
And Henry said, "I’ll go to sea.
Your parents on me frown;
So beg your way without delay
To Edinborough town." ^
Oppressed in heart and sore with grief,
Pair Caroline did go
Into the woods to eat such fruit
As on the trees did grow.

MB
Song Texts
1708
Some strangers they did pity her,
But others on her frowned;
And some did say, "What made you stray
Prom Edinborough town?"
There many days she passed away
In sorrow and dispair;
Her cheeks, once like the rose in bloom,
Were grown' like lilies fair.
She cried, "Where is my Henry?"
And often she'd sit down:
"Oh, sad the day I ran away
One day beneath a balmy oak,
Where she sat down to cry,
A-watching of the gallant 3hips
As they were sailing by,
She gave a shriek for Henry
And plunged her body down!
Away floated fair Caroline
Of Edinborough town.
Now all you parents please attend,
Don't interfere with love;
You're sure to see in some degree
The ruin it will prove.
All you young men and maidens,
Ne'er on your lovers frown—
Recall the fate of Caroline
Of Edinborough town.
********************

MB
Song Texts
1709

No. 246
THE CARPENTER’S WIPE
also known as
The Banks of Claudy
The Banks of Italy
The Cruel Ship Carpenter
The Daemon (Demon) Lover
The Distressed Ship Car
penter
The Faithless Wife
The House Carpenter
House Carpenter's Wife
I Have Forty Ships
James Harris, the Demon
Lover
Little Closet Door
My Old, or Own True Love
On the Banks of Sweet
Laurie, £r Willie
Said an Old True Love
The Salt, Salt Sea
The Salt Water Sea
The Sea Captain
The Ship's Carpenter
Sweet Wildee, or Wilder
A Warning for Married
Women
Well Met, Well Met, My
Old True Love
Young Ship's Carpenter
The Young Turtle Dove
This ballad exists in many versions, particularly in
the United States. Pepys, IV, 101, says that the song
is sung "to a West-country tune called The Fair Maid
of Bristol , Bateman , or John True." Pepys also informs
us (without proof) that the legend of ''Jane Reynolds
of Plymouth” and a sailor, one James Harris, lies be
hind the story of this ballad. According to legend,
the two exchanged marriage vows but to no avail, for
James was pressed into the service of the king and
was soon after reported dead. Jane then wed a carpen
ter and lived happily with him for at least four years.
One night, when Jane was alone, the ghost of Harris
came to visit her and claimed his love. He promised
her great wealth and she followed him aboard ship.
Once at sea, however, Jane began to repent her action—
but too late to do anything about it. The ship sank

MB
Song Texts
1710
and she was never heard of again.
In the United States, as usual, the supernatural
theme was discarded and the names of the principal
characters were changed. What remained was an earth-
real ballad that spread into every area of the United
States. Nearly every published regional collection
contains a version of this ballad. Davis printed 29
versions from Virginia, and declared that 52 texts
and 7 tunes were recovered altogether.
Many lines and stanzas belonging to this ballad became
"floaters” and are found in other songs.
REFERENCES
Barry (BBIi), 304-310
Beard, 97
Belden (BS), 79-87
Best, 18
Brewster (BSSI), 136-148
Brown, II, 171-180; IV,
95-101
Brown (BLNC), 9
Buchan (ABS), T, 214
Bulletin (FSSN), VI, 7;
VII, 11
Bulletin (VFS), VIII, 2
Campbell & Sharp, No. 29
Carlisle (S3NA), 36
Cazden, I, 82-83
Chappell (FSRA), 38-40
Child, IV, 360-369
Christie, I, 82-83
Coffin, 137-140
Cox (FSS), 139, 524
Cox (TBFS), 48-55
Cox (WSJ), XLIV, 388
Crabtree, 208
Creighton (FSNB), 14-16
Cutting, 69
Davis (FSV), 28
Davis (MTBV), 270-269
Davis (TBV), 439, 592
Dean, 55-56
Dobie (TBE), 159-162
Duncan (BFS), 91
Eddy, 70-71
Flanders, III, 287
Flanders (BMNE), 132-133
Flanders (GGMS), 80-82
Flanders (NGMS), 95-97
Focus, IV, 162
Folklore (WV), II, 12
Friedman, 13-17
Gainer, 80-81
Gardner (BSSM), 54-58
Garrison, 27
Gilbert (LC), 35
Greig & Keith, 196-197

MB
Song Text 3
1711
Harper's (5/1915), 911
Henry (PSSH), 113-118
Henry (SSSA), 59
High, 16
Hubbard, 28-31
Hudson (FSM), 119-122
Hudson (SMFL), 57o. 19
Jour (API), XVIII, 207;
- XIX, 295; XX, 257;
XXV, 274; XXVI,
360; XXX, 325;
XXXV, 346; XLII,
274; XLV, 21-25;
XLVIII, 295; XLIX,
209; LVII, 14, 74;
LX, 131
Jour (PSS), III, 84
Kentucky (FLR), I960, 127
Kincaid No. 2, 18
Kinsley, 83-85
Kirkland, 75
Leach (BB), 598
Leisy, 166-168
Lomax (FSNA), 182-183
Luther, 17
Mason (FSFT), 19
McDowell (MM), 2
McIntosh (IFS), 33
Memoirs (AFLS), XXIX, 11
Modern Philology, II, 575
Moore (BFSS), 111-113
Morris, 311-314
Motherwell, I, 242-248
Musick (FNK), 10
Neal, 69
Niles (33), 296-299
Owens (STFS), 34
Owens (TFS), 31-32
Ozark Life, V, No. 8
Peacock, III, 740-741
Perry, 160
Pound, 43-45
Pound (SFSN), I, 7
Pub (MLN), XIX, 238
Pub (TFLS), X, 159-162;
XXIII, 56-58
Quarterly (SFL), VIII,
160; XI, 127
Quiller-Couch, 123-126
Randolph, I, 166-176
Reeves (EC), 69-71
Ritchie (FS), 90-91
Roberts (IP), 74-76
Rollins (PB), IV, 101
Sandburg (AS), 66-67
Sanders, 188-190
Scarborough (SC), 150
Scott (MSB), 400-401
Sedley, 209-210
Seeger (4), 114-115
Sharp, I, 244-258
Sharp (NEFS), 27-30
Shearin (3BCM), 3
Shearin (SKFS), 8
She Hans, 30-31
Silber (RSB), 75
Silverman, I, 121
Smith (AA), 44
Smith (BSUS), 18
Smith (SCB), 151
Smith (TBSCS), No. 11
Stout, 11-13

MB
Song Texts
1712
Thomas (DD), 172-173 Wilson (BA), 96
Treat, 46-47 Wyman (TKMS), 54
Whiting (TBB), 124-126
The Carpenter* s Wife
"My love, my love, my own true love,
We've met at last," cried he;
"I've just returned from across the sea
For to take you away with me.
• "I could have wed a king's daughter fair,
And she would have married me;
But I refused to love for gold—
All because of your memory."
"If you had a king's daughter, oh,
You should have wed the same;
For I am married to a house carpenter,
And share his bed and name."
"If you'll forsake your carpenter, love,
And sail away with me,
I'll take you where the wind blows warm,
To a land across the sea."
"If I forsake the carpenter, love,
And sail across the sea,
How will we live in that far-off land,
And what will become of me?"
"I have eight ships upon the sea
That sail from land to land,
A hundred and ten strong young men
Who are under my command."
She then picked up her fair little babe,
And gentle as she could be,

Song Texts
1713
MB
She said, "Goodby, goodby, my son,
I must sail across the sea.'*
When they had been at sea two weeks,
Or maybe it was three.
She grew sad and began to weep,
And she cried most bitterly.
"Now do you weep for gold?" he said,
"Or houses upon the shore?
Or do you weep for your house carpenter
Who is gone forever-more?"
*♦**********♦•***•*■*■*■*-**•*■*••*

No. 247
THE CARRION CROW
also known as
The Carrion Crow and
the Tailor
The Kangaro
Kimonaro
Lank Dank
Saw an Old Crow
The Sow and the Little
Pigs
The Sow and the Pigs
Tailor and the Crow
The exact age of this song is unknown. 7/e do know,
however, that it dates back at least to the reign
of England's Charles I , because a version from that
time is in Halliwell (NRE), 2d edition, 1843, No. 87.
Two other versions appear in the same edition, Nos.
85 and 86. In the 5th edition of Halliwell's work,
the earlier version is No. 176. For additional list
ings, see: E. J. L. Scott, Index to the Sloane Manu
scripts , 104, p. 427.
The Carrion Crow has been in oral and printed circu
lation in America since the Revolution, though not al
ways set to the same air.

KB
Song Texts
1714
There is a stall print of this song by Pitts in the
Harvard Library (25242.2, p. 110). The text of this
stall print was reprinted by Mackenzie.
See and compare: The Sly Young Crow in Songster (82),
240 - 241 .
REFERENCES
Arnold, 34
Baring-Gould
26
Baring-Gould
Baring-Gould
(BNSR), No.
(EFSS), 98
(GCS), 102-
103
Belden (BS), 270-271
Bell, 422
Bell (APBS), 202-203
Brewster (BSI), 290-292
Creighton (TSNS), 244
Bearmer (ST), 2
Ford (CR), 126
Graham (TNR), 32
Halliwell (NR-1843), 56
Halliwell (PRNT), 12
Jour (EFDSS), I, 136
Karpeles (EPS), II, No.
332
Langstaff (1), 56-57
Linscott, 185-186
Lomax (FSNA), 142
Lover's Harmony, 184
Mackenzie, 375-378
Morris, 393-394
Niles (SHF), 18-19
Opie, 111
Owens (TFS), 145
Pound (SFSN), II, No.
Pub (TFLS), 71, 230
Reeves (EC), 256
Rimbault (NR), 10-11
Sharp, II, 324-325
Silverman, I, 316
Williams (FSUT), 227
Winn (2), 106-107
Yolen, 148
9
The Carrion Crow
A carrion crow sat on an oak,
Hurry 0, hurry down 0!
A carrion crow sat on an oak
Watching a tailor mend a cloak,
Hurry 0, hurry down 0!
Hurry 0, hurry down 0!

MB
Song Texts
1715
The Tailor took his hick'ry how, etc.
That he might shoot the carrion crow,
Hurry 0, etc.
The Tailor shot hut missed his mark, etc.
He shot an old sow in the heart,
Hurry 0, etc.
The old church hells began to toll, etc.
Rang out to hless the old sow's soul,
Hurry 0, etc♦
The Tailor mourned and dressed in hlack, etc,
Prayed, hut the crow would not come hack,
Hurry 0, etc.
****************************

No. 248
CARRYIN' SACKS
This is a "river-hoat" song from the steamboat era; it
was siing by roustabouts on the docks and on the rivers.
The title comes from the way produce was shipped up and
down river, namely, Wheeler tells us, "in sacks that
could he lifted and 'toted' on strong black shoulders."
The version given here is from Wheeler (SB), 30.
Carryin' Sacks
I'm goin' up th’ river to carry them sacks, (3)
I'll have yo' lap full of dollahs when I get hack.
I went up th' river an' made a broken trip, (3)
I lost my sugar 'cause my foot done slip.
I asked my sugar for one little kiss. (3)
She said, "3aby, don't waste my time like this.

MB
Song Texts
1716
"You go Back up th' river an* carry some sacks, (3)
I'll give you some kisses when th' boat gets back."
*************************

No. 249
CARRY ME BACK TO OLD VIRGINNY
also known as
Floating Scow of Old Virginny
This is a very popular plantation-type song from the
latter half of the 19th century, with words and music
by James A. Bland. Versions appear in hundreds of folios
and commercial song-books, including song-books issued
for use in Southern schools.
For a song using the same tune, see Loss of the Central
America (No. 1073) in this Master Book.
REFERENCES
Agay (2), 160-161
Brewer, 198
Chappie (HS), 164-165
Ford (TMA), 107, 346
Reach, 33
Krythe, 176
Leisy (LAS), 110-111
Luther, 241
Mackenzie (SH), 47
Wier (SWWS), 199
Wilder, 15-17
Carry Me Back to Old Vir=rinny
Carry me back to old Virginny,
That's where the cotton and the corn and taters grow;
That's where the birds warble sweet in the Spring
time ,
That's where this old darkey's heart am long to go.
That's where I labor'd so long for my massa,
Day after day in the fields of yellow corn.
No place on earth do I love more sincerely
Than old Virginny, the state where I was born.
**********************

Song Texts
1717
MB

go. 250
CASEY JONES
also known as
Mama, Have You Heard the News?
Engineers are the most popular figures in railroad
history and the most popular engineer of them all is
Casey Jones. And he was not a creature of imagination.
John Luther Jones was born in Missouri in 1864, the
son of a school teacher. He received the nickname
♦Casey' at age 13, when his family moved. At age 15
he was an apprentice railroad telegrapher; at 18 he
became a fireman, and at 26 a fast-friehgt engineer.
He was at the top of his profession when the Illinois
Central gave him the assignment that led to his death
and glory: he was to pilot the Cannonball , the road's
fastest passenger train.
According to the record, it was Casey's cooperative
nature that resulted in his death—he took the place
of another engineer who was ill.
The fatal wreck occurred at Vaughan, Mississippi, and
was the result of a plan gone awry. Two trains were
on a siding, and they were so long that four rear cars
stood on the main line. The crew decided they would
let Casey pass one end of the siding, then quickly
pull back onto the main line, removing the four cars
from Casey's way as he apprpached the other end. They
even set warning flares three thousand feet up track,
but to no avail.
Casey, who had started his run south an hour and a half
late, was making up time and moving too fast. Even though
he saw the danger, it was too late. He slowed and his
fireman, a black man named Sim Webb, yelled for Casey
to jump. Instead, Casey applied the emergency brakes
and told Webb to jump, which he did.

MB
Song Texts
1718
As it turned out, Casey was the only fatality. None
of the passengers were seriously injured and, as a
result, Casey immediately became a folk hero.
The song, as we know it today, tells a story far re
moved from the facts. Also, it has been almost con
stantly involved in controversy, including legal
claims regarding copyright ownership.
According to Barry, brown, Pound, and others, the
original song was composed by Wallace Saunders, a
black man. But the most popular version today is the
one written by T. L. Seibert, a vaudeville performer,
and Eddie W. Newton, a ragtime piano player, which
was copyrighted in 1909.
There are many other versions, of course, including
several vulgar ones; and there are adaptations and
parodies by the dozen.
For additional information, see: Casey Jones in the
Erie Railroad Magazine , vol . 28, April , 1932 , No. 2 ,
p. 12 and Railroad Avenue by P. H. Hubbard in the same
magazine, 1945, pp. 5-23.
A widely circulated parody, Casey Jones , the Brave
Grenadier , is given below as version B. Version A is
by Seibert and Newton, c. MCMIX (renewed by Charles
E. Seibert and Dorothy Elizabeth Newton, who assigned
the copyright to Shapiro, Bernstein & Co., Inc., New
York, N. Y.).
REFERENCES
Botkin (AFL), 245-246
Brown, II, 510-512
Bulletin (TFS), Dec. 1953,
95-101
Downes (1940), 264-266
Friedman, 309-317
Hubbard, 364
Hudson (FSM), 214-215
Johnson (BBLL), 55-58,
108-110
Jour (AFL), XXIV, 352;
XXVI, 165, 167
laws (NAB), 204
Loesser, 208-209
Lomax (A3FS), 36-39
Lomax (FSNA), 564-565

MB
Song Texts
1719
Lomax (USA), 266-269
Morris, 109-110
Odum (NHS), 207-208
Pound, 133-135
Lomax (PB), 127
Pound (SPSN), XX, No. 2
Sandburg (AS), 366-369
Scarborough (NFS)., 249-250
Shay (PF-1), 35-40
Shay (PF-3), 13-16
Casey Jones ( Version A)
0
Come all you rounders, if you want to hear
A story 'bout a brave engineer:
Casey Jones was the rounder's name,
On a six-eight-wheeler, boys, he won his fame.
The caller called Casey at a half-past four;
Kissed his wife at the station door,
Mounted to the cabin with his orders in his hand,
And took his farewell trip to that Promised Land.
Chorus
Casey Jones, mounted to the cabin!
Casey Jones, with his orders in his hand!
Casey Jones, mounted to the cabin,
And took his farewell trip to that Promised Land!
Put in your water and shovel your coal.
Put your head out the window, watch them drivers roll
I'll min her till she leaves the rail,
'Cause I'm eight hours late with that Western mail.
He looked at his watch and his watch was slow,
He looked at the water and the water was low.
He turned to the fireman and then he said,
"we're gonna reach Frisco but we'll all be dead!"
Chorus
Casey Jones, goin' to reach Frisco!
Casey Jones, but we'll all be dead!
Casey Jones, goin' to reach Frisco,
We're goin* to reach Frisco but we'll all be dead!

MB
Song Texts
1720
Casey pulled up that Reno hill,
He tooted for the crossing with an awful shrill!
The switchman knew "by the engine' s moan
That the man at the throttle was Casey Jones.
He pulled up within two miles of the place,
Number Pour stared him right in the face!
He turned to the fireman, said, ’’Boys, you’d
better jump,
’Cause there’s two locomotives that's a-goin'
to bump!"
Chorus
Casey Jones, two locomotives!
Casey Jones, that's a-goin' to bump!
Casey Jones, two locomotives,
There's two locomotives that's a-goin' to bumpl
Casey said just before he died,
There's two more roads that I'd like to ride.
The fireman said what could they be?
The Southern Pacific and the Santa Pe.
Mrs. Jones sat on her bed a-sigh'n,
Just received a message that Casey was dy'n.
Said, "Go to bed, children, and hush your cryin',
'Cause you got another Papa on the Salt Lake
line!"
Chorus
Mrs. Casey Jones, got another Papa!
Mrs. Casey Jones, on that Salt Lake Line!
Mrs. Casey Jones, got another Papa,
You got another Papa on the Salt Lake Line!
VERSION B

MB
Song Texts
1721
(WWI parody from Dolph, p. 180)
Come all you soldiers, if you want to hear,
1*11 tell you the story of a brave grenadier.
Casey Jones was the grenadier’s name,
With a Thirty- two Mills grenade he won his fame.
Casey Jones—the grenadier’s name!
Casey Jones, he won his fame!
Casey Jones—the grenadier's name,
With a Thirty-two Mills grenade he won his fame.
The sergeant called Casey at half-past four,
He said goodby to his buddy at the dugout door;
He mounted to the parapet, grenade in his hand,
And he tried to bomb his way out into No Man's
Land!
Casey Jones mounted to the parapet!
Casey Jones, grenade in his hand!
Casey Jones tried to stop a whiz-bang,
And now he's pushing up daisies out in No Man's
Land!
******************************

No. 251
THE CAT CAME BACK
This song is a sample of 1890s stage humor and is
still entertaining. Words and music by Harry S. Miller.
REFERENCES
Leisy, 55-57
Levy, 239-24-0
Randolph, III, 193-200
Silverman, II, 162
White, 209-210

MB
Song Texts
1722
The Cat Came Back
Tom Jenkins had a cat the he didn’t wanna keep.
He tried to make a sale, and said he’d sell it cheap.
He went to see a preacher, to ask of him advice;
The preacher took the cat, and he said he’d treat it
nice.
Chorus
But the cat came back! He wouldn't stay away!
He was sitting on the porch the very next day.
The cat came back! He didn’t wanna roam.
The very next day the cat came home.
Then Jenkins gave the cat to a man in a balloon.
The man was set to start on a journey to the moon!
When the moon ascended, it fell apart, they said,
And when they found the pilot he was altogether dead!
There was a mighty ship with its cargo fully stored;
Jenkins saw the captain and he left the cat on board.
Upon the stormy ocean that mighty ship went down;
The captain and the crew were never, never found!
The cat sat on the porch a-chewin' a piece of cheese,
When along came an Irishman in an alcoholic breeze.
The cat just sat a-purring, for he had just been fed;
The Irishman san ’’Britannia” and that ol' cat dropped
dead!
Final Chorus
But his ghost came back! He wouldn't stay away!
He was sitting on the porch the very next day!
His ghost came back! He didn't wanna roam!
The very next day his ghost came home!
** **********-*******-***********

MB Song Texts 1723

No. 252
C. C. RIDER
also known as
See See Rider
Country blues-type song. Carl Sandburg was of the
opinion that it may have derived from Easy Rider.
REFERENCES
Couriander (NSA), 104-105 Silverman, II, 15
Sandburg (AS), 246-247 Silverman (FB), 186
C. C. Rider
C. C. Rider, now you see
What you've done!
You made me love you,
Then you turned and run.
You made me love you,
Then you turned and run.
You made me love you,
Then you turned and rim.
The Sunshine Special
Taking me home once more.
It blows just like
It never blowed before., etc.
C. C. Rider,
I hang my head and cry.
You put me down—God knows,
I don't know why!, etc.
That Sunshine Special
Rolling on down the track!
I know you, Rider,
And I won't be back!, etc.
********************

MB
Song Texts
1724

No. 253
CECILIA
also known as
Cecila
This is a French folk song that came to North America
with the early French explorers and settlers. It was
once quite popular in Indiana, Louisiana, Missouri,
and parts of the Northwest. Today, however, the song
is more widely known in French Canada than in the
United States.
REFERENCES
Barbeau (FSFC), 111-115 Berry, 54-55
Barbeau (JSOQ), 173-175 Gagnon, 31-32
Cecilia ( French text )
Mon pere n'a-vait fille que moi,
Mon pere n'a-vait fille que moi,
Encor sur la mer il m'envoie
Sautez, mignonne Cecilia.
Chorus
Ah, ah, ah, ah, ah, ah, ah,
Cecilia, Ah, Cecilia.
Encor sur la mer il m'envoie, (2)
Le marinier qui m'y menait,
Sautez, mignonne Cecilia.
Le marinier qui m'y menait, (2)
Il devint amoureux de moi,
Sautezmignonne Cecilia.

MB
Song Texts
1725
II devint amoureux de moie (2)
—Ma Mignonnette, embrassez-moi.
Sautez, mignonne Cecilia.
Ma mignonnette, embrassez-moi. (2)
—Nenni, Monsieur, je n'oserais.
Sautez, mignonne Cecilia.
tfenni, Monsieur, je n’oserais, (2)
Car si mon papa le savait,
Sautez, mignonne Cecilia.
Car si mon papa le savait, (2)
Pille battue ce serait moi.
Sautez, mignonne Cecilia.
Pille battue ce serait moi. (2)
—'Voulez-vous bell' qui lui dirait?
Sautez, mignonne Cecilia.
•Voulez-vous bell' qui lui dirait? (2)
—Ce serait les ciseaux des bois.
Sautez, mignonne Cecilia.
Ce serait ciseaux des bois. (2)
—Les ciseaux des parlent-ils?
Sautez, mignonne Cecilia.
Les ciseaux des parlent-ils? (2)
—Ils parl'nt fran 9 ais, latin aussi.
Sautez, mignonne Cecilia.
Ils parl'nt franijais, latin aussi. (2)
Helas! que le monde est malin—
Sautez, mignonne Cecilia.

MB
Song Texts
1726
Helas! que le monde est malin. (2)
D'apprendre aux ciseaux le latin.
Sautez, mignonne Cecilia.
ENGLISH TEXT
(Words by Frederic Burget and Libushka Bartusek, re
printed from Berry, 5-1).
My father had no girl but me,
My father had no girl but me,
And yet he sends me out to sea.
0 skip, my dear Cecilia.
Chorus
Ah! Ah! Ah! Ah! Ah! Ah! Ah!
Cecilia, ah! Cecilia.
The bargeman who transported me, (2)
Fell staightway deep in love with me, etc .
Fell straightway deep in love with me, (2)
"Embrace me, little darling fair." etc.
"Embrace me, little darling fair." (2)
No, no, kind sir, I would not dare, etc .
No, no, kind sir, I would not dare, (2)
If papa knew he'd surely care, etc .
A beaten girl I know I'd be. (2)
"And who, dear girl, would tell but
thee?" etc.

MB
Song Texts
1727
"And who, dear girl, would tell but
thee?" (2)
"The forest birds would be the ones," etc,
"Do forest birds then speak of love?" (2)
"Yes, they speak French and Latin too." etc
"Yes, they speak French and Latin too." (2)
"Alas! but what a roguish world!" etc.
"Alas! but what a roguish world! (2)
To teach the birds these Latin words." etc .
******* ***********************

No. 254
C'EST LA BELLE FRANCHISE
also known as
Beautiful Francesca
Another of the old French folk songs that arrived in
North America with the e rly French explorers and
settlers. In Canada, where the song is still popular
among the descendants of the original settlers, the
sad ending is no longer sung. In the changed version
the girl does not die of grief when her sweetheart goe
off to war. Instead, she is left assured by her lover
that he will return and marry her—if he is not killed
in the war.
For a version collected in Vincennes, Indiana, see:
Berry, 30-31. ?or two older French versions recovered
in Canada, see: Gagnon, 8, 10-11.
C’est La Belle Fran 90 ise

MB
Song Texts
1728
Son amant va la voire, Ion, gai,
Son amant va la voire
Bien tard, apres souper, ma luron, lurette,
Bie tard, apres, souper, ma luron, lure.
II la trouva seulette, Ion, gai,
II la trouva seulette
Sur son lit, qui pleurait, ma luron, lurette,
Sur son lit, qui pleurait, ma luron, lure.
—Ah! qu'a vous done, la belle, Ion, gai,
Ah! qu'a vous done, la belle,
Qu'a vous a tant pleurer? ma luron, lurette,
Qu’a vous a tant pleurer? ma luron, lure 7 .
—On m’a dit‘, hier au soire, Ion, gai,
On m'a dit, hier au soire
Qu'a la guerr' vous alliez, ma luron,
Qu’a la guerr' vous alliez, ma luron,
—Ceux qui vous l'cnt dit, belle, Ion,
Ceux qui vous l'ont dit, belle,
Ont dit la verite, ma luron, lurette,
Ont dit la verite, ma luron, lure.
Venez m'y reconduire, Ion, gai,
Venez m'y reconduire
Jusqu’au pied du rocher, ma luron, lurette,
Jusqu'au pied du rocher, ma luron, lure.
Adieu, belle Franjoise, Ion, gai,
Adieu, belle Frangoise!
Je vous epouserai, ma luron, lurette,
Je vous epouserai, ma luron, lure^.
lurette,
lure 7 .
gai,

MB
Song Texts
1729
Au retour de la guerre, Ion, gai,
Au retour de la guerre,
Si j*y suis respecte, ma luron, lurette,
Si j'y suis respect e, ma luron, lure.
ENGLISH TEXT
Francesca, lovely, fair and gay,
Who died for love one summer day;
She had planned a wedding,
So all the people say—
She had planned a wedding, but there was
a delay.
Her lover came to see her one day,
Behaving in a happy way;
He had come to tarry,
For to tarry and play;
He had come to tarry but he could not stay.
Francesca met him, smiling gay,
And bade him welcome, bade him stay;
Her heart it was weeping knowing he’d go away,
Her heart it was weeping for love gone astray.
Said he, "You seem so sad today,
0 tell me, what is wrong, I pray?
Why don't you smile, my love, in the usual
way?
Why don't you smile, my love, and appear
more gay?"
Said she, "My love, I heard today
The army has called you away.
And if it's true, my love, there is nothing
more to say;
And if that's true, my love, I cannot be gay."

MB
Song Texts
1730
Said he, *"Tis true, I’ve been called away.”
Said he, "'Tis true, I must obey.
For I’m in the army and, my love, I cannot
stay,
Por I'm in the army on a soldier's pay.
"Adieu, my love, I’m going away,
But I'll return to you someday.
And we shall be married and forget our dismay,
And we shall be married on a summer day."
•*******#■•*-*••*■ •*•*•«•■*■)*■•*■*■#• *•***•»■•*■*

No. 255
CHARLESTON CALS
This song dates from the days of slavery, and it
probably originated somewhere in the South. The song
was already traditional when it first appeared in
print, in 1867-
The most popular line in the song, "I danced with a
dolly with a dole in her stocking," found its way into
a far more popular song, Lance By The Light of The
Moon , which is given as No. 328 in this Master Book.
The line also was the source of the 1940s "pop" hit,
Lance With A Lolly (With a Hole in Her Stocking ).
Another line, "Old man, if you don't mind, your horse
will die” is found in at least two sea-shanties, one
of which— Poor Old Man L—is given elsewhere in this
Master 3ook, The "hole in her stocking” line is also
in the play-party song, Purty Yaller Gal, in Perrow,
XXVIII, 188.
REFERENCES
Allen (SSUS), 88, 142
Botkin (AFL), 905
Scarborough (NFS), 162
Scott (FSS), 24

MS
song xexxa
Charleston Gals
As I walked down the new-cut road,
I met the tap and then the toad;
The toad commenced to whistle and sing,
And the possum cut the pigeon wing.
Along came an old man riding by:
"Old man, if you don't mind, your horse will die.
"If he dies I’ll tan his skin,
And if he lives I'll ride him agin."
Hi ho, for Charleston gals!
Charleston gals are the gals for me.
As I went a-walking down the street.
Up steps Charleston gals to take a walk
with me.
I kep' a-walking and they kep' a-talking,
I danced with a gal with a hole in her
stocking.
Now my ol' mistis done promised me
That when she die she would set me free.
But she lived so long and died so po',
That all she left me was this hoe.
Hi ho, for Charleston gals!
Charleston gals are the gals for me.
*******************************

No. 256
CHARLIE IS A NICE YOUNG MAN
also known as
Bake a Cake for Charley
Charley Over the Water
Charlie Over the Water
Charlie's Sweet

MB
Song Texts
1732
Make a Cake for Charley
O'er (Over) the Water to
Charley
Old Soap Gourd
Over the River to Charley
Over the River to Peed My
Sheep
Over the Road to Peed My
Sheep
Over the Water to Charley
Prince Charley
To Bake a Cake for Charley
Trip, or Trot Charlie
Weavily, or Weevily 7/heat
An old English song associated with Charles Edward Stuart
aka Bonnie Prince Charlie and The Young Pretender. This
song is known all over the English-speaking world, and
dozens of versions and variations have "been recovered and
published in England, Ireland and the United States.
It is generally believed (perhaps with good reason) that
all versions and variations derive from Weevily Wheat ^
for it is meantioned in all of them.
This song exists in two forms in the United States—as
a dance tune and as a game song for children. In some
areas there are versions so far removed from the norm
as to be almost unrecognizable. An example of such a
version is Twistification in Botkin (APPS), 349 and in
Lomax (PSNA), 316. In his notes, Lomax says it "is a
western play-party version of Weevily Wheat."
"Charlie" lines and stanzas are often incorporated into
other- songs, such as He Loves Sugar and Tea in Talley,
84-85. In another version of Sugar and Tea , in Scar
borough (NPS), 133-134, "Charlie" has become "Mr. Banks."
Sometimes, of course, it works in reverse, and lines and
stanzas from other songs are found in versions of this
one. In most American versions, usually known as Weevily
Wheat . the old political implications in the words are
seldom recognized or understood. In some instances the
political implications are dismissed altogether. Neverthe
less, the "Charlie" referred to in all versions of this
song is almost certainly Charles Edward Stuart, 1720-1788

MB
Song Texts
1733
Of course, it is also possible that the original song
known as T/eevily Wheat made no mention of Charlie and
was simply adapted later, to serve as a propaganda piece.
If such is the case, there is no need to think that
Bonnie Prince Charlie was therefore slighted. With the
possible exception of Abraham Lincoln, Charlie inspired
more songs than any other political figure in history.
He enjoyed tremendous popularity and devotion in Scot
land, as the innumerable songs praising him will prove.
In America, however, the ’’darling Prince” suffered
from suppression. Christians, for example, found this
song objectionable until the latter part of the 19th
century-not because of the words but because the tune
was used for dance music. As a result, in America the
song was accepted only as a play song for children.
This latter fact probably accounts for the large number
of game versions recovered throughout the United States.
In addition to the Twistfication mentioned above, there
are game versions under such diverse titles as:
Roily . Roily
Stealing Partners
Trot , Charlie
Charlie’s Neat and Charlie's Sweet .
Also compare the Charlie Over the Ocean piece in Courlander
(NSA), 104.
Two versions are given below. Version A is the one frowned
upon by early America’s Christian community. Version B is
a game version for children.
REFERENCES
Beck (LLC), 167
Botkin (AFL), 813-814
Botkin (APPS), 67, 345
Brown, I, 104; III*
Collins, 23
Creighton (1!FS), 125
Downes (1940), 104
Downes (1962), 128
100; V, 50-51
Cambiaire, 140
Dudley & Payne, 17-19
Duncan (PPHC), 14-15

1734
MB Song Texts
Ford (TMA), 241-242
Fuson, 164
Gummere, II, 399
Halliwell (NR), 11
Hamilton, 290
Hofer (CSG), 38
Hogue (BY), 85-87
Jour (AFL), XXIV, 302;
XIV, 193; XXVII,
253; XXXIX, 193;
XL, 98; XLII, 207;
XLIX, 246
Lair, 18
Linscott, 262-263
Lomax (ABFS), 290-293
Lomax (PB), 67
MacQuoid, 148
Mahan, 48-51
McDowell, 50-51
McIntosh (PSSG), 58-59
Miles, 121
Mother Goose, 76
Neely, 200-201
Newell, 171
Newton, 14-15
Owens (TPS), 151-152
Piper (SPPG), 278
Pub (TPLS), I, 17; XIII,
315
Quarterly (SPL), VI, 198
Randolph, III, 297-300
Randolph (Ozarks), 147
Richardson (AMS), 86
Ritchie (PS), 78
Ritchie (SS3), 28-29
Sandburg (AS), 161
Scarborough (NPS), 286
Sharp, II, 375-376
Sharp (NSAM), 35-36
Shearin (SKFS), 355
Silverman, I, 365
Songster (183), II, 94
Thomas (DD), 69
Thomas (SG), 74-75
Van Doren, 488
Wamick, 163-164
Wilder, 76-77
Wolford, 102-106
Charlie Is A Nice Young Man
( Version A)
Over the river to feed my sheep,
And over the river to Charlie;
Over the river to feed my sheep
And measure out my barley.
Chorus
I won't have none of your weevily wheat,
I won't have none of your barley;

MB
Song Texts
1735
I want some flour in half an hour,
To bake a cake for Charlie.
Grab her by her little white hand
And lead her like a pigeon;
Make her dance the Weevily Wheat
And lose all her religion.
I have got a sweet little wife,
A wife of my own choosing;
Hug her neat and kiss her sweet
And go no more a-boozing.
If you love me like I love you,
We'll have no time to tarry;
We'll have the old folks flyin' 'round
Pixin* for us to marry.
Over the water and over the sea.
And over the water to Charlie;
Por weal and woe, we'll gather and go,
To live and die for Charlie.
Charlie is a fine young man,
And Charlie he is a dandy;
Charlie likes to kiss the girls.
And he can do it handy!
( VERSION B)
0, I don't want your weevily wheat,
And I don't want your barley;
I'll take a chance on some fine white
flour,
To make a cake for Charlie.
Who's been here since I've been gone,
Across the fields of barley?

MB
Song Texts
1736
Sweet little girl with a white dress on,
And she's in love with Charlie.
If I'd "been here and found her gone
Across the fields of barley,
I'd wish her well and carry on.
And say hello to Charlie.
Charlie, won't you come out tonight?
You know we're always ready.
When you come in, hang up your hat.
And we'll go courtin' steady.
Charlie loves his cake and wine,
And Charlie loves good brandy;
But most of all he likes the girls
As sweet as sugar candy.
**********************

No. 257
CHARLIE IS MY DARLING
also known as
Charley Is My Darling Oh, Charlie Is My Darling
Johnny Is My Darling The Young Cavalier
This is one of many old Scottish songs about Bonnie
Prince Charlie. This song also enjoyed great popu
larity in the U. S. during the 19th century. Versions
of the song still appear in commercial music books.
The words that were most in use were written by Lady
Caroline Nairne, although her authorship was not then
known. Stanzas by other authors became mingled with
Nairne's, and these added stanzas came from versions
of the song written by Robert Burns, James Hogg, and
Charles Grey. *

MB
Song Texts
1737
Except for the tune, which is different, the version
below is Nairne's.
Por an American Civil War adaptation, aee Johnny Is
My Darling in Silber (HSB), 84*
REFERENCES
Agay (1), 37
Cole (FS), 170-171
Hogg, 92-93
Hopekirk, 96-98
Hudson (SC), 30
Johnson (FS), 486-487
Leisy (LAS), 88
Macfarren, 60-61
Rogers, 112, 163, 207
Silverman, I, 109; II, 319
Charlie Is My Darling
0 Charlie is my darling.
My darling, my darling,
0 Charlie is my darling,
The young Cavalier.
•Twas on a Monday morning,
When birds were singing clear,
That Charlie to the Highlands came,
The gallant Cavalier.
As he cam* marchin' up the street,
The pipes play'd loud and clear;
And a' the folk cam' rinnin' out
To meet the Cavalier.
Wi' Hieland bonnets on their heads,
And claymore bright and clear,
They cam' to fight for Scotland's right,
And the young Cavalier.
They t ve left their bonnie Hieland hills.
Their wives and bairnies dear,

MB
Song Texts
1738
To draw the sword for Scotland’s lord,
The young Cavalier.
0! there were mony heating hearts.
And mony a hope and fear,
And mony were the prayers put up
For the young Cavalier.
*****************************

Ho. 258
CHARLIE’S OVER THE WATER
also known as
Across the Sea to Charlie O'er the Water to Charlie
Over the Water, Over the
Come, Boat Me Over
Come, Row Me Over
Lee
Over the Water to Charlie
This is one of many old songs that cones down to us
on threads of confusion and dispute. As nearly as can
he determined, the song originated in the 1740s. Pos
sibly 1746. It now exists in several versions, some
with wide variations. References have not always proved
reliable, probably because many of them were given with
out first determining whether they referred to this song
or to Charlie Is A Rice Young Man . Both songs are also
known as Over the Water to Charlie . Examples are those
referrals to Gummere, II, 399; Halliwell (HR), 11;
MacQuoid, 148; Mother Gosse, 76; and Universal Songster,
II, 94• So many erroneous references is the reason for
giving a version of this song, which, incidentally, is
readily available in song books and folios, but has
been ignored by scholarly folk collectors. Versions
may be seen in Greig & Duncan, No, 135 and McCaskey,
I, 100.

Song Texts
1739
MB
Charlie*g Over The Water
Come, row me over, oome, take me over,
Come, row me over to Charlie.
1*11 give you all the gold I own
To ferry me over to Charlie.
Chorus
Come over the water and over the sea,
Come over the water to Charlie.
High tide or low, I want to go
Across the sea to Charlie.
How well I love my Charlie*s name,
Tho* others tend to disagree;
But oh! to see the others go
And Charlie'8 face before me.
I swear by moon and stars above,
And the fields of wheat and barley,
If I had twenty thousand lives,
I«d live them all for Charlie.
**************************

Ho. 259
THE CHARMING YOUNG WIDOW I MET ON THE TRAIN
Although versions of this song have been recovered from
oral-tradition sources, it began as a pop song issued
by a commercial music publisher. Sheet music was pub
lished by W. H. Gore, Boston, circa 1867.
During the latter half of the 19th century, in the
United States, songwriters created many "flirtation"
songs in which the man was played for a fool. This
is one of the more popular songs of that "flirtation"
family.
For a related item, see The Dark Girl Dressed in Blue
in Randolph, III, 109-110.

Song Texts
1740
MB
REFERENCES
Gilbert (LC), 49
Johnson (B3LL), 27* 55
Kennedy (AB), 79-82
Kennedy (TAB), 297-299
Levy, 38-39
Pound (SFSN), XXI, No. 13
Randolph, III, 112-114
Shay (PF-1), 54-57
Shay (PF-3), 140-143
Spaeth (WSM), 146-147
The Charming Young Wldov» I Met On The Train
I lived in Vermont, and one morning last summer
A letter informed me my uncle was dead;
It also requested I come down to Boston,
As he*d left me a large sum of money it said.
Of course, I determined on making the journey,
And to book myself by the first class I was vain;
Tho* had I gone "second" I would not have encountered
The charming young widow I met on the train.
Tet scarce was I seated within the compartment
Before a fresh passenger entered the door;
•Twas a female, a young one, all dressed in deep
mourning,—
An infant in long clothes she gracefully bore.
A white cap surrounded a face, oh! so lovely!
I never shall look on one like it again.
I fell deep in love over head in a moment.
With the charming young widow I met on the train.
The widow and I, side by side, sat together,
The carriage containing ourselves and no more;
When silence was broken by my fair companion,
Who enquired the time by the watch that I wore,
I, of course, satisfied her, and then conversation
Was freely indulged in by both, till my brain
Fairly reeled with excitement, I grew so enohanted
With the charming young widow I met on the train.

Song Texts
1741
MB
We became so familiar, I ventured to ask her
How old was the child that she held at her breast.
"Ah, sir!" she responded, and into tears bursting,
Her infant still closer convulsively pressed;
"When I think of ay child, I am well nigh distracted.
It* 8 father, ay husband, oh! my heart breaks with
pain•"
She, ohoking with sobs, leaned her head on my
shoulder—
Oh, that charming young widow I met on the train*!
By this time the train arrived at a station
Within a few miles of the great one in town,
When my charmer exclaimed, as she looked thro 1 the
window,
"Good gracious alive! Why, there goes Mister Brown!
He*8 my late husband»s brother. Bear Sir, would you
kindly
My best beloved child for a moment sustain?"
Of course I complied. Then off on the platform
Tripped the charming young widow I met on the train.
Three minutes elapsed, then the whistle it sounded;
The train began moving—no widow appeared.
I bawled out, "Stop! Stop!" but they paid no attention.
With a snort and a jerk, starting off as I feared.
In the horrid dilemma I sought for the hour—
But my watch, ha! where was it? where was my chain?
My purse, too, my ticket, gold pencil case, all
gone—
Oh, that artful young widow I met on the train!
While I was my loss so deeply bewailing,
The train again stopped and I "tickets, please"
heard.
So I told the conductor, while dandling the infant,
The loss I*d suetained. But he doubted my word.

MB
Song Texts
1742
He called nore officials—-a lot gathered round me—
Uncovered the child—Oh, how shall I explain?
For behold, *twas no baby, but only a dummy!
Oh, that crafty young widow I met on the train.
Satisfied I'd been robbed, they allowed my departure,
Tho’, of course, I'd settle my fare the next day.
And now I wish to counsel young men from the country,
Lest they should get served in a similar way.
Beware of yound widows you meet on the railway,
Who lean on your shoulder, whose tears fall like rain;
Look out for your pockets, in case they resemble
The charming young widow I met on the train.
******************************

No. 260
CHASE THE SQUIRREL
also known as
Catch the Old Squirrel
Catch the Squirrel
Chase the Rabbit
Cold and Frosty Morning
Moscow Ladies, Turn
On a Frosty Morning
Up and Down the Center We
Go
Way Down Below
We have three versions of this title and each is, in
the strictest sense, a different song. Version A is
a "kissing game" and version B is a "dancing game"
and also serves as a hoedown fiddle tune. Both forms
exist in several varying versions. An ancestor of
both forms is Drop the Glove , or Drop the Handkerchief
A oloser relative is the Hunt the Squirrel song re
covered by Newell and which became known in the United
States as Itiskit , Itasklt (see in MB).
The game song. Hop , Old Squirrel and Peep , Squirrel ,

MB -
Song Texts
1743
recovered by Scarborough (NFS), 134-136 and Seeger
(1), 109, are entirely different in text and in
method of playing, yet some collectors have associated
them with this song in their referrals.
For songs sharing lines, see Fare You Well in Ames
(MPP), 300 and Round Up Four in London in MB.
REFERENCES
Ames (MPP), 316
Botkin (APPS), 159, 161
Brown, 7, 512
Burchenal (ACL), 16-17
Davidson (SRMF), 109
Duncan (PPHC), 2-3
Durlacher, 148
Forbush, 41-42
Hamilton, 300-303
Lair, 21
Newell, 168-169
Piper (SPPG), 266
Price, 122
Randolph, III, 335
Wedgwood, 271
Wolford, 30-31
Chase the Squirrel (Version A)
V.
Up and down the center we go,
Up and down the center we go,
Up and down the center we go,
Cold and frosty morning.
Out and around the ring we go, (3)
Cold and frosty morning.
This is how to chase the squirrel, (3)
Cold and frosty morning.
Turn around, Moscow ladies, turn, (3)
Cold and frosty morning.
Catch the girl, kiss her if you can, (3)
Cold and frosty morning.

Song Texts
1744
( Version B)
Bound up four and chase the squirrel,
Chase the squirrel, chase the squirrel,
Bound up four and chase the squirrel,
Way down below.
Break and swing and ohase the squirrel, etc.
Bound up six and chase the squirrel, etc.
Bound up eight and chase the squirrel, etc.
( Version C)
Chase the rabbit, chase the squirrel,
Chase the pretty girl around the world.
Chase the rabbit, chase the coon,
Chase the pretty girl around the moon.
Chase the squirrel up a tree,
Learn to climb or leave her be.
Bun a little faster if you please,
Bun a little faster or you'll freeze.
Chase the rabbit, chase the squirrel,
Give that pretty girl a great big whirl!
***************************

Ho. 261
CHEAT »EB SWING
This is both a game song and a square dance tune. It
was used at earlier American Play-parties.
See and compare The Cheat in Linscott, 101 and Tolman
A Page, 59.

MB
Song Texts
1745
REFERENCES
Botkin (APPS), 161-162 Ford (OTFM), 12 & (TMA), 61
Cheat ’er Swing
Cheat, cheat, cheat ’er ewing!
How can you cheat such a pretty little thing?
, On to your next, 0 balance her,
Swing her if you love her,
Cheat her if you dare.
Cheat, cheat, cheat ’ er ewing!
How can you cheat such a pretty little thing?
****************************

Ho. 262
THE CHERRY TREE CAROL
also known as
Blessed Mary Joseph and the Angel
Joseph and Mary Joseph Vas an Old Man
This oarol has a long history. Both song and legend
are known in most European countries. Some authorities
believe that the song, as we now know it, is just one
episode from a much longer ballad of the Middle Ages
which recounted a fanciful story of Christ. For ex
ample, Irish folklore explains the low growth of the
apple tree by this same Btory. Material making up
the song is usually founded on the predictions of
Jesus in the regular gospels and the angel’s words
to the shepherds as recorded in Luke, although the
song may vary in the prophecies that conclude it.
Mention is frequently made of Old Christmas Day- -a
date that will vary from January 5 to 7, depending

Its
Song Texts
1746 -
on the calendar used, nevertheless, one should not
take the story at face value; it is not part of Holy
Writ.
REFERENCES
Anderson (AESP), 78
Barry (BBM), 446
Best, 53
Botkin (SFL) , 758-759
Bramley, 60
Brown, II, 61-63
Bulletin (FSSN), VI, 6
Bulletin (TFLS ), Till,
78
Campbell A Sharp^ No. 13
Child, II, 1-6
Coffin, 65-67
Cole, 40-41
Creighton (TSNS), 34-35
Davis ( TBV ), 174, 565
Dean-Smith, 57
Flanders, II, 70-73
Flanders (CSV), 48-50
Friedman, 59-60
Gainer, 34
Greig, II, 160
Greig A Keith, 44-45
Henry (FSSH), 59
Houseman, 61-62
Hudson (SC), 5
Husk, 59
Jour (AFL), XXIII, 293;
XXIX, 293, 417; XXX,
229
Jour (FSS), III, 260; V,
11, 321; VIII, 229
Kinsley, 1-2
Leach (BB), 175-177
Leisy, 57-58
Lomax (PB), 77
MoGill, 60
Moore (BFSS), 43-47
Morris, 262-263
Niles (BB), 125-128
Pound, 47
Quarterly (SFL), VIII,
145
Quiller-Couch, 431-434
Randolph, I, 88
Ritchie (FS), 42-43
Roberts (IP), 31-34
Roberts (SBS), 91-92
Sandys, 123-125
Scarborough (NFS), 60-61
Seeger (1), 182-183
Sharp, I, 90-94
Silber (HSB) , 47
Silverman, I, 332
Sylvester, 45
Thomas (BMMK), 223-224
Wells, 187
Wheeler (KMFS), 3-8

MB
Song Texts
1747
Cherry Tree Carol
When Mary and Joseph were walking one day.
They saw apples and cherries every step of the way.
They saw apples and cherries every step of the way.
And then bespoke Mary, so meek and so mild,
"Gather me some cherries, Joseph, that I may eat
awhile." (2)
And then replied Joseph, quite angrily too,
•let the father of your child gather cherries for
you!" (2)
The babe within the womb, in voice loud and clear.
Said, "Bow ye low, 0 cherry tree, for my mother
dear." (2)
The cherry tree bowed low, bowed low to the ground,
And Mary gathered cherries while Joseph stood
around. (2)
Then Joseph took Mary, sat her on his knee,
And said, "0 Lord, have mercy, have mercy on
■e." (2)
*************************************

Wo. 263
CHESTER
also known as
The March of the Minute Men
This song was composed as a hymn for church use in
1770. It was written by William Billings, America’s
first genuine composer. He also published the song
at his own expenee. Soon thereafter the song was taken
the Minute Men and used by them as a marching

MB
Song Texts
1748
song. Chanted by thousands of bedraggled and foot-
weary volunteers, the song became one of the most
popular of America’s early patriotic pieces. An
original version by Billings is in The Singing Master’s
Assistant: or Key to Practical Music, p. 12 (which is,
in fact, an abridgment of The New-England Psalm-Singer
by William Billinge).
REFERENCES
Agay (2), 25
Brand (S-76), 147
Botkin (NEF), 846-847
Dolph, 499
Downes (1940), 56
Downes (1962), 62
Ives (SA), 260-261
Ives (SB), 98, 90
Kennedy (TAB), 12-13
Lawrence, 81
Lloyd, 20
Luther, 35-36
Oberndorfer, 63
Habson, 70-71
Silber (SI), 83
Silverman, I, 415
Yineon, 140-141
Weavers, 4-5
Chester
Let tyrants shake their Iron rods.
And slavey clank her galling ohains;
We fear them not, we trust in God—
Hew England’s God forever reigns!
Howe and Burgoyne and Clinton, too,
With Prescott and Cornwallis Joined,
Together plot our overthrow,
In one infernal league combined.
When God inspired us for the fight.
Their ranks were broke, they failed to
boast;
Their ships were shattered in our sight.
Or swiftly driven from our coast.
*******************

Song Texts
1749

Mo. 264
CHEYT CHASE
also known as
The Battle of Chevy Chase Hunting of the Cheviot
The Hunt is Up
Already old in the middle of the 16th century, this
ballad enjoyed a long and traditional popularity in
Europe but was little known in the United Statee.
nevertheless, it is a major folk ballad. It tells of
the Battle of Otterburn, August 19 , 1388.
The Scots, under the command of William Douglas, Earl
of Argus, battled the English forces led by Henry
Percy, Duke of Northumberland. Out-numbered three to
one, the Scots valiantly fought their way to victory.
Although the ballad distorts the fact, this did in
no way interfer with its acceptance and popularity
throughout Britain. c
"Chevy** is an abbreviated form of "Cheviot," the hills
between England and Scotland.
The tune, which was not always the same, has been used
for other songs, such as The Cow Chase (a parody) and
the game song, Three Old Maids A-Skating Went (see in
REFERENCES
Bantock, 15
Barry ( BBM ), 243-248
Chappell (OEPM), I,
90-92
Child, III, 303-315
Coffin, 112-113
Davis (MTBV ), 239-244
Davis (TBV ), 416-418
Dean-Smith, 57-58
Edwards, 29-242
Planders, III, 135-144
Pord (BB), Nos. 3011, 3013
Friedman, 276-284
Hales, II, 7
Houseman, 176-186
Jour (API), XVII, 294f
XXX, 323
Kinsley, 496-507
Leach (BB), 446-463
Moore (B?SS), 91-93

KB
Song Texts
1750
Pepye, I, No. 45
Percy (RAEP), I, 19-35
Quiller-Couch, 664-675
Sanders, 97-105
Stokoe, 1-3
Whiting (TBB), 67-76
Chevy Chase
God prosper long our noble king,
Our lives and safeties all;
A woeful hunting once there did
In Chevy Chase befall.
To drive the deer with hound and horn,
Earl Percy took his way:
The child may rue that is unborn
The hunting of that day.
The stout Earl of Northumberland
A vow to God did make,
His pleasure in the Scottish woods
Three summer days to take;
The chiefest hearts in Chevy Chase
To kill and bear away.
These tidings to Earl Douglas came,
In Scotland where he lay*
Who sent Earl Percy present word,
He would prevent his sport;
The English Earl not fearing that,
Did to the woods resort.
With fifteen hundred bowmen bold,
All chosen men of might,
Who knew full well in time of need
To .aim their shafts a-right.

MB
Song Texts
1751
At last these two stout Earls did meet,
Mice captains of great night;
Like lions would they lay'd on lode,
And made a cruel fight.
A knight amongst the Scots there was,
Which saw Earl Douglas die,
Who straight in wrath did vow revenge
Upon the Lord Percy.
And past the English archers all.
Without all dread or fear,
And through Earl Percy's body then
He thrust his hateful spear.
80 thus did both these nobles die,
Whose courage none could stain;
An English archer then perceived
The noble Earl was slain.
This fight did last from break of day
Till setting of the sun;
For when they run the evening bell,
The battle scarce was done.
Of fifteen hundred Englishmen,
Went home but fifty-three;
The rest were slain in Chevy Chase,
Under the gree wood tree.
**********************************

Ho. 265
CHEWING GUM
also known as
Chawing, Chawing Gum
Chewing Gum Song
Fond of Chewing Gum
The Girl Who Chawed Gum

Song Texts
1752
MB
This humorous rural song, author unknown, is sung
to the tune of Old Joe Clark. Asher Sizemore and
little Jimmie, popular father-son duo in the 1930s,
included a version featured by them in a privately
printed paperback song book, 1937* While Sizemore
made some changes in the song, it did not originate
with him.
REFERENCES
Botkin (APRS), 274 Randolph, III, 72-75
Brown, 7, 412-413 Silverman, II, 215
Jour (API), LIX, 431 Sizemore (1), 17
Pound (SFSN), XXI, No. 11
Chewing Gum Tune: Old Joe Clark
I took my girl to a dance one night,
I thought I*d have some fun,
But all in the world she would do
Is set and chew her gum.
Chrous
Sat an chew her gum,
Sat and chew her gum—
All in the world she would do
Is set and chew her gum.
I took my girl to a restuarant,
I took her out to supper;
She stubbed her toe on the table leg
And stuck her nose in the butter.
I took my girl to church last night,
1*11 tell you what she done:
She stood right up in the preacher's faoe
And chawed her chewing gua.
********************

JO
Song Texts
1753

Jo. 266
CHICKAKY CHANEY CROW
also known as
Auld Grannie
Chicamy
Chiceny, Craney, Crow
Chlckama Crana Cro
Chickee, Chickee Ma
Craney Crow
Chioken McCraney Crow
Chicky My Chick Craney
Crow
Gipsy
Glad Wylie
Grannie 1 8 Heedle
Hawk sued Chickens
Hen and Chicken
The Old Dame
Old Granny Hibble Hobble
Old Witch
Pins and Heedles
Searching for the Needle
Wily Hawk
The Witch
Here we have a widely diffused game song of ancient
and primitive origin, like many ancient songs, the
route followed was from Holy Rite to Country lance
to Childish Play. Pew American versions have retain
ed the original idea of the child-stealing Witch,
which we find in English, German and Italian versions
printed by Halliwell, Meier and Corazzini. In most
German versions the theme changed from stealing
children to begging , but in some Prussian versions
we do find traits contained in American versions, such
as the mother being invited to a meal by a Witch,
which the mother refuses by sending her excuses. In
some versions, the mother and children are replaced
by a hen and her brood—from whence came the game
of the Rich and Poor Birds. In still other versions
the children are identified by the names of leaves
or flowers, as in the German lie Grosseutter,
This song is known all over Europe in game form.
In Spain it is known as Pulling Leeks . In Italy a
version is known as Madonna Pollinara. In Swedish

Song Texts
1754
MB
\ i
versions the game ia one of "selling pottery,* and
is called Selling Pota— which led directly to the
English game, Boneypots. Some other versions deal
with "stealing or measuring clothes," and one French
version, La Toile, is a "kissing game" for young
adults.
Because of common titles, other songs are sometimes
confused with this one. For example, there is a game
song called Old Witch that is entirely different and
unrelated in Jour (AFL), III, 115, 139, 141 and in
Hewell, 259. A version of Old Witch that was related
to this song by references is in Brown, I, 53. It
begins:
Old man Hlopety Bop tuck my chile;
Put him out in de corn flei 1 .
Bugs an* flies eatin' out his eyes .
Poor little thing cries , mammy ,
mammy 9 mammy •
A song more likely to be related to the Brown version
is Baa! Baa! Black Sheep 11 ( in MB). Also compare the
Hawk and Chickens in Talley, 185 and the Old Uncle Tom
in Pub (TF1S), XVII, 1941, p. 145.
REFERENCES
Arnold, 136
Bancroft, 141
Beckwith, 33
Bernoni, 34
Brown, I, 48-55
Bulletin (TFS), XI, 9
Chambers (PRS), 130
Collins, 48
Coraszini, 110
Folklore Journal, V,
53; Vli, .218
Gomme, I, 67, 201-202; II,
404-405, 449
Halliwell (PR5T), 132
Hudson (SMFL), 112
Hunt & Cain, 66-67
Jour (AFL), III, 315; V,
119; XXXII, 376; XXXIV,
38, 116; XL, 30, XLVII,
335
>
Maclagan, 133
Meier, 117

KB
Song Texts
1755
Wewell, 155, 215, 259-
Randolph, III, 382-383
263
Scarborough (N?S), 138
Quarterly (S?L), 71, 221-
Talley, 74
224
Whitney & Bullock, 143
Chickamy Craney Crow
Chickamy, chickamy, craney crow.
Vent to the creek to wash his toe;
Vhen he got there the creek was dry,
And he sat down to moan and cry.
Chickamy, chickamy, craney crow,
Went to the field and lost hie hoe.
He came back home in his bare feet.
And he sat dwon to eat some meat.
Chickamy, chickamy, craney crow,
Vent down to town to see a show;
Vhen he got there and tried to dance.
He ripped apart his Sunday pants.
Chickamy, chickamy, craney crow,
Stood up and gave his horn a blow;
When that was done he jumped the fence,
And no one here hap seen him since.
••*•***«**•*************•«**#**

Ko. 267
CHICKEN, GRANNY AND DOG
also known as
Chicken in the Bread Pan Chicken in the Bread Tray
Chicken in the Bread Granny, Will Your Dog
Plate Bite?
This song has known many traditional uses— a nursery

MB
Song Texts
1756
rhyme, a nonsense song, and a country dance tune. It
Is more widely known in the South than elsewhere in
the United States, and versions have been recovered
there from black as well as white people.
Compare Old Mother Gofour in Thede, 82.
REFERENCES
Brown, I, 199; III, 205;
V, 119
Davie (FSV), 252
Ford (QTFM), 19
Ford (TEA), 32
Jour (AFL), XXVI, 127,
130; XLVI, 431
Scarborough (NFS), 194
Shearin (SKFS), 38
Talley, 7
Thede, 82-83
White, 241
Chicken , Granny and Dog
Tune: Folly , Pat the Kettle On
Chicken in the bread pan,
Bread pan, bread pan,
Chicken in the bread pan
Scratching out dough.
Granny, will your dog bite,
Dog bite, dog bite?
Granny, will your dog bite?
No, no, child, no!
Granny, will your dog bite.
Cow kick, cat scratch?
Granny, will your hen peck,
Sow root the corn patch?
Granny, will your duck quack,
01* gray goose hatch?
Granny, will your dog bite?
No, no, child, no!

MB Song Texts 1757
" .■» . r -<.

Ho. 268
CHICKEN REEL
This Is a hoedown-fidale tune, and one of the fanciest
used for square dancing. Carl Sandburg thought the
theme of the piece was "never trouble trouble till
trouble troubles you."
Ho known words. See under TUNES, No. 268, in MB.
REFERENCES
Durlacher, 66 Sandburg (AS), 116
Ford (TMA), 41 Thede, 116
****»#»**«*******««•***#«****«

Ho. 269
CHILDREN, WE ALL SHALL BE FREE
also known as
Te Shall Be Free
A spiritual that was and is sung by both black and white
people in the South. It is also one of those featured
by the original Fisk Jubilee Singers. The tune is
sometimes used for Jordan *& Stormy Banks II (see in
MB).
REFERENCES
Jubilee (PS), 8 Marsh (SJS), 130 Pike, 170, 212
Children . We All Shall Be Free
We want no cowards in our band,
That from their colors fly;
We call for valiant hearted men.
That are not afraid to die!
Chorus
Children, we all shall be free, (3)
When the Lord does appear.

1758
MB Song Texts
We see the pilgrim ag he lies,
With glory in hig soul;
To heaven he lifts his longing eyes,
For heaven is his goal.
Give sight to the blind in our midst,
And let the cripple walk;
He*11 raise the dead and give them life,
And the mute shall learn to talk,
****** ************ ********

go. 270
CHILLY WATER
also known as
Hallelujah to the Lamb
Spiritual from Southern slaves, circa 1850. Song was
introduced to the general public by the original
Fisk Jubilee Singers.
There is a revivalist hymn called Chilly Waters in
Thomas (DD), 122, with a stanza that goes:
Will the waters be chilly.
Oh chilly, be chilly?
Will the waters be chilly
When I am called to die?
Whatever relationship between that hymn and this
spiritual there is must be limited to the "chilly
water" lines.
REFERENCES
Johnson (SBNS), 114 Jubilee (PS), 38 Marsh (SJS), 264
Chilly Water

ktr Song Texts 1759
I know that water is chilly and cold,
0 hallelujah to the Lamb!
But I hare Jesus in ay soul,
0 hallelujah to the Lamb!
Chorus
Chilly water! chilly water!
Hallelujah to the Lamb!
Chilly water! chilly water!
Hallelujah to the Lamb!
In Noah's Ark, the little dove mourned, etc.
Then one fine day a new world was born, etc.
01' Satan's just a snake in the grass, etc.
He's lookin' for to bite you when you
pass, etc.
*•**»***•**«*•*««**##*«**•****
■ --

No. 271
THE CHISHOLM TRAIL
also known as
Old Chisholm Trail Old Chizzum Trail
This is one of the better known traditional cowboy
songs; it celebrates a trail and a way of life that
no longer exists. This song has more than a hundred
stanzas, some too vulgar for print. There are variant
rewrites and adapatations, not to mention parodies.
See The Long Star Trail in Sandburg (AS), 266,
Clear Rock's Chisholm Trail in Lomax (CS-1938),
37 and Leadbelly'e Chisholm Trail in Lomax (CS-1938),
39.
For an adaptation for children, see Riding Around the
Castle in Seeger (3), 70-71.

KB
Song Texts
1760
The Chisholm Trail was a real cattle trail that
wound from San Antonio, Texas, to Montana,
REFERENCES
Allen (CL), 21, 129
Arnett, 125
Best, 119
Brown, III, 248-250
Clark (CS), 47
Dohie (MBS), 178-180
Downes (1940), 228
Downes (1962), 268
Enrich (CBF), 42
Emrich (FAL), 480-482
Felton, 2-7
Fife, 210-212
Fowke (SWF), 122-123
Frey, 42-43
Caines (SCCS), 150-151
Glass (SW), 30-31
Hull, 38-39
Ives (SA), 216-217
Kllckmann, 45-46
Koch (2), 18-19-
Larkin (1931), 2-8
Larkin (1963), 9-19
Leisy, 249-250
Leisy (LAS), 37
Lingenfelter, 367-369
Lonax (ABFS), 376-379
Lomax (CS-1919), 58-63
Lomax (CS-1938), 28-37
Lomax (FSNA), 370-371
Lonax (PB), 106
Lomax (USA), 200, 202
Luther, 194-195
Lynn (CS), 13
Moore (BFSS), 285-287
Morris, 38-39
Heely, 184-185
Oberndorfer, 36
Patterson (SRR), 38-39
Randolph, II, 174-175
Roberts (SBS), 180-181
Sackett, 14-15
Scott (SA), 79
Seeger (3), 71
Sires, 32-33
Thorp (1921), 109-112
White (GALD), 39
Whitman, 71
The Chisholm Trail
Well, come along, boys,
And listen to my tale,
1*11 tell you of my troubles
On the old Chisholm Trail.

Song Texts
1761
Chorus
Come a-tu-yi, yippy, ylppy ya*
Come a ti-yi, yippy* yippy eye aye!
I woke up one morning
On the old Chisholm Trail,
A rope in my hand
And a oow by the tail*
A ten dollar hoss
And a forty dollar saddle,
1*11 be on the trail
Punchin* Texas cattle.
Claudy in the west
And looking like rain,
My damned old slicker's
In the wagon again.
Last night I was guard
And the cattle broke ranks,
Hit my hoss on the shoulder
And spurred him in the flanks.
The wind began to blow
And the rain began to fall,
And it looked, by God,
Like we would loose *em all.
I Jumped in the saddle
And I grabbed the horn—
I*m the best damn cow-puncher
That ewer was bora.
I herded and I hollered
And I done very well,
Till the boss said, "Boys,
Just let •em go to hell!"

1762
MB Song Texts
I went to the boss
For to draw ay roll;
He had it figured out
I was nine dollars in the hole.
I*m goin* to sell my outfit
Just as quick as I can,
And I won't punch cattle
For no damned man!
****************************

Ho, 272
THE CHIVALROUS SHARK
also known as
The Most Chivalrous Shark The Ryhme of the Chivalrous
Shark
Why this song was ignored by folk-song collectors
during the 1920s, 30s and 40s is something I don't
know. It is in the Public Domain without question,
because it is in Nautical Lays of a Landsman by Wallace
Irwin, published by Dodd, Mead A Co,, 1904* Other
versions are in Best, 114-115; Silverman, II, 200;
and Trident, 60-61.
The Chivalrous Shark
The most chivalrous fish in the ocean,
To the ladies forbearing and mild,
Tho* his record be dark, the man-eating shark
Will eat neither woman nor child.
He dines upon seamen and skippers.
And tourists his hunger assuage;

Song Texts
W63
A fresh cabin boy will inspire
with joy,
If he*s of maturity age.
A doctor, a lawyer, a preacher—
He*11 gobble one any fine day;
But the ladies, God bless 'em! He'll
only address 'em
With a smile, and go on his way.
I'll readily cite you an instance,
Where a lovely young lady of Breen,
Who was tender and eweet, and declicious
to eat,
Pell into the Bay with a scream.
She struggled and flounced in the water,
And signel'd in vain for her barque;
She would have drowned, if ahe hadn't been
found
By the chivalrous man-eating shark*
He bowed in a manner most polished.
Thus soothing her impulses wild.
•Don't be frightened," he said, "I've been
properly bred.
I'll eat neither woman nor child."
He proffered his fin and she took it.
Such gallantry none can dispute.
While the passengers cheered, and the vessel
they neared,
A broadside was fired in salute.
They took her aboard in a jiffy.
The shark stood attention the while;
Then he raised on a flipper and ate up the
skipper,
And went on his way with & smile.

Song Texts
1764 ■
MB

Ho. 273
CHRISTOFO COLUIiBO
also known as
Christopher Columbo
In old bawdy song that always gets "cleaned up" for
print. In fact, a version by Jay Livingston and Hay
Evans, Mlsto Cristofo Columbo, was published in
sheet music form by theBurvan Music Corp., in 1951.
Another version with the simple title of Columbo,
\
by Francis Bryant, was published by Jfi. Whitaark A
Sons. These popular music versions were never able
to replace the traditional versions.
RBFBREKCES
Harlow, 55-58 Shay (PF-1), 43-48
Levy, 193-194 Shay (PF-3), 18-22
Hilee (SMM), 106 Trident, 22-23
Shay (ASSC), 207-212
Chrletofo Columbo
In fourteen hundred and ninety-two,
Down in a Spanish alley,
A wop was running up and down
Shouting "Hot Tamale!"
0 Christofo Columbo,
He thought the world was round o!
That pioneering, buccaneering
Son of a bitch, Columbo!
Columbo came from Italee;
He was full of pink oonfetti.
He showed the Queen of Spain
How to manage her spaghetti!

Song Texts
1765
0 Cristofo Colombo,
Said land it could be round Of
That heathen hatin', navigatin'
Son of a bitoh, Columbo!
He rushed up to the Queen one day,
To ask for shipa and cargo:
"I'll be a sea-going, son-of-a-bitch
If I don't bring back Chicago!"
0 Christofo Columbo,
He thought the world was round 0!
The encroachin', queen approachin*,
Son of a bitch, Columbo!
The Queen then said to Ferdinand,
"His scheme sounds like a daisy."
"To hell with him!" said Ferdinand,
"I think the wop is crazy!"
0 Christofo Columbia,
Knew that gold could be found 0!
That old sea-faring, never-caring,
Son of a bitch, Columbo!
On the day they sailed away,
The people thought them crazy.
Columbo said, "No janes on board—
The sailors won't get lazy."
0 Christofo Columbia,
He knew the world was round 0!
That family-breakin', history-makin',
Son of a bitch, Columbo!
They anchored near San Salvador,
In search of women and booty;

Song Texts
1766
WB
A pretty girl stood on the shore,
And Coluabo said, "Do your duty!"
0 Christofo Coluabo,
Found here wag solid ground 0!
That stop-your-shovin», woman-lovin',
Son of a bitch, Coluabo!
One day they bound him in ohair
And ahipped hin bach to Spain.
Coluabo said, "I'm done for good,
These doings give me a pain."
0 Christofo Coluabo,
He proved the world was round 0!
That perserverin', pioneering
8on of a bitch, Coluabo!
*************************

Ho. 274
CHRIST WAS BORN IN BETHLEHEM
also known as
Down Game an Angel Jesus Preached in Galile
Edna's Song Jesus Walked in Galilee
Jesus Born in Bethlea, or Jesus Was Born in
Bethula Bethlehem
This mid-19th century spiritual is sung to a tune
used for several secular songs (see headnotes to
Skip To My Lon in MB). Aocording to George Pullen
Jaokeon, "This ballad appeared with one stania of
text in the early editions of the Sacred Harp
(1859) but wat removed from the 1869 edition and
all subsequent ones."
Versions are also in The Christian Songers (1858)

KB
Song Texts
1767
«Bd The Bevlvallst (1872). According to Whiteman,
31-32, the tune Is Prenoh.
Por additional information about the tune, see
haadnotes to The Duke of Marlborough in M3.
EBPBKEKCBS
Botaford, I, 28-29
Brown, III, 595-596;
T, 337
Buchanan, 40 *
Chase (APT3), 166-167
Gainer, 191
Hillman, Ho. 482
Jaokson (DBS), 43-44
Jackson (WHS), 174-175
Lloyd, 65
Hilea (TCC), 6-7
Hitchie (PS), 39
Scott (SA), 69
8aeger (1), 181
Sharp, II, 293
Walla, 189
Christ Was Born In Bethlehem
Christ was born in Bethlehem,
Christ was born in Bethlehem,
Christ was born in Bethlehem,
And in the manger lay.
Chorus
And in the manger lay,
And in the manger lay,
Christ was born in Bethlehem,
And in the manger lay.
Jesus walked in Galilee, (3)
To save us all from sin.
To aave us all from sin, etc.
Judas did betray the Lord, (3)
And He was orucified.
And He was crucified, etc

Song Texts
1768
MB
Joseph took Hie body down, (3)
And laid Him in the tomb.
And laid Him in the tomb, etc.
Mary came with weeping eyes, (3)
Her loving Lord to see.
Her loving Lord to see, etc.
Jesus He has risen up, (3)
Arisen from the dead.
Arisen from the dead, etc.
••««••*•*•**•*««*•••#*«***

Mo. 273
CIHLY
also known as
Beefsteak When I*m Hungry
Cindy, 1*11 Marry You
Someday
Get Along Home, Cindy
Git Along Home
Get Along, Cindy, or
Sindy
Hop Along Home, Cindy
1*11 Marry You Someday
Sindy
This song was popularized over America by traveling
minstrel shows, and it has never been out of favor.
Cindy is well-known throughout the United States.
It has been arranged and ohanged by many authors and
oomposers and published by many companies. Linee
and stanzas float in and out, going from song to song.
The refrain of Cindy is found in several songs, in
cluding The Raccoon Has a Bushy Tail in Brown, III,
209 £ and a version of Lisa Jane in Puson, 172.
Por other examples of floating lines, eee the songs
in Botkin (SPL), 711? Bulletin (TPS), YI, 39; Henry

KB
Song Texts
1769
(PSSH), 434-435? Jour (API), 71, 131 and XLIY, 428-
429? Lomax (USA), 94? Steely, 160-161; Thede, 38?
and Wileon (SHP), 61.
A Tereion recovered in Alabama begins with another
well-known floating stanza:
I went up on the mountain,
I gave ay horn a blow;
I think I heard my Cindy say,
"Oh, yonder comes my beau."
Also compare: Liza Jane in MB and I Wish I Was an
Apple in Talley, 133.
REFERENCES
Agay (1), 15
Gainer, 178-179
Agay (2), 89
Grafman, 93
Arnold, 114
Henry (PSSH), 434-435
Bass, 428-429
Henry (SMBPS), 168-169
Best, 137
Kincaid No. 2, 23
Botkin (API), 899-900
Leisy, 58-60
Botkin (APPS), 237, 241
Leisy (SPS), 32-33
Brewster (BSI), No. 83
Lomax (PSNA), 233
Brown, III, 482-485? 7,
Lomax (PB), 69
267-269
Lomax (USA), 94-95
Coleman, 52
Lunsford, 42-43
Downes (1940), 208-210
Randolph, III, 376-377
Downes (1962), 248-249
Roberts (SBS), 166-167
Emrich (CBP), 31
Scarborough (IPS), 67
Emrioh (PAL), 561-562
Seeger (6), 61
Ford (OTPM), 7
Silverman, I, 342
Pord (TMA), 58
Thoaaa (SC), 23
Puson, 172
White, 161, 333
Cindy
I went to aee my Cindy gal,
8he met me at the door;

MB
Song Texts
1770
Her shoes and stockings in her hand,
And her feet all oxer the floor.
Chorus
Git along home, Ciady, Cindy, (3)
1*11 marry you someday*
Her cherry lips were kissing sweet,
Her cheeks were like a rose,
Her eyes were brown and sparkling bright,
And she had a turned-up nose,
I hugged her and I kissed her,
I squeezed her ’til she oried.
She said I was the sweetest thing
That ewer lived or died.
Oh, if I had a needle
With thread that I oould sew,
I f d etitcn her to ny coat-tail
And down the road I’d go.
My Cindy’s got religion now—
She had it once before—
But when she hears my ol’ banjo,
She’s the first one on the floor*

Ho. 276
THE CITY OF BALTIMORE
also known as
Bold McCarthy
According to Loerflinger, the City of Baltinore "was
operated in the (eighteen) fifties by the lunar Line
of Liverpool, on the Hew York run. "Sore than 2000
tons register, she was one of the largest ships
afloat."

iTft Song Texts
,1771
lSPEREBCBS
Beck (PLH), 183 Greenleaf, 354
Creighton (SB3S), 117-119 Manny, 224-225
Doerflinger, 128-129 Peacock, III* 860-861
The City of Baltimore
Come all you galling Irishmen
And listen to my tale
Concerning a young gailor hold
Who in Liverpool did dwell,
Down by the western docks one day
This lad he chanced to stray.
And on board of a western-bound ocean ship,
Be stowed himself away.
1-sailing down the river then,
To Hew York o*er the foam,
This young McCarthy was bound away,
Par from hie native home.
This Irish youth was borne away,
Par from his native shore,
All on board of a western-bound ocean ship
Called the City of Baltimore.
When he came out from his hiding place,
The oaptain to him did say:
■What brought you here? Tell me true,
Or you will rue the day.
How speak, young man, and speak the truth,
Or else 1*11 ask no more.
You*11 cure the day you stowed away
Aboard the Baltimore."
It was early every morning
The mate would turn him to;

1772
MS Song Texts
It was early every morning
He was bound to put us through!
•Where is that Irish stowaway?"
These words we beard him say.
■I’m here!" replied McCarthy bold,
■What do you want today?
•It's true I am an Irishman,
And that I won’t deny;
But before I'll be cowed down by you,
1*11 fight until I die!
If you’re a man of courage, sir.
It’s me you’ll stand before.
1*11 fight you fair upon this deck
Aboard the Baltimore! "
The second mate and the bos’n too,
They came to the mate’s relief;
And with a belaying-pin.
The youth made them retreat.
The oaptain oalled him aft, to him,
And said he wasn't sore:
"You’re fine and brave and welcome, sir,
Aboard the Baltimore!"
*«•**««**••**««****«•«•*•**•

Wo. 277
CLEMENT IJTE
also known as
Barling Clementine Oh, My Barling Clementine
My Barling Clementine
Written by Percy Montrose, this song is available in
literally hundreds of folios and song books, includ
ing those used in the public eohools. The text express

KB
Song Texts
1773
American pioneer humor and satire, and was sung
everywhere in the country. It is the most popular
song to oome down to us fro* the California Gold-
rush era.
REPEREHCES
Agay (2), 200
Best, 41
Dwyer, 199-200
Pife, 100-101
Kennedy (AB), 204-205
Kennedy (TAB), 65-66
Lelsy, 60-61
Leisy (LAS), 20-21
Leisy (SPS), 72-73
Loesser, 272-273
Luther, 278-279
Mackenzie (SH), 48
Most (PCS), 70-71
Seeger (6), 27
Shay (PP-1), 49-52
Shay (P?-3), 23-24
Sherwin (SGM), 8-9
Silverman, I, 13
Waite, 32-33
Wier (SWWS), 173
Winn (2), 162-163
Clementine
In a cavern, in a canyon,
Excavating for a mine,
Dwelt a miner, forty-niner.
And his daughter Clementine.
Chorus
0 my darling, 0 my darling,
0 my darling Clementine,
Tou are lost and gone forever.
Dreadful sorry, Clementine!
Light she was, and like a fairy.
And her shoes were number nine;
Herring boxes, without topees,
Sandals were for Clementine.

IB Song Texts 1774
Drove she ducklings to the water,
Every morning just at nine;
Hit her foot against a splinter.
Tell into the foaming brine*
Ruby lips above the water,
Blowing bubbles soft and fine;
Alas for me! I was no swimmer.
Bo I lost ay Clementine.
In a churchyard, near the canyon,
Where the myrtle doth entwine,
There grow roses and other posies,
Tertilired by Clementine.
Then the miner, ‘forty-niner,
Soon began to peak and pine;
Thought he oughter Jine his daughter,
How he*s with his Clementine.
In my dreams she still doth haunt me,
Robed in garments soaked in brine;
Though in life I used to hug her,
How she*s dead, I draw the line!
*«**«**•*•••*•**•***••**••

Ho. 278
THE COAST 0? PERU
also known as
The Bold Abaneersman Captain Bunker
This song was a favorite with Whaling-men. The text
tells of the killing of a big Sperm whale. According
to Colcord, "the eong goes back to the early days of

MB
Song Texts
1775
offshore whaling."
A version from Jaaes H. Williams appeared in The
Independent, July 8, 1909 *
BEPEREKCES
Bulletin (PSS5), YI, 14-15 Harlow, 222-223
Colcord, 194-195 Huntington, 2
Doerflinger, 151-152 Thompson (BBS), 194
Edwards (CHSB), 117 Williams (SPS), 33
The Coast of Peru
Come all you sailors who cruise round Cape Horn,
Come all you sailors who follow the "sparm,"
Our captain has told us, and we hope it is true,
There are plenty of whales on the coast of Peru.
•Twas early one morning just as the sun rose,
A man from the masthead sang out, "There she blows!"
"Where away?" called the captain, "And how does she
lay?"
■Two points on our lee, sir, *bout three miles away."
The whale has gone down, to windward he*11 lay;
Whatever he done, boys, he showed us fair play.
We fought him alongside and a lance we thrust in,
And in less than an hour he rolled out his fin.
We brought him alongside with many a shout,
Began cutting in and trying him out;
The whale is cut in, tried out, and finally stowed
down—
He’s better to us than some five hundred pound.
Our ship is all laden and home we will steer.
Where there’s plenty of rum, boys, and plenty of
beer?

MB
Song Texts
1776
¥e*ll spend money freely with girls on the shore,
And when it’s all gone we’ll go sailing for morel
«****# ********************

Jo, 279
COCAIKE LIL
This song has one of those drug themes so popular
among the folk during the first part of the 20th
oentury. Author is not known but the tune is ob
viously taken from another song: Willy the Weeper .
Compare Downes (1943), 344.
REFERENCES
Sandburg (AS), 206 Shay (PF-2), 77 A (P?-3), 153
Cocaine Lil Tune; ¥1117 the deeper
Have you ever heard of Cocaine Lil,
Mho lived in Cocaine town on Cocaine hill?
She had a cocaine dog and a cocaine cat—
They fought all night with a cocaine rat*
Lil had eoeaine hair on her cocaine head,
And wore a cocaine dress that was poppy red.
She had a snowbird hat and high-toney clothes—
On her coat she wore a crimson, cocaine rose.
Lil went to a snow party one cold night,
And the way she sniffed was sure a sight.
There was Hasheesh Hell and Dopy Slim,
St. Louie Li* with Ten Shae Jim.
Sometime in the morning, near on three,
They were all lit up like a Christmas tree.
Lil went home and before going to bed,
Took another sniff and it knocked her dead!

MB
Song Texts
1777
They laid her out in her cocaine clothes,
She wore a snowbird hat and oriason rose;
And on her toabstone is engraved this refrain:
"She died as she lived, sniffing cocaine**
**■»**#*#*•***•»****#**

Mo. 280
COCKLES AML MTJSSE1S
also known as
Alive, Alive, 0! Molly Malone
In Lublin^ ?air City . Sweet Molly Malone
An old Irish "street" song about a real fishaonger
named Molly Malone. According to the Sears Index
the song was written by J. Torkston.
For a different song oalled Molly Malone , see
Dltson (100-SI), 59.
REFERENCES
Agay (1), 50 Leisy (SPS), 108
Leisy, 61-62 Silverman, I, 205
Leisy (LAS), 89
Cockles and Mussels
In ublin*s fair city, where girls are so pretty,
I first sat my eyes on sweet Molly Malone,
And she wheeled her wheel-barrow
Through streets broad and narrow,
Crying, Cockles and mussels, alive, alive 0!
Chorus
Alive, alive 0! Alive, alive 0!
^ Crying, Cockles and mussels, alive, alive 01

Song Texts
1778
MB
She was a fish-mong*r, bat sure *twas no wonder,
Por so were her father and mother before;
And they each wheeled their wheel-barrow
Through streets broad and narrow,
Crying, Cockles and mussels, alive, alive 0!
She died of a fever, and no one could save her.
And that was the end of sweet Molly Malone.
Her gho«t wheels her barrow
Through streets broad and narrow.
Crying, Cockles and mussels, alive, alive 01
*«*•*«««*•**«•*****«*«*«•«•***•

Mo. 281
COD LITER OIL
also known ae
Cod Liver lie Cod Liver Oil Song
An Irish-English song that dates from the latter part
of the 19th century. We can safely attribute any
popularity it currently enjoys to performances by
various professional folk-singers.
KBPEREHC5S
Greenleaf, 316 Silverman, II, 160
Lomax (OSC), 116-117 Songster (68), 15
0«Keil (EE), 54 Songster (93), 23
Peacock, I, 48-49
Cod Liver Oil
I*m a young married man who is tired of life;
Ten years I*ve been wed to a sickly wife.
She does nothing all day but sit down and cry,
And keeps wishin* to God that she could just die..

MB
Song Texts
1779
A friend of ay own caae to see me one day,
And told me ay wife waa just pining away;
And then he did tell ae that ahe would get strong,
If she'd take cod liver oil fro* Doctor John.
Well, I bought her a bottle just for to try,
The way she drank it, I thought she would die;
I got her another, it vanished the same.
And now she's got god liver oil on the brain.
I bought her another, she emptied it out,
And then she began to grow terribly stout;
When she got stout of course she got strong,
And I wish to God her oil was all gone.
Our house now resembles a big doctor's shop;
It's covered with bottles from bottom to top.
And now every morning the kettle will boil.
Then starts singing, I swear, of cod liver oil!
*******************************

Ho. 282
THE COLD WIHD BLEW
also known as
The Wind It Blew Up The Bailroad Track
In lumber-camps of the latter half of the 19th century,
the men were forced to look to themselves for enter
tainment. The entertainment consisted largely of tall
stories and songs. Katurally, like gold-miners and
other frontier adventuresome groups, isolated with
their own kind, they made up words to natch tunes
with which they were already familiar. They made
songs about their experiences and what they thought
of their lives. And sometimes, as in this case, they
turned to humor. In time, of course, both words and

KB
Song Texts
1780
tune took on different colorings. The Tension "below
is e onewhat renoved from the earliest known versions,
but there is no sistaking the tune: When Johnny Coaes
Karching Hone.
Por another version, see Sandburg (AS), 379.
The Cold Wind Blew Tune: Then Johnny Coaea Marching
Home
The wind caae howling through the trees,
And blew, and blew.
The wind caae howling through the trees,
And blew, and blew*
The rivers and lakes began to freeze.
And we put on our B V D's,
But the cold wind blewl
Tumpin' Yininy, how it blew!
The snow kept falling on the ground,
And fell, and fell.
The snow kept falling on the ground.
And fell, and fell.
There wasn't a clod or rock around
Where piles of snow could not be found,
And the cold snow fell!
Tumpin' Timiny, how it fell!
The wind it blew so hard that day.
And blew, and blew.
The wind it blew so hard that day.
And blew, and blew.
And even the treee refused to stay;
They pulled up roots and ran away!
And the cold wind blew!
Tumpin' Yiainy, how it blew!
***************** IS*****#*#

MB
Song Texts
1781
*o. 283
COLE Y.OUNGIR
An outlaw song baaed on the deeds of a minor western
desperado, who, together with his brothers, rode the
outlaw trail. Not at first, however. Cole Younger
was with Quantrell*a guerillas, then became a captain
In Shelby*s Missouri cavalry. Later, after the Civil
War came to an end, Cole teamed up with Prank and
Jesse James. He was captured in 1876 while attempt
ing to rob a bank at Horthfield, Minnesota, and sent
to prison. He was pardoned and released in 1901,
Cole and Prank James joined forces again, but in a
legitimate and legal way—they opened and toured in
a Wild West Show. Eventually Cole settled down to a
life of respectability. He died at Lee*s Summit,
Missouri, in 1916.
The song below is one of several written about him
as an outlaw. ?or another, different song, see
Randolph, II, 16 D.
REFERENCES
Botkin (WPL), 776-777
Fife, 261-262
Laws (NAB), 171, 177
Lingenfelter, 321-322
Lomax (CS-1919), 106-107
Lomax (FSNA), 350-351
Moore (BPSS), 345-347
Nebraska (1), 9
Ohrlin, 142-143
Owens (TPS), 80-81
Randolph, II, 12-16
Silverman, I, 82
Cole Younger
I am a reckless highway-man,
Cole Younger ia my name;
And many a desp*rate crime
Has caused ay friends auoh shame.
For 'the robbin* of the Horthfield bank,
Hy friends, I can’t deny—

Song Texts
1782
For which I am a prisoner now;
In the Stillwater Jail I lie.
It's of a reckles® robbery
That now I want to tell;
About a California miner,
And how on him I fell.
I robbed him of his money, boys,
And then went on my way;
For which I will be sorry
Until my dying day.
"How let us buy fast horses,"
My brother Bob did say;
"Row let ub buy fast horses
And quickly ride away.
We'll go avenge our father's death,
And seek to win the prize;
We'll fight those anti-guerillas
Until the day we die."
We rode toward old Texas, boys.
The good old Lone Star State;
We met with Frank and Jesse James,
And settle down to wait.
With knives, guns, and pistols too,
We all sat down to play;
A bottle of rye whiskey, boys.
Helped to pass the time away.
The Union Pacific railway
It was our next surprise;
Our bloody hands instilled such fear,
That tears came to their eyes.
With engineer and fireman dead,
The, conductor still alive,
The bodies now are smouldering
Beneath Rebrasks skies.

MB
Song Texts
1783
We saddled up our horses, boys,
And northward we did go;
We rode to Minnesota, boys,
A land of ice and enow.
We planned to rob the Northfield bank,
But brother Bob did say:
"low Cole, unless we quit this Job,
Ton’ll surely curse the day."
Each man took his station, boys,
And to the bank did go;
I walked up to the cashier, boys,
And struck my fatal blow.
•Wow give us all your money, boys.
Do so without delay;
Por we’re the James and Younger gang,
And we spare no time to pray!"
•••*•*«•******••********«

No, 284
COLUMBUS STOCKADE BLUES
also known as
Once I Loved a Railroad Brakeman
This is a song from the Deep South that had its roots
in English balladry. It is rightfully a composite, for
many of its lines were borrowed from various older
songs, such as G_o and Leave Me (gee in MB), The Dear
Companion in Sharp, II, 109, and version B below.
A version of Columbus Stockade became popular in the
1930s as a result of a phonograph recording record
by Gid Tanner and The Skillet Dickers, Later, Gid
Tanner's arrangement was taken over and rewritten in
1943 by Jimmie Davis. The Davis version was published
by Peer International, Inc., N. T. C. This probably

Song Texts
1784
KB
explains why the song wan largely Ignored by folk
song collectors. Aside from Silverman, II, 140, I
hare not seen a version in print.
Also compare False Lover I in this Master Book.
Columbus Stockade Blues (Version A)
Way down in Columbus, Georgia,
Longing for old Tennessee;
Locked up in Columbus stockade,
Where you turned your back on me.
Chorus
Co on, leave me if you want to!
Never let me cross your mind!
In your heart you love another!
Leave me, darling, I don’t mind.
Last night as I lay here sleeping,
I dreamed we walked beneath the stars.
When I woke, early thin morning,
I was still behind these bars!
( Version B)
Another version is in Shay (PF-2), 98 A (PF-3), 173
Once I loved a railroad brakeman,
All his thoughts were of me.
Until he met a dark-eyed girl
Who stole my true love from me.
Chorus
So go, leave me if you wish to,
Never let ae cross your mind.
Now I know you love another,
Try your best to treat her kind.

Song Texts
1785
KB
Many nights with him I rambled,
In his arms I was content;
Thought his love was mine forever,
But my faith wan soon mis-spent.
Many nights as he lay sleeping,
Breaming of love’s sweet repose,
I lay beside him broken-hearted
Listening to the wind that blows.
Barewell, friends and kind relations,
Barewell to that false young man;
Throughout this world I must wander,
Left to do the beet I can.
*************************

Bo. 285
COME ALONG, MY JULIE ANN
A composite song with lines adapted from several other
songs and fashioned after 2y Sarah Jane (see in HB).
I obtained this song from Janice L. Yakish, 1954, in
Minneapolis, Minnesota.
Come Along . My Julie Ann
Got up this morning, got up to late,
Bidn’t get the job ’cause the job
wouldn’t wait.
0 Julie! Come along, my Julie Ann.
Chorus
Come along, my Julie Ann!
Come along, my Julie Ann!
Ain’t nothin’ to do but hang around with you.
Come along, my Julie Ann.

1786
MB Song Texts
Hard times keep a-knookin’ on my door-—
Ain’t gonna find se at bone no sore!
0 Juliet Cone along, ay Julie Ann.
Love ain’t nothin’ but a wicked child—
Grows on a nan ’til it drives hia wild!
0 Julie! Cose along, ay Julie Ann.
I’m a-headin' down that railroad track,
I’ll walk away and never coae back!
0 Julie! Coae along, ay Julie Ann.
•**«**««•••*******«****«•*•****«*«

Ho. 286
COME FOLLOW
A round . Kept alive by people who like to sing and
harmonise. For other versions, see Best, 143 and
Silverman, II, 235.
Come Follow
Come follow, follow, follow.
Follow, follow, follow ae.
Wither shall I follow, follow, follow,
Wither shall I follow, follow thee?
To the greenwood, to the greenwood.
To the greenwood, greenwood tree.
Come follow, follow, follow,
Follow, follow, follow me.
««**4«ft««****4Ml#*-******

Ko. 287
COKE 031, MY PIMK
also known as
Coae, My Little Pink
This song cones down to ns froa the river steamboat
era, when it was popular up and down the Mississippi*
Por a version called Careless Love , see Randolph, IY,
307 B, Id on't know Randolph’s reasons for associat
ing Coae On, Ml Pink with Careless Love , and he didn’t
explain why he did it,
Por another river-boat version, see Wheeler (SD), 88.
Also see White Oak Trees D • in MB.
Coae On , My Pink
Coae on, ay pink, an* tell ae what you think.
You're a long tine makin' up your Bind.
You told more lies than there's stars in the skies,
And your heart ain't no more nine.
Your heart ain't no more nine,
Your heart ain't no more mine.
0 late last night when ay baby came home,
I heard a heavy knockin' at the door.
I stepped across the floor in ny stockin' feet:
Baby, don't you knock no aore.
Baby, don't you knock no more.
/*
Baby, don't you knock no more.
0 yonder she comes, that old steamboat.
And that ol' boat in sixteen barges long.
If you should hear my sweetheart a-calling ae,
Just tell her I’m dead and gone.
Junt tell her I'm dead and gone.
Just tell her I'm dead and gone.
************<*************

MB
Song Texts
1788

Mo. 288
COM2 TREMBLIEG BOWK
According to Xrehbiel, p. 85, this is a slave tpirit
ual. Actually, it ie an adaptation of a revivalist
hymn bearing an identical title. The hymn appeared
in both the Saored Harp and the Social Harp , two old
shape-note hymnals.
Come Trembling Down
Come trembling down,
Go shouting home,
Safe in the sweet arms of Jesus.
Come trembling down,
Go shouting home.
Safe in the sweet arms of Jesus.
•Twas Just about the break of day,
Ming Jesus stole my heart away.
•Twas Just about the break of day,
King Jesus stole ay heart away.
King Jesus lives within my soul,
And heaven is my only goal.
King Jesus lives within my soul,
And heaven is my only goal.
When I arrive beyond the blue,
1*11 pray and wait for all of you.
When I arrive beyond the blue,
1*11 pray and wait for all of you.
•*««****«**«*#«•**«#«•

K&
Song Texts
1789

Wo. 289
COME YOU?.SELVES A5D SEE
Also known as
Yon Who Don't Believe It
A song from the California goldrush. Like most the
other songs sung by the miners, this one is sung to
a borrowed tune,
BEPEBEECSS
Dwyer, 24 Ives (SA), 190 Ire* (SB), 259
Come Yourselves and See Tune: Blue Tail Ply
There ie no land upon this earth
Contains the same amount of worth.
And he that could not here reside
Had ought to freeze the other side.
Chorus
Yon who don't believe it.
You who don't believe it.
You who don't believe it,
Cone yourselves and see]
We've got more gold than all the world,
A flag that wins whene'er unfurled,
And smarter men to help us know
Than England, Prance, or Mexico.
We've smarted ships than Johnny Bull,
larger sheep with finer wool;
A prison too! you cannot fail
To throw a bull thro' by the tail.
We raise the largest cabbage heads,
Cot more and better feather beds.

MS
Song Texts
1790
Of everything we’ve got the heat,
Including thieves who never rest*
We’ve got the highest mountains here,
Taller trees and faster deer*
We travel more, at highdr rates*
Than people in the Eastern States,
We’ve got a few unmarried gals,
Railroads, ditches, and canals;
Although we did repudiate
A joke ’twas only to create.
To one and all, both young and old.
You’re welcome to the land of gold:
So cone along, be not afraid.
We guarantee you’ll be well paid.
**************************

Ho. 290
COMING AROUND THE HORN
also known as
Sailing Around the Horn
This is another of the California goldrush songs,
with words by J. A, (Old Put) Stone. The original
text* set to the time of Dearest Mae, was published
by Stone in The Original California Songster , San
Francisco, 1855, p. 37.
REFERENCES
Black, 28-29
Dwyer, 29-30
Grant (SP), 103-104
Lengyel, 24-25
Lengyel (HB), 9-10
lingenfelter, 23-24
Lomax (ABES), 429-430
Sherwin (SGM), 40-41
Silber (SGAW), 27-29

Song Texts
1791
Mb
Coning Around the Horn Tune: Dearest Mae
Wow people, if you'll listen,
1*11 tell you quite a tale.
About our trip around the Horn
And how we cane to sell.
We bought a ship and had her stowed
With lumber, tools and grub,
Then cursed the day we erer sailed
Aboard that rotten tub.
We left old Hew York City
With the weather very thiok;
The second day we puked up boots—
Oh, wasn't we all sea-si«k!
I swallowed pork tied to a string,
Which nade a dreadful shout;
I felt it strike the bottom,
But I could not pull it out!
We all were owners in the ship,
And soon began to growl,
Because we hadn't ham and eggs,
And now and then a fowl.
We told the oaptain what to do,
As him we had to pay;
The captain swore that he was boss,
And we should him obey.
We stopped at Valparaiso,
Where the women are so loose,
And all got drunk as usual,
Got shoved in the Calaboose.
Our ragged, rotten sails were patched,
The ship made ready for the sea,
But every man, except the cook,
Was up town on a spree.

MB
Song Texts
1792
We sobered up, set sail again—
On short allowance, of course,
With water thick as castor oil,
And stinking beef such worse*
We had the scurry and the itch,
And any amount of lice;
The medicine chest went overboard,
With bluemass, cards and dice*
We arrived at San Francisco
And all went to the mines;
We left an agent back
To sell our goods of various kinds.
A friend wrote up to let us know
Our agent, Mr. Gates,
Had sold the ship and cargo,
Sent the money to the States!
#*#***#*****•**■#■*•**

Wo* 291
C0MI5G THROUGH THE RYE
also known as
Gin a Body Meet a Body
Source Song, Thie Scottish song is well and widely
known in the English-speaking world. Author is un
known. Robert Burns did not, as is sometimes suggested,
write the words; he merely touched up the text here
and there, at the close of 1795* The tune is from an
older song, The Hiller*s Laughter.
The popular idea of the 9 ong, understood as having
references to passing through a field of grain, is
erroneous. The song refers to the Rye River. Custom
established a toll of kisses to be exacted from girls

MB
Song Texts
1793
who were net in crossing the stress on stepping-
stones—and this what "cosing through the rye"
acutally means.
REFERENCES
Mackenzie (SH), 27
McCaskey, I, 64
Oberndorfer, 44
Silverman, I, 281
Songs (15), 15
Staton, 24
tier (LS), 79-80
Wier (SWWS), 47
Wier (YAM), III, 112
Chappie (HS), 113
Elaon, 88-89
Ford (OTFM) , 11
Gems, 132
Gilbert (100), 19
Hopekirk, 46-47
Johnson (FS), 403-404
Knight, 226
Macfarren, 30-31
Coming Through the Rye Tunet Miller* s Daughter
If a body meet a body coming thro* the lye,
If a body kiss a body, need a body cry?
Ev f ry lassie has her laddie,
Hone, they say say, hare I;
Yet all the lads they smile at me.
When coming thro* the Eye.
If a body meet a body
Coming from the town,
If a body greet a body.
Weed a body frown?
Ev*ry lassie has her laddie.
Hone, they say, have I;
Yet all the lads they smile at me.
When ooming thro* the Rye.
•••«*•««*•*****••*•••

Song Texts
1794

go , 232
COMM01 BILL
alto known as
Bill I Will Tell You of a Pellow
Hardly Think I Will 8illy Bill
I Know I Never Will Woman's Resolution
Thought to be of English origin, this humorous old
eong was well-suited to the psychology of the Anerioan
frontier. Several songs (some derived from this one)
have the sane theme, and this could be considered an
example of the type.
RBEEREBCES
Broadwood (ECS), 52-53
Brown, II, 469-470; IV,
252-255
Davie (PSV), 176-177
Eddy, 160-162
Gardner (BSSM), 430-431
Hudson (?SM), 173-174
Jour (APL), XXXV, 363-
364* XXXIX, 158
Linscott, 187-188
Lomax (ABPS), 325-326
Memiore (APLS), XXIX, 90
Morris, 372-373
Perrow, XXVIII, 173
Pound, 214-215
Pound (SPSS), XXII, lo. 12
Randolph, I, 427-428
8andburg (AS), 62-63
Scarborough (SC), 308,
437
Shearin (SOS), 29
Shekerjian, 144-146
8tout, 90
Tolnan, XXIX), 171
Common Bill
I will tell you of a fellow
Who treats me like a queen.
But when it comes to courtin'
He's the worst I've ever seen,
Tho' his name is really William,
Everybody calls him Bill;

Song Texts
1795
MB'
And he * s after me to marry rim,
But the thought gives ae a shill.
Last Sunday he came calling
And ruined ay whole day!
And It seemed as if the blockhead
Would never go away.
Prom the first I learned to hate him,
And I swear I hate him still!
But he*s after me to marry him,
Tho* I know I never will.
I wonder why I listen
To what he has to say,
Por he says unless we marry
He won’t live another day.
You know the Holy Bible plainly says
■Thou shalt not kill"-
I have thought the matter over,
And I guess I’ll marry Bill.

Ho. 293
THE CONSTITUTION AND THE QUERRIERE
aleo known as
Hull-and Victory Hull r s Victory Yanke Doodle Dandy 0!
This is one of several songs dealing with a naval
battle in the War of 1812. The battle was celebrated
in song because it was the first great naval viotory
of the Americans: Isaac Hull, commanding the US’s
Constitution , defeated the British frigate Ouerriere
on Aug. 19, 1812. As a result of that battle, the
Constitution became known as Old Ironsides .

Song Texts
1796
MB
It ie difficult to estimate the number of songs
oalled Constitution and Guerriere , but all of them,
including this one, were in celebration of Hull*s
victory. British revenge songs caae later, when
the Shannon engaged and defeated the American ship
Chesapeake . See The Shannon and the Chesapeake in
this Master Book.
Of this song, Jackson (ESUS) says it was written to
be sung to an older tune, that it was published in
the Popular National Songster , and listed neither
the name of the tune or the page number in the
Songster. In fact, the tune is an alteration of
A Drop of Brandy , 0? or The Landlady of Prance, de
pending upon the version known to you.
Early versions of this song are in the Bulletin of
the Essex Institute , XX, 38-89; The Hinstrel Boy ,
1830, 135; Singer* » Own 8ong Book , 1837, 24; and
Stevenson's Poems of American History , 288, There is
also an undated broadside copy, printed at Boston,
said to be almost contemporary with the battle, on
file at Harvard College Library.
At the time of the Civil War this song was imitated
by Yankee Boys So Handy , 0? , published as a broadside
at Boston (Partridge, No. 520).
BEPERENCES
Aaer (7-1916), 3-4
Botkin (NEP), 854-856
Burchenal (ACD), 30
Colcord, 130-132
Columbian (1-1814), 134-136
Cox (FSS), 257-258
Durlacher, 154
Eggleston, I, 115
Firth (NSB), 309, 36-1
Ford (BB),»No• 3027
Pord (TMA), 74
Friedman, 291-293
Glass (SS-1), 16-17
Gray, 144-147
Greig A Duncan, No. 43
Harlow, 184-186
Jackson (ESUS), 89
Lawrence, 194-195
Laws (NAB), 121
Linscott, 87
Lomax (PSNA), 49
Luoe (1902), 28-29

1797
MB
McCarty, II, 216-218
Scott (BA), 108-110
Shaw, 588
Shay (ASSC), 161-164
Silber (SI), 191-193
Songster (14-1817), 122
Songster (161), 297-299
Songster (164-1829)» 44
Trident, 8-9
The Constitution and the Guerrlere
It oft*tines has been told that the British seaman
bold
Could flog the tars of Prance so neat and dandy, 0!
But they never found their match till the Yankees
they did oateh,
For the Yankee boys for fighting are the dandy, 0!
The Guerriere, a frigate bold, on the foamy ocean
rolled,
Commanded by proud Dacres, the gran-dee, 0!
With as choice a British crew as a rammer ever drew,
They could flog the Prenchmen two to one so handy, 0!
When this frigate hove in view, says proud Dacres
to his crew,
■Come, clear the ship for action, and be handy, 0!
To the weather gauge, boys, get her," and to make
his men fight better,
Gave them to drink gun-powder nixed with brandy, 0!
The British shot flew hot, which the Yankees answered
not.
Till they got within the distance they called handy, 0
Then said Hull unto his crew, "Boys, let's see what
they can do.
If we take these boasting Britons, we're the dandy, Of

KB
Song Texts
1798
Then the first broadside we poured, carried their
■ainaast by the board.
Which Bade the lofty frigate look abandoned, 0!
Then Dacres shook his head and to his offioers said,
"lord, I didn’t think those Yankees were so handy, 0!"
Then Dacres case on board to deliver up his sword,
Loath was he to part with it—it was so handy, 0!
•Oh, keep your sword," says Hull, "It only Bakes you
dull.
Cheer up, let’s have a little bit of brandy, o!"
********************************

Wo. 294
CONUNDRUM SOSG
This is one of a large group of songe using words in
ft series of questions designed to be humorous. For
another version, see Ford (TMA), 439-440.
Conundrun Song Tune: Wearing of the Green
Do ships have eyes when they go to sea?
Ire there springs in the ocean bed?
Does the Jolly tar flow from a tree?
Does a river ever lose its head?
Are fishes crazy when they go in seine?
Can an old hen sing her lay?
Can you give relief to a windowpane?
Can you send the break of day?
What vegetable is a policeaan's beat?
Is a newspaper white when it’s read?
Is a baker broke when he*s making dough?
Is an undertaker’s business dead?

MB
Song Texts
1799
Mould a wall-paper store sake a good hotel.
Because of the borders there?
Mould you paint a rabbit on a bald nan's
head,
Just to give hin a little hair?
••«•**•«•***«**•«**********•***

Ho. 295
CORSWALLIS* COUHTRY DAHCE
This old song, published in 1781, can be sung to two
different melodies. According to Burl Ives, it was
v-ce sung to a tune that later became Pop? Goes the
Mcasel. Perhaps. But every version I have seen is
set to the tune of Yankee Boodle,
The text of the song deals with the military campaign
of General Cornwallis of England in the Carolinas and
Virginia. Cornwallis captured Charleston ana Savannah,
but with very disappointing results. Guerrila warfare
by Francis Marion, Sumter, and the Mountain Boys, rend
ered Cornwallis' campaign fruitless. However, the song
deals only with the way Cornwallis and America's General
Greene fought back and forth through Horth Carolina and
Virginia.
These back and forth battles brought to mind the old
Contre Bance, in which two facing lines move alternately
forward and backward. Authors wrote of Cornwallis and
Greene as if they were engaged in a comio versions of
the old dance.
REFERENCES
Brand (S-76), 156-157
Ives (SA), 270-271
Ives (SB), 104-105
Lawrence, 93
Vinson, 54-55

Song Texts
- b
1800
.MB
Cornwallis' Country Dance Tunet Yankee Doodle
Cornwallis led a oountry dance.
The like was never seen, sir;
Much retrograde, and much advance,
And all with General Greene, sir.
They rambled up, and rambled down,
Joined hands, then off they run, sir:
Our General Greene to Charlestown
And the Earl to Wilmington, sir.
Greene in the South then danced a eet,
And got a mighty name, sir;
Cornwallis Jigged with Lafayette,
But suffered in his fame, sir.
Quoth he, "My guards are weary grown
With footing country dances;
They never at St. James* shown
At capers, kicks, or prances.
"The men so gallant ne’er were seen
While sauntering on parade, sir,
Or wriggling o'er the Park's smooth green
Or at a masquerade, sir."
Mow house in York he challenged all
To minuet or all'mande,
And lessons for a courtly ball
His guards by day and night oonn*d.
The challenge aired, full soon there came
A set who knew the dance, sir:
De Grasse, and Rochambeau, whose fame
Proved certain to advance, sir.
And Washington, Columbia's son.
Whom easy nature taught, sir.

Song Texts
1801
KB
That grace which con*t by pains be won,
Or Pluto’s gold be bought, sir.
low hand and hand they circle round
This ever-dancing peer, sir;
Their gentle movements soon confound
The Earl as they draw near, sir.
His music he forgets to play,
His feet can move no more, sir;.
And all hip hands now curse the day
They jigg'd it to our shore, sir.
How, Tories all, what can you say?
Come, is not this a griper?
That while your hipes are danced away,
•Tie you must pay the piper.
«••*•«*«*«*•••*******#

Ho. 296
CORPORAL SCHNAPPS
This humorous song was published by Root and Cady,
Philadelphia, 1864. It is one of many popular songs
written by Henry Clay Nork (1834-1884). This song
recounts the experiences of one of the thousands of
German volunteers in the Union Army.
REFERENCES
Cox (FSS), 283 Dolph, 308-311 Glass (SS-2), 110
Corporal Schnappe
Hy health is broken into little pits,
I tell you, friend, what for:
Mine sweetheart, von coot patriotic kirl.
She drives me off mit der war.

KB
Song Texts
.1802
I fights for her der patties of te flag,
I echtrikes so prav® as I can;
Put now long tiae she nix remembers as,
And coes ait another aan.
Chorus
Ah! Mein fraulein!
Tou ieh so ferry unkind!
You coes ait Hans
To Zhensany to live,
And leaves poor Schnapps pehind.
I march all tay, no natter if der schtera
Pe worse ash Moses* flood;
I lays all night, mine head upon a schtuap,
And sinks to sleep in der nud.
Per nightnare comes, I catch him ferry bad,
I dreams I sleeps mit der ghost;
I wakes next morning frozen in der cround,
So echtiff as von sohtone post,
"Hart times !" you say, "That for you volunteer?
I tolt you, friend, That for:
Mine schweet-heart, von coot patriotic kirl.
She trove me off ait der war,
Alas! alas! mine bretty little von
Till schaile no more on ne;
Put schtill I fights de patties of te flag,
To set mine countries free,
«*•********««*«««*««*««*«*«*

Mo. 297
COTT05-EYED JOE I
What we have here is probably a fragment of & much
longer song, with the emphasis on "probably," I do
know that two songs share this title, and that the

MB Song Texts
1803
second is available in more published collections
and in more versions than the first (this one).
Whether there is a distant and firm relationship,
aside from the title, I do not know. I do know that
the tune for this was borrowed for a song called
Black Bart (see in MB).
See and compare, Lomax (OSC), 99 and Winn (1), 25.
Also see Cotton-Eyed Joe II in MB.
Cotton-Eyed Joe 1^
Where did you come from? Where did you go?
What did you see there, Cotton-eyed Joe?
Come for to see you, come for to sing,
Come for to show you my big diamond ring.
Got me a fiddle, and got me a bow,
. And 1*11 learn to play like Cotton-eyed Joe.
Over the mountains now I must go;
It * s farewell to you, Cotton-eyed Joe.
Maybe I'll be back, but I don't think so.
Farewell forever. Cotton-eyed Joe!
«*«••**•««*•«*«**«*••**

Wo. 298
COTTON-EYED JOE II
This is a square-dance, or breakdown piece, and it
has a much wider circulation than the preceding song.
For another song set to the tune of this one, see
1 p Train Runs So Past in Brown, III, 138-139.
REPERENCES

MB
Song Texts
1804
Edwards (CGSB), 72
Scarborough (NFS), 69
Silverman, I, 354
Talley, 32
Thede, 26-27
Thomas (SG), 60
White, 339
Winn (1), 25
Ford ( OTFM ) , 10
Pord (TMA), 60
Ives (SA), 143
Lomax (ABFS), 262
Lomax (OSC), 99
Lomax (PB), 58
Cotton-Eyed Joe II
Don't you remember, don't you know,
Don't you remember Cotton-Eyed Joe?
Cotton-Eyed Joe, Cotton-Eyed Joe,
Tell me why you treat me so?
I'd-a been married twenty years ago
If I'd never met ol' Cotton-Eyed Joel
Haven't seen Joe since way last fall.
Has anybody seen him at all?
He stole my gal away from me,
Took her off to Tennessee.
I'd-a been married twenty years ago
If I'd never met ol' Cotton-Eyed Joe!
His teeth were gone, his nose was flat,
His eyes were crossed—she didn’t mind that!
Cotton-Eyed Joe was tall and slim,
Which is why she followed him.
I'd-a been married twenty years ago
If I'd never met ol' Cotton-Eyed Joe!
««•««******««*•«*•••••«•«

Song Texts
, -1805
KB

go. 299
COURT ISG CASE I
also known as
A Pair Proposal
If You Will Marry Me
If Ton Will Walk With Me
!•!! Give to You a Paper
I ¥111 Give You a Red
of Pins
Dress
The Lovers* Quarrel
A Paper of Pins
A Row of Pins
This is one of a series of male-female dialogue-
eourting songs# The dialogues of oourtship are among
the oldest and most widely diffused of traditional
songs. The situation in texys may vary but the theme
is always the same. In some the wuoer is at first re
jected, or, at least, resisted, then is finally accept
ed. In others the wuoer is refused despite all the
possessions offered, usually because of age difference,
some personal fault, such as being a drunkard, a gamb
ler, etc. By and large, the songs are satirical and
humorous, although one or two may reveal a sadistic
streak.
This particular song has a long tradition on both sides
of the Atlantic. However, its development in the U. S#
was somewhat different from the course it followed in
Great Britain. Here it has survived in two forms: as
a game song and as a song of entertainment. The major
difference between American and English versions is
■ore cultural than conceptual. Which explains why end
ings are never the same in the two countries. Por ex
ample, in English versions the wooer is sincerely
romantic. This sincerity is either omitted or parodied
in most American versions. In all versions, however,
the female generally rejects all offers of marriage
until she is offered a chest of gold, or keys to the
chest, or some other treasure# Thus revealed as a

MS Song Texta •>. 1806
greedy wenoe, the wooer rejeots her and ends the
song.
Newell, who takes credit for being the first to print
this song in America (and rightly), says "a paper of
pins" is merely a substitute for "a pennorth of pine,"
The song is merely an Americanized version of Courting
Case II , which follows it.
REFERENCES
Agay (1), 39
Arnold, 138-139
Belden (BS), 507-509
Bertail, 93
Brown, III, 6-9; 7, 3
Campbell A Sharp, No, 92
Chase (OSSG), 20-21
Collins, 56
Davie (PSV), 229-231
Eddy, 120-125
Emrich (CBP), 14
Purnsworth, 51-53
Flanders (VFSB), 160-161
Fuson, 82, 152
Gainer, 184-186
Gardner (BS3M), 428-429
Halliwell (NR), 92
Henry (FSSS), 291-295
Hubbard, 378-380
Hudson (FSM), 276-277
Hudson (SMFS), No, 113
Ives (SA), 40-41
Ires (SB), 40-41
Jour (AFL), XXIX, 198;
XXXIX, 180; XL, 9;
XLI7, 103; XL7, 118;
XLIX, 260; L7I, 109
Jour (FSS), II, 85-88;
IT, 297; TII, 92
Xincaid No. 1, 34
Langstaff (1), 18-19
Leisy, 261-262
Leisy (LAS), 39
Leisy (SPS), 84-85
Linsoott, 20-23
Lomax (ABFS), 323-324
lason, 27
McIntosh (FSSG), 87-89
Memoirs (AFL), XXIX, 42
Moore (BFSS), 256-259
Morris, 422-425
leely, 192-195
Newell, 51-55
Niles (MSHF), 10-11
Pound, 226-228
Pound (SFSN), XIII, No. 7
Quarterly (SFL), 71, 224-
230
Randolph, III, 40-45
Randolph (Ozarks), 217
Roberts (SBS), 162-164
Scarborough (SC), 299»
435
Scott (BA), 11-13

Song Texts
Sharp, II, 45-49
Sharp (EC?S), 32
Sharp (EPS), II, 110
Sharp (PSPS), 33-35
Shearin (SKPS), 29
Silverman, I, 106
Stout, 42
1807
Thomas (DO), 160-161
Thomas (8G), 2-3
Whiting (PLM), 150
Williams (PSUT), 80-81
Wier (TAM), I, 146
Winn (2), 78
Courting Case I
1*11 give to you a paper of pins,
And that is how our lore begins,
If you will marry me, me, me,
If you will marry me.
I do not want a paper of pins.
That*s not the way our love begins,
And 1*11 not marry you, you, you.
And 1*11 not marry you.
If I give you a gown of green.
And dress you like some foreign queen,
Will you then marry me, me, me.
Will you then marry me?
If you gave me a gown of green,
To dress me like some foreign queen,
I would not marry you, you, you,
I would not marry you.
1*11 give to you a dress of red.
All stitched around with golden thread,
If you will marry me, me, me.
If you will marry me.
I do not want your dress of red,
All stitched around with golden thread,

MB
Song Texts
1808
And I won't aarry you, you, you.
And I won't aarry you.
I'll give to you ay golden cheat
Ana all the money I possess,
If you will marry me, me, le,
If you will marry me.
I'll take from you your golden chest
And all the money you possess.
And I will marry you, you, you,
And I will marry you.
Ho, ho, ho, if my wealth is all.
My offer now I must recall,
For I won't marry you, you, you,
Mo, I won't marry you!
****************************

Mo, 300
COURTIMG CASE II
also known as
The Bells of Canterbury
Blue Muslin
If Thou Wilt Walk With Me
I Will Give You the Keys
of Heaven
I Will Give You the Keys
of the Kingdom
The Keys of Canterbury
The Keys of Heaven
Keys of the Kingdom
Keys to Heaven
and it
have been col-
but only in a
the version below is from
This is the English form of the preceding song
i« much olaer. Versions of this piece
lected from oral sources in America,
few localities.
Por comparative reasons
Farnsworth, 51-53.

Song Texts
1809
REFERENCES
Baring-Gould (SW), I,
46-47
Broadwood (ECS), 32-33
Chambers (PRS), 213
Mason, 67
Handolph, III, 42-43
Reeves, 140-143
Reeves (EC), 169-170
Halliwell (NR), 96, 234 Richardson (AMS), 52-53
Sharp (100), 148-149
Williams (FSUT), 81-82
Halliwell (PRNT), 21
Ives (SA), 40-41
Jour (PSS), II, 85
Courting Case II
0 Madam, I will give to you
The key8 of Canterbury,
And all the bells in London
Shall ring to make us merry,
If you will be ay Joy,
My sweet and only dear.
And walk along with me, anywhere.
I shall not, sir, accept of you
The keys of Canterbury,
Nor all the belle in London
Shall ring to make us merry;
I will not be your Joy,
Tour sweet and only dear,
Nor walk along with you, anywhere.
0 Madam, I will give to you
A little golden bell,
To ring for all your servants
And make them serve you well.
If you will be my Joy, etc.

Song Texts
1810
I shall not, sir, accept of you
A little golden bell.
To ring for all your servants
And make then serve me well.
I will not be your joy, etc.
0 Madam, I will give to you
A gallant silver chest,
With a key of gold and silver
And jewels of the best,
If you will be my joy, etc.
I shall not, sir, accept of you
A gallant silver chest,
A key of gold and silver
And jewels of the best.
I will not be your joy, etc.
0 Madam, I will give to you
A broidered silken gown,
With nine yards a-drooping
And training on the ground,
If you will be my joy, etc.
0 Sir, I will accept of you
A broidered silken gown,
With nine yards a-drooping
And training on the ground.
Then I will be your joy,
Tour sweet and only dear.
And walk along with you, anywhere.
************************

Song Texts
MB
1811

Mo, 301
COURTIMG CASE III
alto known as
All Her Answers to Me Were
Ho
The Courting Song
Madam, I Am Come a-Courting
Madam, I’ve Come a-Courting
The Old Quaker
0, Madam, I Hare Come
a-Courtin*
A Quaker Goee a-Courtin
The Quaker’s Courtship
The Quaker’s Song
The Quaker’s Wooing
The 8ober Quaker
This courting-dialogue song is far more popular in
America than in Britain, where it originated. There
are many varying versions, but most of them tell the
same story.
With this song we have a good example of how profes
sional collectors often confuse non-professionals
through unclear and unwarranted statements about song
relationship. Both Belden and Lomax say this song is
related to Paper of Pins ( Courting Case I). Linscott
states it this way: It is a variation of Keys to
Heaven ( Courting Case II ) "from which the old singing
game. I’ll Give To You A Paper Of Pins , is derived,"
As a matter of hard fact, the only relation between
the first two songs ( Courting Case I & 1^) and this
one is the general theme of the subject matter* the
courting, the offers and the rejections. Hone of
this, however, indicates that this song is derived
from either one or the other of the designated songs.
Por an interesting song with an identical theme, see
Madam . You Came Courting in Creighton (MFS), 121.
REFERENCES
Botkin (WFL), 784-785
Brown, I, 123-124; III,
16-17; Y, 525
Allen (PS), 14
Belden (BS), 265
Botkin (NEF), 897

MB
Song Texts
Cox (PSS), 465-466
Creighton (SBNS), 46-47
Creighton (TSNS), 199-200
Davie (PSV), 235-236
Eddy, 293-294
Focus, III, 276
Gardner (BSSM), 424-427
Jackson (ASWS), No. 70
Jour (APL), XYIII, 55;
XXIV, 343; XXIX,
198; XLIX, 247; LIX,
460; LXVI, 50
linecott, 276-278
Lomax (PSNA), 28
1812
Mackenzie, 380, 408
Moore (BPSS), 215-217
Morris, 378-379
Newell, 94-95
Pound, 223-224
Pound (SPSN), XIII, No. 9
Quarterly (SPL), III, 206
Y, 182
Randolph, III, 55-60
Sandburg (AS), 71
Shay (DPW), 127
Shekerjian, 148-149
Silverman, I, 108
Courting Case III
0 Madam, I have come a—courtin'.
0 dear me!
Come for pleasure not for sportin*.
0 dear me!
Don*t want none of your Quaker action.
Listen to what I eay:
You're gonna drive me to distraction!
Please get away, get away!
1*11 buy the ring if thou art willing?
0 dear me!
Life with thee would be quite thrilling!
0 dear me!
Keep your ring and save your money,
Listen to what I say:
I want a man who*11 call me honey.
Please get away, get away!

JIB Song Texts 1813
My love, 1*11 be a Presbyterian,
0 dear ae!
Then we*11 be of one persausion.
0 dear ae!
There’s no need to change your religion.
Listen to what I say:
I wouldn’t hare no turn-coat Christian!
Please get away, get away!
Must I leave you without a token?
0 dear me!
Would thou see my poor heart broken?
0 dear ae!
I have no token for you, my brother,
Listen to what I say:
Better you go and chase another.
Please get away, get away!
**••*•«**«•*****«**•**•****•*•*

Mo. 302
COURTIMG CASE 17
also known as
Lovely Creature
My Father Was a Spanish
Captain
My Father Was a Spanish
Merchant
Vo, John
Vo, John, No!
Vo, Sir!
Vo, Sir! Ho, Sir!
Oh, No, John!
Oh, Vo, John, Vo!
Oh, Vo! Vo, Sir, Vo!
The Scottish Merchant’s
Daughter
The Spanish Lady
Spanish Merchant
There She Stands, a Lovely
Creature
Yonder Stands a Lovely
Creature
This courting-dialogue song dates back to the 17th
century. It has undergone some changes in its jour
ney down to the present time. Frequently published

MB
Song Texts
1814
in folios and song-books, the song is widely known*
In many recovered versions we find that the song has
•picked up” lines and stanzas from other songs of
the same form, specially the "Madam, I have gold and
silver" stanza.
This song exists in two forms, one with and one with
out the 0 No, John or No, Sir , No refrain. For a
version of the latter form, see Courting Case V in
this MB. Both forms are usually confused and blended
together in most American collections, particularly
through reference lists, but a sampling of each form
is given below.
For a combination of the two forms, see Uh-Huh , No
in Lomax (FSNA), 314 and Silverman, I, 96. For an
interesting discussion of this form, see Reeves, j. 62.
For a modern version of the song below, see ETUDE ,
Feb. 1934, p. 100.
REFERENCES
Armitage, I, 15
Kincaid No. 1, 44
Best, 41
Korson (PSL), 50-51
Brown, III, 25-27; V,
Leisy, 246-247
15-17
Leisy (GTS), 282-283
Buck (OSB), 147
Leisy (SPS), 86-87
Bulletin (TFS), III, 96
Memoirs (AFL), XXIX, 4
Cole, 30-31
Moore (BFSS), 217-218
Davis (FSY), 237
Morris, 358-359
Ebsworth (RB), VIII,
Oberndorfer, 38-39
852
Pound (SFSN), XIII, 43
Eddy, 146
Randolph, III, 104-105
Farnsworth, 30-31
Roberts (IP), 217-218
Fuson, 81
Scott (FSS), 11
Jour (AFL), XXIV, 341;
Sedley, 30
XXXV, 405
Sharp (EFS), II, 116
Jour (FSS), IV, 297
Sharp (FSFS), 46-47
Kideon (ESG), 84
Sharp (100), 154-155

MB
Song Texts
1815
Shay (PF-2), 82-84
Shay (PF-3), 154-155
Songs (15), 149
Stout, 44
Wier (LS), 63
Wolford, 73-74
Wyman (TEMS), 98-101
Courting Case 17
My father was a traveling salesman.
Where he Is I do not know.
Before he died he made me promise
Always to answer a young man "no,"
Ho, no, no, sir, no!
Always to answer a young man "no."
"Madam, if you were out walking
In the evening*s early dew,
Would you be happy or offended
If I were to come and walk with you?"
Ho, no, no, sir, no!
Always to answer a young man "no."
•If one evening you were sitting
•Heath an evening sky so blue,
Would you be offended, Madam,
If I were to come and sit with you?"
Ho, no, no, sir, no!
Always to answer a young man "no."
When one evening we were sitting,
And her blushes she did show,
"Is there any real objection
To the kiss I now bestow?"
Ho, no, no, sir, no!
Always to answer a young man "no."

its
Song Texts
1816
(Version B)
On yonder hill there stands a creature,
Who she is I do not know;
1*11 go and court her for her beauty—
She must answer Tes or So.
0 no, John! So, John! So, John, So!
Upon her dress she's wearing posies,
On her breast the flowers glow;
If I should remove a posy,
She must answer Tes or No.
0 no, John! So, John! So, John, So!
Sow Madam, I have come to woo you,
Por your favor I mu«t gain;
If you will allow the courting,
Perhaps ’twill not be in vain.
0 no, John! So, John! So, John, So!
*7 husband is a Spanish merchant,
Sailed away a month ago;
When we kissed, as he departed,
Made me swear to answer "No."
0 no, John! So, John! Ho, John, So!
Upon her face I see much beauty,
Beauty few will ever know;
In my bed there is much pleasure—
Will she share it, Yes or Ho?
0 no, John! So, John! Ho, John, So!

MB
Song Texts
1817
Sow here we are in bed together.
Did you hear the whistle blow?
Take your arms from all around me,
Turn me loose and let me go.
0 no, John! Ho, John! Ho, John, Ho!
***«*••**••**•*•**•««*********
Ho. 30 1
COURTIHG CASE 7
also known ae
Bachelor*8 Song
Come, My Little Roving
Sailor
The Courting Cage
D&nce Up
The Drunkard*s Courtship
The Gambling Suitor
Here She Stands, a Lovely
Creature
If You Will Early Be My
Bride
If You Will Only Be My
Bride
Kind Miss
Kind Sir
Kind Sir, I See You*ve
Come Again
Lady on the Mountain
Lady on Yonder Hill
Madam, I Have Gold and
Silver
Oh, Pretty Girl
Oh, Pretty Miss
0 Madam, I Have a Pine
House
0 Madam, I Have Come A-
Courtin*
On a Mountain Stands a Lady
The Ripest Apples
The Roving Sailor
Seven Long Years
The Spanish Lady
The Spanish Maiden
There She Stands, A Lovely
Creature
There Stands a Lady
There Stands a Lady on a
Mountain
Twenty, Eighteen
The Unsuccessful Suitor
What Care I Por Gold and
Silver?
The Wooing
Yankee Boys
' Yonder Comes a Heavenly
Creature
Yonder Comes a Lovely
Creature
Yonder Stands a Lovely
Creature

Song Texts
1818
It has been suggested that this whole family of
courting-dialogue pieces probably derived from
the English song, No, John , Ho! ( Courting Case IT).
Maybe. It is true, however, that a number of versions
are combined and fused with Ko, John , Ho!
Versions of the song given below are also set down in
several published collections as though they were
actually versions of other songs. Northall, 276, has
It as a version of Sally Water (see Sally Walker in
MB). In fact, this is one of those folk songs with
such a long tradition that collectors and singers
are tempted to alter it, or to add to it lines and
stansas from other songs. The opposite is also true,
and we find lines from this song in others* and this
presents us with a problem. Because time has spawned
so many versions, it is difficult to know which version
came first. The six versions given below (A thro* F)
are offered merely as representatives of the whole
family of such songs. Those desiring to examine ad
ditional versions should consult the works listed im
mediately below.
REFERENCES
Babcock, 247
Belden (BS), 506-507
Botkin (APL), 804-805
Botkin (APPS), 356-357
Broadwood (ECS), 90-91
Brown, III, 9-10, 13s
Burne, 551, 652
Butterworth, 2-3
Chappell (PSRA), 199-200
Chase (APTS), 146-147
Cox (PSS), 465-466
V, 6, 11
Davis (PST), 232-234
Douglas, 85
Eddy, 222-223
Emrich (PAL), 555-556
Farnsworth, 88-89
Flanders (VFSB), 154-155
Gardiner, 41
Gardner (B3SM), 417-419
Gillington (SOR), 22
Gomme, I, 320-324
Hornby, 40
Hudson (FSM), 167-169

Song Texts
1819
Jour (API), XX7II, 299;
XXXI, 40j XXXII,
126j XLVI, 36j XLIX,
247
Jour (EPDSS), I, 134
Jour (PSS), II, 07-88
Kidson (ESG ), 84
Lomax (PSKA), 210, 314
Wewell, 55-56
Worthall, 376
Quarterly (SPL), 7, 182
Randolph, III, 361-363
Randolph (Oearks), 216
Reeves, 163-164
Reeves (EC), 220-221
Sandburg (AS), 144
Scarborough (SC), 304-
308, 436-437
Sedley, 41
Sharp, II, 249-251, 279
Sharp (PSE), III, 41
Silverman, I, 122
Thomas (SG), 4-5
Williams (PSUT ), 196
Courting Case 7
0 pretty Miss, why are you frowning?
The whole wide world is surely yours;
And isn*t it a lovely morning
To take a stroll and be out doors?
Well, Sir, it seems you are back again.
Pray tell me why you»re at ay door?
When we parted the other evening,
I thought you gone forever-more.
0 pretty Miss, go ask your father
If you and I can married be;
If he says "Ho," go ask your mother.
If she says "Yes," then come to me.
Mo, Sir, I will not ask ay father
If you and I can aarried be.
Mor will I ask ay mother either,
Por you will never marry me.

MB
Song Texts
1820
0 pretty Miss, I have soaae money,
I have a house and lots of land,
All of which I will gladly give you,
If you will wear ay wedding band.
Kind Sir, you can keep your money,
And keep your house and lots of land;
I wish you'd go and woo another—
1*11 never wear your wedding band]
0 preivy Miss, you're so cold-hearted,
I think it best to change ay alnd;
I will go and seek another.
One of the warmer-hearted kind.
Veil, Sir, you make me very happy.
At last I've got my message through:
Were you the only man on this earth,
I doubt that I would marry you!
Version B, or The Roving Sailox-
Oh, ay handsome roving sailor,
Sailing far across the sea;
Oh, ay handsome roving sailor,
Sailing home to marry me.
Madam, I have gold and silver.
Madam, I have house and land,
Madam, I have a world of treasure,
All shall be at your command.
What care I for gold and silver?
What care I for house and land?
What care I for all that treasure?
I just want a handsome man.

KB
Song Texts
1821
Madam, do not'stand on beauty,
For beauty Is a fading flower:
The reddest rose in yonder garden
Will fade away in half an hour.
Terslon C, or Spanish Maiden
Yonder stands a Spanish maiden—
Who ehe is I do not know.
But I will court her for her beauty,
And let her answer Yes or Ho.
0 fair maid, I've come a-courtin*,
Some kind favor for to win.
If you agree to entertain me,
Perhaps I will come again.
I hawe built a very fine house,
All neat and rectified,
Which you shall have at your command,
If you'll but be my bride.
I know you have a very fine house,
And I have seen your barn;
But you're too bold and far too old.
And to be your bride I soorn.
Madam, I have a very fine horse,
A beauty for to ride,
Which you shall have at your command,
If you will be my bride.
I know you have a very fine horse,
And I do like to ride;
But you're too fond of drinking wine,
And I cannot be your bride.

MB
Song Texts
1822
#
Madam, you're such a scornful dame,
So very hard to please;
When you get old and pinched with cold,
I hope to God you*ll freeze!
While I am young, with flattering tongue,
I keep myself from harm;
When I am old and pinched with cold,
My clothes will keep me warm.
Version 35, or There She Stands
There she stands, a lovely oreature—
Who she is I do not know;
I have claimed her for her beauty.
Let her answer Yes or Ho.
Madam, I have gold and silver.
And I have a house and land;
Madam, I have ships on the ocean,
And ev*rything’s at your command.
What care I for your gold and silver?
What care I for your house and land?
What care I for ships upon the sea?
All I want is a nice young man.
Version E, or Hind Sir
0 Madam, I’m a courting case,
A lover on a string;
To you I*d give up all my store,
If it cost me everything.
Kind Sir, you are a courting case.
Like many I have seen;

KB
Song Texts
1823
But if you think you’re courting ae,
I think you’re rather green.
0 Madam, I’ve a very fine farm,
Pull sixty acres wide;
I shall place it at your command.
If you will be my bride.
Kind Sir, you’ve got a very fine farm
And a stand of woods to boot,
But if I get on that fine farm
I’ll hang you on a root.
0 Madam, I’ve a very fine house,
It’s plastered white inside;
I shall place it at your command,
If you will be my bride.
Kind Sir, you’ve got a very fine house.
It’s waiting for your bride;
But if I get in that fine house.
I’ll soon shut you outside.
0 Madam, you have rosy cheeks,
And I have got my land;
And you have got your coal-black hair,
But no ring on your hand.
Kind Sir, I have my rosy cheeks,
And welcome to your land.
0 yes, I have my coal-black hair,
And want no weding band.
The ripest apples soonest rot.
The hottest love grows cold;
But I will have a nice young man,
Por you are much too old!

MB
Song Texts
1824
Version ?, or Lady on the Mountain
There she stands, a lady on the mountain,
Who she in I do not know;
111 she wants is gold and silver,
All she wants is a nice young man.
Madam, will you walk?
Madam, will you talk?
Madam, will you marry me?
Mo!
Mot if I buy you
A nice arm chair,
To sit in your garden
When you take the air?
Mo!
***************************************

Mo. 304
COURTING CASE VI
also known as
A California Boy Miss, Will Tou Have a
Miss, Will You Have a Parmer’s Son
Parmer’s Boy? A Southern Lad
This particular counting-dialogue song was recovered
in North Carolina by Prank C. Brown. I have not seen
it in any other published collection. This song is
quite different from the preceding family of courtlng-
dialogue songs, for it concentrates on the type of man
rather than on his possessions. See Brown, III, 14.
Courting Caae VI

KB
Song Texts
1825
Kiss, will you have a fanner’s son?
Ho, no, not a farmer's son!
He is tough and he is so rough—
Ho, no, not a farmer's son!
Miss, will you have a shoemaker's son?
Ho, no, not a shoemaker's son!
It's peg it here, peg a little there—
Ho, no, not a shoemaker's son!
Miss, will you have a California Boy?
Yes, yes, a California boy:
He looks so bold wixn pockets full of gold—
Yes, yes, a California boy!
Miss, will you have a Dutchman's son?
Ho, no, not a Dutchman's son!
He makes such a fuss, don't know how to cuss—
Ho, no, not a Dutchman's son!
Miss, will you have a Southern lad?
Yee, yes, a Southern lad!
He looke so neat ana he kisses so sweet—
Yes, yes, a Southern lad!
*••*««•****«****««*#***-»*#«****•

Ho. 305
COURTING CASE VII
aleo known as
Dutchman, Dutchman, Won't
You Marry Me?
Soldier, Soldier, Marry Me
Soldier, Soldier, Will You
Marry Me?
Soldier, Soldier, Won't
You Marry Me?
Soldier, Will You Marry Me
Soldier, Won't You Marry
Me?
The tables are reversed in this courting-dialogue song;

MB Song Texts
1826
it is the woman doing the courting and the man doing
the rejecting. The eong has been popular in America
since the Revolution, and before. An English army
eong, it was probably brought to America during
oolonial times by British troops. Later, it was used
as a game song by children,
REFERENCES
Bertail, 55
Brewster (BSI), 357
Brown, III, 15; V, 8-9
Brown (BLNC), 10
Bulletin (TFS), V, 35
Campbell & Sharp, No.
90
Cox (FSS), 467
Davie (FSV), 236
Dearmer (ST), 82
Eddy, 211-212
Enrich (CBF), 7
Flanders (GGMS), 60
Flanders (VFSB), 61
Fuson, 77-78
Gainer, 157-158
Hubbard, 120
Jour (AFL), XXXIII, 158
Jour (EFDSS), III, 121
Jour (FSS), V, 56
Karpeles, 234
Karpeles (FSN), II, 140
Kincaid No. 1, 31
Leisy, 304-305
Lloyd, 72-73
Newell, 93-94
Perrow, XXVIII, 158
Pound, 224-225
Pound (SFSN), XXII, No. 21
Randolph, I, 289-290
Richardson (AMS), 51
Roberts (SBS), 164-165
Scott (BA), 30-31
Scott (SA), 53
Sharp, II, 40-41
Silverman, I, 99
Wier (YAM), I, 155
Winn (2), 80-83
Courting Case VII
Soldier, soldier, will you marry me,
With your knapsack, fife, and drum?
0 no, my pretty maiden, I cannot marry you,
For I have no coat to put on.

MB
Song Texts
1827
So away she ran to the tailor 1 a ahop,
As fast aa ehe could rim,
And brought him one of the very beat,
And the aoldier put it on*
Soldier, aoldier, will you marry me,
With your knapsack, fife, and drum?
0 no, my pretty maiden, I cannot marry you,
Por I have no shoes to put on.
Then away she ran to the old shoe ahop,
Aa fast an she could rim,
And bought a pair of the very beat,
And the aoldier put them on*
Soldier, aoldier, will you marry me,
With your knapsack, fife, and drum?
0 no, my pretty maiden, I cannot marry you,
Por I have a good wife at home.
***************************

Ho. 306
COURTING CASE VIII
also known aa
Old Grey-Man
Old Guitar and Banjo
His Old Gray Beard
A-Shining
Hia Old Gray Beard
Hewly Shaven
Hia Old Guitar and Banjo
Hia Old Shoes and Leggins
My Mother Bid Me
Oh! But I Won’t Have Him
Old Beard A-Shakin*
Old Beard Newly Shaven
Old Black Booger
Old Boots and Leggins
The Old Man
An Old Man Came to See Me
An Old Man He Courted Me
The Old Man*8 Courtship
The Old Man That Came
Over the Lea
The Old Man Who Came Over
the Moor
Old Shiboots and Legginp
Old Shoes and Leggins

Song Texts
18?8
MB
Old Taffyham Skiboots and Leggins
Shoes, Boots and Leggins With His Old Gray Beard
A-Hanging
This is a oourting song without the dialogue treat-
sent, and the story is told hy the female that is
being courted* This, too, is an ancient theme in
European folklore. The oldest version (see A below)
dates back to at least the first part of the 18th
oentury; it came to America from Great Britain,
Version B is more recent, and it originated in America
sometime after 1920,
A version of the song was printed in the London
Musical Miscellany , III , p. 10 (1730) # and was al
ready well-known prior to that time,
REFERENCES
Arnold, 22
Henry (FSSH), 301-302
Belden (BS), 264
Henry (SSSA), 9-10
Bell (APBS), 237
Herd, II, 33-34
Brewster (BSI), 255-256
Hubbard, 152-153
Brown, III, 17-20; V,
Jour (AFL), XXVIII, 158
9-10
Jour (EFDSS), III, 130
Campbell A Sharp, No,
Jour (FSS), II, 273
108
Johnson (SMJf), IV, 429
Christie, II, 96-97
Kidson (FSNC), 60-61
Cox (FSS), 489
Kidson (TT), 92
Creighton (TSNS), 190-
Kincaid No. 1, 47
191
Lomax (OSC), 132-133
Davis (FSV), 489
Lomax (PB), 49
Eddy, 132-135
Mason, 33
Ford (VSBS), 130
Memoirs (AFL), XXIX, 30
Gardner (BSSK), 413-414
Moore (BFSS), 253-254
Graham (DSNE), 11
Morris, 376-378
Greig, II, art, 149
Owens (TFS), 217
Henry (BMFB), No. 4
Perrow, XXVII, 185

Song Texts
1829
Quarterly (SPL), III,
207
Randolph, I, 291-294
Sharp, II, 93-95
Sharp (PSEO), 66
Shoemaker (MMP), 307-308
Stout, 30
Thomson (OC), I, 102-103
Tolman, 185
Williams (PSUT), 73
Courting Case VIII ( Version A)
A rich old man came over the lea,
But no, indeed, I won’t have him!
Came over the lea a-courtin* me.
With hia old shoes and leggine.
My mom told me to open the door,
But no, indeed, I won’t have him!
I opened the door, he bowed to the floor,
In his old shoes and leggins.
My mom told me, "Invite him to eat."
But no, indeed, I won’t have him!
He took him a seat and ate all the meat,
With his old shoes and leggins.
My mom told me to light him to bed,
But no, indeed, I won’t have him!
I showed him to bed, he asked me to wed,
In his old shoes and leggins.
My mom told me to lead him to church,
But no, indeed, I won't have him!
And there at the church he stood in a lurch,
With his old shoes and leggins.
( Version B)
A brash young man came over the hill,
And he was quite the dandy, 0!

Song Texts
1830
MB
He crossed the hill my heert to thrill.
With his old guitar and banjo.
He walked right up and rang the bell,
And sang and danced a little Jig, 0!
He rang our bell and gave a yell,
With his old guitar and banjo.
He asked me out to see the moon,
To go with him a-walking, 0!
He sanga tune to make me swoon,
With his old guitar and banjo.
I told him "Ho," he wasn't for me,
No need to keep a-talking, 0!
He wasn't for me and never would be.
With his old guitar and banjo.
He never combed nor cut his hair,
And wore it longer far then mine, 0!
His beard and hair I could not bear.
With his old guitar and banjo.
He begged for me to be his wife,
And offered me a diamond, 0!
'Twould be but strife to share his life
With his old guitar and banjo.
I never thought he’d really go.
But now he*s in the city, 0!
He’s singing on the radio
With his old guitar and banjo!
a**********************

KB
Song Texts
1831
»o. 307
COUNTING CASE IX
, also known as
Aunt Leah's Song The Courting Song
Aunt Sal's Song A Gentleman Came to Our Houa
The Bashful Courtship The Unknowing Suitor
Yet another courting song told entirely from the
Female's point of view.
REFERENCES
Botsford, I, 31 Lomax (FSNA), 207-208
Brown, III, 27-28 Ritchie (SFC), 255-256
Chase (AFTS), 140-141 Wells, 123
Courting Ca^e IX
A gentleman came to our house,
He couldn't tell his name;
I knew he'd come a-courtin',
Although he was ashamed.
He drew his chair up by my side,
His manner pleased me well;
I hoped the spirit would move him
A loving tale to tell.
0 there he sat all thro' the night,
And not a word did say;
With many a «igh and bitter groan,
I often wished for day.
The chickens they began to crow
As daylight did appear:
"Howdy do, good morning, «ir,
I'm glad to «ee you here."

KB Song Texts
1832
0 weary was he of the night,
And leary, too, of life:
"If this be courtin’," said he,
"1*11 never take a wife!"
******************************

No. 308
COWBOY AGAIN FOR A BAY
In this fairly modern song of rememberance and long
ing we have some unknown author's parody of Elizabeth
Akers Allen’s immensely popular song, ROCK KB TO
SLEEP. According to Fife, "Two manuscript texts of
a fragment of this song, one in the Robert W, Gordon
Collection and another in the John A. Lomax papers,
ascribe the song to Resodore Theovelt." The name
seems to be a mixed-letter spelling of "Theodore
Roosevelt," Fife also reprinted a text of the song
from Hoof and Horns, Vol. 4, Jan , 1933 , p, 6. On p.
313 B, he reprinted a parody, Moving Picture Cowboy ,
which begins:
Backward, turn backward, film guy in your flight,
And turn out a cowboy that does the game right.
Put on a picture that won't look so strange
To us old punchers who've rode on the range,
A text of the same parody is also in the Lomax papers
Versions of Cowboy Again ' For A Bay was frequently
published in song folios issued by various music
publishers.
REFERENCES
Allen (CL"), 143-144
fife, 312-313
Ohrlin, 135-137
Patterson (SRR), 34-‘ J '5

MB Song Texts
- 1833
Cowboy Again for a Bay
Backward, turn backward, 0 time with your wheels.
Airplanes and wagons and automobiles;
Give me once more my sombrero and flaps,
Spure, flannel shirt, slicker, and chaps.
Put a six-«hooter or two in my hand.
Show me a yearling to rope and to brand,
Out where the sage-brush is du«ty and gray
Make me a cowboy again for a day.
Give me a bronc that knows how to dance.
Buckskin in color and wicked of glance;
Now to the feeling of bridle and bit—
Give me a quirt that will sting when it hits.
Strap on the blanket behind in a roll,
Pass me the rope that is dear to my soul;
Over the trail let me gallop away—
. Make me a cowboy again for a day.
Thunder of hoofs on the range as you ride,
Hissing of iron and sizzling of hide;
Bellows of cattle and snort of cayuse,
Longhorns from Texas as wild as the deuce.
Midnight stampedes and milling of herds,
Yells of the cowboys too angry for words;
Right in the thick of it ail I would stay—
Make me a cowboy again for a day.
Under the star-studded heavens so vast,
Cempfire and coffee and comfort at last;
Bacon that sizzles and crises in the pan
After a round-up smells good to a man.
Stories of cowmen and rustlers retold
Over the pipe as the embers grow cold;
Those are the times that old memories play—
Make me a cowboy again for a day.

Song Texts
1834
MB

No. 309
COWBOY JACK
also known as
Jack Was A Lonely Cowboy
Versions of this widely circulated song appear in at
least thirty or forty "cowboy folios" issued by com
mercial music publishers. Author and composer unknown.
RFFFRENCFS
Bulletin (CFS), II, 27
Davis (FSV), 220-231
Laws (AB), 24 B
Leisy (LAS), 53-54
Lomax (CS-1938), 230-231
Ohrlin, 10-11
Roberts (IP), 184-186
Roberts (SBS), 115-116
Roberts (TSCF), No. 22
Cowboy Jack
He was just a lonely cowboy,
With a heart so brave and true,
And he learned to love a maiden
With eyes of heavenly blue.
They really loved each other
And named their wedding day,
But trouble came between them
And Jack he rode away.
When night when work was over,
Just at the close of day,
Someone said, "Sing a eong, Jack,
And drive our cares away."
When Jack began his singing,
His mem’ry wandered back;
He thought of a lovely maiden
With hair so soft and blRCk.

MB Song Texts
1835
He left the camp next morning,
And spoke his sweetheart’s name;
-He said, "I’ll beg forgiveness—
I know I was to blame."
But when he reached his old home,
He saw a new-made mound,
And friends then sadly told him
Hie love slept under ground.
They said as she lay dying,
She called her sweetheart’s name,
Requesting those around her
To tell him when he came.
"Your sweetheart waits for you, Jack,
Your sweetheart waits for you,
Out on the lonely prairie
Where skies are always blue."
******** *************

No. 310
COWBOY’S LAST REQUEST
also known as
The Lone Prairie
The Lonesome Prairie
0 Bury Me Not On The
Bury Me Not On The Lone
Prairie
The Lying Cowboy
The Lying Cowboy’s Prayer
Lone Prairie
This is an American adaptation of the old English
song, The Ocean Burial (see in MB). The new text and
old tune became one of the most popular cowboy songs
in the United States. Two versions (A 4 B) given below.
For Civil War adaptation, Bury Me Not On Chickamauga ,
see Moore (EPSS), 308-309.

KB
Song Texts
. - 1836
REFERENCES
Allen (CL-1933), 115
Autry (RR), 21
Bernes (CHS), 125
Barry (SAPS), 278
Belden (BS), 387-392
Botsford, I, 11-12
Brown, II, 113-114
Clark (CS), 24, 53
Coolidge, 506
Cox (FSS), 247-249
Cox (FSWV ), 27
Cox (TBFS), 143
Dick (LB), 94
Dobie (BSFF), 173-183
Downes, 236, 278
Emrich (PAL), 494-495
Felton, 18-21
Fife, 314-317
Finger (SCCS), 57
Frey, 88-89
Friedman, 436-437
Hall (SOCT), 219-220
Henry (FSSH), 360
Hubbard, 313-314
Hudson (FSM), 222-223
Hull (CB), 47-48
Jour (AFL), XIV, 166;
XXVI, 357; XLV, 152
Kennedy (AB), 107
Kennedy (TAB), 268
Kincaid No, 1, 24
Klickmann, 42
Larkin, 21-23, 37-39
Laws (NAB), 134
Leisy (LAS), 36
Leisy (SPS), 187
Lingenfelter, 421-422
Lomax (CS-1919), 3-8
Lomax (CS-1938), 48-51
Lomax (USA), 208-209
Luther, 195-196
Lynn (CS), 18
Mackenzie (SH), 49
McMullen, 97-98
Moore (BFSS), 307-308
Oberndorfer, 37
Paredes (BMN), 88-92
Peacock, I, 153-154
Pound, 171-173
Pound (SFSN), VII, No. 8
Pub (TFLS), VI, 173-185;
VII, 146
Randolph, II, 184-187
Sackett, 48-49
Sandburg (AS), 20
Sharp, II, 236-237
Shearin (SKFS), 15
Silverman, I, 27
Siringo (SC), 5-8
Stanley, 25
Steely, 122
Thorp (1921), 62-63
Wister (LM), 217
Wylder, 32-33

MB
Song Texts
1837
Cowboy* s Last Request (Version A)
Oh, bury me not on the lone prairie!
These words came low and mournfully,
As we listened to words of a youth who lay
On hi* dying bed at the close of day.
Oh, bury me not on the lone prairie.
Where the wild coyote* will howl o*er me,
Where the buzzard flies and the wind goes free,
Oh, bury me not on the lone prairie.
Oh, bury me not on the lone prairie,
In a narrow grave six-foot by three,
Where the buffalo paws o*er a prairie sea,
Oh, bury me not on the lone prairie.
Oh, bury me not—and his voice failed there;
But we took no heed of his dying prayer.
In a narrow grave just six by three,
We buried him there on the lone prairie.
Version B
0 bury me not on the lone prairie!
His words came low and mournfully.
0 we listened to words of a youth who lay
On hi* dying bed at the close of day.
0 he cried in pain »til o’er his brow
Death*s shadows fa*t were gathering now.
He spoke of hi® home and the loved ones nigh.
To the cowboys gathered to see him die.
"How well I remember the well-known words
Of the free, wild winds and the songs of birds;
I think of home, and the cottage in the bower,
And 'the friends I loved in childhood*s hour.

MB Song Texts
1838
"0 there*8 another whose tears will be shed
For one who lies in a prairie bed;
It pained me then, and it pains me now—
She curled these locks and kissed this brow.
"These locks she curled, shall the rattle
snake kiss?
This brow she pressed, shall the grave en
list?
For the sake of those who will weep o*er me,
0 bury me not on the lone prairie,
"0 bury.me not on the lone prairie,
Where the wild coyotes will howl o'er me,
Where the rattlesnakes hiss and crows fly
free,—
0 bury me not on the lone prairie,"
«**««***«««****«#****«•#***

No, 311
A COWBOY'S LIFE
also known as
A Cowboy's Life is a
Drearisome Life
A Cowboy'8 Life is a
Dreary Life
A Cowboy*s Life is a
Wearisome Life
The Dreary Life
The Kansas Line
The Pecos Stream
Roll Out, Cowboys
A Wearisome Life
This is a cowboy adaptation of the old American forest
song, Lumberman's Life (see in MB). Earliest version
probably was The Pecos Stream which was published by
Thorp in his little collection in 1904, A Cowboy's
Life seems to be a catch-all title, for it is used for
versions of many songs that describe the life and work

MB
Song Texts
1839
of cowboy*. For example, the song given here is
not related to The Cowboy 1 * Life, a poem by John
B. Adam*, which begin*:
The bawl of a steer to a cowboy*s ear
Is music of sweetest strain:
And the whelping note* of the gray coyotes
To him are a glad refrain.
Version* of the Adam* poem may be seen in Fife, 236;
Lomax (CS-1919), 20-21; Lomax (CS-1938), 281-283; and
Thorp & Fife, 235.
Another unrelated song is given by Fife, 236, as
version C of The Cowboy 1 * Life , and is set down as
A Border Ballad . It begins:
Oh , the cowboy 1 s life is the life of
the wind
As he clatters across the plains ,
With a laugh and a yell and a hearty word ,
And a smile at the driving rains .
The same text is reprinted in Thorp & Fife, 236 D.
Yet another song known as The Cowboy’s Life is in
Dobie (MBS), 174; Lingenfelter, 347; Thorp (1921),
44-45; Thorp & Fife, 236 E, and begins:
The cowboy* s life is £ dreary old Ilfe ,
All out in the sleet and snow.
When winter time cones, he begin* to think
Where hi* summer wage* go.
Our pong, however, i* an exten«ion of The Pecos Stream ,
a piece of five stanzas that floated around the Americen
frontier since the 1870s and were, finally, put together
by Thorp. Later, Lomax turned Thorp’s five stanzas into
two distinct songs: The Dreary , Dreary Life and The
Kansas Line. Thorp, in turn, combined some of Lomax’s
stanzas with hie own in the 1921 edition of Songs of
the Cowboys,

MB
Song Texts
1840
Our text is a composite of scattered versions, with
pome lines and stanzas found in other songs.
REFERENCES
Arkansas, 44-45
Big, 31
Carlson, 61
Cattleman (7/1915), 42
Clark (CS), 22-25
Felton, 34-39
Fife, 234-235
Frey, 54
Grinnell, 40-41
Larkin (1931), 39-43
Larkin (1963), 53-57
Lingenfelter, 348-349
Lomax (CS-1919), 22, 233
Lomax (CS-1^38), 15-17
Lomax ( FSNA ), 369-370
Lone Ranger, 30
Luther, 202
Patterson (SRR), 42-43
Reinbach, 21
Silverman, I, 29, 46
Sing, 63-64
Thorp (1908), 38-39
Thorp (1921), 61-62
Thorp & Fife, 230-238
A Cowboy*s life Tunet A Lumberman's Life
Oh, the cowboy's life is a drearisome life,
If the truth must finally be told;
And between me and you, I'd like to start new,
Far away from the heat and the cold.
In the saddle all day for damn little pay,
Over the hill and across the plain,
With no shelter in sight from morning to night,
And bunk on the ground in the rain.
Oh, the cowboy's life is seldom void of strife,
And danger is always near;
With the hoot of the owl is the coyote's howl
Night after night and year after year.
At half-pa=t four we hear the cook roar,
"Wake up, Jacob! and earn your pay!”

MB Song Text®
1841
And you got to rise with red, sleepy eyes,
And stuff all the groceries away.
Oh, a cowboy*s life is a dreary, dreary life,
Tho* some say it*s all free of care,
Rounding up cattle from morning till night
On the plains and the valleys somewhere.
When spring work sets in, our troubles begin,
The weather always fierce and cold;
If we*re not froze, with water on our clothes,
Then the cattle we can scarcely hold.
Oh, a cowboy's life is a dreary, weary one—
He works all day to setting of sun,
And even then his work is not done,
For there's night guard that's never much fun.
You're speaking of farms, and speaking of charms,
And talking of your silver and gold;
But a cowboy's life is a drearisome life,
Always riding through the heat and the cold.
Oh, the cowboy's life is a drearisome life,
With none of the Joys of home.
So take my advice, find a gal that is nice
And never, never etart out to roam.
**##****•»*•*•***#*•»****•***

No. 312
COWBOY'S LULLABY
also known as
Lay Down, Dogies
Move On. Dogies
Move Slow, Dogies, Move Slow
Night Herding Song
According to Lomax, this haunting song was composed
by Harry Stephens, a working Texas cowboy, in 1909*

MB Song Texts
1842
The song was standard material to country-western
groups, such as Foy Willing’s Riders of. the Purple
Sage and The Sons of the Pioneers . Many phonograph
recordings are available, sung by various artists.
In the early 1950s, the tune was used by George Duning
as main theme for the motion picture COWBOY , starring
Glenn Ford, Jack Lemmon, and others, and the words were
written by Dickson Hall,
In 1927 the text was doctored by Vernon Dalhart, who
set it to a minor tune arrangement and recorded it as
Cowboy* s Herding Song,
REFERENCES
Clerk (CS), 49
Coleman, 46
Downes (1943), 270
Emrich (FAL), 487-488
Felton, 8-12
Fife, 224-225
Frey, 50
Haywoor. (FSW), 44
Hull ( B), 59-60
Larkin (1931), 10-12
Larkin (1963), 26-29
Leisy (LAS), 61-62
Lingenfelter, 382-383
Lomax (CS-1919), 324-326
Lomax (CS-1938), 60-61
Lomax (FSNA), 376
Luther, 204
Patterson (SRR), 32
Sackett, 21
Siegmeister, 30-31
Silverman, I, 27
Sires, 50-51
Thorp (1921), 108
Warner, 135
White (GALD), 54-55
Cowboy* s Lullab y
0 say, little dogies, why don’t you slow down?
You’ve wander’d and tramp'd all over the ground.
Ju«t graze along, dogies, and move kinda slow,
And don’t be forever on the go.
Move slow, little dogiep, move plow.
Hee-up! Hee-up! Hee-up!

MS
Song Text#
1843
I*ve cross-herded, trail-hered, and circle-
herded too,
But to keep you together is what I can't do!
My hose is leg-weary, and I'm awful tired.
But if I let you get away, I'm sure to get
fired.
Bunch up, little dogies, hunch up!
Hee-up! Hee-up! Hee-up!
0 eay, little dogies, when you goin' to lay down,
And quit this forever a-shiftin* around?
My hack is weary, my seat is kinda sore—
lay down, little dogies, lay down, like you laid
down before}
lay, down little dogies, lay down.
Hee-up! Hee-up! Hee-up!
0 lay still, little dogies, now that you've laid
down;
Stretch away out on the big, open ground.
Snore loud, little dogies, and drown the wild eound,
That will all go away when the day rolls around.
Ley still, little dogies, lay still.
Hee-up! Hee-up! Hee-up!
********** *********** ******

No. 313
COWBOY'S MEDITATION I
also known as
The Cowboy's Dream The Great Roundup in the
The Cowboy's Heaven Skies
The Cowboy's Hymn The Last Great Round-Up
Cowboy's Sweet Bye and Bye Last Night As I Lay on the
The Cowboy's Vision Prairie
The Grand Round-Up Last Round-Up

Song Texts
1844
MB
One Night As I Lay on Roll On, Little Logies,
the Prairie Roll On
We are dealing here with two songs that somehow fused
and became one, or one song that spawned a distinct
variation. We also have to contend with a great many
rewrites—adaptations and parodies—which repeatedly
show-up in reference lists of collectors who apparently
didn't want to attempt the seemingly impossible task
of sorting them out. One variation replaces the cow
boy with a cowgirl, resulting in The Cowgirl's Dream
(aka a® Cowgirl's Hymn , Cowgirl's Thoughts , or Cow
girl's Vision). A parody, The Cowboy's Mother , was
written and sung in the 1930s by Tex Fletcher, and may
be seen in Fletcher (4), 22-23 and Thorp & Fife, 77.
An adaptation. Home Corral , is in Hendren, 46 and
Thorp & Fife, 79. Another adaptation, Will There Be
Any Cowboys in Heaven , is also in Thorp & Fife, 79.
The A and_B versions given below are really two dis
tinct songs, and both are widely known and sung. But
somewhere along the way the two songs were combined.
Unfortunately, the original authors are unknown. But
the man most likely responsible for combining the two
songs is Will C. Barnes, who had it sung by the main
character in his short story, The Stampede on the Turke y
Track Ranch ( Cosmopolitan Magazine , Aug, , 1893 ).
Barnes had his character sing the words to the well-
known tune of Bring Back My Bonnie To Me (see in MB).
We don't know much about who? where? or how?, and can
only report what ha«> been previously reported. Based
on the little that is really known, the=e songs origi
nated sometime during the the final quarter of the
19th century. According to Hudson (FSM), it was "evi
dently” based upon the Protestant hymn In The Sweet
Bye and Bye. This supposition is supported by John
White (Cowboy Poet, Westfield, N, J., 1934, p. 7), who

MB Song Texts
1845
also attributed authorship to D. J. O'Malley in the
mid-1880s. O’Malley's version, published as Sweet
Bye and Bye Revised , appeared in the mid-1880s in
the Stock Growers Journal. On the other hand, there
is Thorp's claim that the song was written by the
father of Captain Roberts, of the Texas Rangers, also
in the 1880s. White and Thorp are probably referring
to two different versions, because the text of version
B (below) is the one that can be easily sung to the
hymn time, In the Sweet Bye and Bye , while version A
almost exactly fits the tune of Bring Back My Bonnie
to Me.
The fact remains that most reprints of the song came
from the text that Barnes used in his short story.
For example, Fred R. Reed, a writer for The American,
a newspaper in Prosser, Washinton, included most of
the Barnes text in a dialogue article, Cowboy Jack and
the Angels. Reed’s version was reprinted in the Oct.,
1895 issue of Northwest Magazine , St. Paul, Minnesota.
The same piece was again reprinted in the weekly Field
and Farm , Denver, Colorado, Aug. 28, 1897, p. 6. The
text in Field and Farm wa* reprinted by Clifford P.
Weetermeier in his Trailing the Cowboy , Caldwell,
Idaho, 1955, pp. 252-253. So, ae we see, the song
really got around.
Similar in theme but unrelated to our song is the
Cowboy's Meditation, which begins:
At midnight when cattle are sleeping
On my saddle I pillow my head,
And up at the heavens lie peeping
Prom out of my cold, grassy bed.
A complete text of that Cowboy's Meditation may be
seen in the following works: Allen (CL), 26; Autry
(RR), 24; Leisy (LAS), 54; Lomax (CS-1919 * 1938),
297, 122; and Luther, 201,

MB <
Song Texts
1846
A few collectors have separated these two gongs (A
ft B), hut must have given them together as versions
of one another. Version B, for example, was printed
in 1893 by W. S. James, Cowboy Life in Texas (Donohue,
Henneberry & Co., Chicago, pp. 212-213). Sometimes
known as The Last Round—Up , this song is not related
in any way to the popular song of that title by the
late Billy Hill. .
REFERENCES
Allen (CL), 91, 148
Arkansas, 6-7, 50-51
Army, 32-33
Barnes (CHS), 125
Beet, 122
Big, 64-65
Branch, 161
Brown, III, 573-574
Bulletin (CFS), II, 29
Clark (CS), 20-21
Clark (HC), 8-9
Davis (TTS), 48, 49
Delaney, IV, 21
Dick (LD), 94-95
Dobie (BSFF), 47, 167
Felton, 70-73
Fife, 328-329
Fife (FAC), III, 104,
488, 827
Finger (FB), 101-103
Frey, 84-85
Fuld, 51
Hall (SOCT), 217, 218
Hudson (FSM), 227
Hull (CB), 58-59
Idaho Farmer, (1/8/1932).
Ives (SA), 207-209
Jour (AFL), XXXIX, 170-171
Klickmann, 43-45
Koch (2), 20-21
Larkin (1930), 99-102
Lingenfelter, 428-429
Lindroth, 20-21, 30
Lomax (ABFS), 410-411
Lomax (CS-1919), 18-19
Lomax (CS-1938), 44-49
Lomax (USA), 210-211
Moore (BFSS), 305-307
Nebraska I, 10-11
Pound, 166-167
Randolph, II, 187-189
Sackett, 66-67
Sing, 56-58
Sires, 24, 36
Sullivan (TY), 258-259
Surprise, No. 87
Texas, I, 13
Thorp (1908), 19
Thorp (1921), 40, 75
Thorp & Fife, 71-82
Treasure, 30, 38
White (CS), 32
White (GALD), 62-67
White (SPH), 32-35

Song Texts
1847
MS
Cowboy* 8 Meditation 1 Tune; Bring Back My Bonnie
to Me
( Version A)
last night as I lay on the prairie
And looked at the stars in the sky,
I wondered if ever a cowboy
Would be with his Maker on high.
The road to that bright, happy region
Ip a dim, narrow trail, so they say.
While the wide one that leads to perdition
Is posted and blazed all the way.
Chorus
Roll on, roll on, roll on, little dogies,
roll on;
Roll on, roll on, roll on, little dogies,
roll on.
They say there will be a great round-up,
And cowboys, like dogies, will stand,
To be marked by the riders of Judgment,
Who are posted and know every brand,
I know there are many stray cowboys
Who’ll be lost at that great final sale,
When they might have gone to green pastures
Had they known of that dim, narrow trail.
For they, like steers running loco,
Stampede at the sight of a hand;
They’re dragged with a rope to the round-up,
Or get marked by some crooked man’s brand.
I’m pcared that I'll be a stray yearling,
A maverick unbranded on high.
And get put with a bunch of ol’ rustlers
When the Bos* of the riders goes by.

Song Texts
184-8
MB
I»ve heard of that Heavenly Owner,
He's ne'er o'er stocked, so they say.
And He'll always find room for the sinner
Who drifts from the straight, narrow way.
They say He will never forget you,
That He knows every action and look—
So, for safety, you'd better be branded—
Get your name in the Great Talley Book.
How sad, as we come to that round-up,
If our souls do not have the right brand,
Por no maverick or stray in the Judgment
Will ever be able to stand.
0 brother, let us go to the branding,
Our owner is calling today;
If He touches and blesses and owns you.
You'll be glad on that great Judgment Day.
(Version B)
Cowboy's Meditation I Tune: Sweet Bye and Bye
When I think of the last great round-up
On the Eve of Eternity's dawn,
I think of the host of cowboys
Who have been here and are now gone.
0, I wonder if any will greet me
On the sands of the evergreen shore,
With a hearty "God bless you, ol' fellow,"
That I've met with so often before.
I think of the kind-hearted fellows
Who'll divide with you blanket and bread,
With a hunk of stray beef well-roasted,
And charge for it never a "red."
I often look upward and wonder
If the green fields will seem half so fair;

MB Song Texts
1849
If any the wrong trail have taken
And fail to "get in'* over there.
Por the trail that leads down to perdition
Is paved all the way with good deeds,
But in the great round-up of ages,
Such things just won't answer your needs.
0, the way to green pastures, tho' narrow,
Leads straight to a home in the sky,
And Jesus will issue the passports
To the land of the Sweet bye-and-hye.
The Saviour has taken the contract
To deliver all those who believe,
At the headquarters ranch of Hi® Father,
In the range where none can deceive.
The Inspector will stand at the gate-way,
And the herd, one and all must pass by;
The round-up by the angels of Judgment
Mu®t pass 'neath His all-searching eye.
No maverick or slick will be tallied
In the great Book of Life in His home,
Por He knows all the brands and the ear-marks
That down through the ages did roam.
Along with the strays and the sleepers
The tailings must turn from the gate;
No raod brand to gain them admission—
Just the awful, sad cry, "Too late!"
««««««**«««««***********

No. 314
COWBOY'S MEDITATION II
also known as
The Cowboy'.® Dream
Tonight I'm a Tired
Weery Cowboy
The Weary Cowboy
Weary, Tired Cowboy

Song Texte
1850
MB
Thip song, like the preceding one, ip a cowboy hymn.
It payp the same thingp, too, hut ip not a version
of Cowboy 1 b Meditation I A & B. However, the pre
ceding pong may very well have inspired the writing
of this. one.
The version below wap obtained from Tex Ritter in
the 1930e; he said he had "picked it up somewhere,
probably from another cowboy singer." I have not
seen a version in any folk song collection, except
those published as folios by music publishers. For
another version, see Autry (RR), 26,
Cowboy* b Meditation II
Tonight I’m a tired, weary cowboy;
I’ve been in the saddle all day,
Searching the hills and the valleys
For cattle that wandered away.
01’ Paint is tire and leg-weary,
His feet are all broken and sore;
Like me, I guess he is ready
To retire and ride herd no more.
Lying wrarped-up in my blanket,
With ol' Paint hobbled nearby,
I watch the bright stars a-twinlin’
•Way up yonder on high.
Sometimes I think that they see me,
And wonder if they understand?
Maybe they’re the souls of cow-punchers
Who have gone to that sweet Promised Land.
If ever I journey up yonder,
Away from this world and its woe,
I’ll whistle and ol• Paint will come runnin’
From some green pasture, I know.

MB Song Texts
1851
1*11 feed him a handful of sugar
And watch him say "thanks" with his eyes;
Then I’ll saddle and mount him
For that great round-up in the skies*
***************************

No, 315
THE CRAFTY LOVER
also known as
The Councillor’s Laughter The Old Counselor
1*11 Love Thee More and More The Rich Counsellor
The Lawyer Outwitted The Young Counselor
Mid-18th century British ballad with common title,
The Lawyer Outwitted , and a common theme. Two other
ballads known as The Lawyer Outwitted are preserved
in early English prints, but neither is related to
this song. There are two other songs with similar
story themes in this Master Book: Kate * s Leception
and The Poor Sailor Boy,
REFERENCES
Bell, 350
Bell (APBS), 110-113
Creighton (SBNS), 47-50
Flanders (CSV), 46-47
Flanders (NGMS), 121-123
Henry (FSSH), 303-304
Hubbard, 108-110
Karpeles, 146-148
Karpeles (EFS), II, No,
222, 104-105
Laws N 26, 216
Sharp, I, 402-403
Sharp (FSFS), No, 42
Shoemaker (MMP), 295
The Crafty Lover
Come hear the story of a counsellor
And of his lovely daughter;
She was hie dearest beauty bright,
And many young men sought her.

MB
Song Texts
1852
Then, woe betide, her uncle died
And left to her a fortune—
But all in the care of her father,
For fear of her discretion.
She had the sum of ten thousand pounds
In gold»and silver ready,
And she was wooed by many lords,
But none would she date steady.
At length there came the squired young
eon,
In private he came wooing;
But when he had won all her favor,
He feared it was her ruin.
The lady knew and made this reply:
"I love you, and you mUst see
All other men I have denied,
Because they did not please me.
You are a Jewel in my eye,
But though you are the fairest,
I fear you’ll be condemned to die
For stealing of an heiress.”
He said, "I’ll go end see your father
And tell him my condition;
Straight to his office I will go
And pay him a commission.
When he receives his legal fee,
He’ll think I am a stranger;
And then he will gladly counsel me,
To Keep me free from danger."
Then off he went to see the counsellor,
And he said he tread deep water;
But didn’t let the old man know
The lady was his daughter.

KB
Song Texts
1853
The counsellor beheld the gold
And thought himself the gainer;.
He explained to him exactly how
In safety to obtain her.
"Let her prepare a horse to ride.
And take you up behind her;
Then to the preacher’° hou«e you ride
Before her parent® find her.
Then she stole you, you may complain,
And thus avoid theory—
And that’s the fact I will maintain
Before the judge and jury."
He went and did as her father said,
And not one thing was varied;
Nor did he ever hesitate
Till they were safely married.
All night they loved and slept with ease,
Their joys beyond expression.
At length, upon her bended knees,
She begged her father’s blessing.
When he discovered what she had done,
He looked like one distracted;
He swore revenge on both of them
For what they had transacted.
Up spoke the young and crafty groom,
"Jhere can be no inditing!
I did exactly what you said—
Here is your own handwriting."
********************

MB
Song Texts
1854

No. 316
CRIPPLE CREEK I
also known as
Going Down to Cripple Creek Gone to Cripple Creek
This is an old fiddle and dance tune with a long tra
dition. Cecil Sharp included a version in his Southern
Appalachians collection, which means that, in his
opinion, the piece originated in England. But according
to Botkin, "this song takes its name from a wild
mountain stream near Ashville, North Carolina." Both
men could be right, because many imported tunes were
given American titles. If the time had a different
title in England, Sharp failed to mention it.
REFERENCES
Agay (1), 61 Leisy, 72
Botkin (AFL), 898-899
Brown, III, 354; V, 213
Bulletin (TFS), VI, 40-41
Dsvis (FSV), 247-248
Ford (TMA), 94
Jour (AFL), III, 48
Langstaff (1), 48
Lomax (FSNA), 232
Perrow, XXVIII, 180-181
Roberts (SBS), 176-177
Sharp, II, 358
Shearin (SKFS), 39
Silverman, II, 150
Thede, 109
Cripple Creek _I
I seen that girl and she saw me,
Sweet as peaches on a tree;
Anything she wants to do
Makes me want to do it too.
Chorus
Go down Cripple Creek,
go in a run.
Go down Cripple Creek,
have some fun!

MB
Song Texts
1855
I’m gonna go to Cripple Creek,
Love that gal because she's sweet!
Roll my pants up to my knees,
Wade that creek whene'er I please!
I went a-drinkin* all last night,
Drunk as hell the night before!
Goin' back to Cripple Creek,
But I won't get drunk no more!
*************************

Ho, 317
CRIPPLE CREEK II
also known as
Buck Creek Girl
This "Cripple Creek" gong is also ueed as a fiddle-
dance tune in the South. It is often known as Buck
Creek Girl. I learned it in North Carolina about
forty-five years ago, but haven’t seen it in any of
the published collections listed in the Bibliography.
Crlople Creek II
Buck Creek girl,
Don’t you went to go to Cripple Creek?
Crirple Creek girl,
Don’t you want to go to town?
Come along, girl,
Don’t you want to go to Cripple Creek?
Come along, girl,
Don't you want to go to town?
************ ************

MB
Song Texts
1856

Ho, 318
A CROOKED MAN
also known as
There Was a Crooked Man
This i« an old English nursery song that was widely
circulated in American nurseries and schools. The
eong is still popular but has not shown-up in any
major folk song collections,
REFERENCES
Bertail, 19 Wier (YAM), I, 48
McIntosh (FSSG ), 107 Winn (1), 82
Moffat (LSLA ), 47
A Crooked Men
There was a crooked man,
And he walked a crooked mile;
He found a crooked six-pence
Beside a crooked stile.
He bought a crooked cat
That caught a crooked mouse,
And they all lived together
m
In a little crooked house,
**************************

No. 319
THE CROPPY BOY
also known as
As I- Was Walking Down Song of the Croppy Boy
Wexford Street Wexford Street
This sonp comes down to us from the Irish Rebellion
of 1798; it circulated through England'and America as

MB Song Texts
1857
a broadside, with version® issued by Catnach,
Partridge and Wehman. The meaning of "croppy"
is unclear. One explanation (from Cole) is that
it was the name given to peasant rebels in Wex
ford, who wore their hair closely cropped. Reeves
agreed, who explained that the Irish rebels of
1798 wore their hair short to show sympathy for
the French Revolution. Very seldom is a full text
of the song encountered in America, where the
practice of shortening long ballads by deletion
of stanzas has been the rule.
REFERENCES
Belden (BS), 283-284
Cole, 116-117
Creighton (SBNS), 183-184
Dean, 45-46
Joyce (AIM), 62
Joyce (OIKS), No. 385
Laws J 14 t 135
CLochlainn (2), 80
Randolph, I, 436-437
Reeves (EC), 77-78
Sandburg (AS), 35
Wehman (ISB-1), 45-46
The Croppy Boy
All early, early in the Spring
The small birds do warble and sweetly sing;
Changing their notes from tree to tree.
And the song they sing i« Old Ireland free.
Yes, the song they sing is Old Ireland free.
The English Army was my downfall,
For I was captured by Lord Cornwall;
And in the guardhouse, with both hands tied,
I heard my Judgment when I was tried. (2)
When I was marched by my father's door,
My brother William stood on the floor;
My aged father was grieving sore,
My aged mother her gray hair tore. (2)

MB Song Texts
1858
As I was marched down Wexford street,
My sister Mary I chanced for to meet;
That false young woman did me betray—
It was Mary who swore my life away! (2)
I chose the dark and I chose the blue,
I chose the pink and the orange, too;
But ell those colors I did deny—
I wore the green and now I must die. (2)
As I was mounting the gallows high,
My aged father was standing by;
His denial of me gave me no joy,
For he then named me the Croppy Boy. (2)
**************************

No. 320
CROSSING THE PLAINS
also known as
Come, All You Californians
This is one of Old Put[s (J. A. Stone) gold-rush
songs, all of which he set to airs of well-known
songs. In this instance, he borrowed the tune of
Caroline of Edinborough Town , a song that is also
given in this Master Book.
One had two ways of getting to California in those
days: aboard a selling vessel around the Horn, or
by wagon across the Plains. This song describes the
hardships encountered by those who chose the land
route.
REFERENCES
Black, 47-49
Dwyer, 41-42
Grant (SF), 72-73
Lingenfelter, 39-40

' Song Texts
1859
Lomax (ABFS), 427-428
Lengyel, 17-18
Lengyel (H3), 7-8
Sherwin (SGM), 10-11
Silber (SGAW), 23-26
Thorp (1908), 15-16
Thorp (1921), 18-20
Thorp & Fife, 58-60
Croaking the Plains Tune: Caroline of Edinborough
Town
Come, all you Californians
And open up your ears,
If you intend to cross the Plains
With horses, mules, or steers.
Just buy your beans before you start,
And take dried beef and ham.
Beware of veal, and venison—
You may be buying ham.
You calculate on sixty days
To take you o'er the plains,
But there you lack for bread and meat,
For coffee and for brains.
Your sixty days are a hundred or more,
Your grub you mu°t divide;
Your steers and mules are "alkalied,"
So foot it—you cannot ride.
You have to stand a watch at night,
To keep the Indians off;
About sundown some heads will ache,
And some begin to cough.
To be deprived of health we know
Is always very hard,
Tho* every night someone is sick—
To avoid standing guard.

Song Texts
1860
There's not a log to make a seat
Along the river Platte,
So when you eat, you got to squat,
Or stand, or sit down square and flat.
It's fun to cook with Buffalo wood—
Take some that's new "born.
If I knew then what I know now,
I*d have gone around the Horn.
When you arrive at Placerville,
Or Secramento City,
You've nothing in the world to eat;
No money?—-What a pity!
Your striped pants are all worn out.
And makes the people laugh,
When they see you 'round the town
Like a great big brindle calf.
You're lazy, poor, and all broke down
Such hardships you endure!
The Post Office at Sacramento
All such men will cure.
You'll find a line from Ma and Pa,
And one from lovely Sal;
If that don’t physic you, my friend,
Nothing ever shall!
******** ****************

No. 321
THE CUCKOO IS A PRETTY BIRD
also known as
A Foreseen Lover
Lovely Willie
Sweet Willie
The Unconstant Lover
—being only musical expressions of
Many folk song?

MB- Song Text*
1861
feeling and mood—tell no ptory other then by impli
cation. Thi° old English song is one of that type.
Quite a number of these type songs are so similar in
thought and feeling that it is often difficult to
state with certainty which are variations of a par
ticular song. This song is of that variety. Examples
of other such songs in this Master Book are: The
Blue-Eyed Boy , Little Sparrow , and 0 Waly , Waly.
The story theme of this song was used by Lomax (FSNA),
218, for hie adaptation of
The Fourth of July. Tunes
on the other hand, vary greatly and are usually un-
related.
REFERENCES
1
Arnold, 45
Karpeles (EFS), I, 623
Baring-Gould (EFSS), 68
Kennedy, 348
Baring-Gould (GCS), 1-5
Kidson (GEFS), No. 1
Barrett (EFS), No. 42
Kittredge (BS), 346-352
Brewster (BSI), 346-347
Lloyd, 77
Brown, III, 273-274
Lomax (FSNA), 217-219
Butterworth, 12-13
MacColl & Seeger, 201-203
Cerey, 101-102
McGill, 35-37
Cox (FSS), 425-426
Morris, 364-366
Creighton (TSNS), 142
Northall, 267-271
Emrich (FAL), 534
Opie, 139
Ford (CR), 30
Randolph, I, 237-239
Ford (OTFM), 13
Reeves, 97-98
Ford (TMA), 44
Reeves (EC), 79-80
Halliwell (NR), 195
Ritchie (FS), 20
Halliwell (PRNT), 99
Ritchie (SFC), 279-280
Herd (1776), II, 180
Sedley, 118-119
Hudson (FSM), 166
Sharp, II, 177-183
Jour (AFL), XXXIX, 149
Sharp (ECFS), 24-25
Jour (FSS), III, 90;
Sharp (EFS), I, No. 19
VI, 14
Sharp (100), 82-83
Karpelee, 245, 333
Silverman, I, 233

1862
MB Song Texts
Thomas (DD), 153
Thomas (SG), 32
Williams (FSUT), 165
Yolen, 130-131
Wells, 274
The Cuckoo Is A Pretty Bird
The Cuckoo is a pretty bird, she sings as she file
She brings me good tidings, and never tells lies.
Just walking and telking can bring me delight;
Ju®t walking with my love from morning till night.
My lover ha« left me and lonely am I,
For I’ve been forsaken and do not know why.
The Cuckoo i« a lazy bird, it never builds a nest;
She makes herself busy by singing to the rest.
I’ll dress in my finest, go walking so free;
And I will ignore him, as he has done to me.
Come all you fair ladies, take warning from me,
And never give your heart to young men who’re free
They'll love you and kiss you, and tell you more
lies,
Than sand on the seashore and stars in the skies.
The Cuckoo comes in April, sings her song in May;
In June she sings sadly, and then flies away.
It’s farewell to summer, and lonely am I;
I’d follow the Cuckoo if I could but fly.
****************************

No. 322
THE CUMBERLAND I
also known as
Cumblom
Good Ship Cumberland

US
Song Texts
1863
Cumberland I is one of several ballade that describe
the fate of the Union frigate Cumberland , which was
sunk during a battle with the Confederate ironclad
Virginia (known to the Union as the Kerrinac ). For
an elaborate factual treatment of this battle, see
W. Tindall's The True Story of the Virginia and the
Moniter in the Virginia Magazine of History and
Biography , XXXI (1923), pp. 1-38 and 90-143.
According to Tindall, the battle actually began "at
about two o'clock, March 8, 1862, when the Virginia
was nearly a mile from the Congress and the Cumber
land, " The Virginia passed the Congress and rammed
into the Cumberland , then backed off "about one hundred
yards*" The Cumberland "defiantly refused" a demand
to surrender. "After further battering, during which
she kept up heavy fire, the Cumberland sank about
3:30 pm. The Virginia then turned her attention to
the Congress , set it on fire and captured her,"
For a Confederate view of the battle, see the song in
Brown, II, 533, which begins:
The Merrimac she went out:
The Yankees wa'n't a-thinking .
The fust thing the Yankees knew
The Cumberland was a-sinklng.
Many songs celebrated this Civil War sea battle. Even
Herman Melville, author of Moby Dick , took pen in hand
and wrote The Cumberland , which begins:
Some names there are of telling sound ,
Whose vowelled syllables free
Are pledge that t hey shall ever live
renowned:
Such seems to be
A frigate's name ( by present glory spanned )—
The Cumberland,

Song Texts
1864
?or a full text of Melville* *s ballad, see: Kennedy
(AB), 227, or (TAB), 230.
Other poems dealing with the Cumberland♦s fate were
written by Longfellow and George H, Boker.
A broadside of the ballad given below is in the
Harvard College Library , and it is stated that the
tune to which the words are sung is Raging Canal,
The broadside was published by Johnson, Song Publisher,
Philadelphia.
REFERENCSS
Brown, II, 530 Wehman (GOTS), No. 4,
Peacock, III, 909 84
The Cumberland I Tune: Raging Canal
Come listen, all ye merry sailors, and all ye landsmen
too,
Come listen to the story that I’ll relate to you:
It's all about the Cumberland, a ship so true and brave,
And of her bold and lyal crew, who met a watery grave.
*Twas early in the morning, just at the break of day,
The good ship Cumberland dropped anchor in the bay.
The sailor in the ship’s lookout to those below did
cry:
"There’s something off the starboard side that like
a hou®e-top does lie!"
The Captain raided his telescope and gazed across
the blue,
Then turned unto hi® comrades, hi® brave and noble
crew:
"That thing you see out yonder, boys, looks like a
turtle’s back;
It’s that infernal rebel-ship they call the Merrlmac, "

Song Texts
1865
MB’
Our decks were cleared for action, our 'guns were
pointed true;
The Merrimac came skimming across the watery blue*
She sailed directly toward us. Not very far apart,
And then she sent a screaming ball to sink some
aching heart,
~ .1
The rebel captain he called out, and to our captain
spoke:
"If you don’t haul your colors, 1*11 sink your
Yankee boat!"
Our captain’s eyes were flashing fire, his cheeks
turned deathly pale:
"I’ll not haul down my colors, sir, as long as she
rides gale!"
The iron-clsd monster left us, some hundred yards
or more,
And with her whistle screaming, straight down upon
us bore.
She struck us right amid-ship, her ram went crash
ing through!
The water then came rushing in all on our gallant
crew.
Then turning to his gallant men our captain then
did rave:
"I’ll never strike the colors while she still rides
the wave!
I’ll sink with flag* a-flying, men, into a watery
grave!
But you, my gallant comrades, may seek your lives
to save,"

KB
Song Texts
1866
They swore they would never leave him, and manned
their guns afresh;
They kept on firing broadsides till water reached
their hreastp.
The Cumberland she eank down, into the briny deep,
But stars and stripes were flying, boys, from main
top’s highest peak,
*****************************

So, 323
THE CUMBERLAND II
also known
The Cumberland and the
Merrlmac
The Cumberland♦s Crew
The Cumberland♦s Pate
as
Sate of the Cumberland’s
Crew
The Merrlmac and the
Cumberland
This i« the more popular of the two songs about the
Civil War sea-battle between the Merrlmac (Virginia)
and the Union’s Cumberland , which was commanded by
It. George Morris, USN. For the less popular song
and deteils of the battle, see The Cumberland I just
above.
REFERENCES
Beck (LLC), 274-275
Beck (SML), 233-234
Cazden, I, 20-21
Creighton (SBNS), 244-246
Dean, 36-37
Delaney No, 2, 23
Doerflinger, 134-135
Emrich (FAL), 426-428
Frothingham (OS), 191
Glass (SS-2), 177-179
Gray, 162-165
Horton, 82
Luce, 138-139
Rickaby, No. 39
Shoemaker (MKP), 211
Silber (HSB), 83
Thompson (3BB), 358
Wehman (GOTS-l), 13

Song Texts
1867
Cumberland II
}
Come, folks, gather ‘round me and listen to my ditty
Of a terrible battle that happened of late,
When each Union tar shed a tear of sad pity
When he heard of the once gallant Cumberland's fate.
The eighth day of March told a terrible story,
And many a brave sailor bade this world adieu;
Our flag was wrapped up in the mantle of glory
By the heroic deeds of the Cumberland's crew.
Upon that «ad day around ten in the morning,
The sky was quite clear and bright was the sun;
The drum® of the Cumberland sounded a warning,
And told every sailor to stand by his gun.
Then our captain spoke up with stern resolution:
"Brave boys, of this monster, do not be dismayed.
We've sworn to maintain our beloved constitution—
To die for our country we are not afraid."
The Cumberland fired; her guns dreadfully thundered;
Her broadside like hail on the rebel did pour.
The sailors looked on, struck with terror and wonder,
As shots struct her sides and glanced dangerously o'er.
We battled three hours with stern resolution,
The Merrimac's cannons could never abide;
The death of secession would bring restitution,
The blood from the Cumberland flowed on the tide.
She hit us amidships, our planks she did sever.
Her sharp iron prong pierced the Cumberland through;
And yet as we sank on that dark dreary river:
"We will die at our guns!" cried the Cumberland * s
crew.

MB Song Texts
1868
Oil, when our "brave sailors in "battle assembled,
God "bless our great banner, the red, white and blue!
And may its bright stripes cau«e all tyrants to
tremble,
And sink at our guns like the Cumberland^ crew.
*********************** *****

No, 324
CUMBERLAND GAP
This is an American song about an American place—the
Cumberland Gap. Historically, the Cumberland Gap was
the gateway to Kentucky; it was in 1769 that the first
settlers came into the blue grass territory, led there
by Daniel Boone. The Gap, which splits the mountains
some 65 miles north of the Great Smoky National Park
(where Virginia, Tennessee, and Kentucky meet), was
given its name by Dr. Thomas Walker# The doctor is
usually mentioned in versions of the song, but not al
ways. The tune is quite popular as a square dance
piece and, according to Lomax, it is related to Sugar
in the Gourd (see in MB). Also see and compare Big
Stone Gao in Combs (FSMEU), 228.
REFERENCES
Arnett, 31
Botkin (SFL), 714-715
Brown, III, 381; V,
Carmer (SRA), 82-83
Davis (FSV), 247
Fuson, 176-178
Jour (AFL), XLIX, 241
Loesser, 60
229-230
Lomax (ABFS), 274-276
Lomax (F3NA), 162-163
Randolph, III, 264
Roberta (SBS), 146-147
Seeger (6), 67
Silverman, II, 141
Thede, 114
Thomas (DD), 136-138
Warner, 79

MB
Song Texts
1869
Cumberland Gan
The Cumberland Gap Is a mighty fine place,
Got all kinds of water for to wash your face;
Got more water than you ever did see—
Oh! how X wish it was pure whiskey!
01* Aunt Phoebe, if you don't care,
leave my little ol» jug right there.
If it ain't there when I’ve finished my nap,
I'll rai«e some hell in the Cumberland Gap!
The first white man in the Cumberland Gap
Was doctor Walker, an English cahp;
But I took after my ol’ grandmaw,
The drinkingest woman you ever saw.
If ever I find a woman who nips,
I'll share about a dozen sips,
And before the feeling slips
I'll kiss her all over her whiskey lips.
Some people have claimed, since time began,
That whiskey is the curse of man;
But I don't care what other folks think,
I'm here to say water ain't fit to drink!

No. 325
CURLEY BILL
also known as
Damn His Hide!
Western "outlaw" or "Badman" song about William "Curley
Bill" Brocius, who operated as a cattle-rustler near
Tombstone, Arizona, in the 1870s-1880s. From time to
time, members of his gang included Johnny Ringo (The
Ringo Kid), the Clanton brothers (Ike and Billy), and
the McLowry brothers (Tom and Frank). For additional

MB . Song Texts
- 1870
information on these people, see headnote? to Gunfight
at the 0_j_ Corral in this Master Book,
Curley Bill was killed in a shootout with Wyatt Earp,
U. S. Marshall, This song recounts the story of that
event, and it is from Dickson Kail’s MGM album, Out
laws of the Old West,
Curley Bill Tune: Sam Hall
His name was Curley Bill, Curley Bill,
Yes, his name was Curley Billl,
And he lived at Galeyville,
Where his name is famous still.
Damn his hide!
He had an outlaw band, outlaw band,
He had an outlaw band,
And he terrorized the land
With a six-gun in his hand.
Damn his hide!
He killed a lot of men, lot of men.
Yes, he killed a lot of men,—
Some say nine, some say ten,—
And he killed them with a grin.
Damn his hide!
A price was on his head, on his head,
Yes, a price was on his head.
The U, S, Marshall said,
"Bring him in, alive or dead!"
Damn his hide!
He stood there on a hill, on a hill,
Yes, he stood there on a hill,
And the marshall shot to killl—
Put an end to Curley Bill!
Damn his hide!

MB
Song Texts
1871

No, 526
DAKOTA LAND
also known as
Missouri Land Nebraska Land
A traditional classic of the American frontier that
got itself localized wherever it traveled. Any place
with the proper syllables will fit and the remaining
text requires only a few minor changes to adapt it to
its new locale. The time, of course, is often taken
from several well-known songs. Both Botkin and Lomax
got their versions from Carl Sandburg, who said the
tune was that of the old hymn, Beulah Land. Fife said
the air was not only to be found in Beulah Land but
in Maryland , My Maryland and Sweet Genevieve as well.
In fact, with a little imagination, the text can be
made to match any cr all of the above mentioned tunes.
The text below is sung to the air of Beulah Land.
Other texts sung to the same air are Kansas Land J &
II (see in MB).
REFERENCES
Botkin (AFL), 313-514
Brunvand (F3SI), 245
Fife, 62-64
Lingenfelter, 460-461
Lomax (CS-1938), 410-412
McMullen, 129
Nebraska (3), 7-8 & (7), 12
Ohrlin, 22-24
Pound, 185
Pound (SFSN), 28
Sandburg (AS), 280-281
Vincent (ALS), 41
Dakota Land Time: Beulah Land
I have reached the land of dra.ought and heat,
Where nothing grows that man can eat.
The wind that blows this awful heat,
In all the world just can’t be beat.

MB
Song Texts
18-72
Chorus
0 Dakota land, sweet Dakota land,
As on this burning sand I stand,
And look away across the plains,
I wonder why it never rains.
When Gabriel blows the trumpet sound,
We*11 learn the rain has gone around.
The farmer goes out in his corn,
And there he stands and looks forlorn;
He stands and looks and is most shocked
To see the corn has missed the stock.
We have no wheat, we have no tools,
We have no corn to feed our mules;
The chickens are too poor to eat,
And hogs run squealing down the street.
Our fuel is of the cheapest kind,
Our women are all of single mind;
With l’-ig in hand and upturned nose,
They lift the chips of buffaloes.
Our buildings all are made of sod,
But still we hope and trust in God.
The old school house is made of turf,
But children go there full of mirth.
Our horses are of broncho race,
And hunger stares them in the face.
We do not live, but still we stay—
We’re too damn poor to move away!
*********************

MB Song Texts
ie73

No. 327
THE DALTON BROTHERS
An "outlaw” song, and one similar in story theme to
the songs about Jesse James, Cole Younger, and other
western gunmen and outlaws.
The Dalton brothers (Robert, Emmett and Grat) were
officers of the lav/ prior to turning to a life of
crime and becoming outlaws. They were related to Prank
and Jesse James through marriage and were blood rela-
tives of the Younger brothers (see Cole Younger in MB).
If the fate of their relatives taught the Daltons any
thing, they ignored it. They began their criminal ca
reers as cattle thieves. In 1891 they extended their
activities and became bank and train robbers. The
following year, in October, they rode into Coffeyville,
Kansas, where, with the help of Bill Powers and Dick
Broadweil, they undertook the task of robbing two banks
at the same time, and in broad daylight. Although they
actually got their hands on $30,000., they didn’t keep
it very long. Aroused citizens shut-off their escape
with a hail of bullets.
Powers, Broadweil, Robert and Grat Dalton were killed,
Emmett, badly wounded, survived and wa° sent to prison.
He was later pardoned and lived a useful, law-abiding
life. He spent the remaining years of his life giving
lectures on the folly of crime.
This song was obtained from Dickson Hall, who recorded
it for MGM Records in his album, Outlaws of the Old
West , in the early 1950s.
, The Dalton Brothers
Tune; Sweet Betsy Prom Pike

MB Song Texts
1874
The Daltons were Emmett and Robert and Grat,
And you've never seen three brothers like that;
They started as marshals, upholding the law,
And then turned to rustlin' in old Arkansas*
Chorus
Sing doodle-lee oodle-lee, dood-dlee eye aye!
Sing doodle-lee oodle-lee, dood-dlee eye aye!
Sing doodle-lle oodle-lee, dood-dlee eye aye!
When the Daltons are riding, keep out of their
way!
The Daltons were robbers by day and by night,
And you've never seen a more terrible sight!
They rode up to Kansas, to old Coffeyville—
The folks around there remember it still.
The boys planned to rob two banks in the town.
But 'fore it was over they all were shot down.
The news was most welcome wherever it spread,
And most folks were happy the Daltons were dead.
*************************

No, 528
DANCE BY THE LIGHT OF THE MOON
also known as
Ain't You Coming Out
Tonight?
Alabama Gal(s), Ain't You
Coming Out Tonight?
Bowery Gals
'Buffalo Gals
Buffalo Girls, Ain't You
Coming Out Tonight?
Cincinnati Girls
Jim-Town Girls
Louisiana Gals, or Girls
Lubly Pan
Lushbaugh Girls
Round Town Girls
Will You Come Out Tonight?
Won't You Walk Out Tonight

MB Song Texts
1875
This was originally written for the minstrel stage by
Cool White (real name John Hodges), and it was copy
righted in 1844 a® lubly Fan , The song.was soon adapted
to various location® by performers. Featured by the
Christy Minstrels as Bowery Gals , the song underwent
no noticeable change except for its title. So it went,
area to area, until it became Buffalo Gals in 1848.
The person who gave the song its most popular title
is unknown. Nevertheless, as Buffalo Gals the song
was distributed all over the world.
In 1940 the song was rewritten by Terry Shand, Jimmy
Eaton ana Mickey Leader, who gave it the title: Dancing
With A Dolly (With a Hole in Her Stocking )—-a line bor
rowed from the old slave song, Charleston Gals 0
Two versions are given below: the A version is the
original Lubly Fan and the B version is the ever-popular
Buffalo Gals.
REFERENCES
Agay (1), 17
Agay (2), 81
Allen (CL), 6
Arnett, 58
Arnold, 127
Best, 137
Botkin (AFL), 841-843
Botkin (APPS), 150-154
Brown, III, 114; IV,
Ford (TMA), 53, 409
Glass (SFRF), 59-61
Hamilton, 313
Ives (SB), 230-231
Johnson (EAS), No. 5
Keach, 130-131
Leisy (LAS), 19
Leisy (SPS), 80
Lloyd, 86-87
Lomax (ABFS), 288-290
Lomax (USA), 104-105
Luther, 209
McLendon, 203
Okun, 112-113
Owens (ST), 45
Owens (TFS), 159
Piper (SPPG), 283
57-59
Carmer (SRA), 54-55
Chappie (HS), 366-367
Damon, No. 39
Davis (FSV), 243
Downes, 116, 142
Fife, 277-278
Ford (OTFM), 28

MB Song Texts
1876
Randolph, III, 332-334
Scarborough (NFS), 112-114
Seeger (6), 34
Shaw, 382
Shoemaker (NPM), 129-130
Silverman, I, 345
Spaeth (WSM), 107-108
Thede, 119
Thorp & Fife, 220
Trifet, 125
Van Doren, 487
Wilder, 58-59
Dance By Eight of the Moon ( version A)
As I was walking down the street,
Down the street, down the street,
A pretty girl I chanced to meet.
Oh! she was fair to view.
Chorus
Den lubly Fan, will you come out tonight?
Will you come out tonight?
Will you come out toaight?
Den lubly Fan, will you come out tonight
An* dance by the light of the moon?
I stopt her an' I had some talk,
Had some talk, had some talk}
But her foot cover'd up the whole sidewalk,
An' lef* no room for me.
She's de prettiest gal I've seen in my life,
Seen in my life, seen in my life,
An' I wish to de Lord she wuz my wife,
Den we would part no more.
Oh, make haste, Fan, don't make me wait,
Make me wait, make me wait;
I fear you've kept me now too late—
Yes, dere's de evenin' gun.

MB Song Texts
1877
Version B
As I was walking down the street,
Down the street, down the street,
A pretty girl I chanced to meet.
Oh! she was fair to view.
Chorus
Oh, Buffalo Gals, won’t you come out tonight?
Come out tonight? Come out tonight?
Buffalo Gals, won’t you come out tonight
And dance by the light of the moon?
I asked her if she’d like to talk,
Like to talk, like to talk;
Her feet covered up the whole sidewalk,
As she stood there with me,
I kept her dancing and my heels kept a-rocking,
My heels kept a-rocking, my heels kept a-rocking
We danced and danced till my knees started
knocking,
And we danced by the light of the moon.
I*d like to make that gal my wife,
Gal my wife, gal my wife;
It would make me happy all my life,
If she were by my side.
***************** *************

No. 329
DANCE TO Y0U3 DADDY
also known as
Dance Ti Thy Daddy
An English-Scottish nursery song that is found in
very few American collections of traditional material

MB
Song Texts
1878
Nevertheless, the song is well known in America and
ig widely distributed through commercial publication,.
REFERENCES
Farnsworth, 50
Karpeles (EFS), II,
No. 400
Moffat (LSLA), 19
Opie, No. 123
Ritchie (FS), 89
Shekerjian, 152
Silber (ESB), 126
Silverman, I, 302
Stokoe, 76-77
Dance To Your Daddy
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
You shall have a fishy on a little dishy,
You shall have a fishy when the boat comes in!
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
When you are a man, fit to take a wife,
You shall wed a maiden, love her all your life.
She’ll be your lassie, you will be her man.
Dance to your daddy, my little lamb!
************************

No. 330
DANDY JIM FROM CAROLINE
also known as
Dandy Jim of Caroline
Source Song. An old minstrel-show song that has been
adepted and rarodied many times since it was composed
in 1843 by Dan D. Emmett, writer of Dixie (see in MB) .

No. 400
Moffat (LSLA), 19
Opie, No. 123
Ritchie (FS), 89
Shekerjian, 152
Silber (ESB), 126
Silverman, I, 302
Stokoe, 76-77
Dance To Your Daddy
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
You shall have a fishy on a little dishy,
You shall have a fishy when the boat comes in!
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
Dance to your daddy, my little laddie!
Dance to your daddy, my little lamb!
When you are a man, fit to take a wife,
You shall wed a maiden, love her all your life.
She’ll be your lassie, you will be her man.
Dance to your daddy, my little lamb!
************************
No. 330
DANDY JIM FROM CAROLINE
also known as
Dandy Jim of Caroline
Source Song. An old minstrel-show song that has been
adepted and rarodied many times since it was composed
in 1843 by Dan D. Emmett, writer of Dixie (see in MB) .

MB
Song Texts
1879
Dandy Jim first appeared in 1843 as A Popular Negro
Melody , and without author-composer being credited.
Emmett*s name first appeared on the sheet music when
the song was published in London by the D’Almaine Co.,
1844. Emmett's American publisher, C. H. Keith, did
not include the song in Emmett * s Boston Collection of
1843-44. Strangely, Keith issued Dandy Jim in 1844 and
credited the words to S. S. Steele and the music to
Dan Myers.
REFERENCES
Keach, 42 Nathan, 324-327 White, 286, 445
Dandy Jim From Caroline
I've often heard it said of late
Dat South Carolina am de state
Whar handsome niggs are boun* to shine,
I'm Dandy Jim from Caroline!
Den my old Massa tol' me, 0,
I'm de best lookin' one in de County 0!
I looked in de glass an' foun' it so,
Jus' what Massa tol* me, 0!
I dress myself from top to toe,
To see Miss Dinar I did go.
Dar's none can suit a black gal's mind,
Like Dandy Jim from Caroline.
Den my old Massa tol' me, 0, etc,
Sez she, I lub you well enough,
Because I know you're up to snuff.
If you'll be hers, she will be thine,
Sweet Dandy Jim from Caroline.
Den my old Massa tol' me, 0, etc*

Song Texts
1880
MB
De hottest lub is soonest cold,
De shortest story soonest told:
She changed her name from lubly Bine,
To Miss Dandy Jim from Caroline.
Den my old Massa tol’ me, 0, etc.
**************************

No. 331
DANIEL
also known as
Didn’t My Lord Deliver My Lord Delievered Daniel
Daniel? 0 Daniel
We are dealing here with two distinct songs with a com
mon theme and common title. The first, version A, is
a pre-Givil War spiritual. Version B may not be as old,
but it is now better known..
The Biblical character, Daniel, was a favorite subject
of hymn and spiritual composers. For other examples, see
Move , Members , Move in Courlander (NSA), 11-12 and
Daniel in the Lion’s Den in Sharp, II, 273.
REFERENCES
Allen (SSUS), 94, 148
Brewer, 157
Chambers (TNS), 21-23
Dett, 65
Downes (1943), 200
Hayes, 45-46
Johnson (BANS), 148
Jubilee (PS), 24-25
Lloyd, 140-141
Marsh (SJS), 134-135
Pike, 174, 216
Silverman, II, 96
Whitman, 107
****************************
Daniel ( Version A)

MB
Song Texts
3,881
Tou call yo’-self church member,
You hold yo’ head so high,
You praise God with yo’ glitterin’ tongue,
But you leave all yo’ heart behind.
0 my Lord delivered Daniel!
0 Daniel! 0 Daniel!
0 my Lord delivered Daniel,
0 why not deliver me, too?
( Version B)
Didn’t my Lord deliver Daniel,
Deliver Daniel, deliver Daniel,
Didn’t my Lord deliver Daniel?
And why not a every man?
He delivered Daniel from the lion’s den,
Jonah from the belly of the whale, and then
The Hebrew children from the fiery furnace—
And why not a every man?
The moon ran down in a purple stream,
The sun forbear to shine,
And every star shall disappear,
And King Jesus will be mine.
The wind blows east, the wind blows west,
It blows like Judgment Day,
And all poor souls that never did pray
Will be called upon to pray.
I set my foot on the Gospel ship,
And the ship it began to sail;
It landed me over on Canaan’s shore,
Where I knew I could not fail.
**********************

MB Song Texts
1882
' S2*. 1 32
BANS LES CHANTIERS
also known as
Bans Les Chantiers Nous Voyagers
Hivernerons The Winter Camp
Now the Winter's Come to Stay
This song was brought to the United States by French-
speaking Canadians who earned their livings in the
lumbering trade. It is the counterpart of such songs
as Canaday I 0_and The Lumberman's Life.
The word "chantier", as used by the French, means
"workshop,** but as used by French—Canadians in this
song it has a more general meaning: it represents the
entire lumber-camp.
According to Berry, this song dates from "the end of
the 18th century..." It entered the U. S. following the
turn of the 19th century.
The texts below are from Berry, 66-67; the music is from
Gagnon, 100-104. For another version, see Gibbon, 73-75.
Bans les chantiers ( French )
Voici l'hiver arrive',
Les rivieres sont gelees.
C'est le temps d'aller au bois
Manger du lard et des pois.
Chorus
Bans les chantiers, nous hivernerons!
Bans les chantiers, nous hivernerons!
Pauv* voyageur que t'as d'la misere!
Souvent tu couches par terre;
A la pluie, a.u mauvai3 temps,
A la rigueur de tous les temps!

MB Song Texts
1883 .
Quand tu arriv's a Vincennes,
Souvent tu as bien d*la devein 1 •
Tu vas trouver ton bourgeois,
Qu'est la assis a son comptoi*!
Je voudrais etre paye^
Pour le temps que j*ai donne.
Quand le bourgeois est en banqu’route,
II te renvoie manger des croutes.
Quand tu retourn‘s chez ton pere,
Au8si pour revoir ta mere,
■Le bonhomme est a la porte,
la bonne femm* fait la gargotte.
Monsieur Dubois est bon bourgeois,
Mais il n’nous donn* pas grand* monnaie.
On travaill* bien tout l’hiver;
Au printemps on se trouv* clair.
—"Bonjour done, mon cher enfant!
Nous apport*s-tu bien d*l*argent?"
—"Que l*diable vie j’n’y r*tourn*rai."
English Language Version
lo! the winter now has come,
And the river frozen o'er;
It is time to go to hunt,
Eating beans and beans galore#
Chorus
To camp we*11 go till the winter*s gone!
To camp we*11 go till the winter’s gone!
0 woodman poor, great’s your distress;
Often do you sleep on earth.
In the rain and winter's stress,
Wanting comforts of the hearth.

MB Song Texts
1884
When to old Vincennes you cross,
You*11 be feeling tired and sore,
Then you’ll go to find your boss
Counting money in his store,
I would rather now be paid
For the time that I gave you;
When the boss a bankrupt’s made,
Only crusts will be my due.
When to father's, back you ply
There to see your mother too,
There the good old man you'll spy,
Mother’ll make you lentil stew.
Mister Dubois is our bos9,
But he gives us no great pay;
Have to work through winter frost,
And in springtime hide away.
>
”Ah, hello, my darling child!
Do you bring us lots of jack?"
"Deuce than take the camp so wild!
Ne'er again shall I go back."
**************************

No. 333
DANS MA MAIN DROITE JE TIENS ROSIER
also known as
Danse Ronde Enter and Dance Round Dance
This French song, once popular with young people in
the northern and western areas of France, was brought
into North America by the earliest French settlers.
Obviously it is a dance song, and one that is still
known in certain parts of Louisiana, Indiana, and
Quebec. Other versions are in Berry, 58-59 and Gagnon,
147-148.

MB
Song Texts
1885
Bans Ma Main Droite Je Tiens Rosier
French
Bans ma main droite je tieng rosier,
Bang ma main droite je tieng rosier,
Qui fleurira, manon lou la,
Qui fleurira au mois de mai,
Entrez en danse, joli rosier!
Entrez en danse, joli rosier!
Et embrassez (saluez) manon lou la,
Et embrassez (saluez) qui vous plaira.
English
At my right side stands a rose so gay, (2)
It soon will bloom, mark what I say,
It soon will bloom, perhaps in Kay.
0 pretty rose, come and dance with me, (2)
Hold me close, dance merrily,
Hold me close, or hold whom you please 0
***************************

No. 334
THE BARBY RAM
also known as
Darby's Sheep
The Derby Ram
The Derby Sheep
The Great Sheep
Hark to the Roaring Sheep
The Mighty Sheep
The Old Big Ram, or Sheep
The Ram of Darby, or Derby
Versions of this "tall tale" or "truth stretching" song
have been recovered in practically all areas of America
According to European folklorists, the song is derived

MB
Song Texts
1886
from ancient and pagan ceremonies, Americana, however,
did not ever associate the song with serious living#
They neither saw nor cared that- such animals as the
gong describes were objects of worship in the Druid
ceremonies of ancient Britians and, later, in the witch
cults of medieval peasants. Originally, when the lamb
wa 9 sacrificed, all the sins of the members of the tribe
or village were supposed to die with the lamb# In this
instance, the lamb was worshipped and described in
superlatives— which accounts for his gigantic size in
the song as we know it#
Bantock, 57-58
Barry (STS), 51-54
Belden (BS), 224-225
Botkin (HEP), 887-888
Brewster (BSI), 319-321
Broadwood (ECS), 44-47
Brown, II, 439-440; IV,
233-235
Bulletin (TFS), III,
4, 95
Chappell (FSRA), 182
Chase (AFTS), 134-136
Colcord (1938), 136
Creighton (TSNS), 241
Davis (FSV), 134-136
Eddy, 199
Emrich (C3F), 28
Flanders (NGMS), 24-26
Flanders (VFS3), 100-101
Ford (YS3S), 100-101
Friedman, 441-442
Fuson, 58
Gardner (3 Q SK), 460-463
SS
Greig, art. 14
Henry (FSSH), 175-178
Hubbard, 390-391
Hudson (BSM), 173
Hudson (FSM), 273-274
Jewitt, 115-119
Johnson (WTS), 226-229
Jour (AFL), XVIII, 51;
XXXVI, 377; XXXIX, 173
Jour (EFDSS), V, 23
Karpeles (EFS), II, No. 325
Kinloch (33), 80-81
Leisy, 80-82
Lomax (OSC), 104-107
Lomax (PB), 24
Lunsford, 8-9
Notes, 1st s., II, 1850,
71, 255; 4th s., IV,
1869, 188, 247; 10th s.,
1904, 306
Opie, No. 129
Peacock, I, 10-11
Pub (TFLS), V, 157

MB Song Texts
1887
Randolph, I, 398-400
Reeves, 102
Reeves (EC), 92
Ritchie (SPC), 41-43
Roberts (SBS), 101-102
Seeger (3), 58-59
Sharp, II, 184-187
Shekerjian, 42-43
Shoemaker (MMP), 266
Silverman, II, 195
Truitt, 377
White, 201-202
Williams (FSUT), 43-44
Yolen, 49-51
The Darby Ram
As I went down to Darby
Upon a market day,
I saw the biggest ram, sir,
That ever nibbled hay,
That ever nibbled hay*
The ram was fat behind, sir,
The ram was fat before;
He measured nine yards ’round, sir,
And maybe even more, (2),
The man who knocked him down, sir,
He was drowned in the blood;
The man who held the dish, sir,
Was washed away by flood, (2).
The wool upon his back, sir,
It reached up to the sky;
In it eagles built their nests—
I heard the young ones cry, (2).
Row all the boys in Darby
Came begging for his eyes,
To kick about the street, sir,
As any football flies, (2),

MB Song Texts
1888
The wool upon his belly,
It dragged, along the ground;
They sold it all in Darby
For forty thousand pound, (2)*
The wool upon his tail, sir,
Filled more than fifty bags 0
You better keep away, sir,
Whenever that tail wags, (2).
***********************

No, 335
DARLING COREY
also known as
Darlin' Cora Dig a Hole in the Meadow
Darlin’ Corie Little Cora, or Cory
Widely known and very popular in the South, this old
country blues piece has been revived by many folk-
singers. Sharp has a version called The Gambling Man
in his Appalachian collection, but it contains only
four stanzas attached to two stanzas of an old Eng
lish song„ For a single stanza piece, _I Wonder '/.There*s
the Gambling Man , that is quite similar to the first
stanza of Sharp's version, see Brown, V, 405*
Also see and compare Henry (SSSA), 96-97.
REFERENCES
Arnett, 173
Botkin (SFL), 743
Downes, 211, 250
Fuson, 134-135
-Ives (SA), 130-131
Leiey, 76-77, 217-218
Lomax (BLFS), No. 87
Lomax (FSNA), 258
Lomax (OSC), 302-303
Lomax (PB), 53
Ritchie (FS), 45
Roberts (SB3), 154-155
Seeger (6), 73
Sharp, II, 204
Silber (HSB), 79
Silverman, II, 139

MB Song Texts
1889
Barling Corey
Last night as I lay on my pillow,
Last night a? I lay on my "bed,
I dreamed that I looked over yonder
And saw my darling Corey dead.
Chorus
Big a hole, dig a hole in the meadow,
Big a hole, dig a hole in the ground;
Big a hole, dig a hole in the meadow,
For to lay my darling Corey down.
The first time I saw darling Corey,
She had a bottle of whiskey in her hand,
Trying to drown all her troubles
And forget a handsome gambling man,
0 don’t you hear the bluebirds a-singing?
Bon’t you hear that sad, mournful sound?
They’re crying for poor Corey’s funeral,
In trees above the burying ground,
**************************

go, 336
BARLING, I AM COMING BACK
According to Bolph, 109-110, this song originated in
"the Army of Occupation in Germany in 1919." The tune
is that of Silver Threads Among the Gold. The text
is obviously a parody, I have not seen it in any
collection other than Bolph's.
Barling, I Am Coming Back Tune: Silver Threads Among
the Gold

MB
Song Texts
1890
Barling, I am coming back, •<
Silver threads among the black;
Now that peace in Europe nears,
1*11 be home in seven years.
1*11 drop in on you some night, (some night).
With my whiskers long and white;
Home again with you once more,
Say by nineteen twenty-four.
Chorus
1*11 drop in on you some night, some night,
With my whiskers long and white;
Home again with you once more.
Say by nineteen twenty-four.
Once I thought by now I*d be
Sailing back across the sea;
Back to where you sit and pine,
But I'm heading for the Rhine.
You can hear the M. P.*s curse,
"War is hell, but peace is worse;
When the next war comes, oh, well,
1*11 rush in, I will— like hell!”
*************************-*****

No. 337
BARLING NELLY GRAY
also known as
My Barling Nelly Gray Nellie, or Nelly Gray
This song, written and composed by B. R. Hanby, dates
from the American Civil War. The tune is also used
> for sn.uare dancing, much like the Yirginia Reel , and
was even u°ed for a hymn: Be Joyful in God (see Sacred
Harp , p. 348).

MB Song Texts
1891
Nelly Gray is one of those rare songs that did not
degenerate in oral tradition. Perhaps because it has
always been readily available in print. Or, perhaps,
as Piper said, it M escaped mutilation, perhaps be
cause its length was satisfactory and all its verses
familiar.”
REFERENCES
Agay (2), 106-107
Botkin (APPS), 253
Carmer (SRA), 88-89
Chappie (HS), 116-117
Diteon (SSB-1860), 84
Downes, 278, 326
Durlacher, 88
Gaines (SP), 135
Gardner (FSH), 220
Reach, 6
Luther, 162
Mackenzie (SH), 10-11
Minstrel, 27-29
Oberndorfer, 90
Paskman, 118-120
Shoemaker (MMP), 139-140
Silverman, I, 127
Songs (15), 124-125
Staton, 26
Whitman, 172
Wier (IS), 110-111
Wier (SWWS), 51-52
Darling Nelly Gray
There’s a lone green valley by the old Kentucky shore
Where we’ve whil’d many happy hours away,
A-sitting and singing by the little cottage door,
Where dwelt my lovely Nelly Gray.
Chorus
Oh, my poor Nelly Gray they have taken you away,
And I’ll never see my darling any more;
I’m sitting by the river and I’m weeping all the day,
For you’ve gone from the old Kentucky shore.
When the moon had clim’d the mountain, and the stars
were shining too,
Then I took my lovely Nelly Gray,
And I travel’d down the river in my little red canoe
While the banjo so sweetly I did play.
•a******-*-*-*-*** * ******* ****** **-*•*

MB
Song Texts
1892
NOo 338
DARLING., 0 YEAH!
also known as
Darlin' If I Had Known My Captain Was Blind
A prison-type work song that comes in several variated
versions. This version was obtained, from Wilbur Brown,
Wilmington, N. C., in 1937.
For other versions, see: Lomax (PB), 54 and Silber (HSB)
37 .
Darling , 0 Yeah!
If I had known my captain was blind,
Darling, 0 yeah!
If I had known my captain was blind,
Darling, 0 yeah!
If I had known my captain was blind,
Would'na come to work ’til half-past nine,
Darling, 0 yeah!
I ask’d th* captain for the time o' day, etc.
Got so mad he throw'd his watch away,
Darling, 0 yeah!
Fight the captain and I land in jail, etc.
And nobody here would go my bail,
Darling, 0 yeah!
Told the judge there's no use in lying, etc,
I'm laughing just to keep from crying,
Darling, 0 yeah!
Got two more years to serve on my time,
When I get out I won't hgve a dime,
Darling, 0 yeah!
etc

MB Song Texts
1893

No, 339
DEAREST MAE
Source Song, This is one of the many "plantation”
pieces that became so popular in mid-19th century
America; its air was used for other songs. It reached
California at the time of the gold rush and was prompt
ly borrowed for that environment. See: COMING AROUND
THE HORN (No. 290) in this MB.
Author-composer of Dearest Mae seems questionable,
because different writers are credited in various
song-books. In Christy*a Negro Songster , 1855 , pp«
246-247, both words and music are credited to A. P.
Winnemore, In Chappie (HS), 158-159, Keach, 37 and
Minstrel Songs , 143-144, the words are credited to
Francis lynch and the music to L. V. H. Crosby, Again,
Carmer (SRA), 80-81, who dates the song 1847, credits
the words to Francis Lynch and the music to James Power.
Other versions may be seen in The Ethiopian Glee Book ,
Boston, 1850, 37 and Brown, III, 485-486; V, 269-270.
Dearest Mae
Now darkies, listen to me,
A story I’ll relate;
It happened in de valley
Of de old Carolina State.
Away down in de meadow,
’Twas der I mowed de hay;
I always work de harder
When I think of dearest Mae.
Chorus
Oh! dearest Mae, you’re lubly as de day,
Your eyes so bright dey shine at night,
When de moon am gwan away.
*********************

MB Song Texts
1894

No. 340
THE DEEP BLUE SEA
There is little that is original about the text of
this song; it is similar to several other traditional
jjieces, including The Lost Lover in this MB. Neverthe
less, Deep Blue Sea has enjoyed a remarkable popularity
in comparison to related items.
For an entirely different song with the same title, see
Randolph, IV, 308-309.
REFERENCES
Seeger (6), 76
Silber (HSB), 53
Silverman, II, 266
Leisy, 77-78
Leisy (SPS), 12-13
Richardson (AMS), 47
The Deep Blue Sea
Deep blue sea, Mama, deep blue sea.
Deep blue sea, Mama, deep blue sea.
Deep blue sea, Mama, deep blue sea—
It was Willie who got drown 1 ded
In the deep blue sea.
Wrap him up in a silken shroud (3)
It was Willie who got drown’ded
In the deep blue sea.
Dig his grave with a silver spade (3)
It was Willie who got drown’ded
In the deep blue sea.
Lower him down with a golden chain (3)
It was Willie who got drown’ded
In the deep blue sea.
*********** * ****** *

MB Song Texts
1895

No. 341
BEEP IN THE MIDDLE OP ARKANSAS '
also known as
The Bank of the Arkansas Down on the Banks of
Banks of the Arkansas the Arkansas
An up-tempo country dance tune and humorous song
from the days of the early western pioneers. The
version below was obtained from Clyde "Red” Foley,
Chicago, 1941.
REFERENCES
Carmer (SRA), 141-142 Lomax (OSC), 68-69
Deep In The Middle Of Arkansas
My life began with Maw and Paw
Deep in the middle of Arkansas!
Never done any work at all,
Ev’ry day was another call!
Chorus
Squeaky fiddle and a worn-out bow,
Country music’s all I know!
Hadn’t a been for my old banjo,
I*d a been married a long time ago!
An Injun chief and his old squaw,
Deep in the middle of Arkansas,
Plow’d their ground with a mangy plug,
Sold their corn in a gallon jug!
The prettiest gal I ever saw,
Deep in the middle of Arkansas,
Eyes was blue and her cheeks were red,
Lips much sweeter than gingerbread!
********-**********■**

MB
Song Texts
1896

No. 342
DEEP RIVER
also known as
I Want To Cro^s The River Into Camp-Ground
This is one of most well-known spirituals in the world.
It first appeared in print in The Story of the Jubilee
Singers, Hodder & Stoughton, London, 2nd edition, 1875,
p. 196. The version below is the one I sang on radio
in the early 1930s.
REFERENCES
Agay (1), 10
Berger, 38
Best, 154-155
Chambers (TNS), 19-20
Dett, 167
Downes, 170, 202
Hayes, 24-25
Johnson (BANS), 100-103
Leisy (LAS), 135
Lloyd, 142-143
Lomax (ABFS), 594-595
Luther, 220
Mackenzie (SH), 105
Marsh (SJS), 196-197
Oberndorfer, 23
Wier (YAM), III, 78
Deep River
Oh, don't you want to go to that gospel feast,
That promised land where all is peace?
Lord, I want to cross over into camp-ground!
Lord, I want to cross over into,camp-ground!
Lord, I want to cross over into camp-ground!
Chorus
Deep river! My home is over Jordan. Deep river!
Lord, I want to cross over into camp-ground! (4)
I'll go into heaven and take my seat,
I'll cast my crown at Jesus' feet, etc.
When I get to heaven I'll walk about,
And no one there will turn me out, etc,
*******************-*•****

MB Song Textg
1897

No* 343
DELIA
also known as
Delia, Oh, Delia
Delia’s Gone
Delie
One More Rounder’s Gone
This song is best known in America in its adapted form,
Delia’s Gone, by Blind Blake (Blake Alphonse Higgs),
who rewrote a VYest Indian folk song of same title and
like subject matter, Blake’s adaptation was published
by Hollis Music, Inc., New York, c. 1954, and first
popularized by Harry Belafonte.
The term "rounder" applies to both male and female in
folk tradition and means either "a worthless and wander
ing person who prides himself on being idle", or, in
some cases, represents fellowship and fondness.
For a form of ^he song known as Delie, see Y/'hite, 215-
216. Also see and compare Delia Holmes in Botkin (AFL),
911-912; Milling, 3-7; and Lilly in Odum (NKS), 210.
The version below is from Dave Denny, Albany, N. Y. t
and was sung for me in 1951,
REFERENCES
Grafman, 115 Delay (SPS), 19 Silber (HSB), 17
Della
When I first saw Delia the moon was glowing bright;
Held her in my arms and danced away the night.
Chorus
Now she’s gone, Delia's gone. Sing my song, Delians gone!
Sing my song, travel on; right or wrong, Delia’s gone!
Saw a man with Delia, and she was having fun!
Hugged him and kissed him, and I took out my gun!
First time I shot Delia, I shot her in the side;
Next time I shot her, she fell right down and died.

MB
Song Texts
1898

No. 344
THE DEVIL AND THE FARMER'S WIFE
also known as
Anthony Rowley
Bonnie Muriley
Brave Old Anthony
Marala
The Curst Wife
The Devil and the Wood
man
The Devil Came to the
Farmer's One Day
The Devil's Song
The Evil Woman
Farmer and the Devil
The Farmer's Cursed, or
Curst Wife
The Farmer's Old Wife
The Farmer's Wife and
the Devil
Fie-Lillie, Fie-Lillie,
Fie-Lee, Fie Down
Fi-Lay, Fi-Little, Fi-Lay
Kellyburnhraes
Old Jokey Song
Old Man A-Jogging the Plow
The Old Man and the Devil
The Old Man Hitched Up His
Hogs to Plow
The Old Man Under the Hill
The Old Scolding Wife
The Old Woman and the Devil
The Scolding Wife
The Sussex Farmer
The Ten Little Devils
There Was An Old Farmer
There V/as An Old Farmer in
Sussex Did Dwell
A Woman and the Devil
This is an ancient ballad, and its theme is Oriental
as well as European. Folklore is filled with tales of
the Devil. Information on ancient .views of Satan,
some of which are part of this song, is given in the
stage directions for Creation of the World , a Cornish
play of 1611 (see Chambers, The ?>!edieval Stage , IX,
p. 142).
The version of the song given below is more Irish than
English, more American than Irish, and more tuneful
* than most versions.
REFERENCES

MB Song Texts
1899
Anderson (AESB), 73
Barry (ABB), No. 28
Barry (BBM), 325-333
Beck (LIC), 157-158
Beck (SMI), 107-108
Belden (BS), 94-95
Brewster (BSI), 155-157
Brown, II, 188-190; IV,
116-119
Bulletin (TPS), VIII,
73
Bulletin (VPS), Nos.
4-6, 8-10
Campbell & Sharp, No.
34
Cazden, II, 74-75
Cazden (MD), 74-75
Chappell (PSRA), 42
Child, V, 107, 423
.Coffin, 148-150
Cox (P3S), 164-165
Creighton (SENS), 18-19
Creighton (TSNS), 95-99
Davie (MTBV), 316-327
Davie (TBV), 505, 598
Dean-Smith, 66
Dick, No. 331
Dixon (1846), 210
Dobie (TBE), 164-165
Downes (1940), 193
Downes (1962), 228
Flanders, XV, 99-135
Flanders (VPSB), 226-228
Friedman, 452-453
Gainer, 92-93
Gardner (BSSM), 373-378
Glass (SFRF), 9-10
Greig & Duncan, No. 320
Greig & Keith, 220
Hayward, 32
Henry (PSSH), 125-126
Houseman, 239-240
Hubbard, 40-42
Hudson (PSM), 124-125
Ives (SB), 194-196
Jamieson, I, 305-308
Johnson (SMM), No. 379
Jour (AFL), XIX, 298; XXIV,
348; XXVII, 68; XXX,
329; XLVII, 299
Jour (IFSS), XVIII, 27-28
Kinsley, 634-636
Kirkland, 77-78
Korson (PSL), 39-41
Leach (BB), 660-662
Linscott, 188-191
Lomax (CS-1919), 110-111
Lomax (PSNA), 187
Lomax (OSC), 152-154
Lomax (PB), 43
Mackenzie, 64
Moore (BPSS), 127-128
Morrie, 323-326
Niles (BB), 314-320
0*Lochlainn, 108-109
Owens (TPS), 36-38
Peacock, I, 265-268
Pub (TPLS), X, 164-165;
XXIII, 54-56
Quarterly (SPL), IV, 157
Randolph, I, 189-193
Randolph (OMF), 227-231

MB Song Texts
1900
Roberts (IP), 85-86
Roberts (SBS), 99-100
Scott (BA), 152-153
Sedley, 222-223
Seeger (6), 58
Sharp, I, 275-281
Shellans, 18-19
Silverman, II, 218
Smith (AA), 53
Wells, 122
Whiting (TBB), 137-139
Williams (FSUT), 211
The Devil and the Parmer 1 s Wife
A farmer was plowing his field one day,
Too-rillity, rillity, rillity aye!
A farmer was plowing his field one day
And the Devil appeared and the Devil did say,
With a fold-dee roll, rillity aye!
Fold-dee roll dee rillity aye!
My man I’ve come for to fetch your wife, etc.
For she has plagued you for all of your life, etc.
The Devil then threw her over his back, etc.
And went off below with a snappity-crack, etc.
He opened the gates and she heard them close, etc.
She hit him and bit him and bloodied hie nose, etc.
He ordered hi= demons to bind her in chains, etc.
She lifted her foot and kicked out their brains, etc.
Two baby devils then started to squall, etc.
"0 take her back, daddy! she’ll kill us all!”, etc.
The Devil then tied her up in a sack, etc.
And straight to the farmer he oarried her back, etc.
We know that the women are worse then the men, etc.
For even in hell they're determined to win!, etc.
**************************

MB
Song Texts
1901

go. 345
DEVILISH MARY
This song came to North America from England and Ire
land, and it was quickly accepted. Several tunes col
lected in Ireland are similar to the time of Devilish
Mary , particularly one belonging to a song known as
The Wearing of the Breeches.
REFERENCES
Botkin (SFL), 721
Brown, IV, 343-344
Cazden, II, 60-61
Cazden (MD), 60-61
Chase (AFTS), 154-155
Lomax (FSNA), 188-189
Lomax (OSC), 136-138
Morris, 151-152
Owens (TFS), 121
Randolph, III, 186-190
Seeger (6), 70
Sharp, II, 200
Silber (HSB), 62
Silverman, I, 102
Thede, 101
Devilish Mary
I went up to London town,
To court a fair young lady;
I inquired about her name—
They called her Devilish Mary.
Chorus
.Rink turn tink turn terry,
Her eyes were blue and her hair was brown,
And they called her Devilish Mary.
Washed my clothes in old soap sudes,
And beat my back with switches;
Let me know right from the start
That she would wear the britches.
If ever I wed the second time,
I'll go for love, not riches;
Choose a woman three feet high—
Too small to wear my britches.

MB
Song texto
1902
No. 34-6
DEVIL*S DREAM
This old song is extremely popular among old-time
fiddlers and square-dancers. A version of the tune
is in the 1718 edition of Playford's Dancing Master ,
but composer and place of origin are not known.
REFERENCES
Botkin (NEF), 898 Playford, 179
Ford (TMA), 62 Ryan, 140
Linscott, 73 Shaw, 390
Devil * a Dream
Forty days and forty nights
The Devil was a-dreaming:
Around the bark, old Noah’s ark,
The rain it was a-streaming.
The monkey washed the baboon's face,
The serpent combed his hair,
And up jumped the Devil
With his pitch-fork in the air!
*****************************

No. 347
DIAMOND JOE
also known as
Roll On, Boys, Roll On
A cowboy song that dates back to the decade following
the American Civil War, when trail herds meant large
.stuns of money 0 The version given here differs some
what from the version contributed to Lomax by J. D.
Dillingham, but T have not seen it in any other col
lection. See Lomax (CS-1938, 65-66 and (OSC), 247.

MB Song Texts
1903
The version below was sung for me by Tex Fletcher,
New York City, 1944#
Diamond Joe
There is a man you hear about ’most ev’ry place you go
His holdings are in Texas, and his name is Diamond Joe
He hauls around his money in a diamond studded jar,
And he never seemed too worried by the law as preached
at bar#
Now Diamond Joe was tough and mean, his eyes were
steely-gray;
He owned two—thirds of Texas, and I was in his pay#
He worked the range with his men, a rough and ready
band,
An 1 when he saw a mav’rick, you can bet it got his
brand.
If I was rich as Diamond Joe, I’d buy myself a home;
I*d marry some good woman and go no more to roam#
The work is never easy and the pay is always low,
And ev'ry time I gamble, I lose to Diamond Joe.
We’ll drive the cows across the range until we reach
the end;
1*11 draw my pay in Kansas and spend it all again.
When it’s time to leave this world, there is one thing
that I know:
If my body lands in hell. I’ll be with Diamond Joe.
*****************************

No. 348
DIDN’T IT RAIN?
An old spiritual that is still popular and exists in
several versions, but all are easily identifiable as

MB
Song Texts
1904
the same song.
REFERENCES
Brown, III, 617; V, 356
Edwards (BSS), 25
lomax (FSNA), 477
Odum (NHS), 129-130
Silverman, II, 100
White, 141
Dldn*t It Rain?
Well, it rained forty days
And it rained forty nights;
There wasn’t no land no where in sight!
God sent a raven to carry the news;
He flapped his wings and away he flew.
Chorus
0, didn’t it rain, children?
God’s gonna ’stroy this world with water!
0, didn’t it rain, my Lord?
0, didn't it rain, rain, rain?
Well, it rained forty days
And nights without a-stoppin’!
01’ Noah sure glad when it stopped a-droppin’,
God showed to Noah the rainbow sign,
Said, "There's gonna be a fire next time!”
•
The folks run to the Ark
An' they yelled an' roared:
”0, Noah, please let us come aboard?”
But Noah replied, "You're full of sin,
An' God tol' me not to let you in,"
***************************

MB
Song Texts
1905

No, 349
DIDN’T OLD PHARAOH GET LOST?
also known as
Did Not Old Pharaoh Try-in* to Cross the Red
Get Lost? Sea
A pre-Civil War spiritual, sung by slaves; it was one
of the many slave spirituals featured by the original
Fisk Jubilee Singers.
REFERENCES
Brewer, 154 Marsh (SJS), 179
Johnson (BANS), 60-61 Pike, 219, 261
Jubilee (PS), 40 Work (ANSS), 208
Mackenzie (SH), 117-118
Didn’t Old Pharaoh Get Lost?
Isaac a ransom, while he lay
Upon an altar bound;
Moses, an infant cast away,
By Pharaoh’s daughter found.
Chorus
Well, didn’t old Pharaoh get lost,
get lost, get lost?
Oh! didn’t old Pharaoh get lost
in the Red Sea?
Well, the Lord said unto Moses,
”Go unto Pharaoh now,
For I have hardened Pharaoh’s heart—
To me he will not bow.”
Then Moses he summon’d Aaron,
To Pharaoh they did go;
’’Thus said the God of Israel,
’Let my people go!”’

MB Song Texts
1906
01* Pharaoh said, n Who is this God
That I should now obey?”
"He is Lord God Jehovan—
He heard His people pray,"
Well, Moses then number'd Israel;
Through all the land he trod,
Saying, "Children, do not murmer,
But hear the word of God!"
Oh! hear the children murmer!
They cry aloud for bread!
Down fell the hidden manna,
By which they all were fed.
The Lord God spoke to Moses
Prom Sinai's smoking top,
Saying, "Moses, lead my people
Till I tell you to stop,"
*********************

No, 350
DIB YOU EVER SEE A LASSIE?
A game song, usually restricted to girls. It is re
lated to This-a Way , That -a Way (see in MB), sn olfrt
English game song. If the air seems familiar, it's
because of its similarity to Lieber Augustine (also
in MB).
REFERENCES
Bancroft, 343
Bertail, 36
Porbush, 43
Linscott, 6-7
Winn (1), 162-163

MB Song Texts
1907
Did You Ever See A lassie?
Did you ever see a lassie,
a lassie, a lassie,
Did you ever see a lassie
do this way and that ?
Do this way and that way,
Do this way and that way,
Did you ever see a lassie
do this way and that?
*****************************

No. 351
DIG-EE, DIG-EE DO
also known as
A-Monday Was My Courting Day Ole Grey Goose
On Monday I Married a
Wife
Oh Lookee, lookee There!
Old Gray Goose
Originally, this was a minstrel song and was published
in 184-4 by A. Fiot, Philadelphia. Words and music were
credited to Dan Emmett. It is doubtful, however, that
Emmett actually composed this song; it is more probable
that he rewrote the folk piece as show material. Sharp
obviously thought it was an American version of an Eng
lish song. On the other hand, Eddy considered it Irish.
Regardless of origin, the song is definitely a part of
American tradition.
Two versions are given below. The first (A) is from
traditional sources; the second (B) is from the sheet
music copy issued by Fiot in 1844o
REFERENCES
Iloyd, 96
Nathan, 461
Reeves, 164
Sharp, II, 277

MB Song Texts
1908
Blg^ee, P2. ( Version A)
My wife took sick last Saturday night,
On Sunday she was "buried;
And Monday was my courting day,
And Tuesday I re-married.
Chorus
Well, dig-ee, dig-ee do,
And dig-ee, digee doe,
Jus 1 take a look-ee yander!
0, don*t you see that old gray goose
A-walkin' with the gander?
I wish my wife had turned me down!
I never should have married.
She lies around the house all day,
And I’m all wrecked and harried.
Version B
Monday was my wedding day,
Tuesday I was married;
Wen*■8*day night my wife took sick,
Sat 1 day ehe was "buried.
Chorus
Oh! looky harj Oh! looky whar?
Look right ober yander
Don’t you see de ole Grey Goose
Smilin’ at de Gander?
X axed Mies Dinah Rose one day
In de ole cart to ride;
She war by gcah so bery fat,
I couldn’t sit beside her!

MB
Song Texts
1909
When she was gittin’ out de cart,
Miss Dinah loose her shoe,
Den I did spy a great big hole
Right in her stockin’ through,
************************

No, 352
DIGUE DINDAINE
also known as
The Dance of the Flock J*avais une vieille grand*mere
Grandmother Complains La Danse du Troupeau
H S’eet Mis a Turletter There YYas an Old Grandmother
A French voyageur song derived from an ancient French
ballad. As known in America, it is nothing more than
an incident that formed part of the original song, and
somehow became detached. Its relationship to the older
ballad was pointed out in 1860 by Wekerlin and Champ-
fleury in their Chansons Pooulaires de Provinces France <>
After being brought to America by French explorers and
settlers, the song traveled westward on the waterways
and began developing versions with variations. Versions
have been recovered in Canada, Illinois, Indiana and
Louisiana.
REFERENCES
Barbeau (JSOQ), 183-185 Gibbon, 2-5
Berry, 34-35 Tiersot (SP), 62-63
Gagnon, 50-53
Digue Dindaine
Quand j’etais de chez mon pere,
digue dindaine,
Jeune fille a marier, digue dinde.
Jeune fille a marier, Jeune fille a marier.

MB Song Texts
1910
I* n'y-avait qu'*un* vieill* grand*-mere,
digue dindaine.
Qui ne voulait pas danser, digue dinde,
Qui ne voulait pas danser (2).
Oh! qu’a* vous, ma vieill* grand—pere,
digue dindaine.
Qu*avez-vous a tant pleurer? digue dinde.
Qu* avez-vous a tant pleurer? (2)
Je pleure ton vieux grand-pere,
digue dindaine,
Que les loups ont etrangle! digue dinde,
Que les loups ont strangle! (2)
( English Version )
I had a very old grandmother, digue dindaine,
I had a very old grandmother, digue dinde.
All she did was weep and weep. (2)
What seems the matter, dear grandmother,
digue aindaine,
What seems the matter, dear grandmother,
digue dinde.
Why these plaints so very deep? (2)
I weep for your dear old grandfather,
digue dindaine,
I weep for your dear old grandfather,
digue dinde,
Whom the hungry wolves did eat. (2)
***********************

MB Song Texts
1911

No. 353
DING DONG BELL
also known as
Pus9y*s in the Well
Nursery song. Widely known and readily available in
nursery song books, including those printed for use
in kindergarten and grade schools 0
REFERENCES
Bertail, 49 Moorat, 16 Wier (YAM), I, 54
Ding Dong Bell
Ding dong bell!
Pussy*s in the well!
Who put her in?
Little Tommy Lynn,
Who pulled her out?
Little Johnny Stout.
What a naughty boy was that,
To drown poor pussy cat,
Who ne'er did any harm,
But killed all the mice
In father*8 barn,
*********************************

No, 354
DING DONG DINGLE 0!
also known as
Beaver Creek
Cree-mo-cri-mo-dorro wah
Ding Long Kitty
Down in Skytown
Kitchie ki-me-o
Get to Bed
Keemo Kimo
Kemo Kimo

KB Song Texts
1912
Kitty Kimo
The Opossum
Polly Kimo
Kitty, Won’t You Kimey-o?
Sing Kitty Won’t You Kimy-o?
There Was a Prog
There Was an Old Prog
There Was an Old Song
This originated in England as a comic song by Sam
Cowell, probably during the late 1830s, In America,
about 1840, the oong was adapted by Southern slaves
and, then, it wa« again adapted and made into a non
sense song for children. All through the 1850s, the
song popularized on the minstrel stages (see Christy
& Wood’s New Song Book , New York, 1854, pp. 7-8),
This song spawned many variations, several of which
appear in published folk collections, Por examples, see
Frog in the Well in Master Book ; Kitty , Can’t You Come
Along Too in Randolph, II, 334; and Way Down South
Where I Was Born in Owens (TPS), 139#
We give four versions below (A, B, £, D), with version
D being the 1854 sheet music version.
REFERENCES
Arnold, 86
Brewster (BSI), 324-
325
Brown, III, 165-166;
V, 95-96
Creighton (MFS), 135
Eddy, 142-143
Ford (TMA), 106, 450
Jour (APL), XXXV, 396
levy, 166
Odum (NWS), 187
Owens (TPS), 139-140
Randolph, II, 362-365
Richardson (AMS), 98-99
Scarborough (NFS), 156, 285
Scott (P3S), 37
Sharp, II, 353-354
White, 175-176
Wier (SCIS), 70
Winn (2), 108-109
Ding Dong Dingle 0! ( Version A)

MB Song Texts
1913
Down in Skytcwn lived a maid,
Sing song, ding dong dingle 0!
Churning butter v/as her trade,
Sing song, ding dong dingle 0!
Keemo kimo dingle 0, me-hi, me-ho.
In come Sally with a sometime penny
In a cock, a pottie wattle in connip cat,
Sing song, ding dong dingle 0!
Saw a rat run up the wall,
Sing song, ding dong dingle 0!
Saw his tail and that was all,
Sing song, ding dong dingle 0!
Love the girls, I love 'em all,
Sing song, ding dong dingle 0!
Love 'em short an' love 'em tall.
Sing song, ding dong dingle 0!
VERSION B
Way down south on Cedar Creek,
Sing song Kitty, won't you kimeo?
There the catfish grow ten feet.
Sing song Kitty, won't you kimeo?
Ke-mo ki-mo way down there,
Me-hi me-ho come in Molly,
With a polly wolly in a waggle,
Sing song Kitty, won't you kimeo?
Try to sleep but ain't no use,
Sing song Kitty, won't you kimeo?
Feet stick out an' chickens roost,
Sing song Kitty, won't you kimeo?

MB
Song Texts
1914
VERSION C
There was a frog lived in a spring,
Sing, sing, Polly, can't you kimeo?
He had such a cold he could not sing.
Sing, sing, Polly, can’t you kimeo?
Eye mo, ky ho, cutting with a hoe.
Diddle o rum stick riddle dee at.
Set hack, wiggle hack, nip cat.
Sing, sing, Polly, can’t you kimeo?
A little rat with a jug of souse,
Sing, eing, Polly, can't you kimeo?
Jus* come down from de white folks' house,
Sing, sing, Polly, can't you kimeo?
VERSIOH D
In South Carolina the darkies grow,
Sing song Kitty, can't you ki me o!
Dat's whar de white folks plant de tow,
Sing song Kitty, can't you ki me o!
Cover de ground all over wid smoke,
Sing song Kitty, can't you ki me o!
And up de darkies' heads dey poke,
Sing song Kitty, can't you ki me o!
Chorus
Keemo kimo, dar, Oh whar! Wid my hi, my ho,
And in come Sally einging,
Sometimes penny winkle, lingtum nipcat,
Sing song Kitty, can't you ki me o!
Milk in de dairy nine days old, etc.
Progs and de skeeters getting mighty hold, etc.
Dey try to sleep, hut it ain't no use, etc.
Dey jump all around in de chicken roost, etc.
*************************

MB
Song Texts
1915

No. 355
DISGUISED LOVER I
also known as
The Banks of Claudie, or
Claudy
The Banks of Cloddie, or
Cloddy
Charlie's Return
Johnny * & Return
The Lover’s Return
The Soldier's Return
Thin is one in a series of songs given under a common
title hut numbered separately. Each of the songs has
a central action in common with all the others— the
male lover disguises himself deliberately in order to
approach his sweetheart and test her faithfulness.
Such songs are usually referred to as "returned lover"
songs, but I have changed the designation because many
of them are built around the "returned lover" theme
minuR the "disguise" motif.
Another story element shared by these songs is "time
of separation"—the lover has been away for several
years, usually in the military as a sailor or soldier.
With rare exception, the "test of faithfulness" is met
to the satisfaction of the distuised lover, and all
ends happily.
Due to the similarities existing in all of these songs,
many have become mixed, fused, one with another, so
that not a few can no longer be clearly identified in
their original forms. This fact led to some confusion
on the part of collectors when making references to
other versions
The "returned lover" theme is one of the most ancient
in balladry and folklore; it was already old when.
Ulysses returned to Penelope in Homer’s literary classic.
'Variations of the theme are innumerable.
In some of these songs a "token" of some sort is involbed,
as the "ring" in Hind Horn , for example. The token is

MB Song Texts
1916
given to the hero by his sweetheart prior to his
departure, and it has magical qualities. Should the
woman ever prove unfaithful the token will lose or
change its color. In American versions, however, we
find that all mention of magic is avoided, and the
songs become straight tales of a lover returning home
after a long period of absence; disguising himself,
he approaches his sweetheart and tests her fidelity.
The woman always fails to recognize the hero, who
makes romantic advances to her. She rejects his ad
vances, of course, and informs him that her heart is
elsewhere and always will be. Satisfied that her love
is deep and true, the hero then proceeds to remove
his disguise and reveal his true identity. Naturally,
they live happily everafter— in most of the songs.
In the song below we have an Irish treatment of the
theme. It dates from the middle of the 19th century.
The text became mixed with the texts of other disguised
lover pieces as it circulated orally <> For examples,
Hubbard has this song as a version of John Riley and
Owens (TPS) relates it to The Banks of the Nile.
REFERENCES
Belden (BS), 154-155
Chappell (FSRA), 124
Christie, II, 70
Cox (FSS), 521-322
Creighton (FSNB) , 48,
Hubbard, 83
Hudson (FSM) , 152
Jour (AFI), XXYI, 362
Kidson (FSNC), 34-35
Laws, N 40, 223
Mackenzie, 185-186
O’Conor, 39
O’Lochlainn, 116-117
Ord, 130
Owens (TFS) , 73-75
Petrie, 423
50
Creighton (MFS), 65
Eddy, 116, 157-158
Ford (YSBS), 317
Gardner (BS3M), 191-192
Greig, art. xlviii

MB
Song Texts
1917
Pound, 73-74
Pound (SFSN), IV, 2
Randolph, I, 233-234
Reeves, 70-71
Scarborough (SC), 266, 426
Sturgis (SHV), 22-25
Toldman & Eddy, 351-354
Wehman (617), 118
Disguised lover I
A 9 I walked out one evening, all in the month of May,
Down by a flowery garden where Betsy she did stray,
I overheard this damsel in sorrow to complain,
About her absent lover who plowed the raging main.
I stepped up to this fair maid, and caught her by
surprise;
She said she did not know me—But I was in disguise—:
"My one and only darling, my soul and heart’s delight,
How far have you to wander this dark and stormy night?"
"Is this the banks of Claudie, or would you kindly
show?
Pity a maid distracted, for I am forced to go
In search of a young man, and Charlie is his name;
And on the banks of Claudie I'm told he does remain."
"This is the banks of Claudie, the same on which you
stand,
But do not believe in Charlie—for he's a false young
man.
Do not believe your lover; he will not meet you here-
But stay with me till morning, no danger need you
fear,"
"If Charlie were here tonight, he'd keep me safe
from harm;
But he's in the field of battle, all in his uniform.
He's in the field of battle, our foes he defies-
Like some bright king of honor, he's gone the war
to try.* * 1

MB
Song Texts
1918
n It*s Been two year® and "better since Charlie left
the shore,
A-sailing the wild ocean where foaming "billows roar,
But over the wild ocean he'll never sail again—
His ship's been lost, I've been told, along the coast
of Spain."
When she heard this sad news she fell into despair,
A-wringing of her hands and a-tearing at her hair,
Saying, "Since he's gone and left me, no other will
I take;
Down in some lonesome valley I'll wander for his sake."
When he saw her love was loyal, he could no longer stand;
He sprang into her arms, saying, "Betsy, I'm your man!
I am that faithful young man, the cause of all your pain,
And since we've met on Claudie's banks, we ne'er shall
part again!"
****************************

No. 356
DISGUISED LOVER II
also knovrn as
The Broken Ring
The Broken Token
The Brown-Eyed Sailor
The Dark-Eyed Sailor
The Dark-Eyed Sailor's
Return
Down By The Seaside
Fair Phoebe and Her Dark-
Eyed Sailor
Return of the Dark-Eyed Sailor
The Sailor
Sailor Bill
Sailor Boy
The Token
The Young and Single
Sailor
Young Willie's Return
This song is an excellent example of fusion and confusion.
Many broadside versions circulated widely and, as a result

MB Song TextB
1919
the song has mixed-in and been confused with nearly
all the other disguised lover songs* Titles like The
Broken Ring , or Broken Token are very ancient and quite
common in folklore, and both are attached to many songs
based upon that ancient theme (see The Magic Ring , On
The Yankee Kan-of-War and The Sailor* s Sweetheart in
this Master Book ), The Text below is one of the earliest
known of the type. It is the most influential in the
folk process when considering fusion of the various
"returned lover" ballads, because it was one of the most
widely distributed. The first known broadside version
was issued by James Catnach in 1836, in England, under
the title: The Sailor* s Return , or The Br oken Token *
Soon thereafter came tv/o variated versions: The Bri^k
Young Sailor , or Bair Phoebe , issued by Such, and The
Dark-Eyed Sailor , iasued by Wheeler of Manchester,
Since the publication of these broadsides, the song
has survived by being reprinted, rewritten and orallzed
among the folk.
Once the folk took it over, the song was bound to lose
a certain amount of its original identity. The fusion
with other disguised lover songs, or rather, the con
fusion , became noticeable only after "collectors" went
among the people and began publishing the far-flung
versions. Bor example, no less an authority than Cecil
Sharp printed six different versions of JOHI'I RILEY (see
Disguised Lover 7 in MB) under the title, The 3roken
Token. Helen Creighton, in Canada, printed The Broken
Zing and The Broken Token separately, but her version
of The Broken Ring is nothing more than an altered
version of John Riley. In Creighton (PS1TB), 57-58,
there is yet another Broken Ring ballad that is similar
to but not the same as the song below. In Creighton
(SBNS), we find two additional Broken Ring songs— the
first being a one-stanza fragment and the second being
another version of John Riley,

MB Song Texts
1920
Two versions are given' Below (A and B), and B is an
English forerunner of A, which has been Americanized.
The American version is found in many old songsters,
an indication of its popularity. As a result of its
popularity, the song's tune was "borrowed" and the
song itself was parodied. For examples, see: The
Bark-Eyed Canaller in Lomax (OSC), 218 and Gold
Seeker X in MB.
Broadsides were issued in England, Ireland, and America,
by: J. Andrews ( List 3.* No. 7 ); Bebbington, Manchester
(No. 73); Brereton, Dublin; Cadman, Manchester (No. 133)
Catnach, London; H. Disley of St. Giles; W. S. Portey;
Forth, Pocklington ( No. 78); Harkness, Preston ( No. 33);
Hodges, London; G. Jacques, Manchester ( No. 71) ; John
Livsey, Manchester ( No. 79); Pitts; Such (No. 2); W.
R. Walker, New Castle ( No. 8); Wehman, New York (No.
406); and Willey ( No. 17).
The tune to which version A is most always sung, as
indicated on the Catnach broadside of 1836, is that
of The Female Smuggler (see Masquerading Woman VI in
this MB) .
REFERENCES
Ashton (RSS), 71
Baring-Gould (EFSS), No
40
Baring-Gould (S?/), 42 &
88
Barry (MWS), 42-43
Broadwood (ETSC), 26
Brown, II, 310; IV, 180
Bulletin (FSSN), VI, 8-
10
Christie, II, 100-101
Cox (FSS), 319-320
Creighton (MFS), 58-59
Creighton (SENS), 58-59
Creighton (TSNS), 134-139
Be Marsan (SJ), I, 39
Doerflinger, 300-301
Flanders (NGMS), 36-37
Flanders (VFSB), 36-38
Fowke (TSSO), No, 9
Gardner (BSSM), 160-162
Gray, 108-110
Greenleaf, 81
Greig, No. 112
Jour (AFL), XXII, 67
Jour (FSS), IV, 129, 136

BIB Song Texts
1921
Karpeles, 184-185
Karpeles (EPS), I, 550-
551
Karpeles (GEFS), 120-121
laws IT 35, 221
BlacColl & Seeger, 126-128
Blackenzie, 172
Manny, 230-231
Marsh (SSI.!), Ill, 69-71
0*Lochlainn, 10-11
Ord, 323-324
Peacock, II, 513-514
Randolph, I, .264-265
Reeves (EC), 64-65
Scarborough (SC), 267-268
Songster (9), 147
Songster (85), 160
Songster (121), I, 5
Songster (152), 164
Songster (156), 80
Songster (175), 6
Wehman (GOTS), No. 2, 7-8
Disguised Lover II ( Version A)
Once I saw a girl with lovely hair,
And she was young and sad and fair;
She met a sailor along the way,
And I paid attention, paid close attention,
To hear what they v/ould say.
He said, "Lovely Miss, why walk alone
When night has cone and day is gone?"
She said, '^The reason, as I recall,
Is a dark-eyed sailor, a dark-eyed sailor,
Who has caused my downfall.
"Three years ago he left this land.
. He took a ring from off my hand
And broke that token in half with me.
Then he went a-sailing, he went a-sailing
Across the deep blue sea."
He said, "0 Miss, drive him from your mind;
A better man you'll surely find.
When love is gone it cannot grow,

MB
Song Texts
1922
But will turn like winter, will turn like winter,
Like hills all clad with snow."
Those words did Phoebe’s heart inflame:
"Young man, on me you’ll play no game!”
She drew a dagger and made this cry:
For my dark-eyed sailor, my dark-eyed sailor,
A maid I'll live and die!
The Sailor did a ring unfold, „
Gave it to her to see and hold.
"0 love!” she cried, "I've lands and gold
For my dark-eyed sailor, my dark-eyed sailor,
So manly, true and bold!"
How in a house by the riverside,
In happiness they now reside.
So, girls, be true while love's away—
Oft-times a cloudy morn, oft-times a cloudy morn
Brings on a pleasant day.
VERSION B
From Baring-G-ould ( SV. T ) , No. 4-i
One summer evening, a maiden fair
Was walking forth in the balmy air;
She met a sailor upon the way:
"Maiden, stay," he whispered. "Maiden stay," he whispered,
"0 pretty maiden, stay!
"Why art thou walking abroad alone?
The stars are shining, the day is done."
0 then her tears they began to flow-
For a dark-eyed sailor, for a dark-eyed sailor
Had filled her heart with woe.
"Three years have passed since he left this land;
A ring of gold he took off my hand.

MB
Song Texts
1923
He broke the token, a half to keep,
Half he bade me treasure, half he bade me treasure,
Then crossed the briny deep."
"0 drive him, damsel', from your mind,
For men are changeful as is the wind,
And love inconstant will quickly grow
Cold as winter morning, cold as winter morning,
When lands are white with snow,' 1
"Above the snow is the holly seen,
In bitter blast it abideth green,
And blood-red drops it as berries bears,
So my aching bosom, so my aching bosom,
Its truth and sorrow wears."
Then half the ring did the sailor show,
Away with weeping, let sorrow go!
"In bands of marriage united we,
Like the broken Token, like the broken Token
In one shall welded be 0 "
*******************************

No. 337
DISGUISED LOVER III
also known as
The Banks of Brandywine On the Banks of Brandywine
Henry’s Return The Return of Henry Shawn
This is an American writers concept of the "disguised
lover" song. It is similar to and yet different from
the two preceding songs. Because of its known pro-

MB Song Texts
1924
fessional origin and its? wide popularity in print,
folk collectors? generallyrignored the song. In fact,
one collector simply reprinted the text from George
Jackson (ESIJS) and set it to the tune of the old
folk song, Rinordine (see in MB) . The tune to our
text is similar to that of The Girl 1^ Left Behind
(see in MB)»
REFERENCES
Songster (8), 240-242
Songster (12), 9-12
Songster (14), 9-12
Songster (61), 158-160
Songster (62), 22-24
Songster (128), 158-160
Wehman (ISB), No, 1, 56-57
Amer(7), 52-54
Amer (8), 134
Amer(12'5, 52-54
Carmer (3RA), 5-6
Creighton (MFS), 62-63
Gardner (BSSM), 193-194
Jackson (ESUS), 148
Mackenzie, 186-187
Disguised Lover III
One morning very early in the pleasant month of May,
As I was walking to take the air, with nature being
gay;
The moon above unveil’d face all thro the trees did
shine,
As I wandered, to amuse myself, on the banks of
Brandywine,
The hour was still early yet and I was surprised to se
A lovely maid with down-cast eyes along the banks so
gay.
I went to her and spoke to her, all friendly in design
And requested that she walk with me on the banks of
Brandywine,

MB
Song Texts
1925
She said, "Young man,' he civil, and my company please
forsake.
It is my opinion, sir, that you are hut a rake.
I love a valiant sailor who’s now upon the main,
And I’m a maid forsake with a feeling of deep pain."
"My dear, you mustn’t give yourself to melancholy
cries;
I pray you stop weeping now and dry tho®e lovely eyes.
All sailors go from port to port—in each a mistress
they do find.
He has left you to wander here on the hanks of
Brandywine,”
"0 leave me, sir, please leave me! Do not my heart
torment!
My Henry longs to he with me, therefore I am content.
Why do you wish to torment me and cruelly combine
To fill my heart with horror on the hanks of Brandy
wine?”
The lofty hills and craggy rocks they echoed hack
her strains;
The pleasant groves and rural shades were witness
to her pains,
"How often has he promised me in Hymen's chains to
twine!
Now here I am forsaken on the hanks of Brandywine."
"0 no, my love, that ne’er shall he! Behold your
Henry now!
I am your long lost sailor, love—I’ve not forgot
our vow!
Since I find you're etill true, my love, in Hymen’s
chains we'll twine,
And bless the happy morn we met on the hanks of
Brandywine,"
**********************

MB Song Texts
1926

No. 358
DISGUISED LOVER IV
also known as
Johnny German
Johnny Germany
Johnny Jarman
Farewell to the Rainbow
Johnny Jarmanie
Johnny Jarman's Return
Johnny's Return
John the German
Pretty Polly
The Rainbow
The Return of Johnny German
The Wars of Germany
Apparently this is a derivative of the old British
ballad, Johnny German« According to Cox (FSS), a broad
side version was published at Boston about 1820, On the
other hand, Belden (3S) dates the ballad 20 years later
about 1840, The undated Boston broadside is in the Har
vard Library Collection.
The reference lists given in collections containing
versions of this ballad are sometimes disturblingly
used. For example, Moore (BFSS), 183, refers to Men's
Clothing I 7/ill Put On as a title to which Johnny
German is sometimes known. Yet there is no mention
in his text of a woman putting on men's clothing-
which, if it did, would place the song among the
Masquerading Woman group of ballads. Although several
of the disguised lover and masquerading woman songs
have some titles in common, it must be remembered that
the two groups are entirely different in story-line.
The Disguised Lover returns in disguise in order to
test the faithfulness of his betrothed; the Masquerad
ing V/oman disguises herself in order _to Joe with her
lover.
See and compare Jack the German in Dobie (TBE), 156®
REFERENCES

MB
Song Texts
1927
Belden (BS), 155-156
Brown, II, 306—310; IT,
179-180
Cazden, I, 36-37
Chappell (FSRA), 104,
120
Chase (AFTS), 179-181
Cox (FSS), 328-329
Combe (FSMEU), 208
Davie (FSY), 49
Gardner (BSSM), 155-156
Hudson (FST.I), 147
Jour (AFL), XII, 249; XX,
269; XXY, 9; XXXT,
377
Jour (FSS), II, 227
Mackenzie, 173-174
Mackenzie (QB), 135
Moore (BFS3), 183-185
Pub (TFLS), X, 156-157
Sharp, II, 256-257
Wyman (IT), 38
t
Disguised Lover IT
It*s of a young jolly sailor, a true and loving lad,
Who saw a maid in sorrow with countenance so sad.’
"0 my pretty fair young maiden, why look so sad and
down?**
She answered me politely, with neither smile nor frown;
"My one true love he enlisted and left me here ashore;
1*11 have no love for ccr.fort, if he should come no more,
"Perhaps I saw your true lover when I was last at sea;
If you describe him rightly, he may be known to me,”
"He belongs unto the Rainbow , the mate of Captain Lowe;
His name is Johnny German—is he the man you know?”
"I dread to say. Pretty Polly, but very well I know
Your true love Johnny German—he died five months ago,”
She hung her head in deep sorrow', the tears ran down
her cheek;
She stood there sore lamenting and scarce a word did
speak.

MB Song Text9
1928
She went hack home, to her chamber, and there alone
did lie;
She wept for Johnny German, and wiehed that she might
die®
With heavy heart, grieving sadly, to think he’d used
her so,
He dressed himself in scarlet, and to her he did go.
”0 rise you up, Pretty Polly, leave all your tears
behind;
Leave off your sore lamenting and comfort you shall
find.”
"0 dear loving Johnny German, how could you treat
me so?”
”0 hold your tongue, Sweet Polly, and I will let you
know.
"I did it for to try uour love, to see if you were true
I never met another that near exceeded you.
"I bid farewell to the Rainhow, for you have gained
my heart;
I promise not to leave you ’til death tears- us apart 0 ”
***************************

Fo. 359
DISGUISED LOVER V
also known as
The Broken Ring
The Broken Token
The Pair Damsel
The Pair Maid
The Cowboy’s Return
The Pair Maiden
Pair Maid in the Garden
Pair Young Maid, or Maiden
The Gay Young Sailor
Johnny Reilly, or Riley

MB Song Texts
1929
John Reilly, or Riley
John Riley's Return
A lily Fair Damsel
The Love Token
The Maiden in a Garden
Maid in the Garden
A Pretty Fair Damsel
A Pretty Fair Maid
A Pretty Fair Maiden All
in the Garden
Pretty Fair Miss
The Ragged Soldier
The Returning Soldier
The Rugged Soldier
The Sailor and the Maid
The Sailor's Return
Seven Long Years He Has
Kept Me 7/aiting
The Single Sailor
The Soldier Boy
The Soldier's Return
Soldier, Won't You Marry Me?
A Sweetheart in the Army
There Was a Lady in Her
Father's Garden
There Was a Lady in the
Garden
True Love
The True Sweetheart
The Young and Single Sailor
Young Riley
This is by far the most popular of all the Disguised
?» over songs known in the United States, and it has been
more often adapted* In the Western States, for example,
the lover in disguise was neither sailor nor soldier but
a cowboy. The ballad exists in so many versions and
under so many titles that keeping track of it is Q.uite
a problem.
Jofin Riley if* often confused with George Reilly (see
Disguised Lover VI), but the only things the two songs
have in common are name similarity and story theme. Yet
collectors seemed to have had a difficult time with the
two songs, which means I could not readily accept their
titles as a form of identification* Some examples of the
problems are this: The George Reilly in Campbell & Sharp,
No. 82, and the John Riley in Wyman (LT), 37, are identi
cal in story and situation but differ considerably in
meter and phraseology* The George Reilly in Cox (FSS),
323, is, in his words, ”a modified form of the Young
Riley of modern broadsides...” The John Riley in Lomax

MB
Song Texts
1930
(FSNA), 161, is a version of George Reilly . The Maiden
in the Garden in Randolph, I, 258, is certainly a ver
sion of John Riley but in the same volume, p. 262, we
find John Riley set down as a separate song. In Leach
(BB) we find a version of John Riley given as version
B of The Bailiff's Daughter of Islington. Yet, in the
same collection (pp. 701-703), Leach gives the same
story twice again, and in practically the same words
under A Sweetheart in the Army. There are other ex
amples of this confusion due to mixing of songs, hut
we need not continue with them here.
It is quite possible, of course, that Cox is correct in
contending that both George Reilly and John Rllev are
derivatives of the older broadside ballad, Young Riley .
For a combination of the two songs, J ohn and Young
Riley , see The Sailor's Return in Morris, 375-376.
Broadsides of this song were issued by Bebbington, Man
chester (No. 22); J. Cadman, Manchester (No. 265); John
Harkness, Preston (No. 262); Such (No. 21; and W. R.
Walker, Newcastle-on-Tyne (No. 20).
REFERENCES
Baring-Gould, No 44
Belden (BS), 148-151
Broadwood (ETSC), 26
Brown, II, 305; IY f
169
Burton & Manning, 80
Campbell & Sharp, No.
98
Cambiaire, 64-65
Cazden, I, 32-33
Chappell (FSRA), 122
Christie, I, 264-265
Cox (FSS), 316-318
Creighton (FSNB), 56-57
Creighton (SBN3), 56-57
Creighton (TFS), 1-5
Davis (FSY), 49
Dobie (TBE), 155-156
Ebsworth (RB), III, 127-
131
Eddy, 152-153
Emrich (FAL), 568-569
Flanders (VFSB), 135-136
Fuson, 77-78
Gainer, 128-129
Greig, No. 23
Henry (FSSH), 201-203
Hudson (FSM), 150-151
Ives (SA), 8-9
Jour (AFL), XII, 67, 379;
XXIX, 145, 201;
LII, 8

MB Song Texts
1931
Jour (FSS), IV, 127;
VI, 272-273
Karpeles (EPS), I, 552-
555
Kincaid No. 2, 34
Laws N 42, 224
Leach (BB), 315, 701-
703
Lomax (PSNA), 161-162
Lomax (OSC), 168
MacColl & Seeger, 128-133
Mackenzie, 168-171
Mackenzie (Q3), 133-134
McIntosh (PSSG), 45-47
Moore (SPSS), 187-189
Morris, 346-349
O'Lochlainn, 4-5
Ord, 326-327
Owens (TPS), 46-48
Peacock, II, 584-585
Pub (TPLS), VI, 194-195;
X, 155; XXIII, 90-92
Quarterly (SPL), VIII,
165
Randolph, I, 262-264
Reeves, 64-65
Ritchie (SPC), 230-231
Ritchie (SSB), 60-61
Roberts (IP), 101-103
Roberts (SBS), 106-107
Robinson (YP), 25-26
Sandburg (AS), 68-69
Scarborough (SC), 260-
264, 423-425
Sharp, II, 70-73
Sharp (PSPS), No. 25
Shearin (SKPS), 27
Silverman, I, 24
Smith (SCB), 162-163
Wyman (LT), 37, 88
Disguised Lover V
A fair young maid sat in her garden.
A strange young man came walking by.
He said, "Pair maid, will you marry me?"
And he waited for the maid’s reply.
"To marry you, a man of honor—
For honorable you seem to be—
Is something I must refuse to do,
For a servant wife I’ll never be."
"I don’t want you to be my servant!
I’ll marry you, make you my bride.
Servants you’ll have to wait upon you,
While the two of us walk side by side."

MB Song Texts
1932
”1 have a love all of my own,
Tho* seven years he’s "been at sea;
And seven years I’ve waited for him,
For him to return and marry me.”
"0 pretty maid, why he so foolish?
Don’t wait so long for any young man.
He may he dead, or he may he wed,
Or he may he sick in some strange land.
«If he is sick, I’ll wish him better;
And if he’s wed, I’ll wish him joy.
If he is dead, heaven I’ll wish him
For I truly love my sailor hoy.”
Now when he knew that she was constant,
And understood her love was true,
He held a ring for her to see it
’Twas the very ring the maiden knew*,
He held her close and he embraced her,
Kisses gave her, one, two, three;
He said, ’’Fair maid, I am your true love
And I have returned to majrry thee,
"For seven year8 I loved a lady,
For seven years I’ve sailed the sea,
But seven years will I sail no more,
And tomorrow, love, you’ll marry me."
%
*************************

No. 360
DISGUISED LOVER VI
also known as
George Reilly, or Riley A Most Beautiful Maiden
John Reilly, or Riley Reilly the Sailor’s Return
John Riley’s Courtship The Sailor

MB
Song Texts
1933
This and the preceding song tell, essentially, the
same story. locales and tunes differ and differences
in meter and phraseology are also considerable. Never-
the less, separating the two songs is- something like
fitting the pieces of a picture-puzzle together when
all the pieces have been mixed-in with pieces of a
similar puzzl.e* The returned lover may be named
George or John Reilly, or Riley, in versions of either
song. This is not helpful, specially when collectors
do not identify the songs and make references to version
in other works accordingly.
To demonstrate the problem of identity, we will make
this distinction: 7/e are here dealing with a version
of GEORGE REILLY * The preceding song is a version of
JOHN RILEY * I was able to separate the two songs be
cause I was not hampered by oral tradition as were the
collectors who went among the people and then published
their findings. For example, Hubbard gives a version
of George Reilly as John Riley I, then followed that
with a version of John Riley, calling it John Riley II .
Eddy did the same, calling George Reilly by the other
name and putting a version of the real John Riley under
the title, A Pretty Fair Maid. Randolph has George
Reilly as version B of John Riley[s Courtship and
Scarborough (SC) gives it as version 3 of Fair Phoebe
and Her Bark-Eyed Sailor (see Disguised Lover II in
MB).
There is a rather simple way to distinguish between
the two songs, provided the versions being considered
are not too fused or fragmentary. Versions of John
Silgz, which may be a derivative of George Reilly ,
invariably begin with "a maid in a garden." George
Reilly , as well as several "disguised lover" songs,
begins with the hero "out walking to take the pleasant
air" —sometimes along a river bank, sometimes along the
shore, where he encounters his sweetheart and approaches

MB
Song Texts
1934
her. Prom these different "beginnings the two songs
proceed to unfold remarkably similar stories.
We can reasonably assume that this song, George Reilly,
is the older of the two. A version is in The New
American Songster , Philadelphia, 1817, p. 9. A similar
version is in Garret’s Right Choyse and Kerrie Rook of
Garlands, London, 1818. Also, a very similar Irish song,
The Constant Damsel , is in a small Dublin song hook,
The Vocal Enchantress , 1791, p« 22.
Many broadside versions were issued by Catnach, Fortey,
Such, and others,,
REFERENCES
Amer(8)» 130
Brewster (ESI), 215-216
Brown, IV, 178-179
Cambiaire, 95
Campbell & Sharp, No. 82
Chappell (FSRA), 66
Cox (FSS), 323-325
Eddy, 114-116
Ford (BB), No. 3125
Hubbard , 80-82
Lomax (FSNA), 161-162
Lomax (OSC), 168-172
Marsh (SSM), III, 149
Quarterly (SFL), III, 211-
212
Randolph, I, 262-264
Roberts (IP), 99-101
Scarborough (SC), 268-269
Sharp, II, 22-26
Songster (8), 40
Songster (12), 40
Songster (13), 149
Songster (61), 150
Songster (117), 9
Thomas (DD), 104-105
Wyman (LT), 34-37
Dlpgulsed Lover VI
As I walked out early one morning,
To take the cool and pleasant air,
I saw a fair and most beautiful lady,
With eyes of green and golden hair.
I went to her and quietly asked her
If she would be a sailor’s bride.

MB Song Texts
1935
"0 no, 0 no!” she answered me softly,
"Your kind request must be denied,"
"0 tell me why you will not marry?
You differ from all woman kind—
Por you are young, and so fair and handsome,
I'd give the world to make you mine*"
"Three years ago I could have married,
But off to war my love did go;
It is for young George Reilly I'm waiting—
He is the cause of all my woe,"
"0 come with me, and leave George Reilly,
And go with me to some far shore;
We'll sail away to California—
Forget young George forevermore,"
"Kind sir, I can't forget George Reilly,
And I will wait upon this shore;
I will not sail to California,
Tho' he may come to me no more."
I gave to her warm hugs and kisses,
Because I saw her love was true:
"My love," I cried, "I am your own George Reilly
And I've returned to marry you!"
*************************

Ho. 361
DISGUISED LOVER VII
also known as
The Brisk Young Parmer
Pretty Pair Damsel
The Return of William Hall
The Return of Willie the
Sailor
The Rich Young Parmer
A Soldier Boy
William Hall
William Hall's Return
Willie the Sailor

MB
Song Tcxta
1936
This is yet another song of British origin that be
came Americanized via the folk process. Versions of
this ballad have been recovered in most areas of the
United States but, unfortunately, collectors gave
little or no background information concerning it.
REFERENCES
Belden (BS), 156-160
Belden (PISB), Nos. 1 &
31
Brown, IV, 348-350
Brown (BLNC), 10
Campbell & Sharp, No. 101
Cox (FSS), 326-327, 528
Gardner (BSSM), 153-154
Henry (FSSH), 180-181
Hudson (FSM), 154-155
Jour (AFL), XXV, 7; XXVI,
350
Moore (BFSS), 189-191
Morris, 350-353
Owens (TFS), 43-46
Pound, 71-72
Pound (SFSN), IV, 1
Pub (TFLS), XXIII, 78-
80
Quarterly (SFL), VIII, 166
Randolph, I, 231-232
Scarborough (SC), 264-266,
425-426
Sharp, II, 239-242
Sharp (FSEO), II, 32
Shearin (BBCM), 322
Shearin (SKPS), 11-12
Thomas (DD), 84-85
Wyman (LT), 100-102
Disguised Lover VII
I'll tell you of a brisk young farmer,
A man who earned renown;
He courted a fair and handsome lady,
Who lived in yonder nearest town.
Now when his parents learned about it.
In anger they did say:
"We will send him far across the ocean,
Until this love does fade away."
Five long years he sailed upon the ocean,
Then reached his native shore;

MB
Song Texts
1937
"If Molly*s alive," said he, "I will find her,
And we shall part again no more."
As he walked out one morning early,
All down a lonesome street,
Cold rain began to fall upon him,
And his true love he chanced to meet.
■Good morning, good morning, pretty fair Miss.
And could you fancy me?"
"My fancy is placed on a brisk young farmer
Who sails upon the roaring sea."
"Describe him to me," he begged the maiden,
•Describe his looks to me.
Perhaps I had a chance to know him,
Por I have lately come from sea."
•He’s proper, fair, and rather handsome.
Also he’s slim and taxi.
His hair is dark, and he wears it curly.
But his blue eyes are best of all."
"0 yes, I saw him and I knew him
His name is William Hall!
I saw a French cannon-ball go thro' him,
And to his death I saw him fall."
0, the cries and moans of that fair maiden!
Dear God, what shall I do?
"He*s gone! He's gone!" she cried in sorrow.
"My heart will surely break in two!"
"No need to mourn, my pretty fair Miss,
No need to weep," said he.
"Let me convince you of my story
Look at this ring you gave to me."
*******************

MB Song Texts
1938

No. 362
DISGUISED LOVER VIII
also known as
Pain Waterloo
Pained Waterloo
Lovely Nancy
Round Her Mantle so Green
Waterloo
The Mantle of Green
The Mantle so Green
One Morning in June
William O’Reilly
William O’Riley
Willie O’Reilly
Willie O’Reilly’s Return
The Return of Willie O’Riley Young Willie O’Reilly
Although common in British "broadsides, this song is ap
parently of Irish origin. Versions were also frequently
published in America. Some versions were mistakenly
associated with other songs using the same or similar
titles, such as Lovely Nancy and Mantle So Green. Many
old songs are entitled Lovely Nancy , but versions of
this song known by that title are not related to them.
The Mantle of Green (see Erin’s Green Shore in MB) is
not related to this either, although Mackenzie thought
both were derived from a common source. Mackenzie also
described this song as being ”a modified version of...
George Reilly. ”
The original title of this song seems to have been The
Mantle So Green , and it was popular on both sides of
the Atlantic under that title. Broadsides were issued
by J. Cadman, Manchester (No. 166); De Marsan, New York
(List 14, No. 51); Ryle (No. 40); Such (No. 53); and
Wehman, New York (No. 438). Versions also appeared in
dozens of song books and songsters during the last half
of the 19th century.
For songs that are probably variations, see The Plains
of Waterloo in Greenleaf, 172-173 and Beautiful Nancy
in Karpeles (EPS), I, 561-562. For versions of a song
sharing the title Waterloo with the one given below but

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which are not related to it, see Peacock, III, 1020
and Sharp, II, 176.
A recognized variation is given below as version B.
REFERENCES
Belden (BS), 151-152
Creighton (SBNS), 60-61
Delaney (ISB), No. 3, 7
DeMarsan (SJ), No. 1, 174
Gardner (BSSM), 157-159
Greenleaf, 175-177
Howe (100), 276
Joyce (OIFMS), No. 325
Karpeles (EFS), I, 565
Laws, N 38, 222
Leaoh, 312
Mackenzie, 182-184
Manny, 285-286
O’Conor, 38
O’Lochlainn, 14-15
Ord, 155-156
Peacock, II, 555-557
Randolph, I, 371-372
Songster (170), 24
Songster (171), 59
Wehman (617), 120
Disguised Lover VIII
While I was out walking one evening in spring,
A-viewing fine fields and the birds swiftly wing,
I saw a fair damsel who appeared as a queen,
With such costly fine robes and her mantle so green.
I stared in amazement, and in happy surprise;
I thought her an angel who appeared from the skies.
Her eyes were a-sparkle, her cheeks like the rose;
I had never seen fairer that nature composed.
Approaching, I told her, "If you will come with me,
We will join in wedlock and sweet unity.
You shall dress in rich attire and appear like a
queen,
* With your costly fine robes and your mantle so green.
She answered me, saying, "Your offer I refuse.
I’ll be wed to no man. Another you must choose.

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To the green hills 1*11 wander, and I’ll wander
them through,
For the one that I love lies in famed Waterloo.”
"0 fair one, I’m sorry, hut, pray, tell me hie name,
For I’ve been in battle and may know the same.”
"Come and look at my garment and his name will be
seen,
For it’s here, finely stitched, on my mantle so green.
I gazed on her mantle, as I had been told.
And there was his name all in letters of gold.
"Young Willie O’Reilly was a man that I knew;
He was my best comrade over in Waterloo.
"Your Willie fought so bravely while bullets ’round
us flew,
Till in the battle fell the lad we both knew.
As your Willie lay dying, these words he did cry:
’Were you here, sweet Nancy, contented I would die!’"
In silence she listened, and paler, paler grew,
Then turned her face from me, her tears hid from
view.
"Thro* the hills I will wander for the one I adore,
And I won’t forget him, tho’ I’ll see him no more."
"Rise up, lovely Nancy, the truth I will declare:
Look! see the love-token you gave me to wear.
Thro* the hills do not wander—I’m the one you adore;
I’m your Willie come home and will leave you no more.
"0 don’t you remember ’twas I won your heart
In your father’s garden before we did part?
- When we promised to be true, and I made you my queen
In your costly fine robes and your mantle so green?"

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1941
This couple were married, and I heard people say,
"They had lords and ladies in service that day.
They were happy and peaceful, for the war was all o’er,
And the happy bride knew he would leave her no more."
VERSION B
also known as
The Banks of Clyde
Bloody Waterloo
Lonely Waterloo
Upon the Banks of Clyd
This is an adaptation of the above ballad. Other texts
are in Gardner (BSSM), 227; Greenleaf, 178-179; and
Peacock, III, 1007-1008.
A fair maid came walking along the banks of Clyde,
And tears ran down her cheeks as she passed by my side.
I saw her heaving bosom and heard a word or two:
"I fear my Willie*s dead on the field of Waterloo."
"What kind of clothes did Willie wear?" I asked her
in reply.
"He wore a highland bonnet with feathers standing high.
With a broadsword at his side and a suit brown of hue—
Such the clothes my Willie wore at Bloody Waterloo."
■I was your Willie's comrade, and saw your Willie die;
Pour bayonets struck his chest, but low was his cry.
He took me by the hand, saying, "I fear my life is
through,"
•Twas then he closed his eyes at Bloody Waterloo."
"0 Willie, dearest Willie," and she could say no more.
She fell into my arms and cried out once more:
"Death, open wide your jaws and swallow me too!
Let me be with Willie's corpse at Bloody Waterloo."

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1942
"look up, my pretty fair maid, look up and you will
see
The soldier that you mourn, safe from o’er the sea.
I*ve returned to claim your love and make you my
bride."
How they are in wedlock bound on the banks of Clyde.
********************************

Ho. 363
DISGUISED LOVER IX
also known as
Annie and Willie
Little Mary, the Sailor’s
Bride
Love Disguised
Love in Disguise
Mary and Willie
The Return of Willie the
Sailor
William and Mary
Willie and Mary
Willie the Sailor’s
Return
According to Edward Phillips ( New World of English Words
1705), this was "a popular song, sung up and down the
streets." Adapted by the masses after being performed
upon the stage, the song became part of the folk process
and developed accordingly. The earliest known version in
print is the J. Evans broadside, 1794. Another version
is in Hodgson’s Fashionable Song Book , 1833, pp. 23-24.
The date of the song’s arrival in America is unknown.
The tune to which the text is sung seems to vary from
place to place, Barry said the tune of his version was
a variant of My Lodging Is On The Cold Ground« Flanders
said of her version, "The music is a set of an old Eng
lish air, probably originally a country dance tune, from
which was descended the melody to Fair Harvard , as well
as the tunes of some American traditional songs, includ
ing The Cowboy’s Lament, "
Although this ballad has version titles in common with

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Song Texts
1943
several different songs, it is not related to the
Willie and Mary , or Willie Was A Pine Young Sailor
in Manny, 308-310.
REFERENCES
Barrett, 59
Barry (MWS), 24-25
Belden (BS), 152-153
Brewster (BSI), 356
Bulletin (FSSN), VIII,
15-16
Flanders (NGMS), 25-27
Flanders (VSFB), 150
Henry (FSSH), 172-173
Hudson (FSM), 153-154
Hudson (SMFL), No. 29
Jour (AFL), XLV, 102
Lomax (CS-1919), 77-78
Pound, 200-202
Randolph, I, 264-265
Shearin (SKFS), 27
Disguised Lover IX
As Mary and Willie walked by the seashore
Their final farewell to take,
Said Mary to Willie, "Should you never return,
I fear that my poor heart would break."
"Do not despair, little Mary," he said,
As he pressed the fair maid to his side;
"My absence don't mourn and when I return,
You know I will make you my bride."
Three years went by without any news,
And Mary stood at her door.
A beggar came walking, with patch over his eye,
Quite lame, all tattered and tore.
"Fair lady," he cried, "some charity show
And your fortune I'll tell you beside.
The young man you mourn will never return
To make little Mary his bride."
She trembled with sorrow and then she did say:
"I'll give both money and bread,

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Song Texts
1944
If only you’ll answer, and please answer me true—
Is Willie living or dead?"
"He lives today, but in dire poverty,
And he's been shipwrecked over the tide;
So poor is he now he'll never return
To make little Mary his bride,"
"0 surely God knows what joy I feel,
Tho' his misfortune I mourn.
My Willie is welcome and ever will be,
In poverty, tattered and torn.
My love is sincere and I want him here,
And I shall wed no other beside.
Although he is poor I pray he'll return
To make little Mary his bride,"
The beggar then tore the patch from his eye,
His crutches dropped from his side;
"Forgive me, dear Mary, forgive me," he said,
*Twas only your love that I tried,
I've money a-plenty and riches untold,
And happy to be by your side.
Straightway we'll roll in my coach of gold,
To make little Mary my bride!"
********************************

No, 364
DISGUISED LOVER X
also known as
The Lady of the Lake Liza Gray
Although this song is similar to all the other Disguised
Lover pieces, it is fundamentally different in that it
is based upon an actual event, Doerflinger, 301, says
this "is a ballad issued by the broadside printers after

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Song Texts
1945
the loss of the ship Lady of the Lake , a Lord Jim
tragedy in grim reality.”
The Lady of the Lake , an emigrant ship, was bound from
Belfast to Quebec, when, on May 11, 1833, she ran into
the underwater tongue of an iceberg south of Newfound
land. Some two hundred lives were lost. Only those in
the Captain's lifeboat survived. Details of the disaster,
including the testimony of survivors, are given in The
Icy Atlantic, title of an article by Captain James
Hoekens in The Nautical Magazine and Naval Chronicle ,
June, 1860, pp. 292-295. Also see The Mariner * s Chronicle
of Shipwrecks , fires, Famines , and Other Disasters at
Sea, Philadelphia, 1849, vol. 1, pp. 334-335.
REFERENCES
Doerf linger, 302-303 Mackenzie, 178-179
Durlacher, 140 Peacock, III, 928-930
Jour (AFL), XXV, 185
Disguised Lover X
One evening as I took a walk down by the riverside,
Near the town of sweet Dundee, a lovely lass I spied.
She sighed and cried and then did say, "I fear I'll
rue the day
My sailor lad left me here and sailed far away.”
Quietly, and unseen by her, I speedily drew near,
And recognized the voice of my own sweet Ellen dear.
By her mournful lamentations I was taken by surprise,
And ached to take her in my arms and dry her lovely
eyes.
I quickly stepped beside her to ease her misery,
"Fair lady, why do you weep beneath the willow tree?”
She sighed aloud and then did say, "0 please don't
trouble me!
I'm weeping for a sailor lad who drowned in the sea.

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Song Texts
1946
"So handsome was my sailor lad, my own dear Willie
Brown;
In the Lady of the Lake he sailed from Belfast town.
Three hundred emigrants all hound for Amerikay
Were lost along with Willie and all cast away."
"I knew your Willie Brown. I, too, in that vessel went.
Many pleasant hours together with him I have spent.
We were close and constant comrades on the Lady of the
Lake ,
Till on the Newfoundland coast we found our lives at
stake.
"Out on the raging sea, five hundred miles from nearest
shore,
Tons of ice and northeast winds did on our vessel pour;
The Lady of the Lake wa«? tossed and torn and quickly
rent,
And all hut thirty-four hrave souls to the bottom went.
"Young Willie Brown among the rest I’m sure was cast away;
Before the ship to pieces went these words I heard him
say:
’Farewell to my sweet Ellen dear! I know her heart will
break
When she hears that I am lost with the Lady of the Lake. *"
"0 God! young man, if all you’ve said to me is really
true,
It’ 8 to all earthly comforts that I now say adieu!
All my days from this time on, it’s single I will he.
So please, sir, leave me here alone beneath the Willow
tree."
I said, "My dear sweet Ellen, from your weeping now
refrain;

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Song Texts
1947
0 don*t you see I’ve been spared to see your face again?
Behold this token that you gave to me when I sailed
away—
It bears the lovely likeness of my own dear Ellen Gray*"
*********************************

No. 365
THE DISHEARTENED RANGER
also known as
Come List to a Ranger The Ranger’s Lament
According to J. E. Haley, in his book Charles Goodnight ,
pp. 97-98, this song was written by two Texas Rangers:
Alec McClosky and Ton Pollard. They wrote the song dur
ing the Civil War years. A version called The Ranger’s
Lament , contributed by Stuart Lake, is in the Saturday
Evening Post . April 11, 1931, p. 145. The version below
is an arrangement from the singing of Tex Fletcher,
Black Hills, South Dakota*
REFERENCES
Allan (LSB), 92 Lomax (CS-1938), 369-370
Lingenfelter, 268-269 Moore (BFSS), 315—316
Lomax (CS-1919), 261-262 Randolph, II, 178-179
The Disheartened Rar.ger
0 listen to a ranger, altho* I’m a stranger;
The song is a sad one, so lend me your ear.
I have kept the Comanches away from the ranches,
And fought with outlaws all along the frontier.
I am weary of scouting, of riding and routing
The Indians and rustlers, spilling my blood.

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1946
No rest for the sinner, no breakfast or dinner,
While sleeping at night on a bed in the mud.
No corn or potatoes, and never tomatoes;
And jerked beef as tough as the sole of my shoe.
All day without drinking, all night without winking—
I tell you, kind stranger, such treatment won't do.
Them big alligators we call legislators,
They're puffing and blowing two-thirds of the time;
But windy orations about rangers and rations
Never put in my pocket one-tenth of a dime.
Election time's coming, and they'll be out running
And praising our valor, to purchase our votes.
But I'm wise to their sham, know they don't give a damn!
And I'm hoping their speeches get stuck in their throats.
Altho' it may grieve you, this ranger must leave you
Exposed to the arrow, the knife of the foe;
So look to your cattle and fight your own battle,
For home to Kentucky I'm determined to go.
********************** *******

No, 366
DIVES AND LAZARUS
also known as
Divers Never Gave Nothing Lazarus and the Rich Man
to the Poor The Rich Man and Lazarus
The Biblical account of Lazarus and the rich man has
been the theme of many songs, some of them far removed
from the Biblical text. For an example of the latter,
see The Orphan Girl and the Rich Man in this Master
Book. The Dives and Lazarus ballad in Child, II, 10-
12, No. 56, is much older than the song of like title
given below, and perhaps inspired it. The language is

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1949
different but the story is exactly the same. The Child
ballad dates from at least July 19, 1557, for on that
date it wa9 licensed to Master John 7/allys and Mistress
Toye in London. Versions of that song may be seen in
Broadwood (ECS), 102-103; Hone (EBB), I, 1598; Husk's
Songs of the Nativity , 94; and Sylvester's Christmas
Carols, 50. The Husk version was a reprint of an 18th
century broadside, which begins:
As it fell out upon a day.
Rich Dives he made a feast,
And he invited all his friends
And gentry of the best.
Then Lazarus laid him down and down,
And down at Dives' door:
"Some meat, some drink, brother Dives,
Bestow upon the poor,"
A Negro version of the story, Divers Never Gave Nothing
to the Poor , is in Kennedy (M-2), 51-52 0 Yet another
version, Dives and Lazarus , is in Lomax (ABES), 583-
584, and begins:
Wo* his purple an* linen, too,
Ring dat big bell;
Don't keer what sorta rags fer you,
Ring dat big bell;
Dine sumptious ev'y day,
Ring dat big bell;
Tell Laz*us go away.
An entirely different Lazarus and the Rich Man is given
in Randolph, IV, 96-97 (No. 661), and it begins:
Be silent all you people
And listen while I tell
Of something in the Bible,
The bock we all know well;
It's the truth about a rich man

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Song Texts
1950
Who had his heart's desire,
And later he was suffering
In the midst of flaming fire.
For another song with the same title, see Davis (TBV),
175-176.
Our version of the Biblical tale is probably more recent
than any of the aforementioned texts, but I have no hard
evidence to prove it. Brown, who has a similar version,
says the song "is avowedly the production of a local
ballad-maker of Watauga County (North Carolina).” Brown
was taking the word of a contributor, Thomas Smith of
Boone, N. C., who said: "The...song sung to me May 7th,
1915, by Edmund B. Miller, who composed it himself, he
says, over 30 years ago.” Personally, I don't believe
that the song was composed by Edmund B. Miller. Par too
many similar versions have been around much longer than
the date given, and they are also in print.
REFERENCES
Brown, II, 210-212; IV,
132
Bulletin (VPS), No. 12, 3
Coffin, 67-68
Dean-Smith, 63
Plunders, II, 74-75
Gainer, 35-36
Houseman, 65-67
Jour (FSS), II, 125; IV,
47; VIII, 29
Kinsley, 5-7
Leach (BB), 177-179
Niles (BB), 129-131
Quiller-Couch, 455-457
Sharp, II, 29-30
Dives and Lazarus
In ancient times there lived a man,
And Holy Scripture's name him;
He lived a life of wealth and sin,
And no one dared to shame him,
And no one dared to shame him.

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Song Texts
1951
This wealthy man he dined the best,
And dressed in silk and linen;
He turned his face away from God
And gave his life to sinning, (2).
Poor Lazarus lay before his gate,
To feed himself unable;
And there he lay and did await
The crumbs from Dives* rich table, (2).
Now not one crumb did Dives let fall,
Nor any food would send him;
The dogs came out and licked his sores,
But Dives would not befriend him, (2).
"Away with you!" the rich man said,
"I*m neither friend nor brother,
I will not give you food to eat
This lay nor any other, (2),"
Poor Laz’rus died before the gate,
All as the Lord intended,
And straight to heaven Laz*rus went,
With all his sorrows ended, (2),
When Dives at last lay down to die,
0 sad his destination!
Prom heaven Lazarus looked down
And saw Dives in damnation, (2),
Rich Dives looked up and vainly cried,
"0 Laz*rus, bring me water!
0 could I live my life again,
I»d do the things I oughter, (2),"
************************

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1952

No. 367
DIXIE
also known as
SOURCE SOUQ, As every Southern school child knows,
this song was the Rational Anthem of the Confederate
Statee of America, The irony i9 that it was not writ
ten by a Southerner; it was written by a Northerner
who was totally opposed to the Southern "Cause.” Dan
Emmett, a minstrel performer and song-writer, composed
the 9 ong for a show. The first authorized edition of
Dixie was published in 1860 by Firth, Pond & Company,
347 Broadway, New York, N. Y.
Dan Emmett, like many another songwriter before and
since, had little business acumen. After composing Dixie
in 1859, he performed it for almost a year as a member
of Byrant's Minstrels without bothering to obtain a copy
right. His song was already widely popular when Emmett
turned it over to Pirth, Pond & Company, who promptly
protected it with copyright obtained June 21, 1860. On
Peb. 11, 1861, the publisher paid Emmett a mere $300,
for all his rights and interest in and to the song. A
copy of the Bill of Sale is on file at the Library of
Congress, Washington, D. C.
The original text of Dixie , first performed in public
by Emmett himself on April 4, 1859» differs in several
respects from that of the first authorized published
text of 1860. Both texts are given below,
Dixie inspired many parodies and, naturally, the tune
was borrowed for dozens of 90ngs, 90 me of which are still
in circulation.
A parody of four stanzas by Andy Lee (Alias for W. W,
Delaney), in the Delaney Song Book No . 33 , was reprinted
in Sandburg (AS), 342, under the title: Crazy Song to the
Air of "Dixie.” It begins:

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Song Texts
1953
Way down South in the land of cotton,
I wrote this song and wrote it rotten,
I did! I didn't!
Tou don't "believe me?
The reason why I cannot sing,
I have no chestnuts for to spring*
0, me! Did we?
She don't! Why does she?
When I was a boy in North Carolina, the parody began:
Way down yonder in the land of cotton.
My feet stink but your's are rotten!:
Get away! Get Away! from Dixie Land.!:
Another parody, perhaps penned by some soldier with a
sense of humor, begins:
The ladies! bless the darling creatures!
Quite distort their pretty feature#,.
For the war, for the war, for the?war
in Dixie!
In Michigan, they sang a parody that begins::
Away down South where grows the cotton,
Seventy-six seems quite forgotten,.
Far away, far away, far away,
Dixie Land!
Soldiers in Texas sang their own words:
One night when we were getting dry,,
A little rye whiskey was the cry::
Away, away, away down South in Texas!
The boys together made a plan
To rob the commissary man,
Away, away, away down South in Texas!
For yet another parody, see the one sung by seamen in
Hugill (1), 424-425.
Of course there were many other songs written in praise
of Dixie, with each expressing its own theme and sung to

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Song Texts
1954
its own air, and some of these were extremely popular,,
But Dixie was unquestionably the more popular, because
it was sung in both the North and the South® Four of
the more popular versions are given below* Version A
is from a Dan Emmett manuscript, 1859* Version B is
from the first authorized published text, 1860* Versions
C and D are Southern adaptations of the 1860 text*
REFERENCES
Adler, 101
Agay (2), 126-127
Arnett, 76
Botkin (SFL), 713
Chappie (HS), 166-167
Dolph, 238-241
Downes, 152-154, 182-
183
Elson, 26-27
Gilbert (100), 110-111
Glass (SS-2), 7-9
Hornby, 14
Ives (TA), 286-287
Johnson (FS), 580-582
Kobbe, 64-66, 77
Krythe, 112
lair (SLL), 40
Lawrence, 352-353
Lloyd, 120-121
Lomax (ABFS), 531-532
Luther, 111
Machenzie (SH), 46
Nathan, 359-361
Oberndorfer, 104
$ilvermah, II, 282
Songs (15), 46
Staton, 29-30
Whall (SSS), 120-121
Whitman, 40
Wier (SWS), 206-207
Wier (YAM), III, 74
Dixie ( Original ) Version A
I wish I was in de land ob cotton,
Cimmon seed an sandy bottom,
Look away, look away, away, Dixie Land.
In Dixie Land whar I was born in.
Early on one frosty mornin,
Look away, look away, away, Dixie Land,

Song Texts
1955
Chorus
Den I wish I was in Dixie, Hooray! hooray!
In Dixie *3 land, we'll took our stand,
To lib an die in Dixie, away, away,
Away down south in Dixie,
Away, away, away down south in Dixie.
Old missus marry Will de Weaber,
William was a gay deceaber,
Look away, etc.
When he put his arm around*er,
He look as fierce as a forty pound*er,
Look away, etc.
His face was sharp like a butcher's cleaber
But dat did not seem to greab*er,
Look away, etc.
Will run away, missus took decline, 0,
Her face was de color ob bacon rhine, 0.
Look away, etc.
While missus libbed she libbed in clover.
When she died she died all over,
Look away, etc.
How could she act such a foolish part, 0,
An marry a man to break her heart, 0?
Look away, etc.
Buck-wheat cakes an stony batter
Makes you fat or a little fatter,
Look away, etc.
Here*8 a health to de next old missus.
An all de gals dat wants to kiss us.
Look away, etc.
Now if you want to drive 'way sorrow,
Come an hear dis song to-morrow,
Look away, etc.

Song Texts
1956
Den hoe it down an scratch y*er grabble,
To Dixie's land I’m bound to trabble.
Look away, etc.
Version B: 1860
I wish I wae in de land ob cotton,
Old times dar am not forgotten;
Look Away! Look Away! Look Away! Dixie Land.
In Dixie Land whar I was born in,
Early on one frosty mornin,
Look Away! Look Away! Look Away! Dixie Land.
Chorus
Den I wish I was in Dixie, Hooray! Hooray!
In Dixie Land 1*11 took my stand,
To lib an die in Dixie,
Away, Away, Away down south in Dixie!
Away, Away, Away down south in Dixie!
Old Missus marry "Will-de-Weaber,"
William was a gay deceaber;
Look away, etc.
But when he put his arm around'er,
He smiled as fierce as a forty-pound*er,
Look away, etc.
His face was sharp as a butcher's cleaber,
But dat did not seem to greab'er;
Look away, etc.
Old Missus acted de foolish part,
And died for a man dat broke her heart,
Look away, eto.
How here’s a health to the next old Missus,
An all de gals dat want to kiss us;
Look away, etc.

Song Texts
1957
MB
But if you want to drive 'way sorrow,
Come an hear dis song to-morrow,
look away, etc.
Bar's Buck-wheat cakes an 'Ingen* batter,
Makes you fat or a little fatter;
look away, etc.
Ben hoe it down an scratch your grabble.
To Dixie Land I'm bound to trabble*
look away, etc.
Tersion C: De Cotton Down in Dixie
I*m gwine back to de land of cotton,
Wid de "English Flag" in an "English bottom,"
Par away, far away, far away, Dixie Land.
Ka.ee dere I'm safe from Uncle Sam,
And he can't make me contraband,
In de land, in de land, in de land,
Away down south in Dixie.
Chorus
0, in Dixie Land I'll take my stand.
And live and die in Dixie Land!
Hoe away, hoe away, hoe away,
Be cotton down in Dixie.
Can't confiscate me for his use,
To black and clean his sowers' shoes,
Par away, etc.
To "dig his trenches" and save his health,
Por a picayune a day and find myself
Par away, far away, far away
Prom de cotton land of Dixie.

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Song T?-:ts
1958
Version D; EveryBodv* g Dixie *
(♦Words By Gen. AlBert Pike)
This adaptation of Emmet 1 3 Dixie was introduced at
a performance of Pocahantag , sung in march tempo By
a chorus in regimental uniforms. Por other texts of
this, see Ives (TA), 286-287 and Staton, 30-31.
Southrons, hear your country call you!
Up! lest worse than death Befall you!
To arms! to arms! to arms! in Dixie!
L©! the Beacon fires are lighted!
Let our hearts all Be united!
To arms! to arms! to arms! in Dixie!
Chorus
Advance the flag of Dixie! Hurrah! Hurrah!
Por Dixie*s land we’ll take our stand,
To live or die for Dixie!
To arms! to arms! and conquer peace for Dixie!
How the South’s great heart rejoices
At your cannons* ringing voices!
To arms!, etc.
Por faith Betrayed and pledges Broken,
Wrongs inflicted, insults spoken!
To arms!, etc.
Pear no danger! Shun no laBor!
Lift up rifle, pike and eaBre!
To arms!, etc.
Shoulder pressing close to shoulder,
Let the odds make each heart Bolder!
To arms!, etc.
Swear upon your country’s altar
Never to suBmit or falter!
To arms!, etc.

MB
Song Texts
1959
Till the spoilers are defeated,
nil the Lord’s work is completed!
To arms!, etc*
If the loved ones weep in sadness,
Victory shall bring them gladness!
To arms!, etc.
Exultant pride soon banish sorrow,
Smiles chase tears away to-morrow!
To arms!, etc,
***************** *•**■*#**

No, 368
DOC HOLLIDAY
If there is another song dealing with the life and
career of John H, "Doc" Holliday, I was unable to
find it. This one, set to a variation of Streets
of Laredo (see Unfortunate Life III in MB), is from
Dickson Hall’s Outlav/s of the Old West and reproduced
with permission.
Considerable misinformation has been written about
Doc Holliday, one-time dentist from Valdosta, Georgia,
who, because he suffered from consumption, sought the
drier climate of the West,
Doc Holliday became a professional gambler and, accord
ing to such information as can be reliably obtained, an
expert guman. He was not, however, a professional gun
man, Even though he killed several men, he was "wanted
for murder" in only one place—Dallas, Texas, where he
shot and killed a man for calling him a "cheat" during
a card game. In Kansas, at Dodge City, a rather loose
friendship developed between him and Wyatt Earp, then
the city marshal. The two men traveled to Tombstone,
Arizona, together and remained close.
It was in Tombstone, at the famous 0, K, Corral "shoot
out", that Doc Holliday attained a place in Western

MB
Song Texts
I960
history. He joinded Wyatt Earp and Wyatt's two
brothers in that fight, which, incidentally, lasted
only two minutes. For additional information on this
historical shoot-out, see Gun Eight at the 0. K. Corral
in this Master Book.
Doc Holliday was an excessive drinker, a fact that
undoubtedly contributed to his demise. According to
one witness, Doc drank a tumbler of whiskey on his
death bed, smiled and muttered, "This is funny<>" It
is assumed that he was referring to the fact that he
was dying in bed with his boots off. He had often bet
he would not draw his gun fast enough one day and
would, therefore, die with his boots on. Instead, he
died in bed at a sanatorium in Glenwood Springs, Colo
rado, The disease that made him a killer finally
killed him. Much of his career is accurately recounted
in the following song.
Doe Holliday
If you will listen I'll tell you my story,
Tell you my story by way of a song.
If ever somebody should ask where you heard it,
Tell *em Doc Holliday passed it along.
Once, back in Georgia, I used to be happy;
Then from my home I just wanuered away.
I went down to Texas and got into trouble—
With death in my lungs I am dying today.
I killed a man there and went to Dodge City,
I killed a few more and I went to Tombstone;
I rambled and gambled and drank too much whiskey—
Them that I shot should have left me alone.

MB
Song Texts
1961
I once loved a woman, a beautiful woman,
But thinking it wiser I sent her away;
Here I am now, alone and forsaken—
With death in my lungs I am dying today.
Get me some gamblers to sing at my funeral.
To sing at my funeral and make it complete;
Put some rye whiskey with me in my coffin—
A jug at my head and a jug at my feet.
Bury me yonder in that little green valley,
Big me a grave and lay me away;
Cover me over and plant a few flowers—
A mark for the grave of Doc Holliday*
******************************

Ho. 369
BOG ANB GUN
also known
As I Was Out Hunting 7/ith
My Bog and Gun
The Parmer’s Bride
The Golden Glove
Hunting With a Bog and Gun
It*s of a Squire
The Jolly Parmer
The Lady and the Glove
A Lady Lost Her Glove
The Nobleman’s Laughter
Off She Went Hunting
The Rich Esquire
The Squire of Tamworth
Waistcoat and Britches
With Her Bog and Gun
The Young Parmer
This British ballad is one of the few older ballads
that has been printed more often with music than with
out. Also, there were early 19th century broadsides
by Such, Catnach, and Pitts. The ballad circulated
widely within the United States, where is was also pub
lished in broadside form. There is a Philadelphia
Chapbook (circa 1830) version in the Harvard College

KB
Song Texts
1962
Library (25276.43.81), which shows no difference in
text from earlier broadside versions. In oral circu
lation, however, the text and the tune were altered
considerably* Many versions have been collected in
different parts of America, but all are easily identi
fiable despite textual and melodic variations*
For an entirely different song using the title. The
Log and the Gun , see Creighton (MI’S), 104-105.
REFERENCES
Baring-Gould (EFSS), 32-33
Belden (BS), 229-231
Bell, 290
Bell (APBS), 70
Brown, II, 474-475; IV,
256
Bulletin (HPL), III, 7-8
Burne, 552-553
Chappell (FSRA), 106-107
Christie, II, 114-115
Cox (FSS), 384-386, 530
Cox (TBWV), 68-69
Creighton (TSNS), 147-150
Lavis (FSV), 38-39
DeMarsan (SJ), I, 451
Eddy, 173-175
Flanders (NGMS), 29-31
Flanders (VPSB), 116-118
Gainer, 140-141
Gardner (BSSM), 195-197
Greig, II, art. 95
Greig & Duncan, No. 166
Rowe (100), 265
Hubbard, 84-85
Hudson (FSM), 158-159
Jour (AFL), XXV, 12; XXIX,
171 ; XXXIX, 113; LX, 228
Jour (FSS), VI, 29-30
Karpeles (EFS), II, No. 219
Kidson (GEFS), 16
Kidson (TT), 173
Kincaid (No. 2), 35
Laws, N 20, 212
Mackenzie, 80-81, 395
Moore (BFSS), 181-183
Peacock, II, 340-341
Petrie, Nos. 366 & 380
Quarterly (SFL), II, 149-
151
Randolph, I, 308-310
Scarborough (SC), 227, 416
Sharp, I, 377-378
Shearin (SKFS), 11
Thomas (DD), 170-171
Treat, 36
ffyman (LT), 49-51

MB Song Texts
1963
A wealthy young squire of Tamworth we hear
Went courting a nobleman*s daughter fair,
And for to marry her it was his intent;
All friends and relations had given consent*
The time was appointed for the wedding day,
A young farmer chosen to give her away;
But from the moment the farmer caught her eye,
He inflamed her heart. "I'm in love!" she did cry.
She turned from the squire, and nothing was said.
Instead of being married she took to her bed.
The thought of the farmer was still in her mind;
A way for to have him she quickly did find.
Coat, waistcoat, and britches the lady put on,
And out hunting she went with her dog and gun.
She hunted all round where the farmer did dwell,
And knew in her heart that she loved him full well.
She fired and she fired and never did yield
Until the young farmer came into the field.
To have a talk with him it was her intent;
With her dog and her gun to meet him she went.
"I thought you had gone to the wedding," she cried,
"To wait on the squire and give him his bride."
"No, sir," said the farmer, "If the truth I may tell,
I won’t give her away for I love her too well."
"Supposing the lady should love to you give?
The squire may decide to not let you live."
"Why, then," said the farmer, "I'd take sword in
hand,
And fight him to gain her, if he should command."

KB Song Texts
1964
It pleased the young lady to find him so bold;
She gave him a glove that was flowered with
gold,
And told him she'd found it while making a run.
As she was a-hunting with her dog and gun.
The lady went home with a heart filled with love
Then gave out a notice that she’d lost a glove.
She said, "Whoever finds it and brings it to me,
I vow by heaven, his true bride I shall be."
The farmer was happy to hear such good news,
And straight to the lady he strode in his shoes.
"Dear honored lady, I*ve picked up your glove,
And hope, as you said, you'll grant me your love
"It's already granted, and I'll be your bride;
I love the sweet breath of a farmer," she cried.
"1*11 be mistress of your dairy, go milking the
cow
While my Jolly brisk farmer goes whistling to
plough."
And when they were married she told of her fun,
Of how she went hunting with her dog and gun:
■And now that I've got him fast in my snare,
I will love him forever, I vow and declare!"
*************************

No. 370
DOLLY DEE DUM DAY
also known as
As I Went Out This Morning
The Pit's Come On Me Now
I Must and I Will Get Married
Lollie Trudom
Lollie Trydom
Lolly Tee Trudom
Lolly Tee Dum
Lolly Too Dum

MB
Song Texts
1965
lolly Trudora
Mother end Daughter
Polly Holman's Wedding
Roily Trudam
Roily Trudom
Roily Trudum
In this song we have an English-American version of an
ancient French theme. Song probably came to the United
States by way of Canada, where the ancient theme of a
girl determined to get married i9 still very much alive
in French-Canadian folk song. American versions date
hack to at least the 1830s. We know this because Wash
ington Irving commented on a version of the song in his
notes, made while he was on tour in 1832. Irving's notes
were published in Southwest Review , XIX, 449o
In the version below, as in all others, the story unfolds
in dialogue form.
REFERENCES
Arnold, 78
Belden (BS), 266
Best, 7
Cazden, II, 52-53
Chappell (PMOT), I, 176
Chase (AFTS), 138-139
Downes (1940), 184-185
Downes (1962), 218-219
Enrich (CBF), 10
Greig, art. clxxvi
Hudson (FSM), 280-281
Ives (SA), 140-141
Ives (SB), 210, or 188
Karpeles (FSE), II, 22
Lelsy, 218-219
Lomax (OSC), 126-127
Lomax (PB), 48
Lomax (USA), 46-47
Moore (BFSS), 383-384
Owens, 214, or 122-123
Randolph, III, 77-79
Sandburg (NAS), 58
Sharp, II, 159
Sharp (FSFS), No. 62
Silverman, II, 174
Simpson (BBB), 218
Warner, 71
Dolly Dee Dun Day
As I went out this morning to take the pleasant air,
Dolly dee dum, dee dum, dolly dee dum day!
As I went out this morning to take the pleasant air,

MB
Song Texts
1966
I overheard a mother scolding her daughter fair,
Dolly dee dum, dee dum, dolly dee dum day!
Tou*d better wash them dishes and hold your wicked
tongue, etc.
I know you want to marry, but you are much too young, etc
Oh, pity my condition the way you do your own, etc.
For more than fourteen years now I've had to live
alone, etc.
Supposin' I was willing, where would you get your
man, etc?
Oh, lordy, lordy, mama, I'd marry handsome Dan, etc.
Supposin' he should spite you like you done him
before, etc?
Well, lordy, lordy, mama, I'd find a dozen more, etc.
******************************

No. 371
DONE WITH THE SIN AND SORROW
also known as
Oh! Holy Lord!
Pre-Civil War spiritual; and one of those featured by
the original Fisk Jubilee Singers.
References
Jubilee (PS), 37 Marsh (SJS), 157 Pike, 197, 239
Done With the Sin and Sorrow
Oh, rise up, Children, get your crown,
Done with the sin and sorrow,
And by your Saviour's side sit down,
Done with the sin and sorrow.

MB
Song Texts
1967
Chorus
Oh! Holy Lord! Oh! Holy Lord!
Oh! Holy Lord!
Done with the sin and sorrow.
Oh! what a morning that will he, etc.
Our friends with Jesus we will see, etc.
Oh! Christians, we are gaining ground, etc.
We'll shout old Satan's kingdom down, etc.
I soon shall reach that golden shore, etc.
Let's sing the songs we sang before, etc.
****************************

No. 372
DONKEY RIDING
also known as
Riding on a Donkey
This is a capstan shanty and derives from My Bonnie
Highland Laddie (pee in MB). According to Hugill, this
shanty is also related to Because She Was A Young Thing
Lately Left Her Mammy , 0 . which, in turn, has a kinship
with Billy Boy (see MB).
REFERENCES
Harlow, 72-73 Hugill (1), 147-148 & (2), 201-203
Donkey Riding
Was you ever in Quebec,
Launchin' timber on nhe deck,
Where you'd break your goddamn neck
Riding on a donkey?
Chorus

MB Song Texts
1968
Way, hay, an' away we go!
Donkey riding, donkey riding!
Way, hay an’ away we go! Oh!
Riding on a donkey.
Was you ever down in Mobile Bay,
Loadin* cotton all the day,
Where you get such damn low pay
Riding on a donkey?
Was you ever down Frisco way,
Where the gals all shout hooray,
Here comes Johnny with three years pay
Riding on a donkey?
Was you ever off old Cape Horn,
Where your backside's never warm,
A-wishin' like hell you'd never been born
Riding on a donkey?
**************************

Ho. 373
DON'T BE WEARY
also known as
We'll Sail Away to
Heaven
Don't Get Weary
0 Brothers, Don't Get Weary
We are dealing here with two distinct yet quite similar
spirituals. The first, version A, probably inspired the
hymn, I Want To Go To Heaven Like A Feather In The Air
(by Rev. Paul Sykes). Some have suggested that the hymn
inspired the spiritual, but I don't believe so. I have
seen no evidence to support that contention. Many old
spirituals contain the terms "don't be weary" and "don*t
get weary" (see version B below), but most of them are
not otherwise related.

MB
Song Texts
1969
For examples of songs with like terminology, see _I Do
Love the Lord I & II in this Master Book .
Version A and version B are really different songs,
not merely variations.
For other versions of A, see Allen (SSUS), 95, or 149;
Brown, III, 681 & V, 402-403; and Greenway, 79-80.
Version B, which dates back to at least the early part
of the 19th century, was first published in 1867 in
Allen (SSUS), 75. In the revised 1965 edition of that
work, the song is on pp. 128-129. For another version,
see Dett, 113.
Don* t Be Weary A
We’ll sail away to heaven like a feather in the wind,
Feather in the wind, Lord, feather.in the wind;
We’ll sail away to heaven like a feather in the wind,
Yes, we'll sail away to heaven bye and bye.
Chorus
0, Christians, don't be weary, weary, Lord, weary;
0, Christians, don't be weary—we'll sail away to
heaven bye and bye.
0, sisters, don't be weary^ etc,
0, brothers, don't be weary, etc.
0, fathers, don't be weary, etc.
DON»T BE WEARY _B
also known as
Don't Be Weary, Traveler Come Along Home to Jesus
My head's all wet with the midnight dew,
Come along home to Jesus!
Angels know jus' what to do,
Come along home to Jesus!

MB
Song Texts
1970
Chorus
Don’t be weary, traveler,
Come along home to Jesus!
Don’t be weary, traveler,
Come along home to Jesus!
I pray’d to God to save my soul,
Come along home to Jesus!
Heaven is my only goal,
Come along home to Jesus!
You sinners better change your ways,
Come along home to Jesus!
Better be good all your days,
Come along home to Jesus!
*************************

No. 374
DON’T LET YOUR DEAL GO DOWN
also known as
High-Topped Shoes
Those High-Topped Shoes
An "optimistic gambler" song that was extremely popular
as a "country" item in the late 1930s. The song con
tains floating stanzas from Who♦s Gonna Shoe Your Pretty
Little Feet? , which were added by the Delmore Brothers
when they recorded it. Their addition was repeated on
a recording by The North Carolina Ramblers. A revised
version by Riley Shepard is published by Peer Internation
al Corp., New York, N. Y,
For related texts, see Kentucky (FLR), I960, p. 131 and
Randolph, IV, No. 671.
REFERENCES
Brown, III, 353; Y, 205
Malone, 48, 121
Roberts (IP), 286-288
Silverman, II, 143

MB
Song Texts
1971
Bon*t Let Your Deal Go Down
Been all around this whole wide world;
Even "been to Memphis, Tennessee*
So any old place I hang my hat
la home sweet home to me.
Chorus
Don’t let your deal go down!
Don’t let your deal go down!
Don’t let your deal go down,
Till your last ol* dollar is gone!
Where’d you get those high-heel shoes,
And that dress that looks so fine?
I got these shoes from a railroad man,
And the dress from a skinner down the line
Baby, who’s gonna shoe your feet,
And who’s gonna glove your hand?
Who’8 gonna kiss your ruby-red lips,
And who’s gonna be your man?
Momma is gonna shoe my feet.
And she’s gonna glove my hand;
And never mind my ruby-red lips—
I don’t want no gamblin’ man!
I’ll take you down to New Orleans,
And I’ll treat you like a beauty queen;
I’ll even buy you a wedding ring—
Baby, don’t treat me so mean,
I will not go away with you,
And I'll never be a gambler’s wife!
I’d rather remain the way I am,
And live single all my life!

MB
Song Texts
1972
Then fare-you-well, my little girl,
1*11 go back to Memphis, Tennessee,
And marry that gal I left behind—
Since it*a plain yon don’t love me.
************************-***

Ho. 375
DON’T YOU GRIEVE AFTER ME
also known as
Climbin* Up Jacob*8 Ladder When I’m Lead
When I Lie
Pre-Civil War spiritual that is still being sung by
religious vocal groups. The title line appears in
dozens of old spirituals, which, of course, results
in some confusion. For example, the Lon * t You Grieve
After Me in Randolph, II, 331-332, is in no way related
to the spiritual given here. The When I*a Gone piece
in Lomax (FSNA) , 471-472, may be a folk variation of
this spiritual, but it may also be a deliberate rewrite.
Another possible relative is the Bye and Bye fragment
in Brown, III, 613.
Version A and version B (below) are obviously related,
and are, in fact, variations of one another. Version
A was featured by the original Fisk Jubilee Singers and
is from Marsh (SJS), 216.
Version B seems to be the more widely distributed of the
two, and recovered versions are in: Brown, III, 585 & V,
333; Fisher (SNS), 198-199; Johnson (RAS), 70-71; Ran
dolph, II, 336; Scarborough (NFS), 9; and Work (ANSS),
119.
Don’t You Grieve After Me (Version A)

MB Song Texts 1973
O t who is that a-coming?
Don’t you grieve after me*
0, who is that a-coming?
Don’t you grieve after me,
0, who is that a-coming?
Don’t you grieve after me.
Lord, I don’t want you to grieve
after me.
It looks like Gabriel, etc.
0, who is that behind hime?, etc.
0, it looks like Lord Jesus, etc.
0, Gabriel, blow your trumpet, etc.
Vake up the sleeping nations, etc.
Version B
When I’m dead and buried, don’t you grieve after me!
When I'm dead and buried, don't you grieve after me!
When I'm dead and buried, don't you grieve after me!
0, I don't want you to grieve after me.
Climbin’ up Jacob’s ladder, etc.
Hear me, Sister Susan, etc.
Hear me, Brother Ephraim, etc.
Hear me, all you sinners, etc.
On my way to heaven, etc.
***********************

MB
Song Texts
1974

No. 376
THE DOUBIE-BREASTED MANSION ON THE SQUARE
A version (and perhaps the original) of this humorous
old adaptation appeared in The Lane County Herald ,
Watson, Kansas, September 4, 1885—a copy of which is
preserved by The Kansas Historical Society. The same
text was reprinted in Fife, 76 H.
The version below was given to me by Carson J. Robison,
New York, N. Y., 1943*
The Double - Breasted Mansion on the Square
fune: Little Old Log Cabin in the Lane
I once was rich and handsome and drove a span of grays,
I think about six-ninety was their pace;
I h8d a thousand servant girls, but don’t give this
away,
And a trotting cow I sent to every race.
I had a thousand gold mines and owned half of the world.
No wonder what you’re hearing makes you stare!
I had a thousand puppy dogs with their tails all turned
up,
And my double-breasted mansion on the square.
The roof was copper-bottom, the chimney solid gold,
an elevator placed at every stair;
I lost my shirt at poker and I never shall forget
My double-breasted mansion on the square.
My peach trees yielded butter, my plum trees yielded
cream;
I used to sow and mow the yellow pear*
But now my wealth has vanished, and every night I dream
Of my double-breasted mansion on the square.

MB
Song Texts
1975
It* s well I do remember, not so many years ago.
The bummers used to hang around my door;
They drank up all my whiskey, they smoked up my cigars,
My servant girls and hash they did adore*
A million head of cattle used to roam around my farm,
And each one had a splended feather bed;
I had male and female roosters, they drank their
whiskey warm—
They were shanghai, shanghoop, pullin* China bred*
The scenes have changed since then and now I’m poor
myself.
At a free lunch I can take quite a share?
I*m thinking of the Switzer cheese that I used to eat
In my double-breasted mansion on the square*
********************** •**■*■*•**■**

No* 377
D r OU YIENS-TU, BERGERE?
also known as
Whence Come You, Shepherd Whence, 0, Shepherd Maiden?
Maiden?
A french carol; it was brought to North America by I7th
century French settlers* It has been more often found
in Canada, among the rural communities adjacent to Que
bec, but versions have also been found in Indiana, Illi
nois, Louisiana and Missouri,
The version below is a text-tune match-up. The English
text is from Berry and the tune is from Gagnon,
Berry, 14-15
Fowke (FSC), 126-127
REFERENCES
Gagnon, 266-267
Gibbon, 39-31

MB Song Texts
1976
B»ou Vlens-t-q , Bergere?
L*ou viens-tu, bergere, d'ou viens-tu?
Je viene de l'etable, de m'y promener;
J'ai vu un miracle ce soir arrived
Qu’as-tu vu, bergere, qu'as-tu vu?
J'ai vu dans la creche un petit enfant
Sur la paille fraiche mis bien tendrement.
Rien de plus, bergere, rien de plus?
Saint' Marie, sa mere, qui Ini fait boir* du lait
Saint Joseph, son pere, qui tremble de froid.
Rien de plus, bergere, rien de plus?
Ta le boeuf et l'ane qui sont par devaut,
Avec lear haleine re'chauffent 1'enfant.
Rien de plus, bergere, rien de plus?
Ta trois petite anges descendus du ciel
Chantant les lonanges du Pere eternel.
English Text
Whence, 0, shepherd maiden, whence come thou?
"Prom a tiny stable where a baby lay;
Heaven*8 own miracle has arrived this day."
What, 0, shepherd maiden, what saw thou?
"Lying in the manger a little babe I saw,
Lying quiet and peaceful, sleeping on the straw."
Is there more, 0, maiden, is there more?
"Blessed mother Mary did the babe enfold,
While the father, Joseph, trembled from the cold.
Is there more, 0, maiden, is there more?
"Ox and ass I saw there, gentle and so mild.
With their breath were warming Mary and the child

MB Song Texts
1977
Is there more, 0, maiden, is there more?
•Naught hut three bright angels from beyond the sky,
Singing joyful praises to the Lord on high,"
********************************

No, 378
DOWN AMONG THE BUDDED ROSES
I have never seen this song in print and don‘t know
where it came from. My grandmother, Martha Tyndal,
taught the song to me when I was twelve years old,
I used to sing it on radio programs and on stage, during
personal appearances, I know many country-western per
formers who are familiar with the song itself, but not
one could tell me anything about it.
The version below is the one I remember.
Down Among the Budded Roses
little sweetheart, we have parted—
From each other we must go;
Many miles may separate us
In this world of care and woe,
Down among the budded roses
I am nothing but a stem;
I am parted from my darling,
Never more to meet again.
Darling, I will not forget you.
Though I live a hundred years;
Fate decided our misfortune,
Time will wipe away our tears.
**********************

MB
Song Texts
1978

No* 379
DOWN BY THE RIVERSIDE I
also known as
Ain*t Gonna Study War No More Study War No More
Ain*t Gwine Study War No More
An old spiritual-work-song from the first part of the
19th century. I have yet to meet a folk singer who
couldn f t sing at least one stanza and chorus, and it
has been recorded innumerable times by various artists
In the 1950s the spiritual was adapted and put out as
a love song, but only enjoyed moderate success* The
spiritual is still very popular*
REFERENCES
Best, 147
Bikel (FF), 197-198
Botsford, I, 32-33
Brown, III, 619-620;
V, 358-359
Chambers (TNS), 12-13
Dett, 74-75
Diton, 24
Fauset (NFTS), 297
Fisher (SNS), 60-62
Odum (NHS), 101
Sandburg (AS), 480-481
Seeger (6), 50
Silverman, II, 92
Weavers, 152-155
Whitman, 152-153
Work (ANSS), 202-203
Down By The Riverside I
Gonna lay down my.sword and shield,
Down by the riverside,
Down by the riverside,
Down by the riverside;
Gonna lay down my sword and shield
Down by the riverside
And study war no more.
Chorus

MB
Song Texts
1979
Ain't gonna study war no more.
Ain't gonna study war no more.
Ain't gonna study war no more,
Ain r t gonna study war no more,
Ain't gonna study war no more,
Ain‘t gonna study war no more!
Gonna take up my cross and walk, etc.
And study war no more!
Gonna walk with my Saviour now, etc.
And study war no more!
********************************

Ho. 380
DOWN BY THE RIVERSIDE II
also known as
Down By The River We'll End This War
This is a mid-19th century campground spiritual. Several
other such pieces share title lines with this song, hut
none are otherwise related. For example, see Old Satan 1 s
Mad in Brown, III, 662 & V, 388 B.
REFERENCES
Dett, 55 Hillman, 68 Jackson (SFS), 191-192
Down By The Riverside II
Hark! Listen to the trumpeters! I mean to go!
They call for valiant volunteers. I mean to gol
Chorus
Oh! We'll end this war down by the riverside!
We'll end this war down by the riverside!

MB
Song Texts
1980
See Gideon marching out to fight. I mean to go!
He had no weapon but a light. I mean to go!
He took hie pitcher and a lamp. I mean to go!
He stormed with ease the, Midian camp. I mean to go!
I*ye listed during all this war. I mean to go!
Content to have a soldier's fare. I mean to go!
The war is all my soul's delight. I mean to go!
X love the thickest of the fight. I mean to go!
We want no cowards in our band. I mean to go!
We call for valiant-hearted men. I mean to go!
I tell you what I mean to doj I mean to go!
I mean to go to glory, too! I mean to go!
**************************

No. 381
DOWN BY THE RIVERSIDE III
also known as
Down By The River Hallelujah to the Lamb
Another of the pre-Civil War spirituals featured by
the original Fisk Jubilee Singers,
REFERENCES
Fenner (RFSN), 167 Marsh (SJS), 205
Down By The Riverside III
Oh, we* 11 wait till Jesus comes, down by the river;
We'll wait till Jesus comes, down by the riverside.
Chorus
Hallelujah to the Lamb! Down by the river.
The Lord is on the giving hand, down by the riverside.

MB Song Texts
1981
Oh, we are pilgrims here below, down by the river;
But soon to glory we will go, down by the riverside*
I didn’t think He was so nigh, down by the river;
1*11 go and see Him when I die, down by the riverside
****•*•# ■************ ********* •*•*** *

Ho. 382
DOWN IN A COAL MINE
also known as
Down in the Coal Mine
According to Korson, this was "originally a stage song
published in 1872," He added, that in his opinion it
"is probably the best known mining song in the country.
Words and music by J. B. Googhegan, the song was pub
lished in 1872 by S, Brainard’s Sons, Chicago,
REFERENCES
Armitage,1,46
Arnett, 128
Hubbard, 358
Korson (BSAM), 122-125
Korson (CDF), 153
Korson (MMP), 277-278
Korson (PSL), 373-374
Luther, 257
Shay (DFW), 128-130
Shoemaker (MMP), 176
Shoemaker (NPM), 172-173
Down in a Coal Mine
I’m just a jolly collier lad,
And blithe as blithe can be;
For if the times be good or bad
They’re all the same to me.
It’s little of the world I know,
And care les® for its ways;
For where the dog-star never glows,
I work away my days.

MB
Song Texts
1982
Chorus
Down in a coal mine, underneath the ground.
Where a gleam of sunshine never can be found;
Digging dusky diamonds all the season round,
Down in a coal mine, underneath the ground*
My hands are scar'd and hard and black
Prom working in the vein,
And, like the clothes upon my back,
My talk is rough and plain*
So, if I stumble with my tongue,
I*ve just one thing to say:
♦Tis not the collier's heart that's wrong,
It*s my head that goes astray*
On every shift, the soon or late,
I haste my bread to earn,
And anxiously my love ones wait
And watch for my return.
Old Death he levels all alike,
Whate'er their rank may be,
Amid the fire and damp may strike,
And fling his darts at me.
How little do the great ones care.
Who sit at home secure,
What hidden dangers colliers dare,
What hardships they endure.
The very fires their mansions boast,
To cheer themselves and wives,
Mayhap were kindled at the cost
Of jovial colliers* lives.
Now cheer up, lads, and make as much
Of every joy you can,
But let your mirth be always such
As best becomes a man.

KB Song Texts
1993
However fortune turns about,
We *11 still be Jolly souls-
What would our country be without
The lads that look for coals?
*********************

Ho. 383
DOWH IN THE LEHIGH VALLEY
also known as
The Lehigh Valley
The Tramp*s Story
Originally a poem, Down in the Lehigh Valley was set
to music by some unknown composer at some unknown time
and place. According to the New York Times * BOOK REVIEW ,
July 7, 1940, p. 7, this song '’was among Edward Harri-
gan*s songs from the play Squatter Sovereignty, produced
in 1882.”
There is a vulgar parody in circulation, but I haven’t
seen it in print. Milbum (see reference below) has six
related pieces.
REFERENCES
Queries (1-15-39), 19
Randolph, IV, 369-370
Shay (LFW), 102-104
Carmer (SRA), 46-47
Johnson (BBLL), 20-22
Milburn, 41-58
Down in the Lehigh Valley
Down in the Lehigh Valley, me and my people grew;
I was the village blacksmith, and a goddamn good one, too!
He and my wife and Nelly— Nelly was Just sixteen;
She was the prettiest creature that the valley had ever
seen.
One day she met a stranger. He was handsome, straight
and tall.
0 how I wish I had him no vr, with his back against the wall

MB
Song Texts
1984
He was the man for Nelly, he said he loved her, too;
Her mother tried to tell her that his love would prove
untrue•
Well, it*8 the same old story; it happens every day:
That smooth-tongue devil fooled us, and got her to run
away.
About one month later we heard from the poor young thing.
The scoundrel had gone and left her, and without a widding
ring.
Dowr. in the Lehigh Valley, back to her mother*s side,
I brought my daughter Nelly, but in less than a week
she died.
Give me a drink, bartender, and 1*11 be on my way.
I*ve sworn to find that scoundrel if it takes till
judgment day!
***»*♦♦»♦»»♦♦»»*•♦♦♦»**♦*♦»»»♦♦**♦♦♦♦♦♦♦*

Ho. 384
DOWN IN THE VALLEY
also known as
Bird in a Cage Hang Your Head Over
Birmingham Jail Hear the Wind Blow
Down South in the Holler Somebody*s Waiting
This is one of America*s more popular folk songs.
Professional musicians and vocalists perform it on
radio, records, stages and television. Despite its
age, several music publishers have copyrighted and
claimed it from time to time. I am familiar with
at least twenty versions, including seven memorized
over the years. Lomax has a version that is based,
he says, on a song called Little Willie $ but both
his text and tune are similar to all other versions

MB Song Texts
1985
I have seen.
Country music performers sing a version called Birming
ham Jail (see version B below), but it is merely Down
In the Valley with a "prison" theme added.
Version C, Bird in a Cage , is so similar to Down in the
Valley that we may reasonably assume that one is merely
an adaptation of the other. Yet that is not the case*
Bird in a Cage is actually a folk adaptation of a very
popular love song, There Is Somebody Waiting , written
by Charles Glover and published in 1860. Glover 1 s tune
is quite similar to that of Down in the Valley and may
have been borrowed from it, but we have no evidence
that this is true. We do have evidence, however, that
Glover’s composition was taken-over by the folk, who
adapted it to play-party use and turned it into a dance
tune for square dancing. Play-party versions known as
Birdie in the Cage , Down South in the Holler , and
Somebody’s Waiting were recovered in Oklahoma by Botkin
(APPS), 147-148. A fiddle version is in Durlacher, 46,
and song versions are in Belden (BS), 488—489; Puson,
142 and Sandburg (AS), 213.
REFERENCES
Agay (1), 33
Autry (RR), 27
Best, 47
Botkin (API), 902-903
Brown, III, 330-331;
Jour (APL), XXX, 346
Leisy, 83-86
leisy (LAS), 23-24
Leisy (SPS), 81
Lomax (ABPS), 147-149
Lomax (PSNA), 289
Lomax (PB), 118
Lomax (USA), 62-63
Luther, 52-53
Morris, 69-71
Niles (SHP), 16-17
Ives (SB), 208-209, or 186-
187
V, 200-201
Emrich (CBP), 40
Emrich (PAL), 537-538
Fife, 162
Glass (SW), 58-59
Grafman, 99
Henry (SSSA), 179
Ives (SA), 138-139

MB
Song Texts
1986
Owens (TPS), 92-93
Randolph, IV, 284-285
Rayburn, 280-281
Robison, 45
Sandburg (AS), 148
Scott (PSS), 39
Seeger (6), 33
Silverman, II, 373
Thomas (SG), 36-37
Wheeler (KMPS), 33-38
Whitman, 175
Down in the Valley (Version A)
Down in the valley, the valley so low,
Hang your head over, hear the wind blow.
Hear the wind blow, love, hear the wind blow;
Hang your head over and hear the wind blow,,
Writing this letter, only three lines;
Answer my question: Will you be mine?
Will you be mine, love, will you be mine?
Answer my question: Will you be mine?
If you don’t love, love whom you please;
Put your arms ’round me, give my heart ease.
Give my heart ease, love, give my heart ease;
Put your arms ’round me, give my heart ease.
Roses need sunshine, violets need dew,
Angels in heaven know I need you.
Know I need you, love, know I need you;
Angels in heaven know I need you.
Version B: aka Birmingham Jail
Write me a letter, send it by mail,
Send it in care of Birmingham jail.

JIB
Song Texts
1987
Birmingham jail, love, Birmingham jail;
Send it in care of Birmingham jail.
locked up in prison, missing you so;
Praying to heaven they 1 11 let me go.
They*ll let me go, love, etc.
Go to the governor, go without fail;
Beg him to let me out of this jail.
Out of this jail, love, etc.
Praying for freedom, down on my knees;
Say you still love me, give my heart ease.
Give my heart ease, love, etc<>
Build me a castle fifty feet high,
So I can see her as she goes by.
As she goes by, love, etc.
Terslon C: Bird in a Cage
Bird in a cage, love, bird in a cage,
Waiting for Willie to come back to me.
Somebody’s waiting, waiting for me;
Willie's in prison and I am not free.
Write me a letter, write it today;
Stamp it tomorrow and send it my way.
Roses are red, love, violets are blue;
God in His heaven knows how I love you.
Bird in a cage, love, wants to be free;
Longing for Willie to come back to me.
***********************

KB Song Text's 1988

Ho, 385
DOWN THE OHIO
also known as
Come, love. Come Down the River
Mid-19th century "river song" that was introduced on
minstrel-show stages. Later, the piece was adapted to
serve as a "game song" and was also popular at Play-
parties. For an early minstrel version, see The Negro
Forget - Me - Not Songster , I, 88-89, where the title is:
Down the River — Down the Ohio. Ford»s "square dance"
version is different in that the first eight measures
are identical to the tune of Captain Jinks (see MB).
The song is, in many ways, similar to the Come , Love,
Come in Finger (F3), 165-166 and Come , Love , Come , the
Boat Lies Low in Wheeler (SD), 91*
REFERENCES
Botkin (APPS), 180-182 Piper (SPPG), 267
Botkin (MRF), 564-565 Randolph, III, 397-398
Carmer (SRA), 157 Wolford, 40-41
Ford (TMA), 242-243
Down the Ohio
Oh, the river is up, and the channel is deep,
And the wind Blows steady and strong;
let the splash of your oars the measure keep,
As we row the old boat along.
Chorus
Down the river, down the river,
Down the river we go;
Down the river, down the river,
Down the Ohio,,

MB
Song Texts
1989
Oh, the water is bright and flashing like gold,
In the ray of the morning sun;
And old Dinah's away, up out of the cold,
A-getting the hoe corn done*
Oh, the master is proud of the old Borad horn,
For it brings him plenty of tin.
Oh, the crew they are darkies, the cargo is corn
And the money comes tumbling in.
Oh, there's plenty on board for the crewmen
to eat.
And there's something to drink and to smoke;
There's the banjo, the bones and the tambourine,
There's the song and the comical joke.
**************************

No. 386
DOWN THE SAINT JOHN'S RIVER
also known as
Baby, Did You Hear?
A river song from Florida* I have seen versions in
only two published collections: Carmer (SRA), 116 and
Ives (SA), 234-235.
Down the Saint John's River
Baby, did you hear?
All your men gonna leave you.
Yes, Lord, on the next pay day.
Chorus
Baby, did you hear?
Me and my woman's gonna ride
The Cherokee up the Saint John River,
And nary a cent will I be the giver.

MB
Song Texts
1990
Baby, did you hear?
All your furniture gonna leave you.
Yes, Lord, on the next pay day.
Baby, did you hear?
He and my woman’s goin’ away,
Yes, Lord, on the next pay day.
************************

No. 387
THE DOWNWARD ROAD IS CROWDED
also known as
The Wicked Daughter
The Wicked Girl
Wicked Polly
Young People, Hark!
Young People Who Delight
in Sin
This eong i9 an American product of Puritan tradition,
dating back to Colonial times. Song remained popular
with the masses until the beginning of the 20th century,
when, like the Carrier pigeons, it gradually disappeared.
It was one of those secular songs that was frequently
treated as a hymn at campground revivals.
How and again a version surfaced in which the girl did
not die, but repented and ’’saw the light" instead. To
fully appreciate the impact of this song, we must re
member and reflect upon the times in which it was at
its most popular. In those times sex was a forbidden
subject, too sinful to discuss in polite society, and
even kissing was taboo. It was a time when a female
leg was referred to as "a limb." In fact, this song
can best be described as a musical expression of the
The Dying Girl
The Dying Girl Unprepared
to Meet Her God
Poor Polly
A Sad Parting

SB
Song Texts
1991
general moral attitude of most Americans from the
days of the Revolution through the first quarter
of the 20th century*
It is not related to the spiritual known hy the same
title (see Unbelieving Souls in MB).
REFERENCES
Allsopp, II, 162
Belden (BS), 460-464
Benziger, 41
Brewster (BSI), 303
Brown, III, 92-94; V,
47-48
Chappell (FSRA), 194
Cox (FSS), 411-412
Davie (FSV), 298
Eddy, 305-306
Flanders (BMNE), 21-23
Hudson (BSM), 175
Jackson (SFS), 55
Jackson (WSSU), 189-193
Lomax (ABFS), 569-570
Lomax (FSNA), 71
Moore (BFSS), 233-236
Morris, 171-172
Ninde, 68
Odum (TTHS), 73
Owens (TFS), 110-111, or
167
Pub (MLN), XnVIII, 2
Pound, 111-114
Randolph, IT, 16-20
Tolman, 192-193
Tolman 4 Eddy, 425-430
The Downward Road Is Crowded
Toung people, listen while I tell
Of one I fear has gone to hell;
A woman who was young and fair,
Who died in sin and dark despair*
Her Christian parents oft did pray
For her poor soul from day to day;
They gave her counsel, good advice.
But she delighted still in vice.
She*d go to parties, dance and play,
In spite of all her friends would say.

MB
Song Texts
1992
•1*11 turn to God when I am old,
lad then He will receive my soul.”
It length she heard the Spirit say:
•0 sinful wretch, forsake thy way!
Sow turn to God or you shall dwell
Porever in the flames of hell!"
•0, I*m too young," she then replied.
•My friends would laugh and me deride;
1*11 turn to God when I am old,
lad then He will receive my soulo"
It wag not long till death did come
To call thi 3 helpless sinner home;
lad there upon her dying bed.
She called her friends and to them said:
"My friends, I bid you all farewell,
Por I must die and sink to hell;
There I must suffer, scream and roar,
Among poor lost souls forevermore."
Young people, lest this be your case,
0 turn to God and seek His face:
Upon your knees for mercy cry,
And do not wait until you die!
*#*****♦**-»•***•**•»•******•■*■**
' Ho. 5S8
DRAW A BUCKET OF WATER
also known as
Draw a Pail of Water Draw Buckets o* Water
A game song for children, sometimes used in kindergarten
and beginning school classes. It had been around a long

MB
Song Texta
1993
time when Bancroft included a version in the 1910
edition of her book of games* We are here more con
cerned with words and music than games, which is why
game directions are not included; but anyone interested
in such directions can find them in most books dealing
with game-songs for children#
REFERENCES
Bancroft, 34-5
Brown, I, 142-143; V,
533-534
Chase (OSSG), 39
Forbu8h, 45
Gomme, II, 418
Hornby, 72
Jour (AFL), XL, 15-16
Newell, 90-91
Tanner, 66-67
Draw a Bucket of Water
Draw a bucket of water
For my lady*s daughter,
One in a rush, two in a rush.
Please, little girl.
Bob under the busho
*********************************

No. 389
THE DREADNAUGHT
also known as
Banks of Newfoundland
Bound Away
The Clipper Ship Dreadnaught
Cruise of the Dreadnaught
The Flash Frigate
The Flash Packet
Goodbye, Fare-fe-Well
The Liverpool Packet
Oh, Lord, Let *er Go!
Wild Boat of the Atlantic
This old sailor song and shanty has come down to us in
several versions, all of which are derived (musically
at least) from a much older British naval song known

MB
Song Texts
1994
as La Pique , or The ?la<»h Private , which 'begins:
•Tis of a flash frigate, La Pigue was
her name.
All in the West Indies she hore a great
fame• # • •
For versions of La Pique , see Hugill (1), 462—463,
Shay (ASSC), 178—180, and Whall (SoS—1920) » 14—15*
According to Colcord, "the Dreadnaught was probably
the best known 1 * of all the Western Ocean packets.
Indeed, she was a very large ship for those days (1,413
tons register), and her average eastern passage was 21
days and 15 hours* Built at Newburyport, Mass., in 1853,
she was wrecked in 1869 and "went to pieces among the
rugged cliffs and crags and roaring breakers of Cape
Horn,” No lives were lost, however; the crew were res
cued after being adrift 14 days in lifeboats.
We give two versions of the song, A and B, with A being
the land version and B the shanty#
According to Hugill, "There are several tunes to this
capstan song, that of Villlkins being adopted by some
•hantymen."
Al«o see and compare Greenleaf, 243.
REFERENCES
Adventure (1/30/23), 191
Clements, 73
Colcord, 89-91, or 170-
171
Creighton (MFS), 140-141
Creighton (TSNS), 227-229
Dean, 58-59
Delaney (14), 23
Doerflinger, 126-128
Glass (SS-1), 34-35
Grainger, No. 207
Harlow, 101-103
Hugill (1), 122-123, 464
Hugill (2), 161-163
Ives (SA), 98-99
Ivee (SB), 172, or 152
Luce, 63, 67
Rickaby, 150-152
Sampson, 6
Shay (ASSC), 102-104
Songster (119), II, 131
Trident, 78-79
Whall (SSS), 12-13
Williams (SC), 81

MB
Song Texts
1995
The Dreadnaught ( Version A)
There is a flash packet, a packet of fame;
She belongs to New York and the Dreadnaught 1 s
her name.
She belongs to New York, where the stormy winds blow,
Bound away in the Dreadnaught , to the westward we’ll go
We are a-hauling to the Waterloo Dock,
Where the boys and the girls on the pierhead do flock,
And they*11 give three long cheers, while the tears
downward flow.
Bound away in the Dreadnaught , to the westward we*11
go l
Now we are hauling in the River Mersey,
Awaiting the tow-boat to take us to sea.
She will take us to sea where the stormy winds blow.
Bound away in the Dreadnaught , to the westward we’ll
got
Now we are sailing on the Banks of Newfoundland,
Where the water is clear and the bottom*s all sand,
And the fish of the ocean they swim to and fro.
Bound away in the Dreadnaught , to the westward we’ll
go!
Now we are sailing down the long Island shore,
Where the pilot he boards us as he eft did before.
"Pill away your main tops’l, board your main tack
also."
Bound away in the Dreadnaught , to the westward we’ll
go!
Here’s good luck to Captain Samuels and his officers
too}
Good luck to the Dreadnaught and all her brave crew!

MB Song Texts 1996
Talk about your flash packets, Swallowtail and
Black Bail ,
But the Dreadnaught*a a "blood boat" and can out
do them all!
Version B aka The Liverpool Packet
It the Liverpool Docks at the break o* the day,
I saw a flah packet bound westward away.
She was bound to the westward, where the rough
waters flow;
She's the clipper ship Dreadnaught —Oh, Lord,
let her go!
Chorus
Bound away! Bound away!
Thro* the ice, sleet and snow.
She 5 * a Liverpool packet—
Oh, Lord, let her go!
Oh, the time for her nailing in now drawing nigh,
Stand by all ye lubbers, we*11 tell ye goodbye;
A pair of clean heels to ye we will soon show,
She*a the clipper ship Dreadnaught —Oh, Lord, let
her go!
Sheet home your big tope*Is, haul aft your jib sheets,
Sheet home fore *n» aft, boya, you 5 11 get no more
sleep.
Come aft now, God damn you, come aft, make a show!
She's the clipper ship Dreadnaught — Oh, Lord, let
her go!
Oh! now we are sailing the Atlantic so wide;
All the hands are now ordered to scrub the ship's side;
Our nailers, like tigers, they walk to and fro;
She's the clipper ship Dreadnaught — Oh, Lord, let
her go!

MB Song Texts
1997
It’s now we*re arriving in old New York town,
¥e*re bound for the Bowery, to let sorrow drown;
With the gals and the beer, boys, we*11 let the song
flow,
She*® the clipper ship Dreadnaught -Oh, lord, let
her go!

No. 390
DREARY BLACK HILLS
also known as
The Black Hills
This song was first published in a folk collection with
words and music by Lomax, but was published originally
as a broadside by Bell & Co., 639 Kearny street, San
Francisco, 1874o Its popularity among good-seekers was
probably due to the fact that the text dealt with gold
seeking problems in the Dakotas.
The goldrush to the Black Hills was prodded along by
railroad builders and speculators; they did all they
could to persuade people to ride west and thus populate
the plains. In the East, railroads had always extended
themselves to service communities already populace and
productive enough to warrant the extension. In the West,
however, the process reversed itself; people followed
the railroads, and sometimes to their sorrow. Such was
the case with the gold-rush to the Black Hills of Dakota.
Hundreds of unlucky immigrants echoed the bitter com
plaints expressed in this song*
REFERENCES
Belden (BS), 349-350
Botkin (WFL), 739
Clark (CS), 23
Fife, 65-66
Flanders (NGMS), 108—109
Frey, 48
Hubbard, 304-305
Ives (SA), 166-167

KB
Song Texts
1998
Larkin, 87-90, or 95-
97
Laws (NAB), 263
Lingenf elter, 122-123
Lomax (ASPS), 438-440
Lomax (CS-1919), 177-181
Lomax (CS-1938), 372-374
Lomax (FSNA), 339-340
Pound, 185-186
Pound (SFS5), VII, No. 2
Sandburg (AS), 264-265
Shoemaker (201?), 179-180
Shoemaker (NPM), 174-175
Silber (SGAW), 149-152
Silverman, II, 334
Warner, 125
Dreary Black Hills
If only you’ll listen, I’ll tell you a tale;
I’m an object of pity, in life I have failed.
I gave up my trade selling Wright’s patent pills,
To go searching for gold in the dreary Black Hills.
Chorus
You better not go; stay at home if you can.
Stay away from that city that’s known at Cheyenne.
The Blackfoot and Crow, and the Sioux warrior kills
Whoever they find in the dreary Black Hills.
The Roundhouse in Cheyenne is filled every night.
With loafers and bummers of most every plight.
They wear ragged clothes, and they can’t pay their
bills;
Each day they start out for the dreary Black Hills®
I got to Cheyenne but no gold did I find;
I thought of the good home that I left behind;
Through rain, sleet and snow, frozen clean to the gills
I’m Just an orphan in the dreary Black Hills.
- Kind friends, to conclude, some advice I’ll unfold:
Don’t ever go looking or digging for gold;
Railroad speculators, their pockets you’ll fill,
If you go for gold to the dreary 31ack Hills.
* ********* *********************

MB Song Texts
1999

So* 591
DRILL, YE TARRIERS, DRILL
Written and composed by Charles Connolly and Thomas
Casey, this song was published as a "music hall" piece
*7 Prank Harding*s Music House, Hew York, in 1888, It
deals in humorous fashion with rock-drilling and rail
road building* Why the workers were called "tarriers"
is not known, though some speculative reasons have
been offeredo According to Botkin, the term more than
likely "refers to the burrowing habits of dog and rock
driller alike,," On the other hand, Beatrice Landeck
(Git on Board, New York, 1944, p* 59) says: "The workers'
beards gave them the nickname of terriers , pronounced
terriers* "
Today, the song has come to represent the Irish-Americans,
who did more railroad building work than any other group
of people.
Por parodies, see: Drill . Ye Engineers , Drill in Dolph,
62 and Drill , Ye Heroes , Drill in Peacock, III, 781-782
and Drill, Ye Miners, Drill! in Lingenfelter, 158.
REFERENCES
Agay (1), 60-61
Arnett, 112
Best, 27
Botkin (RPL), 442-445
Powke (SWF), 86-87
Glass (SW), 52-53
Grafman, 119
Greenway, 43-44
Hille, 36-37
Ives (SA), 170-171
Leisy, 86-87
Leisy (SPS), 50-51
Levy, 357
Lomax (FSNA), 417
Luther, 268-269
Morris, 184-186
Okun, 119-121
Queries (7/11/37), 23
Siegmeister, 80-82
Silber (HSB), 76
Silverman, II, 412
Weavers, 76-77
Whitman, 64-65
Winn (2), 52-53

MB
Song Texts
2000
Drill , Ye Tarriers , Drill
Every mornin*, seven o’clock
There were twenty tarriers a-workin’ in the rock.
And the boss came along and he said, "Keep still*
Come down heavy on the cast iron drill
And drill, ye tarriers, drill!"
Chorus
Drill, ye tarriers, drill!
You work all day for the sugar in your tea,
Down behind the railway,
And drill, ye tarries, drill.
And blast, and fire!
The boss was a fine man to the ground,
And the girl he married was six feet ’round;
She baked sour bread
And she baked it well,
But she baked it hard as the holes in hell!
The new foreman was Sean McCann
And God! he was the meanest man!
One day a premature
Blast went off.
And up in the air went big John Dolph!
When the next pay day came rollin’ ’round,
A dollar short John Dolph found#
When he asked "Why?"
He got this reply:
"You’re docked for the time spent in the sky!"
•-»* **■****•*•*••*■* -* *# * **■#•*•*••***+

MB
Song Texts
2001

Ho. 392
DRINKING SONG I
also known as
Come, Landlord, Pill the
Plowing Bowl
Parewell to Grog
Pill the Plowing Bowl
The Jolly Fellow
Landlord, Pill the Plowing
Bowl
Let’s Have Another Drink
Let’s Have Another Round
Three Jolly Coachmen
Tomorrow We’ll Be Sober
In various publications are found ballads and poems
entitled Drinking Song , but they are not necessarily
songs. Certainly, they are not necessarily related.
This, however, is a drinking song , not a poem, and it
is of English origin. The words, according to Helen
Johnson, "are founded on an old song in Fletcher’s play,
•The Bloody Brother, or Robert, Duke of Normandy.*” if
Johnson is correct, this would date the song back to at
least the first quarter of the 17th century. Chappell
(PMOT) made a comparison of the Fletcher song and one
current in the middle of the 19th century and showed
that the latter derived from the former. Several versions
followed, each slightly different from the others, but
all retained the "For tonight we’ll merry, merry be"
refrain.
The Farewell to Grog piece composed on the U,S,S,
Portemouth by Caspar Schenk, U, S, N on the night of
Aug. 31, 1862, also retained the old refrain as well
as the entire tune. Only stanzas were changed, which
is why it is given below as version B.
Version A, as now sung, is structured much on the order
of another well-known convivial song (see Drinking
Song III in MB).
REFERENCES
Chappell (PMOT), II, 670-
671
Best, 104
Cazden, II, 18-19

MB Song Texts
2002
Chappie (HS), 141
Glass (SS-1), 22-23
Johnson (PS), 455-456
Lelsy, 213-214
Leisy (SPS), 112-113
Lewis, 112
Shay (PF-1), 90-91
Shay (PP-3), 45
Silverman, I, 362
Songs (15), 83
Trident, 10-11
Williams (FSUT), 50-51
Loesser, 191-192
Drinking Song I ( The Jolly Fellow )
A
Come, landlord, fill the flowing bowl
Until it runneth over;
Come, landlord, fill the flowing bowl
Until it runneth over.
Chorus
Por tonight we'll merry, merry be (3),
Tomorrow we*11 be sober#
The man who drinks good whisky punch,
And goes to bed right mellow,
Lives just as he ought to live.
And dies a jolly fellow#
The man who drinks cold water pure,
And goes to bed quite sober,
Palls just as the leaves do fall,
So rarely in October#
But he who drinks just what he likes,
And getteth half seas over,
Will live until he dies, perhaps.
And then lie down in clover#

Song Texts
2003
The pretty girl that gets a kiss,
And goes and tells her mother,
Does a very foolish thing,
And don’t deserve another.
Version B
Come, messmates, pass the bottle ’round,
Our time is short, remember,
For our grog must stop and our spirits drop
On the first day of September.
Chorus
For tonight we’ll merry, merry be (3),
Tomorrow we’ll be sober.
Farewell old rye, *tis a sad, sad word,
But alas! it must be spoken,
The ruby cup must be given up,
And the demijohn be broken.
Jack’s happy days will soon be gone,
To return again, oh never!
For they’ve raised his pay five-cents a day,
But stopped his grog forever!
Tet memory oft’ will backward turn,
And dwell with fondness partial,
On the days when gin was not a sin.
Nor cocktails brought courts-martial.
****•*****•***•»••»*•**

KB
Song Texts
2004

Ho. 393
DEIHXISG S02TG II
also known as
Brink to the Lass Here’s to the Maiden
In Excuse for the Glass Let the Toast Pass
The General Toast The Toast
This breezy convivial song comes from Sheridan’s comedy,
The School for Scandal , produced in 1777. The tune was
adapted by Thomas Linley from an older dance-tune, Half-
Hanykin , a version of which is in the first edition
(1650) of Playford’s Lancing Master . However, Linley
did so much rewriting that the time may really be called
his own. Other versions are in Bantock, 119 and Chappell
(PMOT), II, 744.
Drinking Song II
Here’s to the maiden of bashful fifteen.
How to the widow of fifty;
Here’s to the flaunting extravagant queen.
And here’s to the housewife that’s thrifty.
Chorus
• Let the toast pass, drink to the lass;
I warrant she’ll prove an excuse for the glass.
Let the toast pass, drink to the lass;
I warrant she’ll prove an excuse for the glass.
Here’s to the charmer whose dimples we prize.
How to the maid who has none, Sir;
Here’s to the girl with a pair of blue eyes
And here’s to the nymph with but one. Sir.
Let them be clumsy or let them be slim,
Married—I care not a feather;
Pill a pint bumper quite up to the brim
And let us now toast them together.
***********************

KB
Song Texts
2005
' Ho^ 3ii
drinking song hi
also known as
The Jolly Neighbor
The Man Who Has Plenty of
Good Peanuts
The Peanut Song
Plenty of Good Oranges
This song, in its present form, is an Americanized
▼ersion of early English versions. It also has much
in common with the older English song, Three Merry Men
of Kent , which was sung in The Jovial Crew, in 1731.
Por additional information, see Chappell (OSPM), H*
161-162. , „ . .
The tune was used for the carol, Joys Seven (see Oxfor_
Book of Carols , No. 70), and an adaptation is easily
recognizable in an old American campground hymn, Joyful,
or 0 That Will Be Joyful , which, according to J. S. James,
the Original Sacred Har£, 1911, was written and composed
by Rev. Abraham D. Merrell (1796-1878),
Anne G. Gilchrist found a parody in England, which begins.
John Wesley had a little ghost,
The color of it was white;
It used to swarm up his bed-post
And frighten him at night.
The parody may be seen in Jour (PSS), XIII* ^-2-
A version of this song attributed to Bob Miller was pub
lished in sheet music form by Shapiro, Bernstein & Co.,
New York City, in 1928. We know, of course, that Miller
did not create the song but simply arranged it for publi
cation. American college students were singing this song
more than thirty years prior to Miller’s birth. Por ex
amples of college-type versions, see Song s of All Colleg e s
(c. 1900) and Popular College Songs ( c. 1904).
The song as now axing has certain similarities to Br^nk^n^
Song I in MB. v

KB Song Texts
2006
REFERENCES
Arnold, 71
Chamberlain, 268-269
Kennedy (TAB), 105-106
Most (PCS), 78-79
Songe (15), 109
Waite, 51
Whitman, 188
Wier (SWWS), 168
Drinking Song III
The man who has plenty of good peanuts
And offers his neighbor none,
He shan’t have any of my peanuts
When his peanuts are gone.
Chorus
When his peanuts are gone,
When his peanuts are gone;
He shan’t have any of my peanuts
When his peanuts are gone.
The man who has plenty of good oranges
And offers his neighbor none,
He shan’t have any of my oranges
When his oranges are gone.
The man who has plenty of soft, soda crackers
And offers his neighbor none,
He shan’t have any of my soft, soda crackers
When his soft, soda crackers are gone.
The man who has plenty of strawberry shortcake
And offers his neighbor none,
He shan’t have any of my strawberry shortcake
When his strawberry shortcake is gone*
**#*********•»■•*•*■■***•*■*•**

MB Song Text8
2007

Ho. 395
DRINKING SONG IT
also known as
For Bales
In Eighteen Hundred and
Sixty-Pour
Johnny, Pill Up the Bowl
We Are the Boys of Potomac’s
Ranks
In Eighteen Hundred and
Sixty
In Eighteen Hundred and
Sixty-One
An American Civil War song that spawned versions and
parodies all over the place, all using the time of
Then Johnny Comes Marching Home (see MB). During the
Civil War there were Union and Confederate versions,
soldier and sailor versions, and, later, even game
and play-party versions. Prom the many versions
available only three are given here 0 Version A was
published by A. W, Auner, Philadelphia, under the
title: Johnny , Pill Up The Bowl, Version B was sung
by Union soldiers and was known as We Are The Boys Of
Potomac’s Rankp. According to Dolph, "It was sung in
the Third Corps in the fall of 1863..." The Confederate
version, C, Por Bales , was written by A, E. Blackmar
and published by him at New Orleans in 1864. According
to Glass, "The song tells how the Confederate Generals
E. Kirby Smity and Richard Taylor thwarted the Union
attempt to seize cotton stored up at Red River."
A parody sung by lumbermen and printed in Eckstorm,
241-242, begins:
Johnny and Jenny by the fireside sat.
Hoorah! Hoorah!
Johnny and Jenny by the fireside sat.
Hoorah! Hoorah!
Johnny and Jenny by the fireside sat,
And Johnny saw Jenny’s mouth open and shet,
And we’ll all drink stone-blind.
Johnny, fill up the bowl!

MB
Song Texts
2008
For a later parody, The Football Song , aee Randolph,
II, 286-287 B.
REFERENCES
Botkin (APPS), 210
Brown, II, 528-529
Davie (TBV), 145
Dolph, 297-299 & 359-
360
Glass (SS-2), 197-198
Kennedy (TAB), 158-160
Jour (AFL), XXIV, 314-315;
Kill, 218-219
Randolph, II, 284-285
Thoma s (BMMK), 54
Drinking Song IV A Tune : When Johnny Cones Marching Home
Abraham Lincoln, what yer ’bout?
Hurrah ! hurrah!
Stop this war; for it’s all played out.
Hurrah ! hurrah!
Abraham Lincoln, what yer ‘bout?
Stop this war; for it's all played out!
We *11 all drink stone-blind—
Johnny, fill up the bowl<,
¥e # re getting anxious, all of us. Hurrah! hurrah!
We’re getting anxious, all of us, Hurrah! hurrah!
We’re getting anxious, all of us,
For you to stop this Southern fuss!
Then we *11 all drink stone-blind—
Johnny, fill up the bowl.
The Conscription Act now is passed, Hurrah! hurrah!
The Conscription Act now is passed, Hurrah! hurrah!
The Conscription Act now is passed,
And we’ll be drafted all at last.
Then we’ll all drink stone-blind—
Johnny, fill up the bowl.

KB
Song Texts
2009
Gold it now is coming down, Hurrah! hurrah!
Gold it now is coming down, Hurrah! hurrah!
Gold it now is coming down,
For they have run it in the ground!
So we*11 all drink stone-blind—
Johnny, fill up the bowl.
Version B Tune: When Johnny Comes Marching Home
We are the boys of Potomac*s ranks, Hurrah! hurrah!
We are the boys of Potomac*s ranks,
We ran with McDowell, retreated with Banks,
And we*11 all drink stone-blind—
Johnny, fill up the bowl.
We fought with McClellan, the Rebs, shakes, and
fever. Hurrah! hurrah! (2)
But Mac joined the navy on reaching James River,
And we*ll all drink stone-blind—
Johnny, fill up the bowl.
They gave us John Pope, our patience to tax, Hurrah!
hurrah!
They gave us John Pope our patience to tax,
Who said that out West he*d seen naught but gray backs
And we*11 all drink 9 tone blind—
Johnny, fill up the bowl.
He said his headquarters were in the saddle. Hurrah!
hurrah!
He said his headquarters were in the saddle,
But Stonewall Jackson made him skedaddle.
And we*11 all drink stone blind—
Johnny, fill up the bowl.

MB
Song Texts
2010
Oh, Burnside then tried out his luck, Hurrah!
hurrah!
Oh, Burnside then tried out his luck.
But in the mud so fast got stuck,
And we*11 all drink stone blind—
Johnny, fill up the bowl.
Then Hooker was taken to fill the bill, Hurrah!
hurrah!
Then Hooker was taken to fill the bill,
But he got a black eye at Chancellorsville,
And we'll all drink stone blind—
Johnny, fill up the bowl.
Hext came General Meade, a slow old plug, Hurrah!
hurrah!
Hext came General Meade, a slow old plug,
Por he let them get away at Gettysburg,
And we'll all drink stone blind—
Johnny, fill up the bowl 0
Version C Tune: When Johnny Comes Marching Home
We all went down to New Orleans, for Bales,
for Bales;
We all went down to New Orleans, for Bales,
says I;
We all went down to New Orleans
To get a peep behind the scenes.
And we'll all drink stone blind—
Johnny, fill up the bowl.
We thought when we got in the "Ring," for Bales,
for Bales, etc.
We thought when we got in the "Ring,”
Greenbacks would be a dead sure thing,
And we'll all drink stone blind—
Johnny, fill up the bowl.

MB
Song Texts
2011
The "Ring" went up, with "bagging and rope,
For Bales, for Bales;
Upon the Black Hawk with bagging and rope,
For Bales, says I;
Went up Red River with bagging and rope,
Expecting to make a pile of "soap,"
And we’ll all drink stone blind—
Johnny, fill up the bowl*
But Taylor and Smith, with ragged ranks,
For Bales, for Bales;
But Taylor and Smith, with ragged ranks.
For Bales, says I;
But Taylor and Smith, with ragged ranks,
Burned up the cotton and whipped old Banks,
And we’ll all drink stone blind—
Johnny, fill up the bowl.
Our "Ring'* came back and cursed and swore,
For Bales, for Bales;
Our "Ring” cane back and cursed and swore.
For Bales, says I;
Our "Ring” came back and cursed and swore,
For we got no cotton at Grand Ecore,
And we’ll all drink stone blind—
Johnny, fill up the bowl.
Now let us all give praise and thanks,
For Bales, for Bales;
Now let us all give praise and thanks,
For Bales, says I;
Now let us all give praise and thanks
For the victory gained by General Banks,
And we’ll all drink stone blind—
Johnny, fill up the bowl.
******** *************

MB
Song Texts
2012
Nb. 396
DRINKING SONG V
also known as
Pill My Glass Again To Pill My Glass Again
There are hundreds of songs telling us why we should
not imhibe alcoholic beverages, and this is not one
of them. It is somewhat of a relief to find a song
that sets down the opposite side of the story, as does
this old English song. The words were written by one
Charles Morrise, the music by Charles Dibdin. The
version below is from Johnson (PS), 464-466.
Also see: Jackson (ESUS), 222.
Drinking Song 7
I*m often asked by plodding souls,
And men of crafty tongue,
What joy I take in draining bowls
And tippling all night long.
But tho 1 these cautious knaves I scorn,
For once 1*11 not disdain
To tell them why I sit Till morn
And fill my glass again.
To tell them why I sit till morn
And fill my glass again.
And fill my glass again.
•Tis by the glow my bumper gives
That life is mellow made;
The fading light then brightly lives,
And softly sinks the shade.
Some happier tint still rises there.
With every drop I drain,
And that f s the reason, 0 my friend,
I fill my glass again I

MB Song Texts
2013
In life I've rung all changes through,
Run every pleasure down;
•Mid each extreme of folly, too—
For me, there's nothing new nor rare
Till wine deceives my brain—
And that I think a reason fair
To fill my glass again.
There's many a lad I knew who's dead,
And many a lass grown old;
And, as the lesson strikes my head,
My weary heart grows cold.
But wine awhile drives off despair,
And bids a hope remain—
And that I think a reason fair
To fill my glass again,
**************** *■*#■*•** **•****•»

Wo. 397
DRINKING SONG VI
also known as
Balm of Gilead
Bingo
Bingo Farm
Here's to Good Old Yale
Rolling Home, Dead Drunk
Way Down on Bingo Farm
Here*8 to Good Old Beer
This is a combination of several songs, probably put
together by 19th century college students. The name
of practically any college can be easily inserted into
the text, but it is generally associated with Yale,
REFERENCES
Best, 100-101 Most (PCS), 35
Chamberlain, 16 Songs (15), 71
Loessor, 304-305 Waite, 54-55

M3
Song Texts
2014
Prinking Song VI
Here*a to good old "beer.
Prink it down, drink it down!
Here's to good old beer,
Prink it down, drink it down!
Here's to good old beer,
It*s so hearty and so dear,
Prink it down, drink it down.
Prink it down, down, down!
Balm of Gilead, Gilead,
Balm of Gilead, Gilead,
Balm of Gilead,
Way down on Bingo Farm!
We won't go there any more, (3)
Way down on Bingo Farm!
Bingo! Bingo! Bingo!
Bingo! Bingo! Bingo!
Way down on Bingo Farm!
***************************

No. 398
PRINKING SONG VII
also known as
We Won't Go Home Till Morning
It is rare to find a drinking song that is also used
as a game or play-party song, but that is the kind of
song with which we are here dealing. Practically every
collector has associated it with other songs, Botkin
(APPS), 353-354 has a play-party version which he re
lates to We * 11 All Go Down to Rousers (see Prinking
Song VIII in MB). Elsom and Trilling, 172-175 have
it as an English game piece, while Elson, 52 gives it
as version B of For He ' s a Jolly Good Fellow (see in
MB). Ford (TMA), 97 has it as a dance tune and remarks

MB Song Texts
2015
that it has a musical similarity to Drinking; Song
Till (in MB)* Whitman, 51-32 says the tune is French
and belongs to Malbrough S' en Va-t*en Gurre. For ad
ditional information concerning the French tune, see
The Duke of Marlborough in MB.
The version below is one I learned in North Carolina
many years ago. For another version, see Winn (2),
210 - 211 .
Drinking Song VII
We won’t go home till morning,
Till morning, till morning.
We won't go home till morning,
We'll drink together all night.
We'll take the gala out dancing,
Out dancing, out dancing,
We'll take the gals out dancing,
And dance and drink till it's light.
And so we say, all of us,
All of us, all of us,
We won't go home till morning,
We'll drink together all night.
************************

No. 399
DRINKING SONG VIII
also known as
All Go Down to Rowsers
Down to Rowsers
Four Go Down to Rowser
doing Down to Rousie's
Going Down to Rowser
Pig in the Parlor
Rouser, or Rowser's
To Rowscr's
We'll All Go Down to
Rowser'8
We're Marching Down to
Rauser*8

MB Song Texts
2016
Here is a song so filled with floating lines that
it is difficult to know whether or not it was ever
anything more than a compounded piece* As known in
play-party form, the song has many similarities to
The Bear Went Over the Mountain , Skip to My Lou ,
and We Won*t Go Heme Till Homing 0 As a drinking
song, it is very like Pig in the Parlor and something
like Por He ’s a Jolly Good Fellow . Despite all these
similarities and floating lines, Rowser’s has managed
to retain its position in folklore as a song in its
own right* Por additional information about the tune,
see headnotes to The Duka of Marlborough (in MB)♦
REFERENCES
Ames (MPP), 297-298
Ball, 14-15
Botkin (APPS), 193-197
Cambiaire, 141
Douthitt, 33
Dudley & Payne, 12
Ford (TMA), 247
Gardner (SPPG), 122
Hamilton, 290
Lair, 27
Pound, 237-238
Pound (SFSN), XXVII, No. 14
Quarterly (SPL), II (1938),
Randolph, ill, 316-319
Randolph (OPP), 217-218
Randolph (Ozarks), 160-161
Shearin (SKPS), 39
Van Doren, 492
Wolford, 22-23
162
Drinking Song VIII
We'll all go down to Roueers,
We’ll all go down to Rousers,
We* 11 all go down to Roueers,
To get some lager beer*
We won’t go home till morning, (3)
We won’t go home at all*
A jolly man is Houser, (3)
We'll have a jolly time.

MB
Song Texts
2017
A pig is in the parlor, (3)
An Irish thing to do.
There’s whiskey in his cellar, (3)
And that is Irish, too!
We’ll all go down to Houser’s, (3)
And drink some lager "beer!
*********************************

Ho. 400
DRINKING SONG IX
also known as
Bombed
Bombed Last Night
Drunk Last Night
Glorious! Glorious!
Glorious, Glorious, One More
Drink for the Pour of Us
One Keg of Beer for the Pour
of Us
One More Drink for the Pour
of us
This drinking song was (and is) sung by sailors,
soldiers, marines, and all kinds of professional
singing groups. Date of origin unknown.
REFERENCES
Dolph, 105-106
Loesser, 282-283
Niles (SMM), 43
Shay (PP-1), 53
Shay (PF-3), 25
Whitman, 51
Drinking Song IX
Drunk last night, drunk the night before;
Gonna get drunk tonight like I never got drunk
before,
Por when I’m drunk I»m as happy as can be,
Por I am a member of the souse family.

BIB . Song Texts
2018
Chorus
0 glorious, glorious, one mere beer for
the four of us!
Glory be to God that there are no more of us,
Por one of us could drink it all alone!
Bombed last night! Bombed the night before!
Gonna get bombed tonight like we never got
bombed before!
Por when we're bombed we*re as scared as we
can be;
They can bomb all the army if they don’t
bomb me•
They*re over us, over us.
One little cave for the four of us.
Glory be to God that there are no more of us,
Por they’d surely bomb the whole damned crew!
We carried Carry to the ferry.
And the ferry carried Carry to the far distant
shore.
The reason we had to carry Carry was
That Carry he couldn't carry any more!
***************************** vr

Ho. 401
DRINKING SONG X
also known as
Let's Have Another Drink Before the Lights Go Out
We'll Have Another Drink Before the Beat Shovee Off
The words of this song were set to a much older and
very popular country dance time, The Sailor’s Hornpipe .
According to Doerflinger’s informant, one Captain Pat
rick Tayluer, this "was not only a drinking song, but

Ml Song Texts
2019
was also used in the dogwatches to accompany the
dancing of the sailor’s hornpipe when no one on board
had a concertina or fiddle,” As for "Mother Rackett,”
the only individual referred to in the text, Captain
Tayluer said, "about 1875... she ran a waterfront
saloon in Hong Kong,”
Since The Sailor»a Hornpipe is a dance tune without
words of its own, we give the tune in association with
this song in order to save space, For a fiddle version,
see Ford (TMA), 46<, For a version of the song, with both
words and music, see Doerflinger, 167.
Drinking Song X Tune: The Sailor’s Hornpipe
Let’s have another drink before the lights go out!
Let’s have another drink before the lights go out!
And we’ll spend our hard-earned money
Till we’re high and feeling funny—
Let’s have another drink before the lights go out!
We’ll have another drink before the boat shoves off!
We’ll have another drink before the boat shoves off!
We will pawn our monkey jackets,
And we’ll go to Mother Rackett'e—
And we’ll have another drink before the boat shoves
Off!
************************************

No. 402
DRINKING SONG XI
also known as
Oh, Goodbye, Babe,
Forever More
Show Me the Way to
Oo Home
This old harmony song js a staple item in the repertoires

MB Song Texts
2020
of trios, quartettes and saloon vocalists* Both the
A and B versions given below are traditional*
REFERENCES
Brown, III, 67-69; V, Jour (AFL), XXIV, 255-
36-38 294, 351-396; XXV,
137-155; XXVI, 123-
173; XXVIII, 129-190
Drinking Song XI ( Version A)
Show me the way to go home,
I’m tired and I want-a go to bed;
I had a little drink about an hour ago
And it went right to my head.
Wherever I may roam,
O’er land or sea or foam,
You will always hear me singing this song;
Show me the way to go home*
( Version B)
Oh, goodbye, babe, forever more,
My boozing days will soon be o’er;
I’ve had a good time, as you can see —
Just see what booze has done for me*
Show me the way to go home, babe,
Show me the way to go home;
I ain’t been sober since last October—
Show me the way to go home.
************************

MB
Song Texts
2021

Ho, 403
DRINKING SONG XII
also known as
legacy - - — r _ When in Death I Calmly
Smilee and Wine Recline
The time is an old Irish air and the words are by
Thomas Moore, The tune, of course, has been used
for dances, by country fiddlers, and borrowed for
a religious song. For a campground spiritual, see
Jackson (ASWS), No, 129, p. 84,
A version of the song, which was a favorite of young
Abraham Lincoln, is in The Missouri Harmony , published
by Morgan and Saxay, Cincinnatti, 1808, A version was
recorded in 1963 on 20th-Fox records by Dickson Hall,
in his album Abe , the Rallsnlitter .
REFERENCES
Brown, V, 494-495 Lair (SLL), 20 Sandburg (AS), 155
Drinking Song XII
When in death I shall calm recline,
0 bear my heart to my mistress dear;
Tell her it lived on smiles and wine
Of brightest hue while it lingered here.
Bid her not shed one tear of sorrow,
To sully a heart so brilliant and light;
But balmy drops of the red grape borrow,
To bathe the relic from morn till night.
**************************

M3
Song Texts
202^

go. 404
DRINKING SONG XIII
also known as
Sparkling and Bright
This drinking song dates from about 1830. The words
and music were written and composed by Charles F 0
Hoffman and James B. Taylor. It achieved sufficient
popularity to inspire a parody, Smoking Away , which
begins:
Floating away like the fountains* spray,
Of the snow-white plume of a maiden,
The smoke-wreathe rise to the starlit skies
With blissful fragrance laden.
For a complete text of the parody, see Johnson (FS),
453.
REFERENCES
Jackson (ESUS), 267
Johnson (FS), 451
Luther, 78
McOaskey, I, 131
Shay (DFW), 33-35
Drinking Song XIII
Sparkling and bright in liquid light
Does the wine our goblet gleaming,
With hue as red as the rosy bed,
Which a bee would choose to dream in.
Chorus
Then drink tonight, with hearts as light,
To loves as gay and fleeting
As bubbles that swim on the beakers brim
And break on the lips while meeting.
Then drink tonight, with hearts aa light,
To loves as gay and fleeting,
As bubbles that swim on the beakers brim
And break on the lips while meeting.
***■***-**•*-*-*-»*•*****•♦**•*

MB
Song Texts
2025

Ho. 405
DRINKING SONG XIV
also known as
Reasons for Drinking
I have no informational background on this song at all.
The text below i«s from memory, and I can*t even say when
or from whom I learned it, but it is from my childhood.
Drinking Song XIV
Some drink because they’re hungry.
And some because they 1 re dry;
Some drink to keep them in good health,
And some that they may die.
Some drink because they are too hot,
And some because they*re cold;
Some drink to strengthen them when young,
And some when they are old.
Some drink to keep them wide awake,
And some that they may sleep;
Some drink because they jolly are,
And some because they weep.
Some drink when they do money gain,
And some because of loss;
Some drink when they are pleased,
And some when they are cross.
Some drink for sake of company,
While others drink it sly;
And many drink, but never think
About the reason why.
Some drink when they are hard at work,
And some when they’re at play;

MB
Song Texts
2024.
Some think it right to drink at night,
While others drink by day.
Some say they drink for pleasure,
And some they drink for pain;
Some eay it’s good, some very bad,
But never once refrain.
There is a saying that is true,
When iron*s hot then strike it;
1*11 tell you why all people drink:
They drink because they like it!
#**■** •***■#•*■*■* ****** *******
No« 406
DROP OP BRANDY, 0!
also known as
Brandy, 0!
Drops of Brandy
An Irish Jig
A Landlady of Prance
A Good Old Glass of Brandy, 0! Our Own Irish Jig
This old Irish song’s time has served as the melodic
getting for several well-known traditional songs, in
cluding versions A and B given below* Per another, see
The Constitution and the Guerriere I in MB* Version
A is the better known of the two, but version B, with
words by James McKeown (see Songs of the Gael, 55 O-. 351 )
is probably the oldest. The text of version A is from
Songster (10), 110,
Drop of Brandy , 0 ! ( Version A)
A landlady in Prance, she loved an officer, ’tis said,
And this officer he dearly lov’d her brandy, 0:

MB Song Texts
12025
Sighed she, I love this officer, altho* Ms nose
is red,
And hie 1eg* are what his regiment call bandy, 0 ,
But when the bandy officer was ordered to the coast,
How she tore her lovely locks, that looked so sandy, 0
Adieu, my soul, says she, if you write, pray pay the
post.
But before we part, let's take a drop of brandy, 0,
She filled him up a bumper, just before he left the
town,
And another for herself, so neat and handy, 0 ,
So they kept their spirits up by their pouring spirits
down,
For love is like the cholic, cured with brandy, 0,
Take a bottle on*t, said she, for you*re going into
camp,
In your tent, you know, my love, *twill be the dandy, 0
Tour*re right, says he, my life, for a tent is very
damp.
And * tis better with my tent to take some brandy, 0!
(Version B i Irish Jig )
I*m singing the praises of Ireland,
My own land of frolic and fun;
For all sorts of mirth and diversion,
No place compares under the sun,
Bohemia may boast of her polka,
And Spain of her waltzes talk big;
0 sure, they are nothing but limping
Compared to an old Irish jig.
Chorus

MB
Song Texts
Then a fig for your new-fashioned waltzes,
Imported from Spain and from Prance,
And a fig for the thing called the polka.,
Our own Irish jig we will dance.
I’ve heard how the jig came in fashion.
And "believe that the story is true:
By Adam and Eve ’twas invented—
The reason was partners were few.
And tho’ they could "both dance the polka,
Eve thought that it was not quite chaste;
She preferred our old jig to be dancing,
And, faith, I approve of her taste!
****************************

No. 407
THE DROWNED LOVER
also known
Arbour Town
Captain Digby’s Parewell
The Drowned Sailor
In Robin Hood’s Churchyard
Robin Hood*8 Bay
as
Robin Hood’s Churchyard
Robin Hood Side
Scarberry’e Shores
Scarboro Sand
Scarborough Banks
This song is of British origin. "The scene of the
story,” according to Kidson, "is laid near Robin
Hood’s Bay, six miles south of Whitby; Stowbrow
mentioned in the ballad being a large tract of land
on the south side of the Bay."
Because of The Drowned Lover and The Drowned Sailor
titles, this song is sometimes confused with other
songs using tho«*e titles (see The Lost Lover and
A Young Woman’s Sorrow in MB), Also see and compare
The Mother’s Malison, or Clyde * s Water in Child TV,
No. 216, 185-191.

MB Song Texts
2027
REFERENCES
Chappell (FSRA), 70-71
Greig & Duncan, No. 20
Jour (FSS), III, 258
Karpeles, 161-162
Baring-Gould (SW), No. 32
Brown, II, 329-330; IV,
190-191
Kidson (FSNC), 48-49
Kidson (TT), 112-113
Ord, 332-333
Peacock, III, 722-725
Sharp (ECPS), 162
Sharp (FSE), IV, 22-24
Sharp (100), 86-87
The Drowned Lover
There was a young lady in Scarb'rough did dwell,
She was courted by a sailor and she loved him full well
They had promised to get married when he did return,
Tho f mark of misfortune upon them did burn.
As he was a-sailing all on the salt sea,
A storm there did arise much to their great surprise;
The winds were terrible and the billows did roar,
Till both ship and sailors were dashed on the shore.
As soon as she heard that her true love was dead,
She ran raving and crying, all our of her head;
She cried, "Adieu to all pleasure, my joy has fled!
I shall sleep in my grave but no marriage bed."
As she was out walking *round Scarborough 1 s sand,
A-crying and lamenting and wringing of hand,
Saying, ”0 you cruel billows, wash my true love ashore,
So that I may behold his sweet face once more."
As she was a-walking ’round Robin Hood's side,
8 he saw a young sailor washed up by the tide.
As she drew near to him in surprise she did stand;
She knew her own true love by a mark on his hand.

MB
Song Texts
2028
She cried, "I have found you, my dearest own dear,”
And hugged him and kissed him, and held him quite near.
She said, "I am quite willing to lie by your side,”
And a few moments later this fair maiden died.
In Robin Hood's churchyard the young couple was laid.
And a double tombstone for them was then made,
Saying, "You tender hearted lovers as you pass by,
You can weep and lament where this couple lie,”
**************************

Bo, 408
THE DROWSY SLEEPER
also known as
An Ardent Lover
Arise, Arise
Awake, Arise, You Drowsy
Sleeper
Awake ! Awake!
Bedroom Window
Charlie and Bessie
Death of William and
Nancy
The Drowsy Sleepers
His Love Will Find a Way
Katie Dear
Katy Dear
Little Willie
Little Willy
Maggie and Willie
Mollie, or Molly
Mollie Dear, Go Ask
' Your Mother
The theme of this song is
0 Drowsy Sleeper
Oh, Who Is That Rapping at
My Window
Oh, You Drowsy Sleeper
0 Molly Dear
Rise Ye Up
Serenade
The Shining Dagger
The Silver Dagger
The Untrue Lover
Wake Up, You Drowsy Sleepers
Who Is At My Bedroom Window?
Who Is Tapping At My Bedroom
Window?
Who's That At My Bedroom
Window?
Willie and Mary
Willie, Darling
old and well-known to Folklore,

MB Song Texts
2029
For a study of its age and range, see Pub (MIA), XXXVI,
565-614* Songs with this story theme runs wide in Eng
land, Scotland, and Ireland, In America, where a large
number of versions has been recovered, the various forms
are sometimes fused into a single piece. Many collectors
have listed it as an Irish song, which it probably is,
or originally was.
The Drowsy Sleeper is generally confused with The Silver
Dagger (see in M3), but the two songs are not really re
lated, Cox printed a version from West Virginia called
The Silver Dagger , explaining the title by suggesting it
was used "prc'abiy because the last two stanzas of it
belong to that song," Scarborough has several versions
containing the "silver” or "shining" dagger stanzas.
Our version al®o contains a "silver dagger" stanza, but
we shouldn't leap to "related" conclusions about it.
The English dialogue song, Arise , Arise , is another
similar piece sometimes confused with The Drowsy Sleeper ,
Although that song begins the same, it is quite different
and should not be considered a version of The Drowsy
Sleeper. Nevertheless, both songs have been collected and
published under identical titles*
Other English-Scottish songs that could be compared (but
should not be confused) with this song, are I Will Put
My Ship in Order in Christie, I, 224 and Ord, 318, and
Hearken, Ladies, and _I s7ill Tell You in Ord, 89*
The more popular version of Drowsy Sleeper , in America,
1b one derived from a broadside issued by H, J. Wehman
(No. 518) which contains "silver dagger" stanzas* Other
broadsides were issued by Catnach, Pitts, and Such.
REFERENCES
Baring-Gould (SW), No. 41
Barry (MWS), 83
Belden (BS), 118-123
Botkin (NEF), 859-860
Brewster (BSI), 170-174
Brown, II, 255-258; IV,
147-149
Campbell & Sharp, No, 47

KB
Song Texts
2030
Cazden, I, 3
Chappell (FSRA), 81-82
Christie, I, 225
Cox (FSS), 348-349
Davis (FSV), 56-57
Doerflinger, 314
Eddy, 92-95
Gardner (BSSM), 86-88
Greenleaf, 55-56
Greig, I, art. 54
Henry (FSSH), 190
Hudson (FSM), 161-162
Jour (AFL), XX, 260; XXV,
282; XXVI, 354; XXIX,
200; XXX, 338; XXXV,
356; LX, 223
Jour (FSS), I, 269; III,
78
Karpeles (EFS), I, 329-
332
Laws M 4, 81
Leach (BB), 727-730
Mackenzie, 99-100, 396
Moore (BFSS), 196-197
Morris, 362-363
Ord, 318-319
Pound, 51-53
Pub (MLA), XXXVI, 565-614
Quarterly (SFL), VIII, 16?
168; XIV, 87-96
Randolph, I, 244-249
Reeves (EC), 176-178
Ritchie (SFC), 219-220
Roberts (IP), 93-94
Scarborough (SC), 139-
142, 399
Sedley, 48-49
Sharp, I, 358-364
Sharp (EFS), I, 72
Sharp (FSEO), 48
Sharp (FSFS), No. 99
Sharp (100), 106-107
Sturgis (SHV), 30-31
Sulzer, 17
Treat, 11
White (ANFS), 177-178
The Drowsy Sleeoer
... ^ -
"Wake up, wake up, you drowsy sleeper!
Wake up, wake up, it's almost day!
How can you bear to lie and slumber
When your true lover is going away?"
"Who's that a-knocking at my window,
Before the sun come 3 peeping through?"
"It*s only me, your own dear Willie,
And I've come, my love, to speak with you.

MB
Song Texts
2031
"0 Mary dear, go ask your mother
If you and I may married be.
If she says no, return and tell me,
And I never more will trouble thee."
"0 Willie dear, I dare not ask her;
I know that she will not agree.
So go your way and love another.
But never forget you once loved me."
"0 Mary dear, go ask your father.
Tell him how happy we would be.
Thi9 heart of mine is near to breaking—
Oo tell your father that you love me."
"0 Willie dear, I dare not tell him,
For he is on his bed of rest;
Beside him lies a silver dagger,
To slay the one that I love best."
"0 1*11 go down in some lone valley
And spend my weeks, my months and years;
And 1*11 eat nothing but green willow.
And 1*11 drink nothing but my tears."
"Come back, come back, my own true lover!
Come back, come back!" in grief cried she;
"And 1*11 forsake my father and mother,
If you will make a home for me."
*#**********************.*

No. 409
DRUMMER BOY OP SHILOH
also known as
The Drummer Boy
The Drummer Boy at Shiloh

MB
Song Texts
2032
A Civil War song that refers to the Battle at Pitts
burgh Landing, Tennessee, April 6-7, 1862, About
five a. m. on the 6th, Union forces commanded by Gen.
Grant met Confederate forces commanded by Gen. Albert
Sidney. The Union forces were almost immediately
driven back, but the tide turned when Union Gen. Buell
arrived with reenforcements late in the afternoon 0
On the 7th, the Confederates retreatedo The battle was
characterized by fierce, stubborn fighting on both
aides. This song, dealing with that battle, became
popular on both sides. The song was written by Will S.
Hays and published at Louisville, Kentucky, by D. Po
Faulds in 1862.
For a World War I song fashioned after (and using first
two stanzas of) this, see Roberts (IP), 118-119.
REFERENCES
Henry (PSSH), 366
Hubbard, 282-283
Laws (AB), A 15
Lum, 13
Randolph, II, 308-309
Silber (SCW), 119, 140
Staton, 103
Allan (LSB), 145
Belden (PLSB), No. 123
Brown, II, 536-538
Brown (BLNC), 11
Combs (PSMEU), 208
Glass (SS-2), 186-188
Grand Army, 76-77
Drummer Boy of Shiloh
On Shiloh*s dark and bloody ground,
The dead and wounded lay;
Amongst them was a drummer boy,
Who beat the drum that day 0
A wounded soldier held him up,
His drum was by his side;
He clasped his hands, then raised his eyes,
And prayed before he died.
He clasped his hands, then raised his eyes,
And prayed before he died.

MB
Song Texts
2033
"Oh, mother," said the dying boy,
"Look down from Heaven on me;
Receive me to thy fond embrace_
Oh, take me home to thee.
I*ve loved my country as my God;
To serve them both I*ve tried.”
He smiled, shook hands—death seized the boy
Who prayed before he died.
He smiled, shook hands—death seized the boy
Who prayed before he died.
Each soldier wept, then, like a child;
Stout hearts were they, and brave:
The flag his winding-sheet, God*s book
The key unto his grave.
They wrote upon a simple board
These words: This is a guide
To those who»d mourn the drummer boy
Who prayed before he died.
To those who»d mourn the drummer boy
Who prayed before he died.
*******#**** ############

Ho. 410
DRUMMER HOY OP WATERLOO
also known as
Drummer Boy Waterloo
Drummer Boy Edwin of Waterloo Young Edward
The Soldier of Waterloo young Edwin at Waterloo
This song originated in England and was popular for
a rery long time. It was almost as popular in America
as in Britain. The battle to which it refers is too
well known to require discussion here. The name of

MB
Song Texts
2034
the "battle is not important anyhow. Songs such as this
one are often adapted to whichever battle the particular
singer happen? to be familiar. Broadside versions were
issued by BeMarsan (List 14, No. 19), H. Such (No. 168),
and others.
REFERENCES
Brown, II, 357-358
Brown (BLNC), 11
Cox (FSS), 293, 395
Creighton (SENS), 145-146
Davis (FSY), 67
DeMarsan (SJ), I, 186
Eddy, 163-164
Gainer, 155-156
Hubbard, 284
Jour (AFL), XLV, 163; LX,
217
Moore (BFSS), 148-149
Owens (TF3), 65-66
Pub (TFLS), XXIII, 77-78
Randolph, I, 338
Songster (12), 145
Songster (63), 202
Star, 145
Drummer Boy of Waterloo
When battle roused each warlike band,
And carnage loud her trumpet blew,
Young Edwin left his native land,
A drummer boy for Waterloo.
He who knew no infant fear,
Hie knapsack o’er his shoulder threw,
Sayin*, "Mother, mother, dry your tears
Till I return from Waterloo."
His mother pressed her lips to his
And bid her hoble boy adieu;
With wringing hands and aching heart,
She saw him march to Waterloo.
He went, and ere the set of sun,
Beheld the arms the foe subdue,
When flash of death from murderous gun
Had laid him low at Waterloo.

MB
Song Texts
,2055
"0 comrades, comrades,” Edwin cried,
And proudly 'beamed his eyes of blue:
"Go tell my mother Edwin died
A drummer boy at Waterloo.”
They placed his head upon his drum,
Beneath the moonlight’s mournful hue;
When night had stilled death’s battle hum,
They dug his grave at Waterloo.
**•*■*■* •**•**■* *■#•*•*** *■**-**•**■»*•**

No. 411
THE DRUNKARD I
also known aer
Come Home, Father
The Drunkard Father
Father, Come Home
Father, Dear Father, Come
Home With Me Now
Please, Father, Dear Father,
Come Home
This song is no longer taken seriously, but at one
time it was one of the most popular and potent anti-
alcoholic songs in the United States, Now it^is a
parody of what it was originally intended to be. It
was used mo«3t effectively in the play, Ten Nights in
a Barroom, although it was not written specifically
for that purpose. Written by Henry Clay Work, the song
was copyrighted and published in 1864.
For a parody, see Father , Dear Father , Come Home With
the Stamps in Loesser, 287-289.
REFERENCES
Chappie (H3), 230-232
Fuson, 144
Hubbard, 184-185
Kennedy (AB), 249-250
Kennedy (TAB), 275-276
Lloyd, 174-175
Luther, 187
Pound, XVII, No. 1, 51

MB Song Texts
. 20 ? 6
Randolph, II, 396-397
Shay (DFW), 27-30
Shearin (SKI'S) , 33
Spaeth (HEW), 65-66
Staton, 24
Whitman, 184
The Drunkard I
Father, dear father, come home with me now!
The clock in the eteeple strikes one.
You said you were coming right home from the shop,
As soon as your day’s work was done.
Our fire has gone out, our house is all dark,
And mother’s teen watching since tea,
With poor brother Benny so sick in her arms,
And no one to help her but me.
Come home, come home, come home!
Please, father, dear father, come home!
Chorus
Hear the sweet voice of the child,
Which the night-winds repeat as they roam!
Oh, who could resist thig most plaintive of
pray’rs?
Please, father, dear father, come home!
Father, dear father, come home with me now,
The clock in the steeple strikes two;
The night hag grown colder, and Benny is worse,
But he has been calling for you.
Indeed he is worse, Ma says he will die.
Perhaps before morning shall dawn;
And this is the message she sent me to bring:
"Come quickly, or he will be gone."
♦ ♦♦♦♦♦•if** ******* *******

MB
Song Texts
20£7

Ho. 412
THE DRUEAKARD II
also known as
A Drunkard’s Child I Am Called a Drunkard’s Child
This is not the oldest temperance song in America, but
it has been one of the most enduring. Written by Mrs.
E. A. Parkhurst, the song was published in 1870 by C.
W. Harris. Por two other versions, see Jordan, 168-
170 and Randolph, II, 427-428.
This is not related to The Drunkard *s Child in Roberts
(IP), 183-184.
The Drunkard II
Tou ask me why so oft, father,
The tears roll down my cheek,
And think it strange that I should own
A grief I dare not speak.
But 0, my soul is very sad.
My brain is almost wild;
It breaks my heart to think
That I am called a drunkard’s child.
Chorus
But 0, my soul is very sad.
My brain is almost wild;
It breaks my heart to think
That I am called a drunkard’s child.
My playmates shun me now, father,
Or pass me by with scorn,
Because my dress is ragged
And my shoes are old and torn.
And if I heed them not, "There goes
The drunkard’s girl," they cry.

MB Song Texts
2038
Oh, then, how much I wish
That God would only let me die!
Tou used to love me once, father,
And we had bread to eat;
Mama and I were warmly clad,
And life seemed very sweet,
Tou never spoke unkindly then.
Or dealth the angry blow:
0 father dear, f Tis sad to think
That rum has changed you so.
Bo not be angry now, father,
Because I tell you this.
But let me feel upon my brow
Once more your loving kiss.
And promise me, those lips no more
With drink shall be defiled—
That, from a life of want and woe,
You’ll save your weeping child,
**************** **-»***•»*

Wo. 413
THE DRUNKARD III
also known as
Bessie, the Drunkard’s
Poor Child
The Drunkard’s Daughter
The Drunkard’s Lone Child
The Drunkard’s Love Child
Father’s a Drunkard and
Mother is Dead
God Pity Bessie, the
Drunkard’8 Lone Child
This is another temperance song by E. A, Parkhurst,
The text is credited to "Stella" (of Washington),
The song was used as a musical weapon by teetotlers
in their war against "the drink of Lucifer,"

MB
Song Texts
2039
This song has a title in common with another, The
Drunkard * s Lone Child , hut the two songs are not re
lated except through subject matter. Randolph, II,
398-402, lumped the songs together as variants, but
they are separated in Hubbard, 202 and Stout, 122-124*
Brown supported Stout*s position, as do I, that the
songs are not the same*
See and compareJJubbard, 202 and Pound (SFSN), XIX,
No* 2, 55*
REFERENCES
Brown, III, 50-51; V,
26-27
Davis (FSV), 307
Ford (TMA), 370-371
Henry (FSSH), 382
Hubbard, 200-201
Jordan, 171-174
Jour (AFL), XLV, 58-59
Quarterly (SFL), II, 162
Randolph, II, 398-399
Spaeth (WSM), 191-192
Stout, 122-124
The Drunkard III
Out in the gloomy night, sadly I roam;
I have no mother dear, no pleasant home;
Nobody cares for me, no one would cry
Even if poor little Bessie should die!
Barefoot and tired, I*ve wandered all day,
Asking for work, but I*m too small they say.
On the damp ground, I must now lay my head—
Father’s a drunkard and mother is dead 0
Chorus
Mother, oh! why did you leave me alone.
With no one to love me, no friends and no home?
Dark is the night, and the storm rages wild;
(EFod pity Bessie, the drunkard’s lone childJ

MB
Song Texts
'2040
We were so happy till father drank rum,
Then all our sorrow and trouble begun;
Mother grew paler, and wept every day,
Baby and I were too hungry to play.
Slowly they faded, and one summer*s night
Pound their dear faces all silent and white;
Then with big tears slowly dropping, I said:
"Father*s a drunkard, and mother is dead!”
Oh! if the "Temp*rance men” only could find
Poor, wretched father, and talk very kind—
If they could «top him from drinking—why,
Then I should be so very happy again!
Is it too late? ”men of Temp*rance”, please try,
Or poor little Bessie may soon starve and die.
All the day long I*ve been begging for bread;
Father*s a drunkard, and mother is dead!
*****************************

No. 414
THE DRUNKARD 17
also known as
The Drunkard Drunkard's Song
The Drunkard Is No More The Grog Shop Door
The Drunkard's Doom Temperance Song
Another musical missile directed against the intake
of Satan's brew. Author and composer of this song un
known. For a different Drunkard's Song , see Thomas
(BMMK), 123.
REFERENCES
Arnold, 58-59
B.elden (BS), 468-469
Brown, III, 44-45; V
24-25
Cox (FSS), 403
Cox (TBFS), 203
Eddy, 308
Henry (BMFS), 34-35
Hubbard, 207
Jour (AFL), XXXV, 424;
XXXIX, 170

MB
Song Texts
^2041
Lomax (ABES), 174-175
Owens (TFS), 84
Quarterly (SPL), IT, 183
Randolph, II, 392-393
Randolph (OASPS), 210-211
Sandburg (AS), 104-105
Silverman, I, 195
Songster (83), 13
Warner, 131
Whitman, 183
The Drunkard IV
At break of day I saw a man,
He stood by a saloon;
His eyes were sunk, his lips were parched,
Oh! that* 8 the drunkard*s doom.
His little son stood by his side,
And to his father said:
"Father, mother lies sick at home
And sister cries for bread.”
He rose and staggered to the bar
As oft he’d done before,
And to the landlord smilingly said:
"Just fill me one glass more.”
The cup was filled at his command,
He drank of the poisoned bowl—
He drank while wife and children starved,
And ruined his own soul.
A year had passed, I went that way,
A hearse stood at the door;
I paused to ask, and one replied:
■The drunkard is no more.”
How, all young men, a warning take,
And shun the poisoned bowl—
’Twill lead you down to Hell’s dark gate,
And ruin your own aoull
****************-* *-*-***•*•*

MB
Song Texts
2042

Ho, 415
THE DRUNKARD V
also known as
The Drunkard * s Confession Edward, You Look So Healthy
The Drunkard's Dream How
The Drunkard*** Song The Husband*a Dream
Why, Edward, You Look So
Healthy Now
This ie a "temperance” song from the late 1860s. In
England, where it was known as The Husband * s Dream,
the song was popular for nearly twenty years. In America
where it was generally known as The Drunkard * s Dream ,
the song enjoyed even greater popularity and was circu
lating widely until the close of World War I.
This song was a favorite of the broadside publishers
on both sides of the Atlantic. Among those who issued
versions of it, were: Bebbington, Manchester (No. 128),
DeMarsan (List 11, No. 43), Gilbert, Newcastle (No. 135)
Ryle & Co., Such (No. 341), and Wehman (No. 454). It
was printed countless times in folios and songbooks,
and wae still a well-performed piece by country music
entertainers until the late 1930s,
•For an entirely different Drunkard * s Dream , see Henry
(PSSH), 378-381.
REFERENCES
Allsopp, II, 210-211
Belden (BS), 469-470
Brown, III, 45-48; V,
25-26
Cox (PSS), 398-400
Davis (PSV), 306-307
DeMarsan (SJ), II, 446
Eddy, 225-227
Gems (1), 28
Greenleaf, 151-152
Henry (SNC), 144
Hubbard, 203-205
Jour (APL), XLV, 55-58
0 # Conor, 67
Ozark Life, V, No. 8, 19
Pioneer Songs, 318-319
Pub (TPLS), VI, 125-127
Quarterly (SPL), IV, 188
191

KB Song Texte
2043
Randolph, II, 393-396
Richardson (AMS), 41
Roberts (IP), 267-268
Scarborough (SC), 366-
Shear in (SKPS), 33
Spaeth (WSH), 193
Thede, 56-57
Wehman (GOTS), No. 4
372 & 455-456
112-114
Drunkard V
Edward, you look so healthy now,
Tour clothes so neat and clean;
You haven*t been around, somehow,
Come tell me where you*ve been.
Your wife and children now are well.
Who once you treated strange,
0 have you kinder to them grown?
What brought this happy change?
It was a frightful, warning dream
That heaven sent to me,
To keep me from a drunkard’s curse:
Crime, want, and misery.
My wages were all spent in drink—
0 what a wretched view!
It almost broke my poor wife*s heart,
And starved my children, too.
My dear wife’s form did waste away,
I saw her sunken eye;
My two sweet babes in sickness lay,
I heard their wailing cry.
Yet did I laugh in drunken glee
While Kelly’s tears did stream,
And like some beast I fell asleep.
And had this warning dream.

MB
Song Texts
2044
One night quite drunk I stagger home;
There seemed a solemn gloom—
My wife not there! Where could she he?
And strangers in the room.
Your wife is dead, the people said,
She led a wretched life;
For want and grief had broke her heart,
To he a drunkard** wife.
I saw my children crying *round,
I hardly drew my breath—
They kissed and pressed her lifeless form,
How ever stilled in death.
0 she*s not dead! I cried aloud,
And rushed to where she lay;
I madly pressed her once warm lips,
How ever cold as clay.
0 Helly, Nelly, speak to me!
1*11 never give you pain,
Hor ever grieve your loving heart,
Or ever drink again.
0 Helly, speak! *tis Edward’s call!
And so I do, she cried!
And sure enough, my dear wife’s form
Was kneeling by my side.
I pressed her to my thankful heart,
And let the tears now stream;
And ever since I*ve thanked my God
For sending me that dream.
♦•**** **•«■*•#** •*•***•* **

Song Texts
2045
KB

Ho. 416
THE DRUNKARD VI
also known as
Bark and Storm Right The Drunkard's Hell
A Drunkard' a Confession Drunken Dream
The Drunkard's Dream On a Dark and Stormy Night
This is one more musical contribution to the war against
alcoholic beverages. Like most songs of the genre, it
Bounds either silly or humorous today, depending upon
the listener's state of mind. But this song was serious
•nough in its time and, despite its use of another tune,
It enjoyed considerable popularity. For a song set to
the same air, see The Drunkard VIII in MB.
REFERENCES
Brown, III, 42-44? V,
23-24
Fuson, 110
Henry (FSSH), 378-381
Jour (AFL), XXXIX, 169-170;
XIV, 55-58
Lomax (CS-1919), 395-396
Randolph, II, 409-410
The Drunkard VI
•Twas on a dark and starless night
I saw and heard an awful sight;
The lightning flashed, loud thunder rolled
Across my dark, benighted soul.
I turned my head and saw below
Where all the dying drunkards go.
My frightened thoughts, no tongue can tell:
Is this my place in a drunkard's hell?
Around me stood a weeping crowd,
With bloodshot eyes and voices loud;
I heard a louder voice yell:
Is this my place in a drunkard's hell?

MB
Song Texts
2(346
I walked on; got there at last,
Then ordered me a social glass.
But every time I stirred it well,
I thought about the drunkard*s hell,
I turned it down and left the place,
Seeking to find redeeming grace;
That very moment grace begun
Ten thousand joys 'round me sprung,
I went forward to change my life,
And longed to see my neglected wife,
I found her weeping over the bed
On which our infant babe lay dead.
I told her not to mourn or weep,
Por little babe had gone to sleep;
Its little soul had fled away,
To dwell with Christ in endless day.
I took her by her lily-white hand—
She was so weak she could not stand—
I let her down and said a prayer,
Begged God to own and bless us there,
I went then to the Christian hall,
To take a pledge with one and all;
They took me in with a welcome hand
And led me into the Christian band.
Now I live a sober life,
I have my home and loving wife;
I thank God above that all is well,
Por saving me from a drunkard's hell!
******************

MB Song Texts
2047

No. 417
THE DRUNKARD VII
also known as
The Drunkard's Child
The Drunkard*# Son
The Orphan Child
An Orphan Lad
Randolph, II, 400-402 prints two versions of this song
and lists them as variants of The Drunkard * s Lone Child
(see The Drunkard III in MB) . I don»t agree. My research
shows that the song is of a modern professional effort;
it was written in 1929 by Rev. Andrew Jackson, a blind
singer-songwriter of Atlanta, Georgia. The song*s limit
ed popularity in the South for a period of fifteen years
was the result of its performance by several well-known
"country” music artists, the first of which was Jimmie
Rodgers.
The Drunkard VII
Kind foiks, I have a story,
A story rather sad,
How drinking rum and whiskey, too,
Made me an orphan lad.
All through the world I wander,
And beg from door to door;
Someday 1*11 find a welcome
On heaven*s golden shore.
My father is a drunkard,
My mother she is dead,
And I am Just an orphan child,
No place to lay my head.
My mother is in heaven,
Where God and the angels smile,
But still I know she's watching
Her lonely orphan child.

MB
Song Texts
2048
We all were once so happy,
And had a happy home,
But father started drinking rum,
And he began to roam Q
He left my darling mother—
She died of a broken heart—
And as I tell my story,
I see your tear drops start.
Don’t weep for me and mother,
Altho’ I know it’s sad,
But say a prayer and try and cheer
And save my poor old dad.
I’m awful cold and hungry—
He closed his eyes and sighed,
And those who heard his story
Saw the orphan child had died.
*************************

Ho. 418
THE DRUNKARD VIII
also known as
The Drunkard’s Wife’s Dream
This is a "reply” to The Drunkard’s Dream (see The
Drunkard VI in MB), and it was not, obviously, the
work of a member of the Temperance movement. For a
similar text, see Hubbard, 206. For a different text,
see Fuson, 137.
The Drunkard VIII Tune: The Drunkard VI
"Oh, Mary, tell me how it is you always look so gay,
When evening after evening your husband stays away?
I never see you sulk or pout or say an angry word;
And yet you have a cause for tears, if all is true
I’ve heard.
It

MB Song Texts
2049
"It's because, my sister dear, you've lived your life
unwed;
You have no children weeping 'round and asking you for
bread.
You'll never know how it did come a woman's lot thro*
life
To live with all a drunkard's faults and still be a
patient, loving wife 0
"One evening as I sat beside my humble cottage door,
Listening for my husband's footsteps, as I've often
done before,
A wicked thought came in my head and I bitterly said:
I never want to see him more, I wish that he were dead!
"They say the wicked cannot rest, but I'm sure it is
not so,
Por very soon I fell asleep 'mid tears of grief and
woe,
I dreamt I had my wish fulfilled, my husband was no
more,
I fell upon his lifeless form and kissed him o'er and
o'er,
"Oh, Dermot darling, speak to me! I meant not what I
said!
Just say one word unto your wife, please say you are
not dead!
•I'm sure I'm not, my Mary dear,* I woke up with a
scream,
And saw my husband standing by—his death had been a
dream!
"Now oft-times, when I feel disposed to be unkind,
The warning of that fearful dream comes fresh into
my mind;

MB
Song Texts
2050
My heart does beat with many a pang to know the life
he leads,
And yet I greet him with a smile when oft my poor
heart bleeds
************** ******* ***********

Ho. 419
THE DRUNKARD IK
also known as
Beautiful Light O'er the
Ocean
The Drunkard*s Wife
It*s a Beautiful Life on
the Ocean
Seven Long Year*
Seven Long Year* I've Been
Married
Wish I'd Lived an Old Maid
This marital complaint song is similar in story to
several others, one of which, Beautiful Light O'er
the Sea , is related. See that and the following songs
in this Master Book; Brown Eyes II , I'll Drink Until
I Die, and Unmarried Bliss II 0 For other songs with
the same general theme 9 see: Don't Never Marry a
Drunkard in Randolph, II, 432-433 and How I Wish I Was
Single Again in Eddy, 185.
REFERENCES
Brown, III, 56-57; V, Gardner (BSSM), 132
29-31 Shay (PF-2), 120-121
Davie (FSV), 170 Shay (PF-3), 190-191
The Drunkard IX
For seven long years I've been married,
And I wished I'd lived an old maid;
My husband took to hard drinking,
And now he won't work at his trade.

MB Song Texts
2051
Chorus
Off to the barroom he staggers,
Go bring him back if you can.
0 girls-, you ain*t never had trouble
Until you marry a man!
He promised before we got married
That I would live happy and gay.
And every night of the week long
I*d go to a party or play.
It»s early to rise in the mornings.
And it’s work and toil through the day;
It»s supper to cook each evening.
Then children to all tuck away.
It*s early he leaves every morning,
For to gamble and drink all day;
And when he comes home at evening,
He # s gambled his money away,
Tf only I T d listened to mother,
I wouldn*t be here today;
But being so young and foolish,
I let the boys lead me astray.
**************************

Ho. 420
THE DRUNKARD X
also known as
The Drunkard* s Hiccoughs
The Drunk Fiddler
The Drunken Hiccoughs 9
or Hiccups
This appears to be a compounded or "put together'* song,
for it is made up of lines and stanzas found in other
songs. The tune is a popular fiddle piece for square

MB
Song Texts
2052 '
dancing. For similar songs and songs containing
lines used in this one, see: Way Up On Clinch Mountain
in Thomas (DD), 128, Kentucky Moonshiner in Sandburg
(AS), 142-143, and The Unhappy Lover VII in this Master
Book.
For a song also known as The Drunkard»s Hiccoughs . but
which is not related to our song, see I An A Done-Up
Man in Randolph, III, 139-140.
REFERENCES
Randolph, III, 133-135 Shellans, 54-55 Thede, 54-55
The Drunkard X
tune up my fiddle and rosin my bow,
1*11 make myself welcome wherever I go<>
Hie! where shall I go?
Hie! where shall I stay?
Ha—choo— 00 ! will I ever get home?
1*11 go home and go straight to my bed,
And they r 11 rattle the old brandy keg over my head 0
A glass of whiskey is a mighty good thing,
It*11 cheer a man up when he's going to sing!
Hie! where shall I go? etc.
As I staggered my way all over the street,
They rolled gold coins all under my feet.
Hie! where shall I go? etc.
1*11 go to the barroom and put on a stew;
No woman to follow and see what I do.
Hie! where shall I go? etc.
1*11 go to the mountain and fire up my still;
1*11 sell a gallon for a two-dollar bill*
Hie! where shall I go? etc.

KB Song Texts
205?
I eat when I*m hungry and drink when I*m dry;
It women don*t kill me 1*11 live till I die 0
Hie! where shall I go? etc.
*********************************

No. 421
THE DRUNKARD XI
also known as
The Drunkard*s Horse
The Horse*s Complaint
Old Gray
Old Grey
This song originate in England. Shearin thought it
•imilar to and probably a version of The Green
Mountain Bovs.
REFERENCES
Hubbard, 369
Randolph, II, 415-416
Sharp, II, 220
Shearin (SKFS), 20
The Drunkard XI
One Sunday morning, eo troubled in mind,
I rode on old Gray some pleasure to find 0
No one being with me except that old horse,
I gave him a whack and began to discourse.
I never dreamed that my old Gray could speak
When over his rump I gave him a tweak;
He put back his ears and he made this reply:
"There»s no need to hit me. You know I can*t fly.
There’s no need to hit me, altho* you*re a man;
1*11 always take you as fast as I can.
All over the country I take you about,
For mile after mile and I never give out."

MB
Song Texts
2054
•As to your fortune you need not complain.
I feed you,” I paid, "with fodder and grain,
Tou know every where that I warm my feet;
I give you more oats than you*re able to eat."
*0 when you are sober, I very well know,
Tou feed very well and ride very slow;
But when you are boozy, I pay for it all—
Tou ride like the devil, feed nothing at all*
•On many a cold night when shivering I stand,
Tou*re in some old barroom, a glass in your hand;
Tour whiskey gives out, and you call for more,
And you never think of your gray horse, I»m sure 0 "

Ho. 422
THE DRUNKARD XII
also known as
Arrow Goodman
As Drunk as He Could Be
As Drunk as I Could Be
Cairo Gal
Down Came the Old Kan
Drunkard Blues
Drunkard*s Special
Drunken Fool
The Drunk Husband
Pour Nights
Pour Nights Drunk
The Good Man
The Good Old Man
The Gude Old Man
Hame Came Our Gudeman
This is an old British s
versions. American text
old British song with both English and Scottish
American texts appear to have derived from the
Kind Wife
The Old Man Came Heme
Our Goodman
Our Gudeman
Pareon Jones
Three Nights
Three Nights Drunk
Three Nights of Experience
Whiskers on the Baby*s Face
I Went Home One Night
A Jacobite Song
Home Came the Good Man
Home Came the Old Man
Hobble and Bobble
I Called My loving Wife

MB
Song Texts
2055
Scottish versions, but Americans usually inject (or at
least strive for) more comedy by making the husband a.
drunkard. It is one of those songs that lends itself
to individual imagination and expression and, conse
quently, there are quite a few far-out versions in
circulation. Near the close of the 18th century it
spread over the British Isles as a bawdy ballad. In
its original form, however, the story dates back to
the Middle Ages and was associated with May—day rites.
Two versions are given below. The first (A) is an
up-dated American version and the second (B) is the
older form, rarely encountered these days outside
older published collections.
For an adaptation in which the "old man" has become
a sailor, see The Sailor f a Return in Shay (PF-2), 104-
105 or Shay (PF-3), 178.
REFERENCES
Anderson (AESB), 74
Baring-Gould (SW), No. 33
Barry (ABB), No. 17
Barry (BBM), 315-317
Belden (BS), 89-91
Best, 102
Brewster (BSI), 149-150
Brown, II, 181-183; IV,
103-111
Brown (BLNC), 9
Bulletin (TFS), VIII, 72-
73
Bulletin (VFS), Nos. 2, 5
Campbell & Sharp, No. 32
Chambers (SSPB), 184
Chappell (FSRA), 41
Chase (AFTS), 118-119
Child, V, 88-95
Coffin, 144-145
Cox (FSS), 154-158
Creighton (TSNS), 91-92
Davis (MTBV), 300-304
Davis (TBV), 485-494, 595-
597
Dean-Smith, 70
Dixon, 211
Dunstan, 11
Eddy, 82-83
Finger (FB), 161-162
Flanders, IV, 63-71
Ford (VSBS), II, 31
Friedman, 445-449
Gainer, 86-87
Greig & Keith, 214-216
Henry (BMF3), No. 7
Henry (FSSH), 119-124
Henry (SSSA), 14-16
Herd, II (1776), 172

MB Song Texts
Herd MSS., I, 140
Houseman, 232-236
Hubbard, 34-35
Hudson (FSM), 122-123
Hudson (SMFL), No. 26
Jones, 301
Jour (AFL), XVIII, 294-295;
XXIX, 166; XXX, 199,
328; XXXV, 348
leach (BB), 653-657
Leisy, 111-113
Linscott, 259-262
Lomax (OSC), 300-301
Luther, 18-19
Macfarren, 170-171
Mackenzie, 62-67
Memoirs (APS), XIII, 162-
163; XXIX, 317-319
Moore (BFSS). 119-122
Morris, 317-319
Muir, 257-258
Niles (BB), 302-305
Owens (TPS), 33-34
2056
Puh (TPLS), XXIII, 65-66
Quarterly (SPL), 76-77; V
169
Randolph, I, 181-185
Reeves, 167-168
Ritson (SS), I, 231
Roberts (IP), 78-81
Roberts (SBS), 97-99
Scarborough (SC), 231-236
417-418
Sedley, 216-217
Seeger (6), 22
Sharp, I, 267-270
Shay (PF-2), 31-35
Shay (PF-3), 124-127
Silber (HSB), 24
Silverman, II, 156
Smith (BSUS), 17
Smith (SCB), 159-161
Smith (SM), IV, 66
Stout, 13
Weavers, 57-59
Whiting (TBB), 133-137
Williams (PSUT), 188
Drunkard XII Version A
The other night when I came home,
As drunk as I could be,
I saw a horse in the stable
Where my horse ought to be.
••Come here, little wifey—
Explain this thing to me:
How come a horse is in the stable
Where my horse ought to be?”

KB
Song Texts
2057
t
"You blind fool! You crazy fool!
You can’t even pee!
That’s nothing but a milk cow
Your father gave to me*"
"Many a year I f ve traveled,
Ten thousand miles or more!
Horse shoes on a milk-cow
I’ve never seen before*"
The next night when I came home,
Is drunk as I could be,
I saw a hat hangin* on the rack
Where my hat ought to be*
"Come here, little wifey—
Explain this thing to me:
Why is that hat a-hanging on the rack
Where my hat ought to be?"
"You blind fool! You crazy fool!
You can’t even see!
That’s nothing but a frying pan
My mother sent to me."
"Many a year I’ve traveled,
Ten thousand miles or more!
A hat-band on a frying pan
I’ve never seen before."
The next night when I came home,
As drunk as I could be,
I saw a head layin’ on the bed
Where my head ought to be.
"Come here, little wifey—
Explain this thing to me:
Why is that head layin* on the bed
Where my head ought to be?"

MB
Seng Texts
2058
"You blind fool! You crazy fool!
You can*t even see!
That*s nothing but a cabbage-head
My mother sent to me."
"Many a year I*ve traveled,
Ten thousand miles or more,
But a mustache on a cabbage-head
I»ve never seen before!
Version B
0 , I went into the stable,
And there for me to see.
And there I saw three horses stand,
By one, by two, and by three.
0 , I called to my loving wife,
And "Anon, kind sir!” quoth she:
"0 what do these three horses here,
Without the leave of me?"
"Why you old cuckold, blind cuckold,
Can*t you very well see?
These are three milking-cows
My mother sent to me."
"Hey now! Godsounds! Milking—cows
With bridles and saddles on!"
Old Wichet a cuckold went out,
And a cuckold he came home.
0 , I went into the kitchen.
And there for to see,
And there I saw three cloaks hang.
By one, by two, and by three.

MB
Song Texts 2059
0 , I called to my loving wife,
And "Anon, kind sir!" quoth she:
"0, what do these three cloaks do here,
Without the leave of me?”
"Why, you old cuckold, blind cuckold,
Can't you very well see?
These are three mantuas
My mother sent to me,"
"Hey now! Godzounds! Mantuas
With caps on! Such was never known!"
Old Wichet a cuckold went out,
And a cuckold he came home.
I went into the pantry,
And there for me to see,
And there I saw three pair of boots hang,
By one, by two, and by three.
0 , I called to my loving wife,
And "Anon, kind sir!" quoth she,
"0, what do these three pair of boots do here.
Without the leave of me?"
"Why, you old cuckold, blind cuckold,
Can*t you very well see?
These are three pudding-bags
My mother sent to me."
"Hey now! Godzounds! Pudding-bags
With spurs on! Such was never known!"
Old Wichet a cuckold went out,
And a cuckold he came home.
I went into my closet,
And there for to see-,

BIB
Song Texts
2060
And there I saw three pair of breeches lie,
By one, by two, and by three.
0 , I called to my loving wife,
And "Anon, kind sir!" quoth she.
"0, what do these three pair of breeches
do here,
Without the leave of me?"
"Why, you old cuckold, blind cuckold,
Can*t you very well see?
These are three petticoats
My mother sent to me."
"Hey now! Godzounds! Petticoats
With waistbands on! Such was never known!"
Old Wichet a cuckold went out,
And a cuckold he came home.
I went into the chamber,
And there for to see,
And there I saw three men in bed lie.
By one, by two, and by three.
I called to my loving wife,
And "Anon, kind sir!" quoth she.
"0, what do these three men in bed,
Without the leave of me?"
"Why, you old cuckold, blind cuckold,
Can’t you very well see?
They are three milking-maids
My mother sent to me."
"Hey now! Godzounds! Milking-maids
With beards on! Such was never known!"
Old Wichet a cuckold went out,
And a cuckold he came home.
********************

MB
Song Texts
2.061

No. 423
DU, DU LIEGST MIR IM HERZEN
also known as
Am I Not Fondly Thine Own? You, You, Tender and Wistful
Am I Not Your Very Own? You, You, You’re in My Heart
An old German love song that is well-known in certain
areas of America, particularly in Pennsylvania and the
Mid-West. Versions are in many commercial song books
and folios, and usually with an English text that has
little in common with the German original.
REFERENCES
Best, 90 Songs (15), 133
Leisy (LAS), 91 Wier (LS), 213
Silverman, I, 257 Wier (SWWS), 111
Du, Du Liegst Mir In Herzen
Du, du, liegst mir im herzen
Du, du, liegst mir im Sinn
Du, du, Machst mir viel schmerzen
Weist nicht wie gut ich dir bin
Ja! Ja! Ja! Ja!
Weist nicht wie gut ich dir bin.
So, so, wie ich dich lieb,
So, so, liebe auch mich;
Die, die zartlichsten Triebe
Punde ich einzig fur dich.
Ja! Ha! etc.
Doch, doch, darf ich dir trauen
Dir, dir, mit leichten Sinn.
Du, du kannst auf mich bauen,
Weist ja wie gut ich dir bin.
Ja! Ja! etc.

MB
Song Texts
2062
Und, und wenn in der Feme,
Dir, dir mein Bild erscheint,
Dann, dann wunscht ich so gerne,
Dass uns die liebe vereint!
Ja! Ja! etc*
English Text
Tou, you are ever in my heart,
Tou, you always have known,
Tou, you must surely love me—-•
Am I not your very own?
Tes, yes, yes, yes,
You know I*m your very own.
So, bo, you know I love you,
So, so, don*t you love me?
If, if your love would prove true,
Think how happy we would be,
-v* -
Yes, yes, yes, yes.
Think how happy we would be,
*********************************

No, 424
THE DUKE OP MARLBOROUGH
also known as
Marlbrough Has Gone to To War Has Gone Duke
Battle Marlborough
Marlbrough S’en Va—t*en Gueree
SOURCE SONG. This Arabian air was picked up by the
Crusaders under Gcdefroy de Buouillon; it was brought
to Europe in the latter part of the ilth century. In

MB
Song Texts
2063
Prance, the tone wag quickly used by someone with
imagination for a song about the Due de Guise. The
story goes that Marie Antoinette learned the tune
from a nurse and made it a court favorite. Popular
in Prance as Malbroueh S'en Va-t*en Guerre , the song
is about a General who, contrary to the fact, dies
in battle. The English used the same air for a drink
ing song, Ife Won*t Go Home Till Morning . As The Duke
of Marlborough the song traveled to America where it
was quickly rewritten as Molly Brooks (see in MB).
The tune is used for quite a few well-known songs,
seven of which are in this MB:
The Bear Went Over the Mountain
Christ Was Born in Bethlehem
For He's a Jolly Good Fellow
Molly Brooks
Pig in the Parlor
Drinking Song VII (We Won't Go Heme
Till Morning)
Drinking Song VIII (We'll All Go Down to
Rousers
In The Old Brass Wagon we find the time of Marlborough
combined with that of Skip to My Lou, My Darling . A
version of The Old Brass Wagon is in this MB. Also see
and compare the tune of Early in the Morning I (in MB).
The most surprising thing about this song is its absence
from all the major collections of folk music published
in the United States.
For an English song, Marlborough , see Karpeles (EFS),
II, No. 302.
REFERENCES
Adler, 36
Gilbert (100), 40
Oberndorfer, 52
Whiteman, 31-32
Williams (FSUT), 161
The Duke of Marlborough

Song Texts
Marlborough has gone to battle,
Mironton, mironton, mirontaine.
Who knows when he'll return?
Who knows when he'll return
Or will be seen again?
He*11 surely come in springtime
Mironton, mironton, mirontaine.
He*11 surely come in springtime
He'll surely come in springtime
Upon a holy day.
The spring is past and gone,
Mironton, mironton, mirontaine.
The spring is past and gone,
The spring is past and gone,
Malborough dies not return.
Madame climbs to her tower,
Mironton, mironton, mirontaine.
Madame climbs to her tower,
Madame climbs to her tower
As high as she can climb.
Her page approaches her,
Mironton, mironton, mirontaine.
Her page approaches her,
Her page approaches her
All dressed in mourning black.
Sad news I must reveal,
Mironton, mironton, mirontaine.
Sad news I must reveal,
Sad news I must reveal—
Milady's tears will flow.

KB
Song Texts
2065,
Put off your silks and satins,
Mironton, mironton, mirontaine
Put off your silks and satins,
Put off your silks and satins.
Wear no more rose brocade.
Por Marlborough, ma*am, is dead,
Mironton, mironton, mirontaine
Milady 1 n lord is dead!
Milady*s lord is dead,
Is dead and buried,
**************************

Ko, 425
THE DUKE OP YORK
also known as
Find the Ring The Noble Duke of York
The Grand Old Duke of York
English game song and Jingle, The game is played like
Hunt the Thimble , Song was a favorite for years among
college students, but retained an oral life of its own.
REFERENCES
Brown, III, 135; V,
74
Chase (OSSG), 41
Forbush, 46
Galvin, 266
Gomme, I, 121
Halliwell (NRE), 12
Rorthall, 98-99
Seeger (4), 266
Shoemaker (MMP), 200
Shoemaker (NPM), 195
Winn (1), 184
The Duke of York
Oh, the grand old Duke of York,
He marched hia men to war;
But none of them got to the battlefield,
Because it was too far*

KB
Song Texts
2066
So some of then went back hone
And some of them went to pray,
But none of them got to the battlefield
Bor the reason I will say*
Oh, the grand old Duke of York,
He had ten thousand men;
He marched them up the hill go high,
Then marched them down again.
And when they were up, they were up,
And w'hen they were down, they were down,
And when they were half way up the hill,
They were neither up nor down,
****************************

No. 426
DUMB! DUMB! DUMB!
also known as
The Bonnie Blade
The Dumb Girl, or Maid
The Dumb Wife
The Dumb Wife Cured
The Scolding Wife
The Wife Who Was Dumb
The story told by this song is an ancient one in folk
lore, and it has been repeatedly used in plays, poems,
and stories. American versions are often quite differ
ent from those found in Europe, tho' the story remains
essentially the same.
A 17th century broadside of the song is in Roxburghe
Ballads, IY, 357-359. For an English dance tune version,
see Chappell (OEPM), I, 285.
'—REFERENCES
Ashton (CB), 319-321
Barry (FS), No. 77
Brown, II, 452-454; IV
Casden, II, 72-73
Davie (FSY), 161
Ebsworth (RE), IV, 355-366
Eddy, 214-215
242-243

MB
Song Texts
2067.
Folk-Say, I, (1129) t 88
Ford (VSBS}, 32
Koraon (PSL), 56
Moffat (ME), .102-103
Moore (BF3S), 224-225
Morris, 379-381
Quarterly (SFL), V, 181-
Gardner (FSH), 199-200
Hubbard, 238-239
Jour (AFL), LVII, 282-
283
Joyce (OIFMS), 196-197
182
Randolph, III, 119-120
Dumb! Dumb! Dumb!
I knew young Bill MacCade
When he married a fair young maid,
And his heart was beating like a drum, drum, drum!
They were happy at the start,
And she pleased him in his heart,
But oh! and alas! She was dumb! dumbd! dumb!
A doctor lived near by,
And to him Bill did apply
To cure his loving wife of her dumb! dumb! dumb!
Doc cut the chattering string,
And her tongue began to ring;
It sounded in his ears like a drum, drum, drum.
Her tongue began to walk,
And she began to talk
Same as if she»d never been dumb, dumb, dumb!
She filled the houee with strife,
Made him weary of his life;
"Give anything again if she was dumb, dumb, dumb!"
To the doctor he did go,
With his heart full of woe,
Saying, "Doctor, oh, doctor, I»m done, done, done*
For my wife has turned to scold,
And her tongue she will not hold;
Give anything again if she was dumb, dumb, dumb!"

MB
Song Texts
2068
"Oh, it is the easiest part
That belongs to my art,
To make a woman talk that is dumb, dumb, dumb!
But it*n far beyond a man,
Let him do the best he can,
To make a scolding wife hold her tongue,
tongue, tongue!"
**********************************

Bo. 427
' THE DUMMY LINE
also known as
The Dummy Train Riding on the Dummy Sugar Babe
This song has frequently been variated by the folk pro
cess. It has been reported as a minstrel-show song about
a "short line" railroad in both California and Georgia,
as a railroad and "hobo" song and as a Negro railroad
song.
Ford has a version set to the tune of Turkey in the Straw ,
which begins:
Across the prairie on a streak of rust,
There*s something moving in a cloud of dust.
It crawls into the village with a wheeze and whine,
It*s the two o’clock flyer on the dummy line.
Randolph, III, 277-278 reprints a text from Songster (106),
32, with a chorus that goes:
Riding on the dummy, glad to get a seat,
With a Jolly company all looking gay and sweet,
Riding on the dummy with the darling I adore,
Viewing hills and dales with joy I never felt
before.
Ford’s version (quoted above) has a chorus that goes:

MB
Song Texts
. 2069
Ridin’ on the dummy, on the dummy line,
Rain or shine I'll pay my fine,
Rain or shine I'll pay my fine,
Ridin’ on the dummy, on the dummy line.
Heither chorus is the same as the chorus for the song
given here, which is probably from the nursery ''animal”
piece in Brown, III, 225-226 & V, 130; Davis (FSV), 151;
Jour (API), XXVI, 135 & XIIV, 425, and White, 244, What
I cannot tell you with certainty is which of the Dummy
texts is older or was the original f but I can say with
certainty that it isn't the version given below,
REFERENCES
Brown, III, 521; V,
291-292
Coleman, 76-77
Ford (TMA), 437-438
Perrow, XXVI, 171
Scarborough (NFS), 244
245
White, 202
The Dummy Line
Some folks say that a dummy can’t run, Sugar babe;
Some folks say a dummy can't run, Sugar babe.
Get on the dummy, didn’t have no money;
They hit me on the head with a two-by-four!
I ain't gonna ride on the dummy no more, Sugar babe.
Chorus
Way down yonder in Pasquotank, Sugar babe,
Way down yonder in Pasquotank, Sugar babe,
Way down yonder in Pasquotank
The bull frogs jump from bank to bank, Sugar babe.
If you think that the dummy can't run, Sugar babe;
‘ If you think the dummy can’t run, Sugar babe,
I'm here to tell you what the dummy done done:
It left New York at a quarter to one
And got to Frisco by settin' cf sun, Sugar babe.
+ **#******-*••* * ****** * ** *

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Song Texts
207.0

Ho. 428
DURANG 1 S HORNPIPE
Piddle and equare dance piece. Music only. See under
Tunes.
REFERENCES
Ford (TMA), 53 Shaw, 387
Pord (OTPM), 27 Thede, 116
******* •* *■*•**♦•***■*■**•#•*+** ****** ■***•*•■**

Ho. 429
THE BUTCH COMPANY IS THE BEST COMPANY
According to Puld, the "first known edition in print
appeared in the 1873 edition of Carnina Yalensia , p«
52." Personally, I first heard the song from the
singing of a bartender in Evanston, Wyoming, who sang
it as a part of another song 0 This combining process
is not unusual. Best, p. 101, has it as part of Drunk
Last Night (see Drinking Song IX in MB) .
We give it here just as we found it 0
REFERENCES
Chamberlain, 216 Most (PCS), 44
Chappie (HS), 321 Shay (DFW), 108
Lewis, 86 Waite, 75
The Dutch Company is the Best Company
, -1 -- -- , , , , tmrnm i — mm III ■ ■ ■ ■■ ■■ ■■■ ■ ■ *rnwmwmm w
Oh! when you hear the roll of the big bass drum,
Then you nay hear that the Dutch have come.
* For the Dutch company is the best company
That ever came over from old Germany!

MB
Song Texts
2071

No. 430
THE DUTCH WOMAN'S JIG
also known
Bartholomew Fair
This tremendously popular melody is from Chappell (OEPM),
II, 77. It also is in Pills To Purge Melancholy , I,
1699-1714, III, 1719 and The Dancing Master, 1695. The
words are in Pepys Collection, V, 438,
The Dutch 7/oman’ s Jig
Adzooks! che’s went the other day to London town,
In Smithfield such gazing, such thrusting and
squeezing was never known.
A zity of wood! some volks do call it Bartledom
Fair,
But che’s zure nought but kings and queens live
there*
In gold and zilver, zilk and velvet, each was drest,
A Lord in his zatin was busy a prating among the
rest,
But one in blue jacket did come, whome some do
Andrew call,
Adsheart, talk’d woundy wittily to them all 0
At last, cutzooks, he made such sport, I laugh’d
aloud,
The rogue being flutter’d, he flung me a custard,
amidst the croud.
The volk veil a laughing at me; and then the vezen
said,
"Be zure, Ralph, give it to Doll, the dairy maid."
*#•*****■*****■#*****-*•*******

MB
Song Texts
2072

No, 431
THE DYING CALIFORNIAN
also known as
The Brother's Request The Dying Brother
The California Brothers
This song first appeared as a poem in The New England
Diadem , a Providence, R. I. newspaper, Feb. 9, 1850.
In 1855 it appeared in song form, published by the
Oliver Ditson Company, with music credited to A. L 0
Lee. In the 1859 edition of The Sacred Haro , both words
a music were credited to Ball and Drinkard,
Pound, and others, thought the text of this song was
patterned on Lytle’s famous poem, Anthony to Cleooatra ,
in which appeares the line "I am dying, Egypt, dying."
There are a variety of textual and melodic differences
in versions of this song collected from oral sources,
but the story is always the same.
For a similar song, see The Dying Knight * s Farewell in
Thomas (SG), 28.
REFERENCES
Beadle (1), 47
Beck (FLM), 177-178
Beldfc... (3S), 350-351
Cobb (SH), 195
Cox (FSS), 232-233
Creighton (FSNB), 129-130
Downes (1943), 160-161
Eddy, 286-287
Fife, 38-41
Franz, 15
Grant (SF), 174-176
Greenleaf, 359-360
Hubbard, 217-218
Hudson (FSM), 221-222
Hudson (SMFL), No. 60
Jackson (SFS), 37-38
Jackson (WSSU), 184-185
James, 410
Johnson (NCS-2), 35-37
Jour (AFL), XXVI, 359;
XXXV, 364; XXXIX, 139;
XLVTII, 381; LVI, 106
Lingenfelter, 34-35
Moore (BFSS), 321-323
Pioneer Songs (1932), 13
Pound, 191-193
Randolph, II, 181-184
Scott (BA), 187-189

MB
Song Texts
2013
Thomas (SG), 28-29 Tolman & Eddy, 364-365
Thompson (PS), 141-142 White & King, 410
The Dying Californian
lay up nearer, brother, nearer,
For my limbs are growing cold;
And your presence seems much nearer
When your arms around me fold.
I am dying, brother, dying!
Soon you*11 miss me in your berth,
For my form will soon be lying
•Neath a blanket of the earth 0
I am going, surely going,
But my hope in God is strong;
I am willing, brother, knowing
That God does nothing wrong.
Tell my father, when you greet him,
That I prayed for him again—
Prayed one day that I might meet him
In a world that's free from sin.
Tell my mother—God assist her,
Now that she is growing old—
Just how much I longed to kiss her
When my lips grew pale and cold.
listen, brother, catch each whisper,
•Tis my wife 1*11 speak of now;
O' tell her how I missed her
When the fever burned my brow.

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Song Texts
2074
Hark! I hear my Saviour speaking.
Oh, I know his voice well.
When I'm gone, 0 don't be weeping,
Brother, hear my last farewell.
************************
THE DYING RANGER
also known as
The Wisconsin Soldier
Boy
The Dying Cowboy
The Dying Soldier
This is an adaptation of an older song called The Dying
Soldier. At one time in our history it seems that
every one who died did so "as the sun was setting in
the West," There are quite a number of these songs of
men dying just as the sun was setting. This one, which
dates from the decades immediately following the Civil
War, is among that number.
For a different Dying Soldier song, see Fuson, 108-109
and Staton, 104.
REFERENCES
Allen (CL), 5, 80-83
Barnes (CHS), 125
Belden (BS), 397-398
Bulletin (CFS), I, No.
Clark (CS), 30
Coolidge, 507-508
Coolidge (TC), 110-113
Cox (FSS), 263
Cox (FSWV), 28
Delaney No. 69, 24
3 , 20-21
Doerflinger, 274-276
Emrich (FAL), 512-513
Finger (FB), 170-173
Frey, 36-37
Lingenfelter, 270-271
Laws (NAB), 125
Lomax (CS-1919), 214-218
Lomax (CS-1938), 366-368
Moore (BFSS), 316-319
Morris, 47-49
Ohrlin, 127-128

MB
Song Texts
.2075
Randolph, II, 188, 196,
264
Shay (PF-2), 137-140
Shay (PF-3), 202-205
Silverman, II, 367
Siringo (SC), 24-26
The Dying Ranger
The sun was sinking in the TCest,
And it shone with a lingering ray;
On the trail by a forest,
There a wounded Ranger lay
Underneath the sultry sky.
Far away from his home in Texas,
They laid him down to die.
His comrades gathered around him,
To hear what he might say,
And the tears rolled down each manly cheek
Ab his life-blood drained away.
He looked upon hi9 buddies,
Saying, "Do not weep for me;
I*ve crossed the last deep river,
And death will 9 et me free.
"Gather closer, closer, comrades,
I*ve something more to say:
I am going to tell a story
Ab my spirit drifts away.
Hot too far away in Texas,
Beside a garden gate,
There *s one who thinks I r m coming,
And with weary heart; will wait.
"I have a darling sister,
And she f s my joy and pride;
I*ve loved her well from childhood,
And she knows how hard I tried.

Song Texts
I*ve loved her as a brother,
And with a brother's care
I*ve tried in grief and sorrow
To always do my share,
"When Comanche® took the war-path,
And they called for volunteers,
She put her arms around my neck
And seemed old beyond her years,
•How you must go,’ she whispered,
•Drive those Indians from our shore
My heart will need your presence,
But our country needs you more. 1
"My mother now lies sleeping
Beneath the Texas sod,
And many a day has come and gone
Since her spirit went to God,
My father sleeps forever
Beneath the deep blue sea;
I have no other kindred, boys—
There*s none but Sally and me,
"0 listen to me, comrades,
And hear my dying prayer:
Who will be her brother bow,
And shield her with his care?”
A ranger answered gently,
And spoke for one and all:
"She'll always have a brother,
Till the last of us shall fall."
He smiled to «=how he heard them,
Then tried to raise his head;
He gave a final shudder,
And they knew that he was dead.

MB Song Texts
2077
Oh, far from home and sister
They lay him down to rest,
With a saddle for a pillow
And a rifle cross his chest.
**********************

Wo. 433
THE DYING SOLDIER I
also known as
Brother Green 0 Brother Green, Come to
Go Tell Little Mary Not Me
to Weep The Song of Brother Green
This semi-religious song dates back to the 1860s. It
is not related to other songs known as The Dying Soldier ,
two of which are in this Master Book (see Nos. 434 & 435)
Like several other songs, this one appealed to both sides
during the American Civil War.
Belden gives a single stanza "a? sung to the tune of
Barbara Allen " (see in MB) . In Jour (ISHS), XXXI, 303-
310, we read that The Dying Soldier was written by Rev.
L. J. Simpson, Chaplain in the Army, in honor of a bro
ther who was killed at Fort Donaldson, Feb., 1862.
For related song, see Shallows Field in Fuson, 93.
REFERENCES
Brown, III, 468-470; V,
261-262
Belden (BS), 377
Brewster (BSI), 253-254
Cambiaire, 13-14
Cox (FSS), 273-274
Eddy, 253-254
Fuson, 193-194
Henry (FSSH), 363-365
Henry (SSSA), 212-213
Hubbard, 280-281
Moore (BFSS), 369-370
Owens (TFS), 77
Pound (SFSN), VI, No.
Randolph, II, 253-256
Roberts (SBS), 117
Sherman, 145-146
Wyman (LT), 18-21

MB
Song Texts
2078
The Dying Soldier I
Oh, brother Green, please come to me.
For I am shot and bleeding,
And I nu^t die, no more to «ee
My darling wife and children.
Stay, brother, stay, and lay me away
And write my wife a letter;
Tell her that I’m prepared to die
And hope we’ll meet in heaven.
0 sister Nancy, do not weep
For the loss of your dear brother,
For he’s gone home, with Christ to dwell,
To see his blessed mother.
Two brothers yet I can't forget;
They’re fighting for the Union
And one dear wife. I'd give my life
To put down this rebellion.
Two little babes, I love them well—
0 could I once more see them!
I’d bid them all a sad farewell
Till we might meet in heave,
0 Mary, you mu«t treat them well,
And bring them up for heaven;
Teach them to love and serve the Lord,
And then they'll be respected.
Of Father, you have suffered long,
And prayed for my salvation;
But now I'll be to home at last—
Farewell, farewell, temptation!
-a***********-*-* *-#•**-***

MB
Song Texts
2079.

Ho. 434
THE DYING- SOLDIER II
also known as
The Battle of Mill Springs
The Dying Soldier Boy
The Dying Soldier to His
Mother
On the Field of Battle,
Mother
The Wounded Soldier
Young Edwards
Civil V*ar song. The battle it refers to was fought at
Mill Springs, Kentukcy, January 19» 1862. The song is
similar to Dying Soldier I, but it is a different song.
REFERENCES
Brown, II, 534; IV, 273
Cox (FSS), 264-265
Fuson, 108-108
Henry (FSSH), 368-369
Perrow, XXVIII, 165
Songster (17), No. 11
38-39
Thomas (BMMK), 83-86
The Dying Soldier II
There was a wounded soldier,
He lay on the battlefield,
His comrades gathered ‘round him,
And beside him they did kneel.
The soldier raised his wounded head
And to all of them he said:
"Oh, who will care for mother now,
Her soldier boy is dead.'*
Go tell my dear old father
That in death I prayed for him,
. And that I long to meet him
In the world that‘s free of sin.
I was my father*s only son,
My mother’s only jo?;
And she’ll weep tears in sorrow
For her dying soldier boy.

MB
Song Texts
2080
Go tell my darling sweetheart
That in death I murmured her sweet name;
It wa« as dear and sweet to me
As from her I came.
And if I'm really dying,
No more of her 1*11 see;
Please take to her this lock of hair,
That she may remember me.
Oh, when I was little boy,
How I loved to hear them tell
About the noble Captains
Who all in glory fell;
He kissed the stars and stripes
And laid them by his side—
He fought three years for the Union,
Por the Union he had died,
**** ************ **•***•*-***•*■*

No, 435
THE DYING SOLDIER III
also known as
Erin Par Away Old Erin Par Away
An immigrant song inspired by Irish service in the
British army in India, The version below is from
Rickaby, 182-184. Other versions are in Dean, 5-6;
Creighton (MPS), 166 & (SBNS), 146.
The Dyin g Soldier III
The sun went down on Asia's shores when the deadly
fight was o'er,
And thousands lay on the battlefield till it could
hold no more.

MB
Song Texts
r2081
The pale moon shone on' the battlefield where the dying
soldier lay,
And the shadows of death around him crept whil life's
blood ebbed away.
A passing comrade heard a moan and quickly the sufferer
found,
Saying "Gently lift my aching head from off this cold,
damp ground,”
Saying "Softly, gently, comrade dear; not long with you
1*11 stay.
I will no more roam in my childhood's home in old Erin
far away.
"A lock of my hair I*d have you bear to my mother far
over the sea,
And every time that she'd look at it she would fondly
think of me.
Tell her although on India's shore my mold'ring bones
shall lay,
That my heart still clings to old Ireland, to old Erin
far away.
"Go tell my sister though years have passed since last
I saw her face,
Her form is still present in my mind, her features I
can trace;
Tell her at home I will no more roam where in childhood
we oft did play, • • -
In those merry green glades and grassy shades in old
Erin far away.
"Go tall my brother how nobly we fought, and just like our
fathers, died,
With bayonets charging on the foe and scabbards by
side.
our

MB
Song Texts
2082
It nerves my heart to conquer, these Sepoys for to
ft
slay—
When a vision so bright rolled over his sight of old
Erin far away.
The dying soldier heaved a sigh as he tried to raise
his head.
His spirit went from this wide, wide world and the
soldier he lay dead.
His grave was made and in it laid that doom of a warrior
day.
Ear, far from his home and the friends he loved in old
Erin far away.
Hip comrades gathered around his grave for to take
their last farewell.
’Tis of as brave and true a heart as ever in battle fell
And as they lowered him in his grave, his spirit seemed
to say,
"I will no more roam in my childhood’s home, in old Erin
far away.”
*******************************

MB
Song Texts
2083

No. 436
THE EARL OP MURRAY
also known as
The Bonnie (Bonny) Earl
The Earl of Moray
of Murray
An old British ballad that once circulated in America
but is new rarely encountered except in print. The
ballad gives an account of a conflict between James
Stewart, Earl of Murray, and the Earl of Huntly who
was commissioned by the king in 1592 to bring Murray
to trial in connection with Bothwell’s- raid on Holy-
rood House, Huntley journeyed to Donibristle, where
Murray was residing with his mother. Murray refused
to surrender and Huntley set fire to the house.
Murray was caught and killed as he attempted to escape.
Although Huntley did not participate in the actual
billing, his men forced him to stab Murray*s comae
so that he could not later claim innocence in the
matter. Murray»« body was kept lying in state in
the church for many weeks to remind the people that
his murderers had not been punished.
REFERENCES
Barry (BBM), 468-469
Brander, 97
Brown, II, 160-161; IV,
Houseman, 217-218
Jour (APL), XX, 156
Kinsley, 594-596
Langstaff (1), 54-55
Leach (BB), 491-493
Muir, 200-204
Percy (RASP), II, 210
Quiller-Couch, 422-423
Ramsay (TTM), 346 .
Ritson (SS), II, 29
Sanders, 36
83
Child, III, 447-449
Coffin, 116-117
Edward. (CHSB), 152
Finlay, II, 21-23
Flanders, III, 185-189
Flanders (BMNE), 133-134
Friedman, 264-265

MB
Song Texts
2084
Silverman, I, 282 Whiting (TBB), 83-84
Thomson (OC), II, 8-9
The Earl of Murray
Ye Highlands and ye lowlands,
Oh where have you been?
They have slain the Earl of Murray
And they laid him on the green.
Woe be to thee, Huntley,
My word to betray!
i bade you bring him to me,
But forbade you him to slay.
He was a brave gallant,
And he rode at the ring;
And the Bonnie Earl of Murray—
^ He might have been a king!
He was a noble man
And played at the ball,
0, the Bonnie Earl of Murray
Was the flower of them all!
0! false-hearted Huntley
With hie wicked hand!
He hae slain the Earl of Murray,
The noblest in the land,
******** *********** *

No, 437
EARLY IN THE MORNING I
also known as
The Drunken Sailer
Hooray an* Up She Rises
Sailor
Walk Away Shanty

MB
Song Texts
2085
What Are You Going To Bo What Shall We Do With a
With a Drunken Sailor? Drunken Sailor?
Aboard ship or upon land this old shanty is one of
the better known traditional songs in America,*
According uo Bone, the shanty was used ’* chiefly as
a showy accomplishment when all hands were employed
on deck and there was an atmosphere of high good
humor..
The tune has been used for hymns, game songs, and
love ballads. See Duke of Marlborough in MB.
REFERENCES
Best, 134
Masefield (SG), 370
Bone, 40-41
Meloney, 27
Boughton, 70
Patterson (SA), 227
Briggs, 86
Pound (SFSN), XXVI,
Brown, V, 502
Randolph, III, 399
Bullen & Arnold, xiv,
Ryan, 154
16
Samson, 54
Colcord, 30, or 78
Scott (SA), 8-9
Davis (SSC), 46-47
Sharp (EFC-2), 8
Doerflinger, 48-49
Shay (A3SC), 61-62
Eck8torm, 241
Shay (IMWS), 61-62
Emrich (PAL), 468-469
Siegmeister, 10-11
Ford (TMA), 74
Silverman, II, 269
Greig & Duncan, No. 4
Terry, I, 30-31
Harlow, 25, or 107
Trident, 100-101
Hugill (1), 134-135
Whall (SSS), 80
Ives (SB), 136, or 156
Winn (1), 14
Wit Q, 32
Wood, II, 83
Leisy, 88-89
Leisy (SPS), 173
Loeeser, 189-190
Early in the Morning I

MB
Song Texts
2086
What shall we do with a drunken sailor?
What shall we do with a drunken sailor?
What shall we do with a drunken sailor,
Early in the morning?
Chorus
Hooray! and up she rises!
Hooray! and up she rises!
Hooray! and up she rises,
Early in the morning!
Put him in a Boat and roll him over, (3)
Early in the morning <»
What shall we do with a drunken sailor? (3)
Early in the morning?
Put him in the brig until he’s sober, (3)
Early in the morning.
That’s what you do with a drunken sailor, (3)
Early in the morning.
**************•*•*•***•*•*•#•-*•*•*

No. 438
EARLY IN THE MORNING II
also known as
I’m Goin’ Up the River
This is a typical "country blues" piece with floating
lines. I have seen a version in only one published
collection: Wheeler (SL), 105.
Early in the Morning II

MB
Song Texts
2087
I*m goin* up the river before long,
And you are gonna miss me when I’m gone.
Chorus
Early in the morning,
Just about the break of day,
You should see me hold the pillow
Where my woman used to lay,
I*m tired of your low down, dirty ways;
I*m gonna leave you one o’ these days.
If I’d listened to what mama said,
I*d be home sleepin* in a feather bed.
Woke up this morning ’bout halfpast four,
And there you was a-knockin’ on my door.
I loved you good but you done me bad—
You*re the worst good gal I ever had!
**********************

No. 439
EARLY IN THE MORNING III
also known as
Sailor Likes His Bottle 0! So Early in the Morning
The Sailor’s Loves
This is an English shanty. If it was sung by sailors
aboard American ships, there is no published record of
it. According to Hugill, this was adapted from Gently ,
Johnny , My Jingalo (see Gently . Johnny . Be Gentle 0 in
MB ) •
REFERENCES
Davie (SSC), 56-57 Hugill (1), 56-57 Sharp (EFC-2), 51

MB
Song Texts
2088
Early In the Morning III
The maiden, oh, the maiden, oh,
The sailor loves the maiden, oh!
So early in the morning,
The sailor loves the maiden, Oh!
Chorus
A maid that is young,
A maid that is fair,
A maid that is kind and pleasant, Oh,
So early in the morning
The sailor loves the maiden, Oh!
The bottle, oh, the bottle, oh,
The sailor loves the bottle, oh,
So early in the morning
The sailor loves the bottle, oh.
Chorus
A bottle of brandy, bottle of gin,
A bottle of Iri«h whisky, oh!
So early in the morning
The sailor loves his bottle, oh!
The maiden, oh, the bottle, oh,
A pipe of good tobacco, oh,
So early in the morning
The sailor loves them all, heigh-ho<,
Chorus
A bottle of spirit, a maiden fair,
A pipe of good tobacco, oh,
So early in the morning
These are the sailor’s loves, heigh-ho!
********************

KB
Song Texts
2089

No. 440
EARLY in the spring
aleo known as
Early, Early in the
The Letters of Love
Sweet William
*Twae Early in One Spring
Where the Bullets Ply
Spring
Early in One Spring
It Was Early Spring
This is an American version of an English ballad which
was itself an adaptation of the 17th century ballad,
The Seaman[s Complaint. All English versions tell
of a young man "pressed" into "the service of his King"
who, as a result, lo^t the woman he loved* American
versions make no mention of being "pressed" in to
military service; the young man simply "sailed the seas"
to serve his King.
The popularity of the ballad insured its adaptation to
specific areas of America, so it is not surprising to
learn one such adaptation is the cowboy ballad, The Trail
To Mexico (see in MB).
In many instances the tune was dispensed with entirely
and replaced by a new one, sometimes a borrowed one 9 but
the story remained essentially the same.
REFERENCES
Ashton (RSS), 562
Belden (BS), 163-164
Brown, II, 290; IV, 160
Cambiaire, 55-56
Campbell & Sharp, No, 72
Chappell (PSRA), 130-131
Creighton (KPS), 93, 163
Creighton (TSNS), 154-155
Cox (PSS), 358-361
Cox (TBPS), 79
Cox (TBWV), 64-65
Davis (PSV), 62-63
Fife, 181-182
Greig, II, art, 128
Greig & Duncan, No. 51
Henry (PSSH), 233-235
Henry (SSSA), 144-146
Hudson (PSM), 155-156
Hudson (SMPL), 29
Jour (APL), XLIV, 78-79
Karpeles, 203-204
Karpeles (EPS), I, 620

MB Song Texts
Laws Ml, 180
Logan, 28-30
Moore (BBSS), 206-208
Peacock, II, 549-550
Petrie, Ho. 765
Pub (TFLS), VII, 151-153
209a
Quarterly (SPL), V, 175-176
Randolph, I, 333-337
Scarborough (SO), 328, 444
Scott (EA), 39-40
Sharp, II, 151-154
Sharp (PSPS), Ho. 70
Early in the Spring
Oh, early, early in the spring,
I sailed the seas to serve my king;
I left my own true love behind,
Who always said that her heart was mine.
When I would take her in my arms,
I thought she had ten thousand charms.
Oh, she wa<= fair and she was sweet,
And said, "Let’s marry when next we meet,”
For seven years I sailed the sea
And thought she loved no one but me;
I wrote long letters to my dear,
But not one word did I ever hear.
For seven years I served my king
And then I went back home again,
Saying, "Where i3 the darling of my life
Who promised she would be my wife?"
Her father said, "You’ve come too late!
She grew weary and could not wait,,"
Oh, curse the gold and silver too,
And curse all girls who can’t be truej
I’ve lost the woman I adore;
1*11 sail away from England’s shore.

MB
Song Texts
2091
1*11 wander out where the bullets fly
And sail the sea till the day I die,
"0 Willie, Willie, stay ashore,
And go to sail the seas no more!
Don't go where the bullets fly—
There's many girls prettier than I,"
0 dark and drizzly was the day
Our ship sailed for Amerikay;
With music sweet and trumpet sound.
Across the sea our ship was bound#
**************************

No. 441
EARNEST LOVE I
Also known as
East Virginia
I Was Born in East Virginia
Go With Me To East Virginia Old Virginny
There are many versions and adaptations of this song,
several of which became as popular as this one. For
examples, see Earnest Love II & III immediately fol
lowing#
Earnest Love JT is sung to more than one melody and it
is difficult to determine which is the original or the
older. Sharp obviously believed that the song originated
in England; otherwise it would have been excluded from
hie Appalachian collection of English songs.
REFERENCES
Emrich (FAL), 563-564
Leiey, 92-93, 143-145
Lomax (FSNA), 292-293
Lomax (OSC), 144-145
Lomax (PB), 50
Randolph, IV, 207

MB
Song Texts
2092
Ritchie (PS), 71 Silher (HSB), 102
Ritchie (SPG), 146-148 Silverman,.I, 114
Sharp, II, 232-234
Earnest Love I
I was horn in East Virginia,
To North Carolina I did go,
And there I met a fair young maiden
And I learned to love her so.
0 her hair was dark and curly,
And her lips were cherry red;
If she ihould ever love another,
In my heart I would he dead.
In my heart there is no other—
The way I love you is a sin!
If this old world should turn against you,
You know, dear, I*d take you in.
In my dreams I’m always with you,
All thro the day there is no rest;
The minutes are to me like hours—
There*s a pain deep in my chest.
Go with me to East Virginia,
To live and love and never part;
I love you now and well forever—
Don’t say "no” and break my heart,
************•*■*■**■!«■•*■*•*

No, 442
EARNEST LOVE II
also known as
The Blue Ridge Mountains She’s My Curly-Headed Bahy
Curly-Headed Bahy When I Left the Blue Ridge
Mountains

MB
Song Texts
2095
Thin song in obviously’ related to Earnest Love I and
III, and probably adapted from the forcer. My
opinion is that the song wag a rewrite by none semi-
professional song-writer performer in the country
music field. Eor a similar version, see Roberts fSBS)
121-122.
Of the two versions below, version A is the better
known and the one probably rewritten by the semi-
professional. Its popularity is due to the "curly-
headed baoy" refrain and performances on radio pro
grams and phonograph recordings.
Earnest Love II ( Version A)
I have loved her since I met her
More than any words can tell;
Should she leave me for another,
I could never say farewell.
Chorus
She’s my curly-headed baby, *
. Used to sit on Mama’s knee:
She’s my curly-headed baby,
She’s from sunny Tennessee.
I’d rather be in some dark corner
Where the sun would never shine,
Than for her to love some other
Since ahe’s promised to be mine.
In her heart she knows I love her,
Love her better than the rest;
There’s no one else, not now or ever,
And I’ll always love her best.
Version B

MB
Song Texts
2094
When I left my home in the Blue
Ridge Mountains,
To South Carolina I did go;
Courted there a fair young lady,
Who's name and age I did not know.
Her hair was of dark "brown color.
Her cheeks were a rosy red;
On her breast she wore a white lily—
Thro’ the night some tears were shed.
When I f m asleep I’m dreamin' of her,
When I’m awake I find no rest;
Every moment seems to be an hour,
Achin’ pains all through my chest.
Her papa said we two could marry,
Her mama said it would never do;
But if you say, yes, 0 my honey,
I will run away with you.
I’d rather be dead and in my coffin,
With my face turned toward the sun,
Than to lay here alone and lonely
A-thinkin’ of the things you’ve done.
I’d rather be in some dark holler,
Where the bright sun never shines,
Than for you to be another's darlin’
And to know you can’t be mine.
**•*****-*•*■*■*■*■#•*•*-#*

No. 443
EARNEST I0VE III
also known as
Don’t Forget Me, Little Darling
Georgy -Boy

MB
Song Texts
2095
Greenback Dollar
I Don’t Want Your Greenback
Dollar
I Don’t Want Your Millions,
Mister
In Old Virginny
Old Virginny
Won’t You Remember,
Little Darling?
This song, derived from Earnest love I, is more widely
known than its ancestor. The tune, however, is distinctly
different from the tune used for Earnest Love I, although
the words to both songs fit the time.
This song i« not related to Hoyt Axton's Greenback
Dollar , the folk hit of the 1950s-60s.
REFERENCES
Arnold, 47 Randolph, IV, 207-209
Brown, II, 426; IV, 231 Roberts (IP), 237-238
Jour (AFL), XLVI, 32 Roberts (SBS), 155-156
Earnest Love III ( Version A)
I travelled north from West Virginia,
. Met a girl in Ohio;
She was rich—a banker’s daughter—,
And I couldn’t let her go.
Chorus
I don’t want your greenback dollar,
I don’t care for wealth or fame;
All I want is true love, darling,
And I hope you feel the same.
A heart for sale is no one’s bargain;
One way love brings only pain.
Loneliness will stay right with you,
And the tears will fall like rain.

MB
Song Texts
2096
I*d rather be in some dark corner
Where the sun will never shine
Than for you to love another
Since you've promised to be mine.
Your Papa sayg we cannot marry,
Your Mama says it must not be;
But I will die if you believe them
And take your love away from me.
You may meet with many changes
As you glide down life's great stream,
But remember, always remember,
You are my one and only dream.
( Yerslon B)
Don't forget me, little darling,
When from you I'm far away;
All I want is your love, little darling,
Please come home, come home and stay.
I don't want your greenback dollar,
I don't want your watch and chain;
All I want is your love, little darling—
Won't you take me back again?
T,
Many a night with you I rambled
On the shore of the dark blue sea;
All the while you loved another—
In my grave I'd rather be.
Mama said we could not marry;
Papa said it would never do.
But if you say you really love me,
I'll run away and marry you.

MS
Song Texts
209?
Some folks say you love another
And no longer care for me,
But I don't believe them, little darling—
Love is blind and cannot see*
Please forgive and let me love you;
I can't stand this endless pain.
All I want is your love, little darling—
Won't you take me back again.
( Version C)
Once I had a darling sweetheart,
And he thought the world of me—
Until he found another woman.
Now he cares no more for me*
Chorus
I don't want your greenback dollar,
I don't want your watch and chain;
All I want is you, my darling—
Won't you take me back again.
I don't want your greenback dollar,
I don't want your silver change;
Just give me a thirty-eight pistol
To blow out your dirty brains!
( Version B)
You can keep your greenback dollar,
You can keep your watch and chain;
All I want is your love, darling—
Won't you let me change your name?
When you're in some foreign country,
When from me you’re far away,

MB
Song Texts
2098
Just remember, little darling,
We will meet again someday.
When that train pulled out of Ashville,
And you had told me goodbye,
You said, "Go back home, little darling,
Go back home and do not cry."
When I got home my heart was broken,
A-thinking of the days now past,
A-thinking of the lonesome hours
That T knew had come at last*
When you're in some foreign country,
And do the things I know you'll do,
Please remember, little darling,
No one loves you the way I do.
***************************

No. 444
EASY DOES THE TRICK
also knownas
Gently Does the Trick
I first learned this song in 1937, in South Carolina,
The only version I have seen in print is the one in
Finger (PB), 114* Despite a serious effort to track
it down, I found nothing about its origin anywhere.
However, I feel safe in saying this is a professionally
written song, and that it was probably featured on
minstrel stages.
Easy Does the Trick

MB
Song Text9
.2099
0 listen while I sing a song Both good and wise;
1*11 make the rafters ring with valuable advice.
While going through this world, you'll find it rarely
wrong
To keep a steady pace and keep on going strong.
0 it * s gently, softly, ea«y does the trick,
Get on easy, careful—never be too quick.
The bronc fresh from the pasture may not be a steady
laster,
And it *9 easy does the trick.
If in some prison dark you should happen to land,
For picking up a steer that bears another’s brand,
Be gentle, meek and mild and freedom you may gain.
But if you act real tough, you’ll wear a ball and chain.
0 it’s easy, softly, slowly dees the trick.
You’d walk clanky, hobbledy, not a bit too quick.
They’ll keep your legs in order and you’ll quietly cuss
the warder,
Saying, "Easy does the trick,"
Now if a bronc should buck and lift you in the air,
And you suddenly feel you’d rather not be there—
Your elevation feels, well, anything but nice—
Don’t just come down a-whack! just take this free
advice:
Come down softly, gently, easy does the trick.
Just fall easy, careful, never be too quick.
Your eye the distance gauges eo you land by easy
stages,
For it’s easy does the trick.
********************

MB
Song Texts
2100

Ho, 445
THE EDUCATED MAN I
also known as
Adam Was the First Man
The Creation
The Creation Song
Darky Sunday School
The History of the World
The Story of Creation
Walk in the Parlor
Walk In, Walk In, I Say
Mid-19th century " stage*' song. As De History ob de
World, the song was copyrighted in Massachusetts by
C. H. Keith and published in Boston by the Oliver
Ditson Company. The song was popular for a long, long
time and its tune was used for other songs and its
text was parodied. Some of the adaptations and parodies
also became popular. For examples, see: Uncle Sam*s
Farm in MB, The Steam Navigation Thievea in Dwyer, 138-
139, and also compare Walk Tom Walker in Arnold, 30„
The song is, according to Cox (FSS), 501, ”a variety
of the famous minstrel song popular in the forties and
fifties under the title 'Walk in de Parlor' or 'History
of the World* 0 n A version in The Vauxhall Comic Song -
Book , edited by J. W. Sharp, London (no date), carried
this piece of information: "Sung by Dan Emmit, at
Boston, United States.” That the song was popular on
the minstrel stages of America is evidenced by the high
number of minstrel-type song-books containing it, such
as Christy's Negro S erenaders (New York: T. W. Strong),
p. 136 and Christy* s Nigga Songster (sane publisher),
p. 131.
REFERENCES
Brown, III, 399; V, 238
Christy, I, 56
Cox (FSS), 501-502
Ethiopian, 100
Ford (TMA), 278-280
Harlow, 203-205
Hubbard, 335-336
Hugill (1), 344-345
Jordan, 231-233
Minstrel Songs, 71
Negro, 73
Nigger Melodies, 170

MB
Song Texts
2101
Randolph, II, 372-373 ' Trifet, 123
Scarborough (NFS), 181-183 White, 143-147
The Educated Man _I
0 f I come from Ole Virginny
Wid my head full ob knowledge,
And I neber went to free school
Nor any Oder colledge.
But one ting I will tell you
Which am a solemn fact,
I tell you how dis world was made
In a twinkling ob a crack.
Chorus
Den walk in, den walk in, I say,
Den walk in and hear de banjo play.
Den walk into de parlor
And hear de banjo ring
And watch dis nigger*s fingers
While he plays upon de string.
0 dis world was made in six days,
An* den dey made de sky;
An* den dey hung it ober head
An* left it dar to dry.
An* den dey made de stars,
Out ob nigger wenches eyes,
For to gib a little light
When de moon didn’t rise.
So Adam was de first man,
Ebe she was de Oder;
An* Cain walk’d on de treadmill
Because he killed his broder.
Ole Modder Ebe
Couldn’t sleep widout a piller,

MB
Song Texts
2102
An* de greatest man dat ebber lived
Was Jack de Giant Killer.
An* den dey made de sea,
An' in it put a whale;
An* den dey made a raccoon
Wid a ring around his tail.
All de Oder animals
Was finished one by one
An* stuck against de fence to dry
As fast as dey was done.
0 lightning is a yellow gal,
She libs up in de clouds;
An* thunder he’s a black man,
For he can holler loud.
When he kisses lightning,
She dodges off in wonder,
Ben he jumps an’ tares his trousers,
An* dat’s what makes de thunder*
*********** ********* ************

No. 446
THE EDUCATED MAN II
also known as
Adam and Eve
Adam Was the First Man
Bible Stories, or Tales
Darkies* Sunday School
The Darky Sunday School
The Down Town Bible Class
If Religion Was a Thing
That Money Could Buy
Sunday School Song
The World Was Made in Six
Days
Young Folks, Old Folks,
Everybody Come
This song shares a theme with Educated Kan I, but
that is as far as the relationship goes. A version

MB
Song Texts
2103
was published in sheet music form by M. Whitmark &
Sons, New York, and that may have been the original
source for the folk versions collected later. The
fact that the song mentions John L. Sullivan, the
boxer, indicates that it was written after the 1880s.
An interesting parody, The Mormon Sunday School, is
in Cheney, 168-169.
REFERENCES
Arnold, 104-105
Best, 50-52
Brown, III, 400-402
Cazden, II, 109-117
Cheney, 167-168
Hubbard, 335-338
Loesser, 266-267
Lomax (ABES), 351-354
Shay (PF-2), 112-116
Shay (PF-3), 184-187
Trident, 32-33
Winn (2), 156-157
The Educated Man II
Now come along, you young folks,
And educate your dome;
Join the Down Town Bible class
And make yourselves to home.
But kindly check your cigarettes
And whiskey at the door,
And you’ll hear some Bible stories
That you never heard before.
Adam was the first man
And Eve, she was his spouse;
They lost their job for stealing fruit
And went to keeping house.
All was very peaceful
And quiet on the main,
Until a little baby came
And they started raising Cain.

MB
Song Texts
2104
Cain he raised potatoes,
And he peddled them in town;
Abel called him hayseed
Every time he came around.
Cain he laid a stick of wood
On brother Abel's head,
And when he took that stick away,
Re found poor Abel dead.
Noah was a mariner
Who sailed around the sea
With half a dozen wives
And a big menagerie.
He failed the first season
When it rained for forty days,
For in that sort of weather
No circus ever pays.
Methuselah is famous.
Because he couldn't croak,
Altho he finally grew to be
And old and seedy bloke.
He had so many whiskers
That you couldn't see his head-
If he'd lived a little‘longer
He'd have used them for his bed.
Jonah wa« an emigrant,
So runs the Bible tale;
He took an ocean voyage
In a trans-atlantic whale.
The whale was overcrowded
And Jonah was distressed,
So he Just pushed the button
And the whale did all the rest.
David was a shepherd's boy,
His mother's pride and joy;

ME
Song Texts
2105
His father gave him a slingshot—
A harmless little toy.
Along came Goliath
A-looking for a fuss;
David heaved a cobblestone
And busted in his crust.
Samson was a strong man
Of the John L. Sullivan school;
He killed a thousand Philistines
With the jawbone of a mule!
Along came a woman
Who filled him up with gin
And shaved-off his whiskers—
And the coppers pulled him in!
************************

No. 447
THE EDUCATED MAN III
also known as
Pour Thousand Years Ago
A Highly Educated Kan
The.Historian
I Was Born About Pour
Thousand Years Ago
I Was Born Almost Six
Thousand Years Ago
I Was Born Pour (Ten)
Thousand Years Ago
I Was There When Noah
Built the Ark
I Went To See My Susan
Saw Noah When He Built
the Ark
Another of those songs constructed on Biblical humor.
It is, though, of a different source than the prededing
two and is currently better known. For a Mormon-bent
adaptation, see Parsing Through in Cheney, 111-112.
Agay (1), 63
Beet, 54
REFERENCES
Brown, III, 512-514;
V, 284-285

MB
Song Texts
2106
Bulletin (TPS), V, 48
Cazden, II, 84-85
Gardner (BSSM), 448-449
Hubbard, 341-342
Jour (API), XX7I, 190
Leiey (SPS), 152-153
Kincaid No. 1, 26
Lomax (ABPS), 346-350
Lomax (USA), 30-31
Perrow, XXVI, 160
Randolph, III, 144-148
Richardson (AMS), 101
Sandburg (AS), 330-331
Silverman, II, 179
Winn (1), 146-147
The Educated Man III
I was born about four thousand years ago,
And there’s nothing in this world that I don’t know.
I saw Peter, Paul, and Moses playing ring-around
the roses.
And 1*11 whup the man that says it isn’t so.
I was there when Satan looked the Garden o’er,
Saw Eve and Adam driven from the door;
And behind the bushes peeping, saw the apple they
were eating.
And I swear I’m the one who ate the Corel
I saw ol* man Jonah swallowed by the whale,
And I never thought he'd live to tell the tale.
But ol’ Jonah smelled of garlic, and he gave the
whale a colic,
And the whale coughed up and let him out of jail!
I saw Samson when he knocked the Hittites cold!
Saw Daniel face the lions in the hole!
I helped build the tower of Babel, up as high as
they were able,
And there’s lots of other things I haven’t told.
I taught Solomon to say his A 3 C’s!
Taught Columbus how to sail the seven seas!

MB
Song Texts
2107
And while sailing down the hay with Methusaleh
one day,
I saved his flowing whiskers from the breeze!
Queen Elizabeth once fell in love with me!
We were married in Milwaukee secretly!
But I schemed around and shook her, and I went with
General Hooker
To shoot mosquitoes down in Tennessee!
I remember when our country had a king!
I saw Cleopatra pawn her wedding ring!
I was in the Revolution, saw them sign the
Constitution,
And I think that's all I»m gonna sing!
**********************************
No« 44-8
EDWIN IN THE LOWLANDS LOW
also known as
Amy and Edward
Come All Men and Maidens
Come All Young Men and
Young Edmond Dell
Young Edmondale
Young Edmond of the Low-
Maidens
Driver Boy
Edmon Dell
Edmund Who Plowed the
lands
Young Edward of the Lowlands
Young Edwin in the Lowlands
lands Low
Young Edmund
Young Edmund in the Low-
Lowlands Low
Edwin Doe
He Ploughed the Lowlands
Low
Young Emily
Young Emma
Young Emma of the Lowlands
Low
Lowlands Low
Miss Emma
Plowed the Lowlands
Young Edmond
Low

MB
Song Texts
2108
We have here an American version of an English song,
and one that is sometimes mistakenly referred to as
The Golden Vanity (see in KB) . The common reference
in both songs to "the lowlands Low'* is probably re
sponsible for the confusion. Whatever the reasons
for erroneous references, the songs are not relatedo
REFERENCES
Belden (BS), 127-128
Brewster (BSI), 202-203
Brown, II, 266; IV, 153
Bulletin (FSSN), XII,
12-13
Campbell & Sharp, No. 46
Chappell (FSRA), 63-65
Cox (FSS), 345
Creighton (TSNS), 220-222
Davis (FSV), 54-55
Dean-Smith, 118
Flanders (VFSB), 106-108
Gardner (3SSM), 62-63
Greig, II, art. 123
Greig & Duncan, No. 189
Henry (FSSH), 164-166
Hubbard, 51-53
Jour (AFL), XX, 274; XXXV,
153, 421; XLV, 40-41;
XLIX, 230; III, 25-26
Jour (FSS), I, 124; III,
266; VIII, 227
Jour (IFSS), III, 24
Karpelee, 130-131
Laws M 34, 197-198
Leach (BB), 703-705
Mackenzie, 92-93
Moore (BF3S), 162-163
Morris, 345
Peacock, II, 641-642
Randolph, II, 59-64
Sharp, I, 350-357
Sharp (ECFS), 136
Williams (EFS), 106
Wyman (TKMS), 42-45
Edwin in the Lowlands Low
Come all young men and maidens,
Attend unto my song;
It is concerning gold I sing,
Which leads to many a wrong.
Young Emily was a servant girl,
She loved her sailor bold;

MS
Song Text#
2109
Because she loved him dearly,
He plowed the Lowlands Low.
*Twas seven long years and better
Since Edwin was at home:
He came into young Emily*s house
When she was all alone.
He came unto young Emily*a house
His gold all for to show;
What he had gained all on the main,
He*d plowed the Lowlands Low.
My father lives by yon seaside,
He keeps a public inn
Where you can go and stay all night
Until the morning dim.
I'll meet you by day in the morning—
Don't let my parents know
Your name it is young Edwin,
Who plowed the Lowlands Low,
Young Edwin being weary,
He early went to bed;
And little he knew of the danger
That e'er hung o’er his head.
Said Emily's cruel father,
"His gold will make a show;
And 1*11 send hi«* body a—floating
Down in the Lowlands Low."
Young Emily on her pillow lay.
She dreamt a dreadful dream;
She dreamt she saw her true love's blood
Flowing down as a stream.
She arose by day in the morning.
To seek her love did go,
Because she loved him dearly,
He'd plowed the lowlands Low.

MB
Song Texts
2110
"0 father, where’s that stranger
That came last night to dwell?”
"He’s dead,” replied her father,
"And you no tales must tell.”
"0 cruel, cruel father,
You shall hang a public show
For the murder of Young Edwin,
Who plowed the lowlands Low.”
Straightway she went to counsel
And let her story be known.
The jury found him guilty
In trial that was his own.
"The shells that are in the ocean,
That washes to and fro,
Reminds me of my Edwin,
Who plowed the Lowlands Low.”
***************************

Ho. 449
EIGHTH OP JANUARY
also known as
Battle of New Orleans Jackson’s Victory
Original title was Jackson’s Victory , so called in
commemoration of General Andrew Jackson's successful
military action against the British Army at New Orleans,
January 8, 1815. The tune became widely known and was
played as a march on the fife and drums at recruiting
stations of the Union Army during the Civil War. The
title wa<? probably changed at that time, as Ford sug
gested, ”for political reasons.”
Version A i^ with text and time, but version B has
no text and is given under TLUTES aa a fiddle piece.
REFERENCES

MB
Song Texts
2111
Botkin (MRP), 560
Ford (OTPM), 26
Ford (TMA), 63, 192
Sept., 1937, 25-27
Silber (SI), 213
Thede, 114
Quarterly (SPL), I, No. 3
Eighth of January ( Version A)
•Twas on the eighth of January,
Just at the dawn of day,
We spied those British officers
All dressed in battle array;
Old Jackson then gave orders,
"Each man to keep his post.
And form a line from right to left,
And let no time be lost.”
With rockets and with bombshells,
Like comets we let fly;
Like lions they advanced us,
The fate of war to try;
Large streams of fiery vengeance
Upon them we let pour,
While many a brave commander
Lay withering in his gore.
Thrice they marched up to the charge,
And thrice they gave the ground;
We fought them full three hours,
Then bugle horns did sound.
Great heaps of human pyramids
Lay strewn before our eyes;
We blew the horns and rang the bells
To drown their dying cries.

MB
Song Texts
2112
Come all you British noblemen
And listen unto me;
Our Frontiersman has proved to you
America is free.
But tell your royal master
When you return back home,
That out of thirty thousand men,
But few of you returned.
Version B (see under TUNES. )
********** ******************** *******

Ho. 450
EL BORRACHITO
also known as
The Drunken Fellow The Little Drunkard
Mexican-American drinking song from Southwest, U. S. A.
According to Lummis, who found it in Hew Mexico, this
song dates from the time of the Conquest. Espinel,
who recovered a version in Arizona, describes it as being
a Tonadilla of the latter part of the 18th century known
as El Caramba, A Tonadilla is a short lyric comedy
with music and dancing in one act, never having more
than three characters, and sometimes only one.
For additional information and versions of other songs,
see "Canciones De Mi Padre" by Luisa Espinel in Bulletin
(DA), General Bulletin No. 10, Yol. XVII, No. 1, January
1st, 1946. Also see Lummis (LPT), 229-230.
El Borrachlta
( Spanish )

MB
Song Texts
2X13
A1 borrac'nito todo se le dispensa;
Cuando anda chispo no conoce la verguenza 0
Si me emborraciio es por una consecuencia
To do lo causa la passion de una muger.
Amigo Vino, tu me tumbas con tu aliento.
las copas llenas onde estan que no las tiento?
Si me emborracho, es de puro sentimiento
Porque no me ama una ingrata muger*
El whisky tomo yo por apetito—
Compro mi trago si me hace muy poquite,
Con una taza de tequila mi abuelito—
Todo lo causa la pasion de una muger.
English translation by Lummis
The fellow half-seas-over everyone excuses,
When tight he*s not ashamed to do just what
he chooses.
If I get full, the only reason for my booze is
That my passion for a woman caused it alio
Friend Wine, your jolly, jolly breath it
sends me reeling!
Where are the full cups whose red kisses
I*d be stealing?
If I get drunk, it's purely from excess
of feeling,
Just because an ungrateful woman loves me noto
I take the whisky for the thirst that may
befall one;
I buy my drink—which seems to me a very
small one,
Like my grand-dad with his glass of stuff—
a tall one—
And a passion for a woman caused it all.
****#*****-***********

MB
Song Texts
2114
Eo. 451
El CARBONERO
also known as
The Charcoal-Man
According to Lumais, this Mexican-American song "purports
to have been composed in El Pino, a tiny hamlet on the
edge of the Savajo Reservation, on the verge of the
greatest coal-measures in Rew Mexico. But while the
ditty may have been formulated there, a nd even may
apply to the peasant diggers of coal, it is altogether
too suggestive of Central Mexico, where the charcoal-
burner is a part of the landscape." See Lummis (LPT),
240-242.
El Carbonero (Spanish)
• Ya voy hacer una iglesita, Kama,
De piedrita de hormiguero,
Para que vaya a misa, Mama,
Junto con mi carbonero.
El primer amor que tengo, Mama,
Ha de set un carbonero,
Va a vender au carbon, Mama,
Pero gaptando dinero.
Alii viene el carbonero, Kama,
Bajando por la cuchilla;
Va a vender su carbon, Mama,
i real y medio la quartilla.
Alii viene el carbonero, Kama,
Bajando por los corrales;
Va sacudir su carbon, Mama,
Pero guardando los costales.

MB
Song Texts
2115
Ya voy hacer una iglesita, Mama,
Be piedrita de hormiguero,
Para que vaya a misa, Mama,
Junto con mi carbonero.
Ya voy hacer una casita, Mama,
Be piedrita de hormiguero,
Para vivir alii solita, Mama,
Junto con mi carbonero.
English Version
I am going to build me a chapel, Mama,
Of stone that the ants uncover,
So that I may go to mass. Mama,
Along with my coal-man lover,,
The very first sweetheart I f ve had, Mama,
Has to work at charcoal-burning;
He has to go selling his coals, Mama,
But bravely spends all he* a earning.
Ah, yonder he comes, my coal-man, Mama,
Bescending the ridge at leisure;
He’s selling the charcoal he made, Mama,
At a dime and a half the pint measure.
Ah, yonder he comes, my coal-man. Mama,
Coming on down by the stable;
He*s going to shake out the charcoal, Mama,
But saves the sacks when he’s able,
I am going to build me a cottage, Mama,
Of pebbles the ants uncover,
So ae to live there alone, Mama,
Along with my coal-man lover.
************ **********

MB
Song Texts
2116

No. 452
EL COYOTITO
also known as
The Little Coyote
Charles Lummis recovered this song in New Mexico and
published it in 1893. In his notes, Lummis says of
this song: "Hardly ever do the edigencies of the
measure permit all the words to be given their proper
accent....But in the Coyotito alone do I remember
the forcible splitting of a word in twain and leaving
the halves parted by the impassable gulf or a full
rest— as befalls in the first line of every verse
of this song, and more or less in other lines."
The original versions of text and tune are in Lummis
(LPT), 233-234. The music was transcribed by Henry
Holden Huss.
El Coyotito ( Spanieh )
Cuando salt de Hermosillo,
Lagrimas vine llorando,
Y con la flor del trompillo
Me venia consolando.
Yo soy como el coyotito
Que los revuelco y los dejo,
Y me voy al trotecito
Mirando por debajejo. *
Ya se cayo* el pino verde
Onde habitaii los pichones;
Ya cayo* el que andaba ausente—
Ahora veran pelones,
Ya se cayo el jacaltto +■
Onde colgaba mi espada.

KB Song Texts 2117
Paque est tanto laberinto
Si alcabo todo se acaba.
Ya se cayo / jacalito
Onde colgaba mi espejo.
Debajo del roble encinito
Tendio su cama un conejo.
Ya se seed' el nopalito
Onde ibamos a*las tunas.
Ya me no mas anderas celando
Con tue celos en ayunas,
Lee encargo mis amigos
Que si ven a mi querida,
No le digan que estoy preso—
Porque es el bien di me vida.
* A diminutive for deba.jo
+ A little jacal , the house of chinked palisades.
English Version
Lummis, who translated the text, said "a fair English
equivalent of this remarkable ditty,...is perhaps un—
attainable.”
When I par-ted from my city,
Tears and tears I came a-crying,
And with the trumpet-flower pretty
To comfort myself was trying.
I am just like the coyotito
That just rolls them over and leaves them,
And I go trotting so neat, On,
My downcast glance deceives them.
Fallen is al-ready the stately
Pine where doves perched by the air-full.

MB
Song Texts
2X18
He who was gone has happened home lately,
And the short-haired had better be.careful.
Fallen is al-ready the humble
Hut where my sword was suspended;
What’s the use of fuss and of grumble,
If all things at last are ended.
Fallen is al-ready the lonely
Hut where my mirror wa 3 peeping;
And in the oak-thickets only
The rabbit has stretched for sleeping.
Dried is now the prickly-pear cooling
That we both hunted when younger;
How me no more wilt thou go fooling
With my jealous tricks in my hunger.
Friends, I charge ye all unshaken,
If my sweetheart ye be seeing,
Tell her not that I have been taken,
For she is the good of my being.
********** ** ***** ********

Ho. 453
EL FERROCARRIL
also known as
The Railroad
Mexican-American song from Southwest Texas, recovered
and transcribed by Charles Lummis and Henry Holden Huss.
Franquilin, in the second stanza, is Spanish for
Franklin —the first railroad name of El Paso 0
El Ferrocarril

MB
Song Texts
2119
Alii viene el ferrocarril,
Vamo8 a ver ondo ’sta"-
Ah! que gusto nos dara—
Cuando lo veamos venir!
Chorus
Llegando la emigracion,
"Good morning," repetire.
"Come in! come in!" lea dire^
"Vengan oir mi cancion."
De Chihuahua Franquilin
Corren los Americanos,
Ganadoles el dinero
1 Todos los Mejicanos.
Si fueras al campamiento
Onde vienen trabajando,
Yo asi me vivo cantando
Para ganar el sostento,
Ni el sol ni el viento podra
Hacerme retroceder;
Millas y millas comer,
Para ganar nuestro bien.
La maquina va partir,
Esten toditos alerta.
Vayan sacando el dinero
Que ya vamos & partir.
English Version; roughly translated .
The railroad is coming this way—
Let us go look at it near.
When we shall see it appear,
Ah! what a joy it will be.

MB
Song Texts
2120
Chorus
And when the tourists shall throng,
"Good morning," I will repeat;
"Come in! Come in!" I’ll entreat,
"Come ye and list to my song,"
Up from the town on the line
Come running the Americano s,
Earning us everyone money—
Money for all us paisanos,
Were you at the camp where they*re
, giving
Work, and the Laborers bringing—
That’s just the way I live singing
Only to earn me a living.
Neither sun, neither wind shall
nor could
Make me turn back till I’ve done;
Mile after mile I will run
That I may win us some good.
The engine is going to start.
Lively! Be all of you ready!
Come, pull your money out— steady,
For now we are going to start!
*************************

No, 414
ELLEN’S ELOPEMENT
also known as
Arise, Arise, Ye Seven
Brothren
Brandywine
Earl Brand
As He Rode Up To The Old
Man’s Gate
Lady Margaret
Lord Loving

MB
Song Texts
2121
Lord Robert
Lord William
Lord William and Lady Margaret
Lord Tlilliam and Lord Douglas
Lord William 1 s Death
Rise Ye Up
The Seven Brethren
The Seven Brothers
Seven Horsemen
The Seven Sleepers
The Seventh Brother
Sir William and Pair
Eller.der
A Soldier
The Soldier's Wooing
Song of a Soldier
Sweet William
Sweet William and Pair
Ellen
Sweet Willie
William and Ellen
William and Lady Margaret
William and Margaret
This is a derivative of an English-Scottish ballad that
parallels the Danish Rlbold and Guldborg . English title
is Earl Brand. Sir Yfalter Scott called it The Douglas
Tragedy . Robert Bell published it as The Brave Earl Brand
and the King of England's Daughter . In Motherwell 1 s MS,,
we find it as Lord Douglas . Both Hales and Purnivall have
it as The Child of Ell American versions of Ellen*s
Elopement tell the same story as is told by Scott's
Douglas Tragedy , although many of the details important
to ancient belief have been dropped. Thus we find a song
called The Bold Soldier being associated with Ellen*s
Elopement by American collectors in love with the Child
canon. The songs are not related, however, and there is
no evidence to show that either was influenced by the
other. Por a version of The Bold Soldier , see Soldier
of Fortune in this Master Book.
Excepting the beliefs expressed in versions of the ancient
type, the theme has survived better in American tradition
than in England, Probably the "abduction theme 1 ’ had a
special appeal to the American feeling for individual de
termination as opposed to social pressure and class con
trol.
The version below came to me through the singing of Louis
Tyndal, Wilmington, II. C., in the late 1920s,

MB
Song Texts
2122
REFERENCES
Barry (BEM), 35-40
Bell (APBS), 122
Brewster (BSI), 37-39
Bronson, I, 106-127
Brown, II, 27-32; IV,
8-13
Brown (BLNC), 9
Bruce, 31-33
Bulletin (TFS), VIII, 64
Bulletin (VPS), Nos 2 & 4,
5 - 6 , 10
Campbell & Sharp, No, 3
Child, I, 88-105
Coffin, 35-37
Cox (PSS), 18-19
DAVIS (MTBV), 26-34
Davis (TBV), 86-91, 552
Dean-Smith, 64
Eddy, 14-17
Flanders, I, 128-130
Flanders (BI.TNE), 228-229
Flanders (VFSB), 232
Freidman, 68-71
Gainer, 8-9
Greenleaf, 7-8
Greig, I, art, 57, 64
Greig & Keith, 5-7
Hales, I, 133
Henry (BMFS), 10-11
Henry (FSSH), 36-37
Henry (SSSA), 45-46
Houseman, 114-117
Hudson (FSM), 66-68
Hudson (SC), 6-7
Jour (AFL), XXVIII, 200;
IX, 241; XIII, 256
Karpelee, 25-26
Karpeles (FSN), II, No, 2
Kinloch MSS, I, 327
Kinsley, 115-118, 119-121
Leach (BB), 66-71
Lomax (OSC), 154-156
Mackenzie, 7-11
Mackenzie (QB), 60-62
Modern j(1N) , XXV, No. 4
Moore (BFSS), 15-18
Morris, 241-243
Motherwell, 180
Muir, 161-162, 173
Hiles (BB), 31-39
Ord, 404
Percy MS., 57
Perrow, XXVIII, 152-154
Pound, 68-69
Put (MLN), XXV, 1910, 104
Quarterly (SFL), VIII, 136
Quiller-Couch, 160, 157, 163
Randolph, I, 48-49
Randolph (OMF), 219-221
Roberts (IP), 13-16
Scarborough (SC)j 114-116
Scott (MSB-1902), II, 1;
III, 246
Sharp, I, 14-25
Shear in (BBCI.I), 4
Shearin (SKFS), 7
Stokoe, 6-7
Wells, 147-148
Western Folklore Quarterly,
XVII, 77-96
Whiting (TB3), 41-44

MB Song Texts
2123
Ellen*8 Elopement
Wake up, wake up, you seven sleepers,
And learn how things shall he.
0 take good care of your other daughters,
For sweet Ellen is going with me.
Rise up, Rise up, my seven hold sons,
And put on your armor bright;
A poldier came and took your sister—
Rode away with her last night.
He mounted her on a milk-white steed,
Himself on a dapple gray;
He put his arms around her shoulders,
And they lightly rode away.
Hold up, hold up, my lady, he said,
And hold my reins in your hand;
Against your father and seven brothers,
I am forced to make a stand,,
She held his reins in her milk-white hand
And never shed one tear,
Until she saw her brothers all fall,
And the father she loved so dear,
0 hold your hand! my lover, she cried,
My heart is sad and sore;
I can always find another lover,
But a father I’ll find no more.
Then choose, then choose, the soldier he said,
It’s will you go or bide?
You know I’ll go, the young lady said,
All those I loved have died.

Song Texts
2124
So they rode on, and on they rode
All by the light of the noon,
Until they came to the wan riverside,
And there they lighted down.
They lighted down for to take a drink,
The water ran so clear;
And down the stream ran the soldier*s
own blood,
And she felt the hand of fear.
Lie still, lie still, dear William, she said,
I fear you have been slain!
*Tis but the shadow of my scarlet cloak
That shines in the water so plain 0
So they rode on, and on they rode,
All by the light of the moon,
Until they came to his mother*s hall door,
And there they lighted down.
Get! Get up! dear mother, he cried,
Get up and let me in!
Get up! Get up! dear mother, he cried,
Greet the woman I fought to win!
Now make my bed, dear mother, he said,
And make it broad and deep 8
Let sweet Margaret beside me lie,
And the sounder I will sleep.
0 William was dead before midnight,
Sweet Margaret before the day:
May all lovers who go together
All have far more luck than they.
#.**-*-* ***************

MB
Song Texts
2125

Bo. 455
ELLIS HHSE
also known as
Carry Me Back to Tennessee Ella Ree, .or Rhee
This is one of those ,, plantation"-type songs so popular
In America during the la°t half of the 19th century.
There is a different song with a similar name title,
Ella Ree , which was also popular throughout the South
during the Civil War. For versions of Ella Ree , see
Staton, 34 and Wharton, 213-214.
This song, Ellie Rhee , is ascribed to Sep. Winner and
was copyrighted by him in 1865.
REFERENCES
Brown, III, 494
Carmer (SRA), 131
Dean, 96
Keach, 9
Minstrel, 43-45
Pound (SFSN), XXIII, No. 15
Randolph, IV, 388
Staton, 34
Ellie Rhee
Sweet Ellie Rhee, so dear to me,
Is gone forevermore;
Our home was down in Tennessee,
Before the cruel war,
Chorus
Oh, carry me back to Tennessee,
Back where I long to be,
Among those fields of yellow corn,
With my darling Ellie Rhee.
Oh, why did I, from day to day,
Keep wishing to be free,
And from my old home run away
And leave my Ellie Rhee?

MB
Song Texts
2126
They said that I would soon he free,
Be happy every day,
But if they take me hack again,
1*11 never run away.
The war is over now at last,
The colored race is free;
The good times that they promised us,
I*m waiting for to see 0
***************************

Mo, 456
EL PASTOR TONTO
also known as
The Stupid Shepherd
An unusual Mexican-American song found in New Mexico hy
Charles Lummis. He called it a New Mexican version of
Venus and Adonis , with Venus being less ornate and more
modest than Shakespeare’s character and Adonis less
rhetorical and something of a clown,
Lummis admittedly did not record the entire piece and
the stanzas available to us leave much to he desired.
See Lummis (LPT), 244-247,
El Pastor Tonto
Una nina en un haleon
Le dice a un pastor, "Espera!
Que aqui te habla una paloma,
Que de amor se desespera,”
"No me hahlas de esa manera,"
respond!o el villano vil,
"Mi ganado * sta en la sierra.
Con el me he de ir i. dormir,"

MB
Song Texts
2121
"0yes, pastor tan hermoeo,
Que aqui te habla una paloma.
Arrimate por aca
Ni haya miedo que te coma,”
"Arrimate por aca
Ni haya miedo que te coma,
"Bien estas San Pedro en Roma,"
Respondio el villano vil,
"Mi ganado ’sta en la sierra,
Con el me he de ir 1 dormir,"
"Mi ganado ’sta en la sierra,
Con el me he de ir & dormir,"
English Version
( Repeat last 2 lines of each s_tanza).
In a balcony a pretty damsel cried out,
"Oh, stay!" to a shepherd staring,
"For here a tender dove bespeaks you
Who is for love and you despairing,"
"Oh, you mustn’t speak to me in that way!"
Replied the dull and stupid clown,
"For my flock is in the mountains,
With it I have to go and lay me down,"
"Listen, shepherd, tall and handsome,
For here a tender dove doth greet you;
Come nigh, and don’t be acting
As if afraid that I might eat you,"
"I wouldn’t care if you were St, Peter
In Rome," replied the foolish clown,
"For my flock is in the mountains,
And there I must go lay me down,"
********************

MB
Song Texts
2128

No. 457
El VIEJO
also known as
The Old Man
This humorous and popular Mexican-American song has a
chorus dating back to the Moorish wars. Except for the
borrowed chorus the song is a product of New Mexico.
Much of the song's humor is lost in translation, but
the English text does convey "an idea of the story and
its meaning." See lummis (LPT), 231-232.
El Vie,jo
Todos dicen que soy un viejo,
Yo no 8e / en que se pueden fundar.
Yo me encuentro tan gordo y robusto
Que tres veces me puedo casar.
Chorus
En el morro paseba el joven
Combatiendo contra el invasor,
Tanto sangre en los campos regaba,
4No te causa verguenza, traidor?
Soy un viejo de noventa anos,
Los cuento desde que empeze a andar.
Las muchachas me niegan los besos,
Y conmigo no quieren bailar!
Todos dicen! "hipocrito viejo!"
Paque en misa me gu°ta rezar,
Y en el baile me gu«ta tener
Una novia a quien apretar.
ENGLISH VERSION

MB
Song Texts
2129
Ev’ryone says I am an old fellow.
But the basis is over my head;
Though I am fat, I’m feeling quite mellow,
And three times more I’m ready to wed*
Chorus
On the bluff strolled a young Spanish
soldier,
Pighting off the invader who came.
Blush ye not, Oh, invaders and traitors,—
Does the blood on the land cause you shame?
I am old, if it’s old to be ninety—
And I count from when walking began;
Now the girls all deny me their kisses,
Not a dance will they give the old man,
Ev’ryone callp me "old hypocrite!”
Just because at the ball and the mass
I am faithful to love and religion,
For I pray to the Lord and I dance,
*****************************

No, 458
EN REVENANT DE LA JOLIE ROCHELLE
also known as
As I came Back from Beautiful Coming Back Home
\
Rochelle L’aviron Qui Nous Mene
V
C’est L’aviron Qui Nous Mene
This song, a variant of an ancient French ballad, is
similar to the English ballad, The Baffled Knight,
La Rochelle was a favorite of the French song-makers who
seem to have been partial to sea adventures. This song

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KB
echoed up and down the Mississippi, Missouri and Ohio
rivers, sung By French explorers and traders a Naturally,
it was popular in Quebec and along Canadian rivers also.
Many versions have been collected in Canada, and the
version below is one of them. It is reproduced from
Gagnon, 155-156.
REFERENCES
Barbeau (JSOQ), 138-141 Peacock, II, 517
Gibbon, 58-60 Tiereot (FSF), 76-78
En Revenant de la Jolie Rochelle
En revenant de la joli Rochelle (2)
J*ai rencontre trois jolies demoisell’s#
La voila ma mi* qu’moncoeur aime tant!
La voila ma mi* qu’mon coeur aime!
J*ai rencontre^ trois holies demoiselles, (2)
J*ai point choisi, mais j’ai pris la plus belle,
La voila ma mi*, etc 0
J*ai point choisi, mais j’ai pris la plus belle (2)
J’l'y fis monter derrier* moi, sur ma selle,
La voila ma mi*, etc.
J*l*y fis monter derrier* moi, sur ma selle, (2)
J*y fis cent lieues sans parlet avec elle.
La voila ma mi’, etc,
J*y fie cent lieues sans parler avec elle, (2)
Au bout des cent lieues, ell* me d'mandit a boire.
La voila ma mi’, etc.
Au bout des cent lieues, ell* me d’mandit
a boire, (2)
Je l*ai menee aupres d'une fontaine.
La voila ma mi*, etc.

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Je l'ai menee aupres d’une fontaine, (2)
Quand ell' fut la, ell 1 ne voulut point boire.
La voila ma mi*, etc*
Quand ell* fut la, ell' ne voulut point boire, (2)
Je l’ai menee au logis de son pere 0
La voilk ma mi*, etc.
Je l’ai menee au logis de son pere, (2)
Quand ell* fut la, ell* buvait a pleins verres;
La voila ma mi 1 , etc.
Quand ell* fut la, ell* buvait a pleins verres, (2)
A la sant^ de son pere et sa mere.
La voila ma mi’, etc.
A la eante de son pere et sa mkre, (2)
A la sant^ de ses soeurs et ses freres.
La voil& ma mi’, etc.
A la sante" de ses soeurs et ses freres, (2)
A la sante d’celui que son coeur aime.
La voila ma mi‘, etc.
****************************
English Version
As I came back from beautiful Rochelle,
As I came back from beautiful Rochelle,
There did I meet three pretty demoselles.
Chorus
Here*8 the one for me, here’s the one I love,
Here’s the one for me, here's my loved one!
There did I meet three pretty damoselles, (2)
I did not choose, but took the greatest belle.

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MB
I did not choose, but took the greatest belle, (2)
I set her up behind me on my saddle,
I set her up behind me on my saddle, (2)
One hundred leagues and not a word was spoken.
One hundred leagues and not a word was spoken, (2)
When they were o’er, she asked me for some water.
When they were o’er, she a«»ked me for some water, (2)
I took her then to where there was a fountain,
I took her then to where there was a fountain, (2)
When she got there, she would not drink the water.
When she got there, she would not drink the water, (2)
I took her to the dwelling of her father,
I took her to the dwelling of her father, (2)
When she got there, she emptied all the glasses.
When she got there, she emptied all the glasses, (2)
Drinking the health of father and of mother.
Drinking the health of father and of mother, (2)
Drinking the health of sister and of brother.
Drinking the health of sister and of brother, (2)
Drinking the health of him who is her lover.
********************************

No. 459
EN ROULANT MA BOULE
also known as
I*m Rolling My Ball
On, Roll On, My Ball
Roll My Ball
A-Rolling My Ball
A-Rolling My Bov/1

MB Song Texts 2133
En Roulant Ka Boule is derived from a 15th century
song which expressed the grievence of peasants against
hunting parties of the nobility who were very careless
of fences, grain and livestock,, In Canada, where it
le listed as ”trois beaux canards,” 3arbeau printed
some 92 different versions* Add that number to other
versions I have seen, and we f d have a total of 107*
En Roulant Ma Soule is cne of the first French songs
to be sung up and down America’s great inland rivers
and lakes. The iext and tune given below is from
Gagnon, 12-15.
REFERENCES
Barbeau (JSOQ), 97-102 Haywood (FSW), 34-35
Barbeau (FFC), 117-120 Luther, 9-10
Gibbon, 62-65
En Roulant Ma Boule
Derrier’ chez nous, ya-t-un etang,
En roulant ma boule.
Trois beaux canards s'en vont baignant,
Rouli, roulant, ma boule roulant.
En roulant ma boule roulant,
En roulant ma boule.
Trois beaux canards s’en vont baignant,
En roulant ma boule*
Le fils du roi s'en va chassant,
Rouli, roulant, ma boule roulant, etc*
Le fils du roi s’en va chassant,
En roulant ma boule.
Avec son grand fusil d’argent,
Rouli, roulant, ma boule roulant, etc*

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Song Texts
2134
Avec son grand fusil d’argent,
En roulant ma boule.
Visa le noir, tua le blanc,
Rouli, roulant, ma boule roulant, «tc.
Visa le noir, tua le blanc,
En roulant ma boule.
0 file du roi, tu es mechant!
Rouli, roulant, ma boule roulant, etc.
0 fils du roi, tu es mechant!
En roulant ma boule.
D*avoir tue mon canard blanc,
Rouli, roulant, ma boule roulant, etc.
D*avoir tue mon canard blanc,
En' roulant ma boule.
Par dessous l’aile il perd son sang,
Rouli, roulant, ma boule roulant, etc.
Par dessous l’aile il perd son sang,
En roulant ma boule.
Par les yeux lui sort’nt des diamants,
Rouli, roulant, ma boule roulant, etc.
Par les yeux lui sort’nt des diamants,
En roulant ma boule.
Et par le bee l’or et 1’argent,
Rouli, roulant, ma boule roulant, etc.
Et par le bee l’or et 1’argent,
En roulant ma boule.
Toutes ses plum's s'en vont au vent,
Rouli, roulant, ma boule roulant, etc.
Toutes ses plum’s s’en vont au vent,
En roulant ma boule.

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Trois dam’s e’en vont lea ramaseant,
Rouli, roulant, ma boule roulant, etc.
Trots dam’s s’en vont les ramaseant,
En roulant ma boule,
C’est pour en faire un lit de camp,
Rouli, roulant, ma boule roulant, etc,
C’est pour en faire un lit de camp,
En roulant ma boule.
Pour y coucher tous les passants.
Rouli, roulant, ma boule roulant, etc.
English Version
Behind our house there ie this pond,
I’m rolling my ball.
Three handsome ducks are having fun,
And roll a-roll my ball around.
Chorue
A-rolling my ball around, a-rolling my ball;
A-rolling my ball around, a-rolling my ball.
Three handsome ducks are having fun,
I’m rolling my ball.
The Prince he has a silver gun,
And roll a-roll my ball around.
That silver gun is polished bright,
I’m rolling my ball.
He shot the black but hit the white,
And roil a-roll my ball around <>
0 Prince, 0 look, see what you’ve done!
I’m rolling my ball.

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2136
0 wrongly you have used your gun!
And roll a-roll my "ball around.
0 wrongly you have used your gun!
I’m rolling my ball.
You shot and killed the whitest one!
And roll a-roll my ball around.
Red blood is flowing from his wings,
I’m rolling my ball.
Hie tears are large as diamond rings,
And roll a-roll my ball around.
His feathers float upon the air,
I’m rolling my ball.
They’re gathered by a maiden fair,
And roll a-roll my ball around.
She gathers them but does not weep,
I’m rolling my ball.
She’ll make a bed where two can sleep,
And roll a-roll my ball around.
*•*•****■*■* ******* ******

No. 460
THE ERIE CANAL I
also known as
Fifteen Miles on the
Erie Canal
I Got an Old Mule and Her
Fifteen Years on the
Erie Canal
Name is Sal
I’ve Got a Mule
Low Bridge! Everybody Down
Got an Old Mule
At the time of its construction the Erie canal was re
ferred to as "Clinton's Polly," because Governor DeWitt
Clinton, New York, was the driving force behind the

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massive undertaking. The canal, of course, contributed
mightily to the economic well-being and cultural heri
tage of the United States. It flooded the entire West
with business and was responsible in no small way for
the remarkable growth of New York City. The canal was
finished and the canal was opened in 1825« By 1845
nearly four thousand boats, requiring the employment
of twenty-five thousand men, women, and boys, were ply
ing the canal. The same route used today by the New
York Central Railroad between Albany and the Great Lakes
was part of the canal's domain.
Many songs were written about the canal and the people
working it, especially the canal-boatmen, and several
of the songs became nationally popular. The song below
is one of the many. Another is The Brie Canal IT (see
in MB). Tor yet --other, see Raging Canawl in Sandburg
(AS), 178. For an additional version of Raging Canal
as well a« several other Erie Canal songs, see Lomax
(ABFS), 455-474.
The song below, written by William S. Allen and pub
lished by the ?. B. Haviland Company, New York, 1913,
was entitled, Low Bridge! Everybody Down! . The 1913
copyright was renewed by Arthur Allen in 1941 and then
assigned to the Jerry Vogel Music Company, New York,
N. Y.
REFERENCES
Agay (1), 8-9
Agay, (2), 104
Arnett, 56
Best, 39
Downes, 239 or 300
Emrich (CBF), 45
Kennedy (A3), 29
Kennedy (TAB), 46
Lei«y (LAS), 26-27
Lomax (ABFS), 457, 467
Luther, 68-69
Sandburg (AS), 171-173
Scott (SA), 10-11
Siegmeister, 60-63
Silber (HSB), 42
Warner, 39
Whitman, 61
Yolen, 38-40

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Song Texts
2138
The Erie Canal I
I*ve got a mule and her name i9 Sal;
A darn good worker and a darn good pal.
It*® back and forth, we travel, me and Sal,
For fifteen miles on the Erie Canal.
We've hauled pome bargee in our day,
Filled with lumber, coal and hay,
So we know every inch of the way—-
From Albany to Buffalo we earn our pay.
We sweat and strain, but that's alright;
Got to keep on workin' from morn till night.
Our job ain't done till the moon is bright;
It * 8 fifteen miles on the Erie Canal.
Get up there, mule, here comes a look;
We'll make Rome 'bout six o'clock.
It's one more trip, then back we'll go—
It'8 right back home to Buffalo,
We better get along, make time, gal,
Fifteen miles on the Erie Canal—
You bet your life I'd never part with Sal!—
It's fifteen miles on the Erie Canal.
A friend of mine once got her sore,
Kicked him hard—need I say more?
She jerked her leg and then let go,
And kicked him clear to Buffalo!
* ******* *********************

No. 461
THE ERIE CANAL II
also known as
Ballad of the Erie Canal
The Er-*i-ee Canal
The Er-i-ee Was A-Rising
Forty Miles From Albany
This is probably the second best known song about the

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2139
Erie Canal, and is by far the most humorous. The rol-
locking tune has been used for other songs, including
onw known as Gun Fight at the 0. IC# Corral by Dickson
Hallo
REFERENCES
Berger, 33-34
Beet, 20
Glass (SW), 54-55
Ives (SB), 250-251
Leiey (SPS), 174-175
Lomax (ABFS), 455, 460,
463, 470
Lomax (PB), 31
Lomax (USA), 146-147
Sandburg (AS), 180
Seeger (6), 87
Silverman, II, 250
Winn (2), 44-45
The Erie Canal II
We were forty miles from Albany,
Forget I never shall;
We had a terrible storm that day
On the Er-i-ee canal.
Chorus
The Er-i-ee was a-rising
And the gin was gettin 1 low,
And I hardly think we’ll get a drink
Till we get to 3uffalo-o-o,
Till we get to Buffalo!
We were loaded down with barley seed
And chuck-up full of rye;
The Captain he looked down at me
With his goddamn wicked eye!
The Captain strode upon the deck,
A spy-glass in his hand;
The fog rolled in so goddamn thick
That he couldn’t see the land.

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2140
Two days out from Syracuse
Our vessel struck a shoal,
And we nearly foundered on
A chunk of Lackawanna coal.
The wind began to whistle,
And the waves began to roll;
We had to reef our royals, boys,
And hide down in the hole.
The Captain had a big fat wife,
She wore an old red dress;
We hoisted her upon the pole
As a signal of distress.
The Captain he got roaring drunk,
The crew all went to jail;
And I'm the only son-of-a-bitch
That's left to tell the tale!
***************************

Wo. 462
ERIN-GO-BRAGH
also known as
Bold Erin-Go-Bragh Daniel Campbell's Trip to England
Daniel Campbell Duncan Campbell
Despite its suggestive title this is not an Irish song;
it is Scottish. The original story concerns a highlander
Scotsman who has a run-in with a lowland Scots policeman.
In the next phase the story moves to London where th«
Scots policeman is replaced by a "sassy" English officer
who mistakenly assumes the highland Scotsman to be an
Irishman on the lam.
There are many versions extant, most of which derived

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Song Texts
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from early broadsides versions of the piece 0 Several
of the old broadsides are in the Harvard College Li-
bray, including the following: Bebbington, Manchester,
Ho. 107; W, T. Pordyce, New Cattle, No. 154; Harkness,
Preston, No. 298; Hodges; and Such, No. 148.
A broadside was aleo published in America by Be Margan,
list II, No. 17.
REFERENCES
Joyce (AIM), 86
Kennedy, 702
Laws (NAB), Q 20
MacColl & Seeger, 327-329
Mackenzie, 330-331
Ord, 387
Buchan & Hall, 141-142
Deleney (ISB), No. 3, 9
Edwards (CHSB), 147
Ford (VSBS), 47-49
Greig, Nos. 127 & 131
Greig & Duncan, No. 236
Erln-Go-Bragh
0, as I was a-walking up 7/ackleford Street,
A bold and young villain I happened to meet;
He looked in my face and he tipped me some jaw,
Saying, "Y/hat brought you over from Erin-go-bragh?"
My name is Dan Campbell as I come from Argyle,
I’ve travelled this country for many a mile;
I’ve trampled all over old England and all,
And the name that I go by is Erin-go-bragh.
One night in old England, while walking down
the street,
A hard-nosed policeman I happened to meet;
He stared in my eyes and he gave me some jaw,
Saying, ’’You’re a bold Paddy from Erin-go-bragh."
”1 am not a Paddy, though in Ireland I’ve been;
I am not a Paddy, but that is no sin.
It’s many a Paddy in travel I saw,
And there’s many a hero from Erin-go-bragh."

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Song Texts
2142
"I know you*re a Paddy by the cut of your hair—
It»s quite plain to see by the clothes that
you wear.
You’ve left your own country to hide from the law,
Like the other bad rebels from Erin-go-bragh."
A lump of black tarmac was right there in my fist;
Around his greet napper I ma de it to twist.
The blood from his napper I quickly did draw,
And I made him remember this Erin-go-bragh<>
They gathered all round me like a gaggle of geese:
It’s "catch that wild Paddy, he’ll kill our
police!"
And he had more friends, sir, than ever I saw,
And the fighting got rougher for Erin-go-bragh.
I ran to the river and I jumped in my boat;
I hoisted my sail and away I did float,
Saying, "Goodbye, old England, and all of your law,
And the devil be with ye!" from Erin-go-bragh.
**********************************

No. 463
ERIN’S GREEN SHORE
also known as
A Bed of Primroses
Dixie’s Green Shore
The Irish Dream
The Irishman's Dream Song
The Mantle of Green
On Erin’s Green Shore
This song was widely distributed and is apparently
well-known throughout the United States and Canada.
It was also popular in Great Britain, where it was
a favorite of the broadside publishers. In the early
part of the 18th century, versions appeared in The
Merry Musician , II , 129; Watt’s Musical Miscellany ,
I, 62; Wehman’s Pocket-Size Irish Song Book , No. 1, 34;

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Song Texts
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and the Ballad Opera, Polly , 1729. A different version,
given as As Down in the Meadows , is in Chappell (OEPM),
127.
A version of thi° song known as The Mantle of Green
should not he confused with another old song, The Mantle
So Green , which is in this Master Book as Disguised
Lover VIII.
REFERENCES
Belden (BS), 282-283
Cazden, I, 86-87
Cox .(FSS)* 442-444
Creighton (SENS), 171-172
Delaney (ISB-1), 7
Gainer, 126-127
Greenleaf, 142-143
Hubbard, 13 4-13 5
Korson (PSL), 45-46
Moore (BFSS), 194-195
O’Conor, 38
Peacock, II, 362-363
Randolph, I, 324-325
Thomas (DD), 176-178
Wehman (CS), I, 34
Wehman (ISB), 1887, 42
Erin’s Green Shore
One evening quite late as I rambled
On the banks of a clear flowing stream,
I sat down on a bed of primroses
And so gently did fall in a dream*
I dreamt of a lovely fair maiden
With a beauty I’d not seen before;
And she sighed for the wrongs done her country
As she strolled along Erin’s green shore.
Her eyes they did sparkle like diamonds,
Or stars on a clear, frosty night;
Her cheeks were like two blooming rosee^v
And her form was a wonderful sight.
Then I addressed this fair, young female:
"My jewel, come tell me your name;
I know that here you are a stranger,
But I am more than glad that you came."

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Song Texts
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"I*m a daughter of Daniel O’Connell,
Prom England I’ve lately sailed o’er;
I’ve come here to awaken my brothers
Who slumber on Erin’s green shore,”
In prospects of joy I awakened,
To find I had been in a dream;
The beautiful maiden had fled me,
And I long for to slumber again.
May heaven above be her guardian,
Por I know I shall see her no more;
May the sunbeams of joy fall around her
As she 8 trolls along Erin’s green shore!
***************************

No, 464
ERIN’S LOVELY HOME
also known as
Aran’s Lonely Home Seven Links in My Chain
Old Erin’s Lovely Vale
Like Erin’s Green Shore (to which some collectors relate
it by reference), this song seems to have been popular
in both England and the United States. Versions have
been collected from oral sources from Nova Scotia to
the Ozarks. During the 1860s and 1870s the song appeared
in many of the widely circulated songsters. Versions
were issued on both sides of the Atlantic in broadside
form, and some of the publishers were: Bebbington, Man
chester, No, 99; Cadman, Manchester, No, 239; John
Gilbert, Newcastle, No. 26; J. Harkness, Preston, No.
457; J. H. Johnson, Philadelphia; John Rose., Newcastle;
Ryle & Co., London; Such, No, 31; and Wehman, No. 181,
REFERENCES

MB
Song Texts
Creighton (RTFS), 64-65
Greenleaf, 142-143
Greig, No* 47
Henry, No. 46
Huntington, 198-201
Jour (PSS), I, 117;
II, 167-168, 211
Jour (IP5S), I, 11-12
Karpelee (EPS), I, 349-
351
Laws, M 6
Leach, 48-49
2145
MacColl & Seeger, 250-251
Mackenzie, 117-118
O'Conor, 25
O'Lochlainn, 202-203
Ord, 106-107
Randolph, I, 336-357
Sharp (PSPS), II, 24-25
Sharp (100), 124-125
Songster (45), 168
Songster (192), 38
Songster (194), 35
Wehman (ISB), No. 1, 107
Erin * s Lovely Home
All of you who love your liberty, I pray that you * 1 11
draw near;
A sad and dismal story shall fall upon your ear.
Here in a distant country I languish and I moan,
Recalling all the years I spent in Erin's lovely home.
When I wap young and in my prime and scarcely
twenty-one,
I once became a servant unto a gentleman.
I served him true and honestly, and very well 'tis
known,
But cruelly he banished me from Erin's lovely home.
The reason why he banished me I mean to let you know:
I loved his only daughter, and she loved me also;
But she had land and money while nothing did T^own—
And that is why he banished me from Erin's lovely home
One day in her father's garden—*twas in the month of
June—
Among the growing flowers all in their youthful bloom,

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Song Texts
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She said, "Ky dearest Willie, if with me you will
roam,
We’ll bid adieu to all our friends in Brin’s lovely
home•"
Now when we got to Belfast, just at the break of day,
My true love gave me money our passage for to pay;
Five thousand pounds she counted and said it was my
own;
That I’d never fret for those I’d leave in Erin’s
lovely home.
It’s when we thought all danger gone her father did
appear,
And soon I was separated from the arms of my own dear.
They forced me back to Homeford, in the county of
Tyrone,
And from there I was transported from Erin’s lovely home.
When I received my sentence, it grieved my heart full
sore;
But parting with my own true love did grieve me ten
times more.
There’s seven links all in my chain and every link a
year,
But one day I’ll return again and reclaim my own dear 0
********** ************* *******

No, 465
EVELINA
also known as
Bear Evelina, Sweet Evelina My Bear Evleen
Evalina Sweet Evelina
This is a popular song from the professional music world
of early 19th century. It is still in print, included in

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Song Texts
2147
many old-time song books and folios, but nevertheless
managed to carve a niche for itself in oral tradition,.
REFERENCES
Brown, V, 424
Bulletin (TFS ), III,
No. 4, 94
Cambiaire, 87
Chamberlain, 310-311
Chappie (HS), 417-418
Ford ( TMA ), 142, 403
Jour (AFL), LIX, 466
Jour (FSS), Y , 315
Leisy (LAS), 109-110
Luther, 259
Most (PCS), 14-15
Pound, 211-212
Randolph, IV, 344
Songs (15), 76-77
Wier (SWWS), 179-180
Evelina
Way down in the meadow where the lily first blows,
Where the wind from the mountains ne’er ruffles
the rose,
Lives fair Evelina, the sweet little dove,
The pride of the valley—the girl that I love 0
Chorus
Dear Evelina, sweet Evelina,
My love for you will never, never die!
Dear Evelina, sweet Evelina,
My love for you will never, never die!
She’» fair as a rose, like a lamb she is meek,
And she never was known to put paint on her cheek.
In the most graceful curls hangs her raven black hair,
And she never requires perfumery there.
Three years have gone by and I’ve not got a dollar;
Evelina still lives in that green gra*s holler.
Although I am fated to marry her never,
I’ve sworn that I'll love her forever and ever.
************************ **-*-*■*

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2148

No. 466
EVERY NIGHT 7/HEN THE SUN GOES DOWN
also known as
Every Night When the Sun
Goes in
In the Evening When the
Sun Goes Down
This is a country blues with wide acceptance, even today
Performers and songwriters can’t seem to leave it alone®
A "pop** version (In the Evening When the Sim Goes Down ),
written by Leroy Carr, was published in sheet music form
by Leeds Music Corporation (now MCA Music) in 1935 o A
version re-titled Suzanne , by Millard Thomas and Harry
Belafonte, became a moderate hit in 1952 as a result of
its being performed in the film Bright Road by Belafonte
The traditional version, Every Night When the Sun Goes
Down , has been recorded dozens of times by various per
formers, but not necessarily under the same title. Its
availability in print has precluded its appearance in
many of the standard folk-song collections, but its
popularity shows no sign of diminishing.
REFERENCES
Lomax (ABPS), 149-150
Sharp, II, 268
Silverman, I, 208
Silverman (PB), 193-194
Agay (1), 43
Downee, 329 or 385
Leisy, 96-97
Leisy (SPS), 127
Every Night T/hen the Sun Goes Down
Every night when the sun goes down,
Every night when the sun goes down,
Every night when the sun goes down,
I hang down my head and mournful cry.
Love, don’t weep after I am gone, (3)
Just lift up your head and carry on.

MB
Song Texts
2149
How I wish that my train would come, (3)
And carry me back where I came from*
Every night when the sun goes down, (3)
I long to return to my home town*
***♦****-************-*•**

No. 467
THE EVIL BROTHER
also known as
Balled of the Cruel
Brother
The Bride *p Murder
Brother’s Revenge
The Cruel Brother
Pine Flowers of the Valley
Lily 0
Oh, Lily 0
The Three Knights
Three Ladies Flayed at Ball
The story told by this old ballad is not unique. Many
similarities to the details are found in several ancient
tales of European folklore* None of the others, however,
attained the degree of popularity achieved by this ballad.
A number of scholars regard this as one of the many incest
ballads, but the incest motive ia absent from all versions
recovered in the United States.
REFERENCES
Barry (33M), 431-433
Bronson, I, 183-190
Brown, II, 35-38; IV,
18-19
Child, I, 141-151; V,
412
Christie, I, 109
Coffin, 42
Dean-Smith, 61
Flanders, I, 171-174
Friedman, 175-177
Gainer, 13-15
Gilbert (SACC), 68
Herd, I, 88
Herd MSS, I, 41
Hudson (SC), 6
Jamieson, I, 66-72
Jour (AFL), XXVIII, 300-301
Kidson (GEFS), 24-26
Kinloch (ASB), I, 21
Kinloch MSS, I, 27
Kinsley, 236-238

MB
Song Texts
2150
Leach (BB), 78-81
Nile* (B3), 55-57
Notes, l e t series, VI,
53; 2nd, V, 171;
4th, IV, 517 & ",
105
Pound, 21-23
Quiller-Couch, 287-289
Roberts (IP), 19-21
Sharp, I, 36-38
Sharp (AEFS), 22-26
The Evil Brother
Three fair young maids went out to play ball,
Hey, oh, the Lily oh!
Three young landlords came to court them all,
And the rose blooms so sweet I know.
The oldest girl was both tall and fair, etc.
But the youngest was beyond compare, etc.
The middle one was fair between, etc.
But the youngest seemed a beauty queen, etc.
The young men bowed unto all the three, etc.
But to the youngest they bent the knee, etc.
She turned her pretty head aside, etc.
Each begged of her to be his bride, etc.
Her cheeks were of a blushing red, etc.
She said, ’’Sirs, I’m too young to wed.” etc.
But one of them then took her hand, etc.
And said, "I’ll make you lady of my land." etc.
He got consent from all her kin, etc.
But her brother John did not come in. etc.
The wedding day at last came on, etc.
The bride and groom would soon be gone. etc.

MB
Song Texts
2151
Her brother's knife was long and sharp, etc.
He stabbed his sister through the heart, etc.
"0 lead me gently o'er yon hill, etc.
And lay me down to make my will.” etc.
"What will you leave your brother John?" etc.
"The gallows-tree to hang him on!” etc.
**************************

No. 468
THE EVIL MOTHER
also known as
Babes in the Greenwood
Children’s Song
The Cruel Mother
Down by the Greenwood Shady
Down by the Greenwood Sidey
or Sidding
Pine Flowers in the Valley
Greenwood Side
The Greenwood Siding
The Greenwoods of Si-bo-
ney-o
The Lady of York
There Was a Girl, Her
Name Was Young
There Was a Lady Lived
in York
Three Babes
Three Little Babes
Three Little Babies
Two Little Babes
Yonder in Si-bo-ney-o
An old European ballad set to various airs. Originally
the ballad contained various medieval murder and burial
superstitions. For an informative study, see Wimberly,
254. For at least 57 tunes, see Bronson, I, 276.
Several versions of this ballad have been reported in
the United States, but most of them are fragmentary and
lack clarity of meaning.
For an obviously related and similar ballad, see Lady
Anne in Greig & Duncan, No. 194.
REFERENCES

MB
Song Texts
Barry (BBM), 80-93
Bronson, I, 276-296
Buchan, II, 98, 111
Buchan (BUS), II, 217-
228
Buchan (GSEI), 90
Bulletin (FSSN), Till,
7-8
Bulletin (VFS), Nos.
3 & 5
Burne, 54
Campbell & Sharp, No. 9
Cazden, II, 10A-105
Cazden (I'D), 104-10V
Child, I, 218-227; 7,
413
Christie, I, 105-107
Coffin, 50-51
Cox (FSS), 29-30, 522
Creighton (SENS), 3-5
Creighton (TSNS), 17-20
Davis (MTB7), 81-83
Davis (TB7), 133-136,
560-561
Dean-Smith, 61
Dick, 347
Eddy, 24
Flanders, I, 230-238
Flanders (BMNE), 66-67
Freidman, 181-181
Fuson, 59-60
Gainer, 26-27
Greenleaf, 15-16
Greig & Duncan, No. 193
Henry (FSSH), 47-48
Herd, II, 237
2152
Herd MSS, I, 132; II, 191
Hudson (SC), 6
Johnson (SMM), No. 320
Jones, 301
Jour (AFL), XXV, 183; XXX,
293; XXXII, 503;
XIV, 159
Jour (FSS), II, 109; III,
70-72; VI, 80
Karpeles (FSN), I, No. 2
Kinloch (AS3), 44-46
Kinloch MSS, 7, 103
Kinsley, 68-69
Korson (PSL), 38-39
Leach (B3), 103-106
Mackenzie, 12-13, 391
Mackenzie (QB), 104-106
Manny, 209-210
McGill, 83
Moore (BFSS), 32-34
Morris, 250-254
Motherwell (1827), 162 &
II, 31
Motherwell M3., 186, 390,
402
Niles (BB), 83-87
Notes (1st series), VIII,
358
Okun, 459
Peacock, III, 804-805
Pound, 18-19
Quarterly (SFL), VIII, 139
Quiller-Couch, 102-103
Randolph, I, 73-74
Scarborough (SC), 169-171,
403

MB
Song Texts
2153
Scott (MSB), III, 259
Seeger (1), 87
Sharp, I, 56-62
Shearin (SKF3), 7
Smith (SM), IV, 33
Welle, 150-151
Sharp (FSFS), 54-55
Sharp (100), 35
Shearin (BBCM), 4
Williams (SFS), 28
Williams (FSUT), 295
Wimberly, 254
The Evil Mother
There was a lady dwelt in York,
Hey for the Rose o’ Malindie 0;
She fell in love with her father’s clerk,
Down by the green wood sidie 0*
She laid her head against a stone, etc.
And there she made a bitter moan, etc.
She took a knife both long and sharp, etc.
And stabbed her babes right thro the heart, etc.
She took a ribbon from her head, etc.
And bound their necks till they all were dead, etc.
One day beside her castle wall, etc.
She saw two naked boys playing ball, etc.
”0 little boys, were you but mine, etc.
I would feed you with flour-bread and wine, etc.”
She said, ”My children, can you tell, etc.
Where shall"I go—to heaven or hell?” etc.
"0 yes, dear mother, we can tell, etc.
Our home is heaven, yours will be in hell!” etc.
*************************

MB
Song Texts
2154

No* 469
EZEKIEL SAW THE WHEEL
also known as
Ezekiel, You and Me Way in de Kiddle of
There in the Middle of de Air
the Air 'Zekiel Saw de Wheel
A spiritual ba^ed upon a Biblical holy vision. The
vision, reported in Ezekiel 1:16, goes: "The appearance
of the wheels and their work was like unto the color of
beryl; and they four had one likeness; and their appear
ance and their work was as it were a wheel in the middle
of a wheel,"
REFERENCES
Best, 149
Courlander, 50-52
Dett, 60-61
Hayes, 26-29
Johnson (SBNS), 144-146
Mackenzie (SH), 120-121
Sandburg (AS), 488-492
Whitman, 200
Work (ANSS), 148-149
Ezekiel Saw the Wheel
Ezek’el saw the wheel of time,
Way up in the middle of the air;
Ev*ry spoke was human kind,
Way up in the middle of the air.
Chorus
Ezek’el saw the wheel way up in the middle of the air!
Ezek’el saw the wheel way up in the middle of the air!
1*11 tell you what a hypocrite will do, etc.
Talk ’bout me and talk ’bout you, etc.
Watch out, sinner, don’t step on the cross, etc.
Your foot might slip and your soul get lost, etc.
You saw the Lord has set you free, etc.
Why don’t you let your neighbor be? etc.
***********-a-***-*--********

MB
Song Texts
2155

No. 470
PA IE AND FOOLISH MAIDEN
also knov/n as
The Betrayed Lady
The Deceived Girl
The Fair Flower of
Northumberland
The Flower of Northumberland
The Sinful Maiden
Sin's Reward
The Ungrateful Knight
This is a Scottish ballad that dates back to at least
the 17th century. The story theme is used in many old
European ballads and seems to have a wide appeal. The
ballad has a poor traditional record in the United
States, but has survived in one or two Southern states.
The earliest published text known thus far is in
Deloney's Peasant History of John Tnitcomb, 1633.
REFERENCES
Buchan, II, 166
Buchan (AR3), II, 203
Child, I, 111-118
Kinloch (ASB), 131
Kinloch MSS., V, 49
Kinsley, 272-277
Leach (B3), 71-74
Motherwell MS., 102
Niles (BB), 40-45
Quiller-Couch, 314-317
Riteon (AS), 169
Sanders, 222-225
Stokoe, 94-96
Fair and Foolish Maiden
He was a pris'ner far from home,
And he wap longing to be free;
He saw the sheriff's daughter fair,
And quickly decided on his plea,
Quickly decided on his plea.
Said he, as she was standing near,
"Fair Miss, I'd like a word with you?
I am a stranger far from home,
The finest home one ever knew." (2)

Song Texts
2156
MB
Said she, "This is my father’s jail,
Por he is sheriff in this town;
And he forbade this kind of talk,
So I must turn your favor down*" (2)
"Sweet maid, 0, won’t you pity me?
Go steal the key and set me free.
Then you and I will leave this place,
And you'll he rich in Tennessee(2)
"I will not help, I will not go,
I will not steal the jail-house key.
I’m sure you have a loving wife,
And children too, in Tennessee." (2)
He swore by Jesus on the Cro«s
That wife and children had he none,
That if she would but set him free,
He’d love but her till life was done. (2)
She went and searched her father's desk,
And then she robbed her mother’s till;
And she unlocked the jailhouse door,
And with him rode across the hill. (2)
When they had left the state behind,
And crossed into old Tennessee,
He ordered her to go back home,
Por now he knew that he was free. (2)
"You are a false and faithless man,"
Sobbed the maiden most bitterly.
"You know that I cannot go home,
That helping you has ruined me." (2)
"Pair and foolish maid," said he,
"Return unto your father's door.
I have no need in Tennessee
To keep a young Kentucky where." (2)

MB
Song Texts
12157
Unto her father’s house again
Came this maiden in fear and shame;
And though her father did not speak,
She found her mother quite the same* (2)
Her mother took her in her arms
And spoke these words most tenderly:
"You’re not the first girl thus deceived
By some young man from Tennessee 0 "
*************************
Burd Helen
The Pause Lord
Lady Jane

No. 471
: PAIR 'ANNIE
also known as
Lord Thomas and Pair
Annie
The Sister’s Husband
Here we have a version of an old "incest" ballad, a
familiar theme in European folklore. Such ballads
began to circulate in the 15th century. An excellent
literary version of this story is the 12th century
Lai de Frelsne by Marie de Prance. All of these ballad
dealing with incest were changed in the United States
for here incest was not only taboo but censored. It
is not surprising, therefore, to find only the nub of
the story is left in the few American versions of this
ballad which have survived.
REFERENCES
/
Barry (BBM), 446-448
Campbell & Sharp, No, 14
Child, II, 63-85
Combs (FSMEU), 129-130
Combs (FSUS), 114-118
Davis (T3Y), 177-179
Friedman, 114-122
Greig & Keith, No. 25
Herd (AMSS), 307
Jamieson, II, 375
Kingsley, 138-143
Leach (BB), 196-201
Motherwell, 327-335
Muir, 149

MB Song Texts
Quiller-Couch, 179-184
Scott (MSB), II, 102
Sharp, I, 95-96
2158
Welle, 317
Whiting (TBB) , 8-13
Pair Annie
"Goodbye, goodbye, fair Annie," he did pay,
"I'm off for a year and a day,"
And as the year came rolling 'round,
Pair Annie thought the time awful long.
When she first heard he was a-coming home,
She took her youngest son
And stood with him upon the hill,
And thought of all that she had done,
"You're welcome to your house," she said,
"You're welcome to your land;
You're welcome with your new found bride,
That you lead by the hand,"
"I thank you, sister Annie," he said,
"And I thank you heartily,
I'm grateful for the way you greet
My fair new bride and me,"
She served them up, she served them down,
•And she answered all their cries;
But all alone within her room
The tears fell from her eyes.
When songs were sung and all words done,
And all had gone to bed.
Pair Annie lay so quiet and cold,
A-wishing that she were dead,
"0, if my sons were seven young rats,
And running in the hall,
And if I were a big gray cat
I would destroy them all!"
****************************

MB
Song Texts
2159

No. 472
FAIR LADY OR THE PLAINS
also known as
The Cowgirl
The Death of a Maiden Pair
The Fair Maid
Old Georgy
Aside from the fact that this is obviously a western
pioneer song, I know very little about it. It has been
recovered in the South and the West but not in the
North and East,
REFERENCES
Arcadian (June, 1930), 30
Fife, 120-121
Henry (FSSH), 358-359
Jour (AFL), XLV, 153-154
Larkin (1931), 147-149
Lingenfelter, 272-273
Moore (BFSS), 333-334
Randolph, II, 199-203
Laws (NAB), 136-137
Fair Lady of the Plains
I once knew a maiden who lived on a the plains,
She helped me herd cattle thro * 1 slow, steady rains;
She helped me one season with that year»s round-up,
And she would drink rye whisky from a cold bitter cup.
She would drink rye whisky, but it didn»t show;
She was a fair maiden as white as the snow.
I taught her the cow trade and how to read brand;
To use a six-shooter with either right or left hand.
I taught her to stand pat and never to run, ^
To never fear danger while she had a gun.
We camped in a canyon in the fall of the year,
Surrounded by cattle all rounded-up without fear.
The redskins came at us and shattered the ni^ht.
She rose from her bed, to ptand with me and fight;

KB
Song Texts
2160
She stood there beside ne with a gun in each hand,
The bullets were flying as we stood off that, wild band.
Then out rolled the thunder and down came the rain,
Along came a bullet and crushed out her brain.
How arise all you cowboys and fight for your life,
For those wretched redskins have murdered my wife!
***************************

Ho, 473
THE FAIRY SHIP
also known as
The Duck Dance I Saw a Ship A-Sailing Ship A-Sailing
This is a nursery song that originated in England. I can
not say when it came to America, but obviously it came 0
REFERENCES
Bancroft, 346-347 Moorat, 18
Bertail, 61 Wier (YAM), I, 91
Brown, I, 71
I saw a ship a-sailing,
A-sailing on the sea,
And, 0! it was all laden
With pretty things for me.
There were comfits in the cabin,
And apples in the hold;
The sails were made of satin.
And the mast was made of gold.
The four and twenty sailors
That stood between the decks,
Were four and twenty white mice
With rings around their necks®
- continued next page

MB
Song Texts
2161
The captain was a duck, a duck,
With a jacket on his back,
And when the fairy ship set sail,
The captain he said, M Quack!”
******** *********************

Ho. 474
THE FAITHFUL SAILOR BOY
also known as
Farewell, Farewell, My
Own True Love
The Sailor Bold
The Sailor Boy
The Sailor Boy r e Fare
well
The Soldier Boy
Your Faithful Sailor Boy
This English song is probably derived from some forgotten
broadside. Doerflinger reports it as "a dogwatch favorite
in British vessels." The versions recovered in America
are, unfortunately, fragmented or shortened and are in
print without reliable historical data.
There is another song known as The Sailor Boy (see The
Lost Lover in MB), but it is not related to this song.
REFERENCES
Baltzer, II, 82
Brown, II, 342-344; IV,
199-200
Chappell (FSRA ), 59
Doerflinger, 164
Fuaon, 61-62
Manny, 237-238
The Faithful Sailor Boy
Upon a dark and stormy night,
When the snow lay on the ground,
A sailor boy stood on the deck
Of a vessel outward bound,
"Farewell, farewell, my own true love,
This parting gives me pain,
But you will be my guiding star
Through sunshine and through rain,"

MB
Song Texts
2162
"Adieu, adieu, my own true love,
Always Be true to me.
And while your ship sails on the sea,
I’ll always think of you."
But he never did return again,
For his ship it foundered low;
And that’s the way a sailor’s life
Is often meant to go.
***************************

No. 475
' THE PALLING OP THE PINE
According to Lean, this song came from the Georgian
Bay region. Considering the skill with which the text
was put together, I’d say the person who did the actual
writing knew exactly what he (or she) was doing. The
words were written to match an Irish tune, Blaris
Moor , which dates hack to at least 1797* see Joyce
(OIPMS), 108.
REFERENCES
Barry (MWS), 18-19, 96
Beck (LLC), 98-99
Beck (SML), 34-35
Lean, 73-74
Eckstorm, 17
Glass (SFRF), 19
Rickahy, 82-84
Shoemaker (MMP), 202
Shoemaker (NPM), 197-199
The Falling of the Pine
You lumbermen undaunted with courage bold are wanted.
Make ready for the shanty before your youth’s decline.
0 the city folk will wonder, they’ll gaze on you and
ponder,
For the noise exceeds the thunder at the Falling of
the pine.

MB
Song Texts
2165
As winter days grow colder, like wolves we all grow
bolder,
Our axes we will shoulder and from pleasures resign.
To the woods we will all advance, our axes clearly
glance
As like brothers we commence for to fall the stately
pine.
The shanty is our station, the woods our occupation,
Where each man has his station, with some to score
and line.
It is nine foot of a block, and a chip with ev’ry knock,
And the wolves and deer we*11 shock at the falling of
the pine.
Prom slumber we’re awaking when day light is a-breaking,
And after breakfast taking, our axes we will grind.
Tho' the forst be sharply keen the air is always clean,
And we’ll make the valley ring with the failling of
the pine.
Our shanty work is finished when winter is diminished;
Prom timber we are banished for just a little time.
When we see approach of summer we return to the timber
And prepare to turn it all into handsome rafts of pine.
By water we’re surrounded and fear is not unfounded,
And if we don’t get wrecked all trouble we resign;
For the rapids that we run seem to us a lot of fun,
•Cause our troubles are all done when we’re on our
rafts of pine.
0 when we get to Quebec, 0 boy®, we will not forget;
Our whistles we will wet with beandy and with wine.
With the girls we’ll be amused till our money is all
used,
Then, my boys, we won’t refuse to go back and fall the
pine.
*******************-**********

MB
Song Texts
2164
I Have Loved You Dearly
I Once Did Love Your Pond
Affection
Little Darling, Pal of
Mine
Now Go and Leave Me, If
You Wish
Old Love Song
Once I Loved With Pond
Affection
The Railroad Flagman
Raven Dark Hair
Separation
Since You Think I am
Unworthy
The story theme of thi9 song (and of those of like title
which follow it) is the basis for literally hundreds of
traditional and non-traditional songs. There is little
originality in the parting of lovers following a misunder
standing or a quarrel, and the belief of one that deception
was practiced by the other. Although many songs with this
theme may appear to be the same, it is not necessarily the
case. It is sometimes difficult to distinguish one such
song from another, but that is because the folk process
has fused them by mixing lines and stanzas from several
into one. In the original versions of the various songs,
however, distinctive differences did exist.
This particular song is of British origin. It is not re
lated, though, to the English song known as The False
Lover and which may be seen in Baring-Gould (SW), IV,
No. 97, pp. 30-31.

No, 476
FALSE LOVER I
also known as
The Broken Heart
Darling, Do You Known Who
Loves You?
The Dear Companion
Pond Affection
Pond Devotion
Pond of Affection
For I Have Loved You Dearly
Forsaken
Future Days
Go and Leave Me
If It's in Your Heart

MB
Song Texts
2165
For a "country music” adaptation of this song, see
Columbus Stockade Blues , No « 284 , in this Master
Book. A form of this song, recovered in Canada, is
the Yon Green Valley in Creighton (MBS), 86-87. A
remote form may be seen in Neely, 234-237.
Belden (BS), 209-210
Belden (PLS3), No. 88
Brown, II, 398-403; IV,
222-225
Campbell & Sharp, No. 58
Combs (FSKH), 12-13
Greig, II, art. 169
Henry (BMPS), 52-53
Henry (PSSH), 250-251,
252-253
Henry (SSSA), 165-166
Jour (API), XLV, 70-71
Ord, 181-182
Owens (TPS), 90-91
Randolph, IV, 250-255
Ritchie (PS), 16
Sandburg (AS), 323
Sharp, II, 109
Sharp (AEPS), 40-43
Spaeth (WSM), 32-33
False Lover I Version A
Once I loved you, dearly loved you,
And you said that mine you'd be—
Till that dark-eyed girl came flirting,
Then you thought no more of me.
Chorus
Go and leave me if you wish to,
Never let me cross your mind;
If you think I am unworthy,
Go and leave me, I don't mind.
You have wrecked a heart that loved you.
You have hurt me night and day;
You were fal«*e, and you were cruel,
Yet I loved you anyway.

MB
Song Texts
2166
Some dark night while you are sleeping,
Dreaming of the love we shared,
Know that I, the one who loved you,
Has a heart that always cared*
How I wish I was like marble,
Cold and white on some far shore;
Then my heart would not be aching,
And this pain I’d feel no more 0
Version B
' aka
The Railroad Flagman
Once I loved a railroad flagman,
And he loved me happily
Till another did persuade him—
Now he cares no more for me.
Chorus
Go on, leave me if you wish to!
Go on, leave me, I don’t mind.
Since my love is not worth having,
Never let me cross your mind.
Pretty flowers were made to blossom,
And the stars were made to shine,
Handsome men were made for women—
But you are no longer mine,
Down among the reeds and rushes,
Where the tall green willows wave,
When I’m dead and in my coffin,
There'you’ll find my lonely grave.
cont * d next page

MB
Song Texts
2167
Yerslon C
aka
Pond Affection
Once I thought you truly loved me,
And I loved you more than life;
But another girl has won you
And I’ll never be your wife.
Chorus
Farewell, leave me if you want to!
I have learned that love is blind.
Farewell, leave me if you want to!
Leave me, darling, I don’t mind.
Many times with you I’ve wandered,
But you know you’re free to go;
Thought that you were mine forever,
Now I know it isn’t so.
I am writing you this letter,
Telling you that you are free;
From this moment on, forever,
You are nothing more to me.
May your life be long and happy,
May your troubles be but few;
May you find a place in heaven
When your life on earth is through,
************************

No. 477
FALSE LOVER II
also known as
The Broken Engagement
The Broken Vow
The Brown-Eyed Girl
Farewell, Farewell Forever
I Loved You Better Than You
Knew

MB
Song Texts
2168
I Wish That I Was Marble
Lover’s Farewell
Met, Loved, Parted
Sweet the Hour When First
I Met You
Thou Hast Learned to Love
Another
We Have Met and We Have
Parted
You Have Learned to Love
Another
This form of the False Lover song has its roots in
many sources, which probably accounts for the many
versions and variants collected and published. It
is almost certain that most American versions derived
from a mid-19th century parlor song, Thou Hast Learned
To Love Another, with words and music by Charles Slade.
A copy of the song may be seen in Ditson’s Home Melodist ,
1859, p. 38, In broadside form it is No. 272 in the
Partridge series, and begins:
Thou hast learned to love another
Thou hast broken every vow;
We are parted from each other,
And my heart is lonely now.
For a complete text, see Belden (BS), 211,
The similarities to the piece given below are numerous
and obvious, which leads to the assumption that tradit
ional versions derive from Slade*s song. It is possible,
but not likely, that Slade based his song on folk stanzas
and lines.
REFERENCES
False Lover II
We have loved and we are parting,
How it hurts you’ll never know;
You have proved to be false-hearted
And you may forever go.
Chorus
Go and leave me if you want to,
Go and leave me far behind;

MB Song Texts
2169
In your heart you love another,
Go and leave me, I don't mind,
I will give you "back your letters,
And your picture on my wall;
We will part to meet as strangers,
Never more to speak at all,
Tou may go and love another,
Go and take her for your bride;
But I know my heart will suffer—
love can never conquer pride 0
Though I love you as no other,
More than you can ever know;
But you broke the vow that binds us,
And you may forever go.
We are parting now forever,
Gathering flowers from the dell—
Oh, I pray that you may never
Peel the pain no words can tell.
Along the river bank I’ll wander,
Till I see you free once more,
Then I’ll plunge beneath its water,
To land on some fair shore.
When your name is called in heaven,
May you neither scringe nor sigh;
Think of nothing you are leaving,
Though it’s hard to say goodbye!
**** •**•****••* **■**•*• ■***•**•*

No, 478
FALSE LOVER III
also known as
Broken Engagement
The Broken Heart
They Were Standing By
the Window

Song Texts
2170
MB
Though versions of this song share titles in common
with other forms of the False Lover theme, the song
itself is not related. The song smacks of being a
19th century parlor song, but it comes to us with
little confirmable information. Author, omposer,
and publisher are not known to me or any of the dozen
other collectors, editors and researchers who have
reported versions from traditional sources.
REFERENCES
Brown, II, 417-421; IV, Henry (SSSA), 149-150
229-230 Randolph, IV, 283-284
Davis fFSV), 90 Shellans, 29
Henry (BMPS), 56-57
False Lover III
She was standing by her window,
And the breezes kissed her cheek;
He had waited long in silence,
Waited long for her to speak.
At last she murmured softly,
As she raised her tearful eyes
With a look so full of sadness,
That it filled him with surprise:
n I*ve been told you love another,
That you never did love me;
If those cruel words are true, dear,
I forever set you free.”
Then from her blue eyes faded
All the tender misty light,
And her small hands clenched in passion
While her face grew stern and white.

Song Texts
2171
"Long you*ve held my soul in bondage,
Long I*ve been your willing slave;
Even now, though you forsake me,
I would die your life to save#
"1*11 return each little missive
You have written in the past;
But the burning words within them,
They will haunt me to the last.
"Do not think that 1*11 forget you*
No, 1*11 live on just as now,
Till the arms of earth enfold me
And the dew is on my brow,
"Pare you well,” she added gently,
As he seized her outstretched hand,
Covered it with burning kisses,
Whispering, ”God will understand.”
"Pare you well,” he added hoarsely,
"But by yonder star above,
To deceive you I ne'er intended
When I told you of my love.”
"He is gone,” the white lips quivered;
Lower bends the golden head,
And the little hands were folded
As the gentle spirit fled#
God in mercy sent an aneel
To relieve her from all care,
Por he knew the weight of sorrow
Was far more than she could bear.
********■*-*■*•*•*■■#■■****•#-*•■*

MB
Song Texts
2172

No. 479
FALSE LOVER IV
also known as
Anna Lee
Annie Lee
The Finished Letter
He is Nothing More to
Me
I have Finished Him a Letter
It is Finished
Nothing More to Me
The Jealous Lover
Saucy Anna Lee
This represents the typical kind of song written by
professional composers in the years prior to the Civil
War, but I failed to find a professionally published
version anywhere<> Belden gave a version dated 1S73,
but the song is older than that.
For a similar song, see They Say He Courts Another
in Hubbard, 123.
REFERENCES
Belden (BS), 213-214 Pound (SFSN), XIV, No. 20
Brown, II, 376-377; IV, Randolph, IV, 288-290
212-213 Shearin (SKFS), 25
Neely,. 231-233
False Lover IV
I have written him a letter
Telling him that he is free;
From this moment on forever
He is nothing more to me.
Now my heart is light and gayer,
Since the deed at last is done;
I will teach him now, when courting,
He should never court but one.

KB
Song Texts
2173
Everybody in this village
Knows that he's been courting me;
But this morning he was riding
With that saucy Anna lee*
I am told he smiled upon her
As she «cantled by his side;
And no doubt he’s gone and promised
To make Anna lee his bride.
He can have her if he wants her,
If he loves her more than me;
But I want him to remember
He is nothing more to me.
Now he’s coming in the gateway;
I will meet him at the door—
I will tell him that I'll love him,
If he'll court Miss Lee no more.
"Madam, I received your letter
Telling me that I am free,
That forever from this moment
Tou are nothing more to me.
"You were chosen for the bride,
I the groom was to be;
But I want you to remember
You are nothing more to me.
"Goodbye, Addie, goodbye, darling—
Happy may you always be;
But I want you to remember
This all came from Jealousy."
*******************

MB
Song Texts
2174

Ho. 480
FALSE LOVER V
also known as
Blue Eyes
The Broken Engagement
Broken Ties
Broken Vows
Cold, Cold Clay
How Sadly My Heart Yearns
Toward You
I*m Thinking Tonight of My
Blue Eyes
Lament of a Lonely Lover
In this form the False Lover theme is more of a composite
than anything, hut it has gown to he more popular than
all the others combined. Its tune has been appropriated
over and over again-, and usually quite sucessfully. For
examples, we offer The Gr ?at Speckled Bird , a religious
song, 'nd the recent country music hit, Honky Tonk Angels
The trend began in the 1920s, set by A. P. Carter who
lifted both text and mu^ic of Fal°e Lover V and turned
out l tm Thinking Tonight of My Blue Eyes . The =ong is
•till a favorite with country-type music performers and
their audiences.
REFERENCES
Henry (SS3A), 167
Neely, 229-230
Quarterly (SFL), IV, 181
Randolph, IV, 333-334
Sizemore (1), 22
Brown, II, 415-417; IV,
229
Cambiaire, 103
Fuaon, 140
Henry (FSSK), 235-236
False Lover V
Oh, I know now it would have been better
For us both if we never had met;
. For the pleasures we once shared together,
Have become the sorrows that I can’t forget.

MB
Song Texts
2175
Oh, I’m thinking tonight of you, darling,
While you’re sailing far over the sea;
I am thinking of how long I’ve loved you,
And wondering if you have ever loved me 0
Once you told me that you dearly loved me,
Said that nothing could ever come between;
But you sailed away on the ocean,
And now your deceit I have seen.
Oh, how sadly my thoughts turn toward you,
Even though you have broken my heart;
What a terrible thing to let me love you,
When you knew all along we would part.
When the cold, cold earth fallg upon me,
Won’t you come, love, and shed just one tear?
You can say to the strangers around you
That a heart you have broken lies here.
How I wish you had not been unfaithful
To the dream that was once ours to share;
And I wish you were still here beside me,
So I could believe that you really do care 0
****************************

No. 481
THE FALSE ROOSTER
also known as
The Gray (Grey) Cock Saw You My Father?
The Lover’s GhoRt Saw You My True Love John?
As The Grey Cock this ballad is well-known in England
and Scotland, According to Barry, the earliest record
of The Grey Cock is 1772, when it appeared in Vocal
Music, or The Songster’s Companion , II , 36. This is

MB
Song Texts
2176
not entirely true, "because part of the "ballad was
published by Herd in 1769, who then published all
of it in 1776* William Chappell informs- us that
"This song is printed on broadsides, with the tune o'*
Actual age of the ballad is not known, and neither
is its source. It has been claimed that its form was
taken from an older Irish song, The Lovers Ghost,
This claim accounts for references to both songs that
are found in some collections 0
Our American version, The False Rooster , is often
difficult to keep track of, because parts of it appear
in many other songs, notably in Scotland, Most the
text appears in 7/illie[s Fatal Visit in Buchan (ABS),
II, 259.
The tune also gets around. Minus text, it is printed
in Thompson r s Collection of 200 Country Dances , III ,
99, publi shed in 1775 and several other «imilar -works.
The tune was borrowed in America for a religious
ballad, Saw Ye My Saviour? , which has been recovered
from traditional oral sources by Flanders (BMNE), 122
and Jackson (SFS), 44-45.
REFERENCES
Barry (BBM), 310-313
Chappell (PMOT), II, 731
Child, IV, 389-390
Creighton (TSN3), 83-85
Dick, 100, 386
Herd (1769), 324
Herd (1776), II, 208
Hudson (SC), 8-9
Hughes, II, 64
Johnson (SMM), No, 76
Joyce (OIFMS), 219
Leach (BB), 611-612
Moore (BFSS), 113-115
Reeves (EC), 136-138
Sedley, 42-43
Sharp, I, 259-260
Thomson, III, 2
Williams (EFS), 52
The False Rooster

KB
Song Texts
2177
Upon a summer's evening when the fever wap a-dawning,
I heard a fair naid make a mourn;
She was weeping for her father and a-grieving for her
mother.
And a-thinking all on her true love, John.
"Have you seen my father? Have you seen my mother?
Or have you seen my true love, John?”
"I have not seen your father, nor have I seen your
mother,
But, yes, I did see your true love, John*
"It*8 now late at night, the stars give no light,
And wind and rain are coming on;
He’s met with some delay and it's keeping him away,
But surely he will come before long 0 "
Up young Johnny rose and to her door he goes,
And gently knocked, then knocked again*
The fair maiden responded quick, and to the door
she went
And opened it to let him in,
"Ply up, fly up," she told her rooster, "Ply up,
And crow to warn me when it T s day;
I will reward you with flecks of gold, and after
you grow old.
You’ll fly with wings of silver grey,"
He perched upon a rafter and he proved false thereafter
Por when he crowed it was too soon.
The fair maid thought it day when she sent her lover
away,
And it was but the light of the moon.
**** ************ *•*■*•** *

MB
Song Texts
2178

Wo, 482
THE FALSE TRUE LOVER
also known as
The False Lover Won Back The True Lover
Apparently of Scottish origin, this song dates from
"between 1795 and 1806, Although it has been reported
from several areas of the country, the song is quite
rare in U, S, tradition. There are several similar
songs, one of which is The Seven Seas in this Master
Book,
REFERENCES
Belden (BS), 78
Buchan (ABS), I, 268
Buchan MSS, I, 114
Child, IV, 209-211
Christie, I, 144
Greig & Keith, 153
Jour (AFL), XXXIV, 395
397
Leach (BB), 575-576
Muir, 230
The False True Lover
There was a young and pretty maid
Who loved a youth named John,
Upon a day she heard him say,
"It*s time to travel on,”
"Where are you going, John?” she said,
"And why so light and gay?
It seems to me, the way you look,
Your Journey*s far away,”
He gave to her an awful frown,
And said, "Yfhat's that to you?
I*m off to see a lovely girl,
And she is fair and true.
tl

MB
Song Texts
2179
"Then have you played me false, dear
John,
In summer amid the flowers?
Then I will pay you back again
Amid the winter showers.
"No need to worry over me,
For false loves seldom win:
If you go out with other girls,
1*11 go with other men."
She then put on her finest clothes,
And after him went she;
He said to her, "Go back again—
You cannot go with me,"
The first town that they came to,
He bought her a diamond ring.
And then he said, "Go back again
I»m off to have a fling."
The next town that they came to,
He bought her a pair of gloves.
And then he said, "Go back again,
And find some other loves 0 "
The next town that they came to,
His heart had grown more warm;
And he was engrossed with her
And love came like a storm.
The next town that they came to,
He bought her a wedding gown.
And now these two are man and wife,
And he is settled down!
*********************

KB
Song Texts
2180

No. 483
THE FALSE YOUNG MAN
also known as
As I 8tepped Out Last
Come Along, My Own True Love
I Walked Out Last Sunday
Morning
Set You Down, My Own True
Love
Sunday Morning
As I Walked Out
As I Walked Out One May
morning
This is an English love ballad that has developed some
interesting versions in the hinterlands of America,,
Many of its lines have wandered from song to song, thus
making it difficult to determine exactly where some of
them rightfully belong. For examples, see and compare
The House Carpenter in Davis (TBV), 469; The Lass of
Roch Royal in Child, III, 511; and The Falee Young Man
in Randolph, IV, 240-241. Also see: Sealey, 158-159.
The False Young Man
A's I walked out last Sunday morning,
To hear the birds sing sweet,
I went and stood upon the cabin porch
Jus* to hear my true love speak.
"Come in, come in, my old true love,
And sit awhile with me;
For it*8 been almost seventeen months or more
Since you sailed far over the sea."
I can't come in, and I won't sit down,
I haven't got the time;
For you've found yourself another sweetheart
to love,
And you are no longer mine 0

MB
Song Texts
2181
Oh, once your heart belonged to me;
Tour head lay on my breast;
And you made me believe, by the oath
that you swore,
That the sun rose in the West.
1*11 never believe another girl.
In country or in town.
Unless she's standing on seme mountain top
Saying she wants to come down.
I wish to God I hadn't been born,
Or died when I was only ten;
Por the tears never would have rolled down
my cheeks
In the way they have since then 0
**************************

Ho. 484
A PAMILY AFFAIR
also known as
Pair Lucy
Lizie Wan
Lizzie May, or Wan
Rosie Ann
This ballad is rare in American tradition, probably
because of its incest theme. In all old songs that
originally dealt with the subject of incest, Americans
tend to muddy the issue or disregard it altogether.
The original story of this ballad, for example, was
completely rewritten as The Bloody Brother for distri
bution in America, where murder is more readily accepted
than incest. The Bloody Brother is in the Nafis and
Cornish Forget-Me-Not Songster , issued in 1845.
REFERENCES

MB
Song Texts
2182
Bronson (BAS), 52
Bulletin (FSSN), VII, 6-8
Child, I, 447-449
Coffin, 63
Flanders, I, 332-338
Flanders (EKHE), 143-145
Friedman, 159-160
Herd, I, 91
Herd MSS., I, 151; II, 78
Jour (SFDSS), I, 53-54
Leach (BB), 167-169
Morris, 257-259
Motherwell MS., 398
Niles (BB), 117-119
Sharp, I, 89
A Family Affair
Fair Lizzie sat down in her cold "bedroom;
She cried and she moaned all alone.
Her father came home and he wanted to know
The reason for her moan.
The reason is a fearful one,
Dear father, I ? ll tell you why:
I*ve found myself all filled with child,
And wish that I could die*
Fair Lizzie remained in her cold bedroom;
She grieved and wept all through the day.
Her mother stopped by, and she wanted to know:
What ails you, Lizzie May?
The ailing is a dreadful one,
Dear mother, I’ll tell you why:
I f ve found myself all filled with child,
And wish that I could die.
Fair Lizzie remained in her cold bedroom;
She kneeled, and she prayed and she groaned.
Her brother came in and demanded to know
The reason why she moaned,
I*'11 tell you why, dear brother, she said,
And most sorrowful you will be;

MB
Song Text9
2183
I*ve found myself all filled with child,
And it’s of you and me.
Upon the hearing of those true words,
Her "brother turned most angrily;
And then he left her in her cold bedroom,
As dead as she could be.
What will you do when your father comes home?
My son, will you answer me?
1*11 sign upon some battleship, Mom,
And sail across the sea.
How far away, and for how long?
My eon, will you answer me?
0, when the sun and moon both cease to shine,
And that may never be.
****** ************* *********

No. 485
FANNY MOORE
also known as
Fannie
The Murder of Fanny Moore
Fair Fannie Moore
Fair Fanny Moore
According to Louise Pound this is a British ballad 0
Not all collectors agree, however—-an almost certain
indicator that no one really knows-. If, as some have
claimed, the text describes an actual crime I have
been unable to locate a record of it. For that reason,
this song was not included among the group of "Histori
cal" Murdered Girl songs given in this Master Book,
REFERENCES

Song Texts
2184
MB
Belden (BS), 139-141
Botkin (SFL), 720-721
Brown, II, 264-265
Cox (FSS), 441
Bean, 85-86
Flanders (NGMS), 233-234
Flanders (VFSB), 58-59
Jour (AFL), XXV, 12
Lomax (CS-1919), 219-221
Moore (BFSS), 168-169
Morris, 130-131
Owens (TFS) , 75-77
Peacock, III, 610-611
Pound, 206-207
Pound (FOB), 226
Randolph, II, 64-69
Shoemaker (MMP), 59-60
Shoemaker (NFM), 68-69
Fanny Moore
There’s a cottage in the valley,
Now deserted and alone;
It has lately been neglected,
And is greenly over-grown.
As you enter through the doorway,
There’s a stain upon the floor;
And you're looking at the death blood
Of the fair young Fanny Moore.
Young Fanny was a lovely girl,
And she played the loving game;
Her heart was sought by two young men,
And one had wealth and fame.
But the wealth he offered to.her
Could not her heart restore;
For the farmer in the valley
Was the one one she did adore.
Young Henry Mack, the farmer,
He was of a low degree,
But he wooed and won fair Fanny,
And the one she wed was he.
Young William was quite angry;
He came in at the door,

MB
Song Texts
2185
And he quickly tried to take her,
And she fell upon the floor.
As she "begged for him to leave her,
He refused to give her rest;
Then he buried his long sharp knife
In her snowy white breast.
They took and hung young William
On a tree right near the door,
For his taking of the fair life
Of the lovely Fanny Moore.
Young Henry Mack, the farmer,
Went distracted and wild;
Then he wandered far, far from home,
And never more did smile,
**************************

No. 486
PARE THEE, 0 MY HONEY, FARE THEE WELL
also known as
Alice B.
We have no specific information regard this song, but
it i® undoubtedly of American origin and probably
dates from the latter half of the 19th century. It
is similar to many another Fare Thee Well songs. I
have seen only one version in print, but it is quite
unlike this one. See Alice B. in Sandburg (AS), 28-29.
Pare Thee, 0 Honey , Fare Thee Well
I*m goin’ West, I’m goin’ far away,
So it*e fare thee, 0 my honey, fare thee well.
You done your best, but I*m leavin’ today,
So it’s fare thee, 0 my honey, fare thee well.

MB
Song Texts
2186
T*m leavin' here, bound for another land,
So it's fare thee, 0 my honey, fare thee well.
1*11 write you, dear, from 'cross the Rio Grande,
So it's fare thee, 0 my honey, fare thee well.
*************■***•****■****■****-**•*

No. 487
FAREWELL, MY BROTHER
Pre-Civil War spiritual. According to Marsh (SJS), 185
this i9 one of the spirituals popularized by the origi
nal Fisk Jubilee Singers, For another version, see:
Jubilee (PS), 22 and Pike, 264.
Farewell, Brother
Farewell, my brother,
Farewell forever!
Farewell, my brother now,
For I am going home.
Oh! goodbye, goodbye,
For I am bound to leave you.
Oh! goodbye, brother,
For I am going home.
Shake hands, my brother,
Shake hands forever!
Shake my hand, dear brother, now,
For I'm bound to leave you.
Oh! goodbye, goodbye,
For I am bound to leave you.
Oh! goodbye, brother,
For I am going home.
********************

MB
Song Texts
2187

No. 488
FAREWELL, 0 HONEY
also known as
Dink’s Song
Fare Thee Well, 0 Honey
This hauntingly beautiful song was first printed by
Lomax, who obtained it from the singing of a Memphis
prostitute in Texas. During the 1950s-60s, almost
every profe^icnal folk singer in the business included
the song in their repertoires. The late Sam Cooke
recorded an up-tempo version for RCA-Victor records,
the closest the song came to popular music exposure.
REFERENCES
Ives (SA), 226-227
Lomax (ABFS), 195-196
Lomax (PB), 144
Lomax (USA), 66-67
Seeger (6), 88
Silverman, I, 151
Farewell . 0 Honey
If I had me some magic shoes,
I’d put ’em on and leave my blues,
Farewell, 0 honey, 0 honey, farewell 0
A train rolled in and she got on;
It rolled away and she was gone,
Farewell, 0 honey, 0 honey, farewell.
If I had wings like Noah’s dove,
I’d fly away to my true love,
Farewell, 0 honey, 0 honey, farewell.
A man may take, a man may give,
But he needs love to really live,
Farewell, 0 honey, 0 honey, farewell.

MB
Song Texts
. 2188

No. 489
THE PARKER I
also known as
McDonald*s Farm
Old MacDonald Had a Farm
This is an "aacumulative" song, and one widely known
in the United States. It printed so frequently in
music books and folios that collectors of folk songs
usually pass it over. Nevertheless, it is traditional
and can legitimately be classified as a folk song. It
is more popular than Farmer II , of which it is a variant
form.
See and compare Sweet Fields of Violo in Pound, 238-240 o
REFERENCES
Kennedy (TAB), 116-118
Luther, 256
Okun, 230-231
Bertail, 148
Best. 21
Brown, III, 174; V, 104
The Farmer I
Old MacDonald has a farm, E-i-e-i-o!
And on this farm he had some chicks, E-i-e-i-o!
With a chick, chick here
And a chick, chick there,
And here a chick, there a chick,
Everywhere chick, chick—
Old MacDonald had a farm, E-i-e-i-o!
And on this farm he had some ducks, E-i-e-i-o!
With a quack, quack here,
And a quack, quack there,
And here a quack, there a quack,
Everywhere quack, quack-
Old MacDonald had a farm, E-i-e-i-o!

MB
Song Texts
2189
And on this farm- he had turkeys, etc.
With a gobble, gobble her and, etc.
And on this farm he had some pigs, etc.
With a hoint, hoint here and, etc.
And on this farm he had a horse, etc.
With a he-haw here, and,* etc.
And on this farm he had a cow, etc.
With a moo, moo her, and, etc.
And on this farm he had a dog, etc.
With a bow-wow here, and, etc.
*************-#**** **•**■*•#***

No. 490
THE PARMER II
also known as
Come Along, Girls, to the
Merry Green Fields
Come, Come
Come, Says Harry
In the Merry Green Fields
of Ireland
The Merry Green Fields
Away
The Merry Green Fields of
the low Lands
My Grandfather Had Some
Very Fine Ducks
Oh, Grandma Had Some Very
Fine Geese
To the Merry Green Fields
Away
This "accumulative" song, with words and music credited
to L. Compton, was published in sheet mu«ic form in the
19th century. Brown, in his headnotes to McDonald’s
Farm, says this song is a version of Old MacDonald .
See and compare The Farmyard in Karpeles (EFS), II,
No. 342 and Sweet Fields of Violo in Pound, 238-240.
The Merry Green Fields , which is given elsewhere in
this Master Book , is not related.
REFERENCES

MB
Song Texts
2190
Brown, III, 175-176
Chamberlain, 298
Jour (API), XXXI, 177
Randolph, III, 211-212
Jordan, 273-276
The Parmer II
My Grandfather had a very fine farm,
And a very fine stock had he—
With a big lot here, and a big lot there,
With here a lot, there a lot, here a lot, there a lot.
Come along, girls, to the merry green fields,
To the merry green fields away.
My Grandfather had <=ome very fine ducks,
Some very fine ducks had he—
With a quack quack-here and a quack quack there,
With here a quack, etc.
My Grandfather had some very fine hens,
Some very fine hens had he—
With a cackle cackle here, and a cackle cackle there,
With here a cackle, there a cackle,
Here and there a cackle—
With a quack, quack here and a quack quack there,
With here a quack, there a quack,
Here and there a quack,—
Come along, girls, to the merry green fields,
To the merry green fields away e
NOTE : Add a^ many animals as you like , adding each to
the previous choruses until you run out of ani
mals or breath. Examples :
My Grandfather ha<= '’ome very fine dogs,
sheep, cows, goats, pigs, etc.
*****************************

MB
Song Texts
2191

Wo. 491
THE PARMER AND THE SHANTY BOY
also known as
The Parmer’s Son and the
Shanty Boy
The Mossback
The Shanty Boy
The Shanty-Boy and the
Parmer's Son
The Shanty Boy Wins
Trenton Town
Lumbermen’s song patterned on the medieval debat type
of ballad; a type far more common in Great Britain
than in America, Lomax dates this piece back to—at
least the 1840s. The tune resembles that of the Black
Water Side in Flanders (BMNE), 39. There are also points
of similarity in the text of an old English ballad,
I Love My Sailor Boy, as recorded in Rickaby, 203,
This piece was first printed as a typical -shanty song"
by Arthur Hill in an article Life in a Logging Came,
Scribner’s Magazine, XIII, June, 1893 , 696 ff.
REFERENCES
Barry (MWS), 78-79
Beck (LLC), 163-166
Beck (SML), 103-106
Belden (BS), 443-445
Bean', 51-52
Eckstorm, 27-28
Flanders (NGMS), 166-169
Gardner (BSSM), 264-265
Jour (AFL), XXXV, 399-401
Lomax (ABFS), 446-447
Lomax (FSNA), 109-110
Rickaby, 48-53
Shoemaker (NPM), 215-217
The Farmer and the Shanty Boy
A. I strolled out one evening, just as the sun went down,
So carelessly I wandered till I came to Trenton Town.
I. heard two maidens talking, as I slowly passed them by;
One said she loved a farmer's son, and the other a shanty
boy.

MB
Song Texts
2192
The one who loved the farmer’s eon did speak again,
and say:
"I love him becaupe I know at home with me he’ll stay.
He’ll be at home all winter—to the shanties he’ll
never go!—
And when the opring-time does arrive, the land he’ll
plough and sow,"
’’All for to plough and sow your land,” the other girl
did say;
"But the crops could be a failure, and the debts you
couldn’t pay.
When the crops turn out a failure, or the grain market
is low,
The sheriff’ll come and sell your land, to pay the bills
you owe,”
"As for the selling of the land, I now feel no alarm;
There is no need to be in debt when on a paying farm*
You raise your bread and clothing, and you never work
in the rain;
The shanty boy must work each day his family to maintain*
"But still you praise your shanty boy, who to the woods
must go!
He starts work before daylight, and works through rain
and snow.
My farmer boy stays at home, and beside me he does lie;
He tell«s to me some tales of. love while cold winds
whistle by,”
"Indeed, I prai«e my shanty boy; he early goes in fall.
He’s so 8tout and hearty, too, and fit to stand the squall
It’s with pleasure every spring I receive him when he
comes down;
His money then he freely spends, and never shows a frown,.

MB
Song Texta
2193
"I could not gtand those silly words your farmer *s
son would say—
They are so green the cows oft-times have taken them
for hay—
How easy it is to know them when they come into town!
For little hoys yell at them: ’Hey, Mosshack! are you
down? *"
"For all I said of shanty hoys, I hope you*11 excuse me
As for my ignorant farmer’s son, I hope I’ll soon be
free.
If ever I do get a chance, with a shanty boy I’ll go;
1*11 leave ol* Mossback-stay-at-home his land to plough
and sow!"
****■*•***-•***•#**•* *•**•**■* *************** *

No. 492
A FARMER BOY
also known as
The Farmer’s Boy To Be a Farmer’s Boy
A sentimental English song that found a popular place
in American music. According to Bell and Dixon, it is
a song from the early part of the 18th century. It was
frequently printed in England as a stall ballad by
Pitts, Such, and Catnach* and in the United States by
Wehamn and TTrigley. In the South, the time was widely
used as a dance piece. An informant told Franck C«
Brown, "’The Farmer’s Boy’ is a grand tune for twistifi
cation,” The Twi^tification , Brown explains, is a
modified form of an intricate old dance known as The
Grapevine Swing:.
REFERENCES
Belden (BS), 272-273
Broadwood (ECS), 120-121,
134-135
Brown, III, 125-126; Y,
67-69
Creighton (TSNS), 158

MB
Song Texts
2194
Davis (FSV), 71-72
Flanders (VFSB), 118-119
Hubbard, 197-199
Jour (AFL), LIV, 172
Kidson (TT), 63-65, 174
McCaskey, VIII, 139
Moore (BFSS), 230-231
Pound, 69~71
Pound (SFSN), II, 1
Randolph, I, 425-427
Stout, 27-28
Treat, 37-39
A Farmer Boy
The sun was sunk behind yon hill, across yon dreary moor,
When poor and lame a boy there came up to a farmer’9 door
"Can you tell me if here it be that I can find employ,
To plough and sow, to reap and mow, and be a famer’s- boy?
"My father’s dead, and mother’s left with five children,
big and small;
And what i« worse for mother still, I'm oldest of them
all.
1*11 work as hard as any turk, if you’ll give me employ
To plough and sow, to reap and mow, and be a famer’s boy.
"And if you won’t give me employ, one favor I’ve to ask:
May I please stay till break of day, safe from the
winter’s blast?
At break of day I’ll trudge away, and elsewhere seek
employ,
To plough and sow, to reap and mow, and be a famer’s
boy."
"Come, try the lad," the mistress said, "Let him no
further seek.
He*s far from home, and young to roam," and tears ran
down her cheek.
"It must be hard to want for food, and wander for employ;
Don’t turn him away, but let him stay and be a farmer's
ft
boy.

MB
Song Texts
2195
How when the hoy "became a man, the good old farmer died,
And left the lad the farm he had, and his daughter for
his "bride*
The lad that was, the farm now has, oft smiles, and
thinks with joy
Of the lucky day he came that way, to he a famer's hoy*
*******************************

No. 493
THE PARMER IN THE BELL
also known as
The Farmer in the Ben
The Parmer in the Well
Farmer’s Ben
The Parmer’s in His Ben
High-O-Cherry-O
High-O! for Rowley-O!
High-O-Maderio
High-O-Merry-O
High-O-Valerio
Way, Ho! the Cherry 0!
This is a ring type game song. Text and tune are similar
to the Butch children’s song, In Holland Staat*n Kus .
For directions on how to play the game consult the refer
ence list helow.
REFERENCES
Bancroft, 347-348
Bertail, 8
Bohme (2), 673
Botkin (APRS), 29, 97
100
Brown, I, 146-150; V,
535
Brown (OEAG), 16
Bulletin (TFLS), VI,
Chase (OSSG), 35
Bouglas, 37
Fauset (FLNS), 128
Florida 21, 296-297
Forhush, 46-48
Ford (TMA), 264-266
Haddon, 267
Hofer (CSG), 20
Hornhy, 64
Johnson (EPG), 137
Jour (AFL), II, 310; VIII,
254-255; XXXI, 51-52;
LIX, 436; LX, 23
Linscott, 7
Lloyd, 46
Newell, 129-130
Pub (TFLS), I, 26

MB
Song Texts
2196
Quarterly (SFL), VI, 185-187 Wier (YAM), I, 135
Social Plays, 27 Winn (1), 180
Whitney & Bullock, 142 Wolford, 42-43
The Farmer in the Dell
The farmer in the dell,
The farmer in the dell,
Way, ho! the cherry 0!
The farmer in the dell.
%
The farmer takes a wife, etc.
The child takes a nurse, etc.
The nurse takes a dog, etc.
The cat takes a rat, etc.
The rat takes the cheese, et.
And so on, stanza after stanza,
************************ •*■*•*#**•*■******

No. 494
THE .FARMER IN THE FIELD
This game song, usually found in the Southern states,
is related to the above song, Farmer in the Dell. The
tune is obviously a variation of Mulberry Bush , as
given in thi9 Master Book under TUNES. Cox has a
version in Quarterly (SFL), VI, 191-192, where he
describes how the game is played in the South. It was
also employed as a nursery song 0
The Farmer in the Field

MB
Song Texts
2197
0 the farmer*8 in the field,
In the field, in the field,
0 the farmer's in the field
So early in the morning,
0 he come* to plough the ground, etc.
Have you seen him sow the seeds? etc,
******** ******* *********

No, 495
' THE FARMER IS THE MAN
also known as
The Parmer The Parmer He Must Peed Them All
The Parmer Comes to Town The Parmer Is the Man Who Peeds
Them All
A humorous rural song with political overtones; it grew
out of the economic unrest experienced by frontier and
Mid-West farmers between 1870 and 1890©
REFERENCES
Arnett, 120
Botkin (APL), 879-880
Downes, 250-251 or 292-
293
Powke (SWF), 96-97
Glass (SW), 42-43
Greenway, 213
Lingenf elter, 485
Lomax (FSNA), 132
Randolph, III, 258
Sandburg (AS), 282-283
Scott (BA), 267-269
Seeger (6), 57
Siegmeister, 42-44
Whitman, 82
The Farmer the Man
When the farmer comes to tov/n with his wagon broken down,
Oh! the farmer is the man who feeds them all.
If you'll only look and see, I think you will agree,
That the farmer is the man who feeds them all.

MB
Song Texts
2198
Chorus
The farmer is the man, the farmer is the man!
Lives on credit till the fall;
Then they take him by the hand, and they lead him
from the land,
And the middle-man's the one who gets it all!
When the lawyer hangs around, while the butcher cuts
a pound,
Oh! the farmer is the man who feeds them all!
When the preacher and the cook go strolling by the brook,
Oh! the farmer is the man who feeds them allh
When the banker says he's broke, and the merchant's up
in smoke,
They forget that it's the farmer feeds them all!
It would put them to the text if the farmer took a rest,
Then they'd know it's the farmer feeds them all!
Final Chorus
The farmer is the man, the farmer is the man!
Lives on credit till the fall. With the interest rate
so high,
It*s a wonder he don't die,
For the mortgage man's the one who gets it all!
***********************************

Wo. 498
THE FARMYARD
also known as
The Animal Song
The Barnyard Song
Bought a Cow
Bought Me a Bird
Fiddle-I-Fee
Greenwood Trees
I Bought a Cow
I Bought Me a Rooster
I Had a Bird
I Had a Little Rooster
I Had a Rooster
I Love My Rooster
My Household

ME Song Texts
2199
The theme of this song is an ancient one, dating hack
to a remote period. It is known in most European coun
tries and there are many versions and variations extant
in the United States, It is of the form and style of The
Swapping Song (see in MB), hut not the same as.
This song may he extended hy the simple process of add
ing the names and characteristic sounds of various ani
mals, Unlike this one, 9 ome versions are in a cumulative
form. For a similar song with a common title, see I Had
A Little Rooster in Yolen, 13-17,
Because of the various animals and like titles involved,
this song is sometimes confused with The Swapping Song ,
hut aside from the names of certain animals the two are
not related.
REFERENCES
Armitage, II, 14
Arnold, 126
Chambers (PRS), 190
Chase (AFTS), 171-174
Davis- (FSV), 187
Downes (1943), 238
Gainer, 164-165
Galvin, 337
Greig, II, art, 159
Halliwell (NRE), 332
Halliwell (PRNT), 263
Brown, I, 89; HI, 172-
174; V, 102-104.
Karpeles (EFS), II, No.
336
Loeeser, 42-43
Lomax (FSNA), 440-441
Moore (3FSS), 387-388
Morris, 418
Newell, 115-116
Randolph, III, 36-39
Reeves (EC), 111
Richardson (AI.IS), 77
Roberts (SBS), 197-198
Scarborough (NFS), 196
Seeger (1), 104-108
Seeger (4), 337
Sharp, II, 310
Shearin (SKFS), 35
Silverman, I, 312
Sizemore (1), 24
Talley, 145
Thomas (DD), 156-157
Winn (1), 47-49
Wyman (LT), 6-13
Yolen, 18-19

MB
Song Texts
2200
The Farmyard
Had a bird, and the bird pleased me,.
Fed that bird T neath yonder tree.
The bird went tweedle-dee-dee.
Had me a cat, and the cat pleased me.
Fed my cat ’neath yonder tree.
The cat went meow, meow, meow.
Had me a dog, etc.
The dog went woof! woof! woof!
Had me a pig, etc.
The pig went oint, oint, oint!
Had me a sheep, etc.
The sheep went baa, baa, baa!
Had me a cow, etc.
The cow went moo, moo, moo!
And so on, until you non out of animals.
**** ************** ■#■***■**•***•*-*■**•*****

No. .497
THE FATAL WELLING
also known as
Wedding Bells
This song floated into the folk stream when forgotten
by the commercial music firm responsible for its intro
duction and distribution. The Fatal Wedding was written
and composed by William H. Windom and Gussie L. Lavis,
and was published by Spaulding, Kornder & Gray, New
York, 1893. The copyright was assigned in 1908 to
M, L. Swisher, Philadelphia, The widow of the composer
finally gave the copyright to E 0 B. Marks, Inc.
Both Bradley Kincaid and Vernon Lalhart made successful
recordings of this song in the 1920s.

MB
Song Texts
2201
For another and completely unrelated song called The
Fatal bedding , see Randolph, IV, 279-280.
REFERENCES
Belden (BS), 141-143
Brewster (BSI), 329-333
Brown, II, 629-631; IV,
303-305
Davis (FSV), 71
Greenleaf, 368
Hubbard, 208
Hudson (FSr.:), 195-197
Hudson (SMFL), 57-58
Kennedy (AB), 259-260
Kennedy (TAB), 248-249
Neely, 163-164
Pound, 140-142
Pound (SFoh), V, No. 6
Randolph, IV, 277-279
Roberts (IP), 197-2C0
Spaeth (REV/), 172-174
The Fatal 7/edding
The wedding bells are ringing
On a moonlit winter’s night;
The church was decorated,
All within was gay and bright,
A mother with her baby came
And saw the lights aglow;
She thought of how those same bells chimed
For her three years ago.
She begged the sexton once again
To let her pass inside.
"For baby’s sake you may step in,”
The gray-haired man replied.
"If anyone knows reason
Why this couple should not wed,
Speak now, or hold your peace forever,”
Soon the preacher said.
"I must object," the woman cried
In voice so meek and mild,
"That bridegroom is my husband, sir,
And this our little child.”

MB
Song Texts
2202 *
"What proof have'you?” the preacher asked.
"My infant,” she replied.
She raised the habe, then knelt to pray—
The little one had died.
The parents of the bride then took
The outcast by the arm,
"We*11 care for you thro life," they said;
"You saved our child from harm."
The parents, bride and outcast wife
Then quickly drove away;
The bridegroom died by his own hand
Before the break of day.
*** ************** **************

Wo, 498
THE FATE 0? JOHN BURGOYNE
This is a song from the American Revolution, and one
of several written about the defeat of British General
John Burgoyne, affectionately known as Gentleman Johnny,
Historical background is this:
In the Spring of 1777, in preparation for a decisive
campaign against the American rebels, the British govern
ment ordered General Burgoyne to push down the Hudson
valley and to cut off New England from the rest of the
Colonies. That Burgoyne failed in this mission is a
matter of history.
American rebels were delighted to sing of the sorrows
and misfortunes of Gentleman Johnny. The tune they used
was the long familiar Girl I Left Behind Me.
Other versions are in Rabson, 48-49; Scott (BA), 75-76
and Silber (SI), 127-128.
The Fate of John Burgoyne Tune: Girl I left Behind I

MB
Song Texts
2203
When Jack, the King's commander bold,
Was going to his duty,
He smiled and bowed thro all the crowd
At every blooming beauty.
The lower House sat mute as mouse
To hear his grand oration;
And all the peers with loudest cheers,
Proclaimed him to the nation.
The off he went to Canada,
Next to Ticonderoga;
And quitting those, away he goes
Straightway to Saratoga.
But the sons of freedom gathered round,
His hostile bands surrounded;
And when they'd fain have turned their backs,
They found themselves surrounded,,
In vain they fought, in vain they fled;
Their chief, humane and tender,
To save the rest soon thought it best
His forces to surrender.
Thus may America's brave sons
With honor be rewarded;
And be the fate of all her foes
The same as here recorded,
************** ***********

No. 499
FASEER'S WHISKERS
This was a parody of a very popular song, The Parlor ,
given elsewhere in this Master Book. College student
and "barbershop wuartettes have kept the parody alive
REFERENCES
Best, 61
Ford (TMA), 434-435
Silverman, II, 211

MB
Song Texts
2204
Father's
Whiskers Tune: The Parlor
We have a dear old father,
To whom we daily pray;
He has a set of whiskers—
They*re always in the way.
Chorus
Oh! they're always in the way!
The cows eat them for hay!
They hide the dirt in father's shirt
They're always in the way.
9
' We have a dear old mother,
With whom at night he sleeps;
She wakes up in the morning
Eating shredded wheat.
We have a dear old brother;
He has a Ford machine.
He uses father's whiskers
To strain the gasoline.
We have a dear old sister—
It really is a laugh,—
She sprinkles father's whiskers
As bath salts in her bath.
Now father has a son,
His name is Sonny Jim;
He wants to grow some whiskers,
But father won't let him.
Around the supper table
We make a merry group,
Until dear father's whiskers
Get tangled in the soup!

MB
Song Texts
2205
When father goes in swimming,
Wo "bathing suit for him—
He ties his whiskers 'round
his waist
And gaily plunges in.
When father's in a tavern,
He likes hi9 lager beer;
He pins a pretzel on his nose
To keep his whiskers clear!
************ ********* *
■%

No, 500
HERB HER Oil) BLUES
also known as
The Big Boat's Up the River
When I first heard this «*ong, sometime during 1939, I
was in New Orleans, It was sung by Lonnie Shelton,
who knew many old river-type songs and really knew how
to sing the blues. He called the song Big Boat's Uo
the River , but had no information concerning it that
he could share with me. Later, after beginning re
search for this faster Book , I came upon the song in
Mary Wheeler's Steamboatin' Bays , According to her
notes, the Ferd Herold was a steel hull packet owned
by Ferd Herold, a brewer, and Peter Hauptman, a tobacco
manufacturer, both of St, Louis, After operating for
a time, in competition with established lines, and at
a loss, the boat was sold to the Lee Line 0 She was
finally dismantled and the hull was used for a barge,,
See Wheeler (SB), 53o
Ferd Herold Blues

MB
Song Texts
2206
Big boat’s up the river an* ain’t cornin’ down!
Big boat’s up the river an’ ain’t cornin' down!
lord, Lord!
I believe in my soul that boat’s gone aground,
Lord. Lord!
Hear that whistle, baby, hear that whistle blow! (2)
Lord, Lord!
I believe in my soul that boat’s on the go,
Lord, Lord!
When I come home, baby, gonna sleep all day! (2)
Lord, Lord!
And then you ’n* me, babe, gonna love the night away,
Lord, Lord!
Perd Herold’s up river for a long, long time! (2)
Lord, Lord!
If she ain't movin' soon, I’m a-gonna lose my mind!
Lord, Lord!
*********************** ***********

No, 501
PEW DAYS
also known as
I Am Going Home I’m A-Goin’ Home
This is a "campground” or "revival meeting" spiritual,
and it wa« «ung by both white and black people. John
G. McCurry, compiler of the Social Haro , said he wrote
the song about 1855. Not true, of course, because the
song wa« published nine years earlier, 1846, in White's
Negro Singer ’a Own Book, p, 96.
The song was parodied and adapted many times, generally
for secular use, Bor examples, see versions B and C
below.

MB Song Texts
2207
For an early adaptation, see Hurrah for Home! else
where in this Master Book. For an 1856 Presidential
campaign song using the tune,' see Buchanan vs Fremont II
tn t'hlg Master Book. For a different religious text—
the one John G 0 McCurry wrote about 1850— see Navagation
in McCurry, 165.
Version B, a parody known as I’ve Got a Home Up Yonder , *
or There Was an Ole Fish , is also in Jackson (WSSU), 265
and Richardson (AMS), 72. Version C, another parody, is
also in Finger (FB), 165 and Scarborough (NFS), 200 as
Zaccheua Climbed the Sycano* Tree.
' REFERENCES
Chase, 199-200 Lomax (ABFS), 566
Jackson (SFS), 223 McCurry, 209
Jackson (WSSU), 265
Few Bays
Version A
I pitch my tent on this camp-ground,
Few days, few days,
And give ol’ Satan one more round,
Then I am going home. .
I can’t stay in these diggings,
Few days, few days,
I can’t stay in these diggings,—
I am going home.
Version B
A big old fish that was a whale,
A few days, and a few days,
Swallowed Jonah head and tail,
And I’m a-goin’ home.
I got a home up yonder,
A few days, and a few days;

Song Texts
2208
M3
I got a h-ome up yonder
And T*m a-going home.
Version C
Zaccheus climbed the Sycamo' tree,
Few days, few days!
Zaccheus climbed and didn't tell me,
Few days, get along home,
0 he's way up yonder!
0 he's way up yonder!
0 he's way up yonder in the Sycamo' tree!
Zaccheus climbed his Lord for to see,
Few days, few days!
He*8 sittin' on a limb in that tree!
Few days, get along home 0
0 he's way up yonder!
0 he's way up yonder!
0 he's way up yonder in the Sycamo* tree!
*************************************

No, 502
FIDDLERS' GREEN
According to Dolph, thie song "is clearly another relic
of frontier days and should be classed with 'The Wide
Missouri' and the old Fourth Cavalry song, 'Old Arizona,
See Dolph, 25-26 and 7/hiteman, 49,
Fiddlers» Green
Half-way down the trail to hell,
In a shady meadow green,
Are the souls of all dead troopers camped
Near a good old-time canteen.
And this eternal resting place
Is known as Fiddlers' Green,

MB
Song Texts
2209
Marching past, straight thro Hell,
The Infantry are seen,
Accompanied by the Engineers,
Artillery and Marine,
For none but the shades of Cavalrymen
Dismount at Fiddler’s Green.
Tho* some go curving down the trail
To seek a warmer scene,
No trooper ever gets to Hell
Ere he’s emptied his canteen,
And so rides back to drink again
With friends at Fiddlers’ Green.
And so when man and horse go down
Beneath a saber keen,
Or in a roaring charge or fierce melee
You 8top a bullet clean,
And the hostiles come to get your scalp,
Just empty your canteen,
And put your pistol to your head
And go to Fiddlers’ Green,,
*************************

No. 503
THE FILIPINO HOMBRE
This song is from the Philippine Insurrection. Accord
ing to Trident, the words were written by Captain Lyman
A« Cotten, U. S. N* The tune was borrowed*
REFERENCES
Dolph, 188-190 Sandburg (AS), 434-435
Luther, 291 Trident, 146-147
The Filipino Hombre
Tune: The Gay Caballero

MB
bong Texts
2210
There once was a Pilipino hombre,
Who ate rice, oescado y legunbre ;
His trousers were wide, and his shirt
hung outside,
And this, I may say, was costumbre ,,
He lived in a nipa bahay ,
Which served as a stable and sty;
He slept on a mat with the dog and
the cat,
And the rest of the family nearby.
V
His daddy un buen [ Pilipino,
Who never mixed tubig with bino ,
Said, "I am no insurrecto, no got gun
or bolo 9 "—
Yet used both to kill a vecino,
His mujer once kept a tlenda .
Underneath a large stone hacienda.
She chewed buyo , and sold for jaw-bone
and gold
To soldados , who said, "No en tienda."
His brother, who was a cochere ,
Buscare f in.Manila dinero;
His prices were high when a cop was
near by
To help scare the poor pasa.jero,
He once owned a bulic manoc,
With a haughty and valorous look,
Which lost him a name, £ mil peso tambien ,
So he changed to Monte for luck,.
When hie pueblo last held a fiesta .
His familia tried to digest a
Mule that had died of glanders inside,
And now his fanilia no esta.
****************************

MB
Song Texts
2211

No, 504
A PINE OLD ENGLISH GENTLEMAN
This song was adapted from the much older ballad, The
Old and Young Courtier , which begins:
An old song made by an aged old pate
Of an old worshipful gentleman, who had a
great estate,
That kept a brave old house at a bountiful
rate, 7
And an old porter to relieve the poor at
the gate;
Like an old courtier of the Queen’s
And the Queen’s old courtier.
In Pepys Diary , under June 16, 1668, we read: '’Come to
Newbery, and there dined— and musick: a song of the
•Old Courtier of Queen Elizabeth,’ and how he was
changed upon the coming of the King, did please me
mightily, and I did cause W, Hewer to write it out,”
In the adapted form of A Pine Old English Gentleman ,
the song wa* obtained by a vocalist, Henry Phillips.
A copyright infringement suit was brought by a Mr. Purdy,
of Holborn, who wa« declared by the court to be the
legal owner of the tune. Since then, the song has under
gone several more adaptations. See and compare A Fine
Old Irish Gentleman and The Fine Old Southern Gentleman
in this Ma e ter Book.
The version given below is from Johnson (FS), 435-438.
A Fine Old English Gentleman
I r ll sing you an ballad that was made by an old pate,
Of a poor old English gentleman, who had an old estate;
He kept a brave old mansion at a bountiful old rate,
With a good old porter to relieve the old poor at the gate
Like a fine old English gentleman, all of the olden time.

KB
Song Texts
2212
When winter cold brought Christmas old, he opened
house to all,
And tho three score and ten his years, he featly
led the ball;
Hor was the houseless wanderer then driven from the hallo
For while he feasted all the great, he ne’er forgot the
small—
Like a fine old English gentleman, all of the olden time.
But time, tho old, is strong in flight, and years roll’d
swiftly by,
When autumn’s falling leaf foretold this poor old man
must die!
He laid him down right tranquilly, gave up life’s latest
eigh,
While heavy sadness fell around, and tears bedewed each
eye—
For this good old English gentleman, all of the olden time
*******************************

No. 505
A FINE OLD IRISH GENTLEMAN
This' is an adaptation of the former song 0 The words were
written by J. Brougham. For other versions, see Jordan,
227-230 and Levy, 140-141.
A Fine Old Irish Gentleman Tune: A Fine Old English
Gentleman
1*11 sing you a fine old song made by a fine old paddy’s
pate,
Of a fine old Irioh gentleman who never worked and grew
tired of his estate.

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2213
Except a fine old patch o’ potatoes that he liked
exceedingly to ate,
Por they were heef to him and mutton, too, and "barring
a Red Herring or
a rusty rasher of bacon now and then,
Almost every other sort of mate,
Yet this fine old Irish gentleman was one of the real
old stock.
His cabin walls are covered o’er with good old Irish mud,
Because he could not afford to have any paper hanging,
And between you and me,
He wouldn’t give a damn for them if he could;
And just as proud as Julius Sayser
Or Alexander the Great,
This independent ragamuffin
Stood with a glass of fine old Irish whiskey in his fist,
Which he’s decidedly of opinion will do a mighty deal
of good
To this fine old Irish gentleman, all of the real old
stock.
Now this fine old Irish gentleman wore mighty curious
clothes,
Tho* for comfort I'll be bail that they'd bate
Any of your fashionable beaus—
Por when the sun was very hot
The gentle wind right thro his ventilation garments most
beautifully blows;
And he’s never troubled with any corns, and I’ll tell
you why:
Because he despises the weakness of wearing anything as
hard as leather on his toes—
Yet this fine old Irish gentleman was one of the real
old stock.
**-*-**■* ********************-*■**

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No, 506
THE PINE OLD SOUTHERN GENTLEMAN
also known as
Taylor, the Pine Old Southern Gentleman
This adaptation of the Old English Gentleman wa« not
meant to he political, though it celebrated the name
of General Zachary Taylor, who was the successful Whig
candidate for President in 1848. The text is in The
Rough and Ready Songster , New York, 1848, Other versions
are in Dolph, 410-411 and Luther, 117-118,
The Pine Old Southern Gentleman
I’ll sing to you an honest song,
Made by an honest fate,
Of a fine old Southern gentleman
Who owns a fine estate?
And who, in peace or war, or both,
Has ever been first-rate.
An honor, too, to old Kentuck’,
His noble, native State,
This fine old Southern gentleman,
One of the present time.
He isn’t like your ’’nice young men”—
Your dandy Broadway beaux—
Who smell of Goraud’s "eaux jasmine,”
And all other kinds of eaux!
And pinch, in true Parisian boots,
The excruciated toes—
He never "cut a swell"—a friend—
Or aught but fighting foes,
This fine old Southern gentleman,
One of the present time.
********************

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2215

No. 507
THE FINEST FLOWER
also known as
Covent-Garden The Lover’s Meeting
Cupid*8 Garden Pretty Nancy
Down in Cupid’s Garden ’Twas Down in Cupid’s
Lovely Nancy Garden
This song was originally recovered "by Gale Huntington
"from a broadside pasted in the back cover of the
Hercules journal," where "it had no title."
William Chappell thought Cupid’s Garden was a corruption
for "Cuper's Garden," which was "a celebrated place of
amusement on the Thames," (Cuper’s Garden closed in
1753).
Many versions of this old song are still available in
print, not a few from oral sources. Several sets of
words are sung to the tune, but all are about "Cupid’s-
Garden,"
The version known as Lovely Nancy is not related to
other songs of that title.
In addition to broadside versions by Catnach and by Such,
versions are in R. Brimley Johnson’s Popular British
Ballads , II , 246; Vocal Library, 539; and The Hullah
Song Book (1886), 94-95.
REFERENCES
Chappell (PMOT), 727-728 Notes, 9th series, XI,
Ford (VSBS), II, 100-101 6
Huntington, 90-94 Stokoe, 186-187
The Finest Flower
It was down in Covent Garden one day I chanced to rove,
To view the finest flower that in the garden grows.
The one it was the Chemink, pink lily and the rose,
Which was the finest flower that in the garden grows,
That in the garden grows.

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2216 ■
The one was lovely Nancy, most beautiful and fair;
The other was a virgin that still the laurel wear.
In hand and hand together this lovely couple went;
Resolved was the sailor to know the maid's intent,
To know the maid's intent»
Altho that she did slight me because that I was poor;
Oh, no my love, no not my love, I love a sailor dear,
Down in Portsmouth Harbor our ship lies waiting there,
AH fitted out for sea, my boys, when the wind it shall
blow fair.
When the wind it shall blow fair.
If ever I shall return again, iw happy I shall be
To have my own true love set dangling on my knee.
And if ever I should return again unto my native shore,
1 ^111 marry pretty Nancy and go to sea no more,
And go to sea no more,
************* *** *■*•*•** ****************

No. 508
FIRE DOWN BELOV/
also known as
Fire ! Pire!
A ehanty with many versions extant, some with distinctive
texts but most of which deals with one of the most dread
ed dangers aboard ship—fire. Sung by British as well as
American seamen, the shanty came ashore and became a game
song for children.
REFERENCES
Colcord, 117 Langstaff (1), 64-65
Davis fSSC), 76-77 Seeger (1), 162-163
Harlow, 124-126 Sharp (EPC-2), 27
Hugill (1), 519-522

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2217
Fire Down Below
Oh! there’8 fire in the lower hole!
There’s flame down below!
Fire in the Mainwell—
The captain didn’t know!
Chorus
Fire! Fire! Fire down below!
Oh, bring a bucket of water, girls,
There's fire down below!
Oh, there's fire in the fore-top,
There's flame in the main!
Fire in the windlass,
And there's fire in the chain!
As I strolled out one morning fair
All in the month of June,
I overheard a Southern girl
A-singing this old time,
***************************

No, 509
THE FIRE SHIP I
aleo known as
As I Was Walking Down Ratcliffe Ratcliffe Highway-
Highway
A common theme runs through this song and the two that
follow it, Fire Ship II and III; A sailor gets involved
with a harlot. The story can develop in two ways, so
that endings differ. In one, the sailor is robbed by
the harlot} in the other, the sailor catches a venereal
disease from her. All forms are obviously related, and
closely, too, but the various songs are not necessarily

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Song Texts
2218
sung to the same tune.
All such songs are generally couched in nautical
double entendre, meaning that sexual words and phrases
are partially disguised.
Fire Ship I is English and quite old, hut its popularity
aboard American vessels was as great as aboard English
ships.
For an unrelated Ratcliffe Highway song, see: Ashton
(MSB), 262-264.
REFERENCES
Sedley, 8-9
Shay (ASSC), 205-206
Williams (EPS), 85
Doerflinger, 114-116
Hugill (1), 200-202
Hugill (2), 211-213
The Eire Ship I
Along Ratcliffe Highway, as I looked all around,
I spied a flash packet all solid and sound.
As soon as I seen her I slacked me main brace,
And I hoisted me stuns'Is an' quickly gave chase.
Chorus
0 me riggin's slack an' me rattlin's are frayed;
I*ve rattled me rigging down Ratcliffe Highway!
Her flag was three colors, her masthead was low,
She was round at the counter and bluff at the bow;
Prom larboard to starboard a roller was she—
She was sailing at large, she was running free.
I fired me bow-chaser, a signal she knew;
She backed her main tops’l an' for me hove to.
I lower'd me jolly-boat an' pulled alongside,
An* found that her gangway was open and wide.
I tipped her me flipper an' towrope an' all;
She then let her hand on me reef-tackle fall.

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2219
She took me right up to her lily-clean room,
An* in her main riggin’ I fouled me jibbon.
I enter’d her cubby-hole an* swore damn yer eyes,
For she was a fireship rigged up in disguise.
She had a foul bottom from sternpost to fore,
An* between wind an’ water she ran me ashore 0
She set fire to me riggin’ an’ fire to me hull;
Away to the lazareet I had to scull.
With helm hard-a-starboard as I rolled along.
Me shipmates all cried, "Jack, yer mainyard is sprung
I’m now safe in harbor, me moorings all fast;
I'll lay h ere quite snug, boys, till danger is past.
With mainyard all served, boys, an’ parcel’d an’
tarr’d—
Wasn’t that a stiff breeze, boys, that sprung me
mainyard?
A drink to the gal with the black, curly locks!
A drink to the gal who ran me on the rocks!
A drink for the quack, boys, who eased all me pain!
If I meet that flash packet I’ll board her again!
******** *********** **********

Wo. 510
THE EIRE SHIP II
also known as
The Pirate Ship
The Rakish Kind
Fire Ship in Disguise
One of the Rakish Kind
This is a later version of Fire Shin _I. It is also
more widely known in America, probably because of a
popular adaptation by Jessie Cavanaugh and Arnold
Stanton, One of the Rakish Kind , that became a big

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Song Texts
2220
hit in 1950 as a result of a recording by Guy Mitchell.
REFERENCES
Hugill (1), 171-172 Leiey (SPS), 178-179
Johnson (BELL), 46
The Fire Ship II
As I strolled out one evening
For a night’s career,
I spied a lofty fire ship
An* to her I did steer.
I hoisted her my signals,
Which she very quickly knew,
An* when she saw my bunting fly
She very soon hove to.
Chorus
She’d a dark and rolling eye,
An* her hair hung down in riglets;
She was a nice girl, a decent girl,
But one of the rakish kind,
0, sir, you must excuse me,
For I know it’s late,
An* if my parents knew it,
0, sad would be my fate.
My father is a preacher—
A good an’ honest man,
An* my mother is a Methodist—
I do the best I can,
I took her to a tavern.
Treated her to wine,
And I was so enchanted
I nearly lost my mind.

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2221
X hugged and kissed and fondled,
And I found to my surprise,
She was nothing but a fire ship
All rigged up in disguise.
We lay in bed together
With our bodies bare,
And then I fired my cannon
Into her thatch of hair.
Then broadside followed broadside
Until all my shot was spent;
Then I rammed that fire ship's waterline
Until my ram was bent.
She took her leave next morning,
Took my money too;
My clothes were gone, and my watch,
And nothing could I do.
She left behind a souvenir
Her gratitude to show;
For in nine days, to my surprise,
I felt the fire below!
Now all you jolly sailors
Sailing on the sea,
From England to America,
A warning take from me:
Beware of lofty fire ships,
They will surely ruin you;
They'll empty out your shot locker
And pick your pocket too!
**********************

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Song Texts
2222

No, 511
THE EIRE SHIP III
also known as
Strolling Through Norfolk While Strolling Through
Norfolk
This is an American adaptation of the above songs,
Eire Ship I and II,
REFERENCES
Shay (DEW), 69 Trident, 38
The Eire Ship III
While strolling through Norfolk
One day on a spree,
I spied a fair packet
With sails flying free.
Her flag was three colors,
Her masts they were low,
She was broad in the counter
And bluff in the bow.
Chorus
Singing fal de-i-rol-ee,
Sing fal de-i-rol-ee,
Sing fal de-i-rol-ee,
Sing fal de-i-aye!
I gave her a signal,
A signal she knew;
She backed round her main yards
And quickly hove to,
I hailed her in English,
She answered "Okay!"
She was from the back country
And bound for the Bay,

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2223
I sent my "bow-chaser
And at me she bore,
And yard-arm to yard-arm
We sailed near the shore.
We sailed along gaily,
All steaming with heat,
Until she dropped anchor
On Waterfront street.
I took a tow from her,
And up in her room,
I fell to deck with her
And opened her womb 0
She treated me royally,
Just like a guest,
And I knew when I left her
That I*d had the "best!
****************************

No. 512
THE FIRST BANJO
also known as
The Ark
The Banjo Song
De Fust Banjo
This song is derived from an extract of Irwin Russel’s
dialect poem, Christmas Night in the Quarters . which
dates from 1878. Some unknown composer took lines 184
through 227 and set them to music-a piece that has
come to he known as The First Banjo, It has- earned a
place in folk tradition, because, as Smith (SCB) says,
"it*s folk genealogy is unimprachable„”
Old Noah
The Possum and the
Banjo
REFERENCES

MB Song Texts
2224
Cox (FSS), 508-509
Hubbard, 345-346
Randolph, II, 324-327
Smith (SOB), 42-44
Talley, 44.-45
The First Banjo
Version A
Go way, old fiddle,
I*m tired of hearin' you a-squawking!
Stay quiet for your betters—
Don't you hear the banjo talking?
All 'bout the possum's tail
The banjo's gonna lecture. Ligten
About the hair that isn't there,
And why that hair is miggin'.
Gonna have an overflow,
Says Noah, looking solemn;
And then he took the paper
And he read the river column.
; Then he put his men to work
Clearing timber patches;
Swore he was gonna make a boat
To beat the steamer Natchez.
Noah's neighbors laughed,
But he knew what was gonna happen;
For forty days and forty nights,
The rain kept right on droopin'.
The rain it stuck to pourin' down
So burdensome and heavy,
The river rose immediately
And busted through the levee.
Noah's ark kept on sailin',
A-sailin' and a-sailin';
The lion got his dander up
And busted through the railin'.

Song Texts
2225
ira
Then Sam, our only nigger,
Was sailin' in the packet,
GFot lonesome in the "barber-shop
And couldn't stand the racket,,
Thought he would amuse himself,
And steamed some wood and bent it;
Soon he had a banjo nade,
But at first he didn't mean it.
He wet some leather, stretched it on,
Made bridges, screws, and aprons;
He fit it to the proper neck,
Made very long and tapering.
•Course the possum he is here,
As fine as I am singing;
The hide upon the possum's tail
Will do for banjo stringing.
He took the hide and shaved it out
Prom little e's to graces;
He strung her up, he tuned her up
Prom little e to basses.
Straightaway he struck a jig,
And said, "Forget the weather!"
It sounded just like twelve banjos
A-playin* all together.
Some were patting, some were dancing,
And Noah called the figure;
The happiest man in that crowd
Was Sam, our only nigger.
VERSION B
aka The Ark , Talley , 44-45

MB Song Texts 2226
Ole Nora had a lots o * hands
A-clearin’ new ground patches;
He said he’s gwinter build an Ark,
An’ put tar on de hatches*
He had a sassy Mo’gan hoss
An* gobs of big fat cattle;
An* he driv’ em all aboard de Ark,
W*en he hear de thunder rattle.
An* dem de rover riz so fas’
Dat it bust de levee railin’s.
Be lion got his dander up,
An he lak to a broke de palin’s.
An* on dat Ark wuz daddy Ham—
No udder Nigger on dat packet.
He soon got tired o' de Barber Shop,
Caze he couldn* etan' de racket.
An* den jes to amuse hisself,
He steamed a board an' bent it, son 0
Dat way he got a banjer up,
Per ole Ham’s de fust to make one,
Bey danced dat Ark from een to een,
Ole Nora called de figgers;
Ole Ham, he sot an’ knocked de chunes,
Be happiest of de niggers,
*******************************

No, 513
FISHER’S HORNPIPE
The Hornpipe is an English traditional dance. This tune
is. an American variation, but one widely played by fidd
lers at "country" dances. There is no known text, excep

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Song Texts
2227
for those words used by individual "callers" to
direct movements and steps of "square dancers."
For the melody,
see: FISHER*S HORNPIPE under TUNES .
For other traditional arrangements, see:
Burchenal, 47 linscott, 77
Ford (OTFM), 24 Ryan, 146
Ford (TMA) , 39 Silverman, I, 315
******* **-*•*-* •***•*■* **■**•*•* *■#■**■* •*••*•*** *■*•*■*•*

No. 514
FIVE TIMES FIVE
o
This children*s piece could he an extract or a floater
"because it shows up in various places as part of other
eongs, such as Charlie I (".Veevily "/heat) in this M3.
Also see and compare: Botkin (APPS), 349; Botkin WFL),
787-788; and the Twistification piece in Botkin (APPS)
38 and Lomax (FSKA), 316.
Five Times Five
Five times five is twenty-five,
Five times six is thirty,
Five times seven is thirty-five,
Five times eight is forty.
Way down in the cypress swamp
Water is deep and muddy,
Fell in love with a pretty little girl,
But she wed my buddy.
Five times nine is forty-five,
Five times ten is fifty,
Five times 'leven is fifty-five,
Five times twelve is sixty.

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Song Texts
2228
Take that pretty girl by the ana,
Lead her like a pigeon,
Make her dance ju^t one more time
And scatter her religion.

No. 515
THE PLAT RIVER GIRL
also known as
Jack Haggerty’s Lament
Jack Hargaty
Tom Willoughby
The Plat River Raftsman
Jack Hagade, or Haggerty
Jack Haggerty r 8 Plat River
Gal, or Girl
A song once widely known in lumbercamps. Like most float
ing songs, this one wasn’t always sung to the same tune.
The "Plat River” referred to in the song is a matter in
contention. Linscott thought the river referred to is
near Greenville, Maine, "at the foot of Moose Lake."
Both Rickaby and Sandburg selected the Plat River that
flows through southern Michigan.
Por a detailed discussion of the ballad’s origin, see
Geraldine Chickering's The Oririn of a Ballad in Modern
Language Note®, I, 465-468.
Por an adaptation, see The Ccwbov’e Plat River Girl in
Beck (LLC), 149-150.
REFERENCES
Barry (MW3), 39, 74-75
Carmer (SRA), 17-18
Cazden, II, 100-101
Cazden (MD), 100-101
Doerflinger, 245-246
Eckstorm, 124-126
Beck (PLM), 262-263
Beck (LLC), 140-148
Beck (SML), 124-131
Botkin (NEF), 876-877
Botkin (WFL), 768-769
Brown, II, 610-611
Friedman, 421-423
Gardner (BSSM), 267-269

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Song Texts
2229
Glass (SFRF), 17-18
Gordon (FSA), Aug. 28, 1927
Jones, 4
Kennedy (AB), 212-213
Kennedy (TAB), 271-272
Laws C 25
Linscott, 214-217
Pub (MLN), XXXV, 465-468
Rickaby, 3-10
Sandburg (AS), 392-393
Shoemaker (NPM), 218-219
The Flat River Girl
Come listen all you fellows,
For what I say is true:
Never believe in a woman—
You are lost if you do.
And should you chance to meet one
With hair all combed to curl.
Just think of William Willoughby
And his Flat River girl.
Her form was like the willow,
So slender and so neat,
And she was a thing of beauty
From her head down to her feet 0
Her laughter was like music
As it floated on the breeze;
And she said she truly loved me
As we strolled through the trees.
She's just a blacksmith's daughter,
On the Flat River side,
But I had always intended
For to take her as my bride.
Then one day on the river
A letter came to me,
And it said I should forget her,
That our love could never be.

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Song Texts
2230
I know her ugly mother,
And I know she is to blame;
She caused my love to leave me,
And take another name.
I never will forgive her,
For she robbed me of a wife;
And when I think of her treach’ry,
It nearly takes my life.
*********************■***■-*-*■********■*•*

No. 516
THE FLOATERS
"Floaters’* are lines, stanzas, and refrains that show
up in more than one song, sometimes in several, some
times slightly altered and sometimes word for word 0
For example, the following lines are genuine floaters:
The higher up the cherry tree
and
I wish I had a needle and thread,
Both lines are found in dozens of songs, and it is im
probable that we will ever know in which song either of
them first appeared.
Often two lines are encountered in one song, while it
one without the other is found in other songs. Examples
are "the New Cut road" and "the Tarrepin and the Toad,"
which appear in Charleston Gal° in Allen (SSUS), 88 ,
but show up separately in other songs, We find Miss
Tarrepin and Mi«s Toad in a piece in Talley, 162. Both
lines are together again in versions of Hold My Mule
and Picayene Butler in Scarborough (NFS), 105 and
Sandburg (NAo), 37* These two songs also contain two
additional floating lines:
My old mistis promised me
When she died she’d set me free 0

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Song Texts
2231
The M I love coffee, I love tea” line is another well-
known floater, though usually in slightly altered form.
The oldest form of it I have seen is in the English
nursery jingle, I Love Coffee and Billy Loves Tea , re
corded in Halliwell CURE), 86. It shows up, too, as
"8he loves coffee and I love tea” and "he loves sugar
and tea.” The most recent use of the line M I love
coffee, I love tea” is in the 1940s Decca record hit
by the Ink Spots, Java Jive .
A large number of "floaters" are found in spirituals.
For example, Run . Mary . Run and Tell All the World. J ohn
share the line: "I know the other world is not like
this," In Goin» Down to Jordan , reported in Odum (IJHS),
124, we find two sets of floaters:
" Ole Satan’s a liar an 1 a conjurer too ,
If you don * t mind he’11 conjure you "
and
" Ole Satan mad an* I am glad .
He missed a soul he thought he had ."
In the same collection, Odum (NHS), 140, we find two
lines that appear in dozens of songs:
"Who is that yonder dressed in red?"
"It look like the children Moses led."
Other lines found in many songs are "Sally’s got a house
in Baltimore and it’s full of chicken pie," and "I’ve
got a girl in Baltimore and she’s sixteen stories high."
For examples of such variations, see: Baltimore I in
this MB and Riding in a Buggy . Miss Mary Jane in Seeger
(1), 78-79
Occasionally a e ong is found to be made up almost en
tirely of lines from various songs. Roll That Brown Jug
to Town in Seeger (1), 88-89, consists of many
line® from The Drunken Sailor . Way Down in Alabam . and
Sandy Land. In the same collection, Seeger (ll, 145 &
96—97, the chorus of one song is given as the second

MB
Song Texts
2232
stanza of the other, and one of these songs (Up She
Rises ) sports the chorus of Liza Jane.
One of the mo®t frequently encountered stanzas in
various versions of traditional songs is
Fare you well , my own true love ,
0 fare you well for a while ;
But 1^ will surely come back again ,
If I ££ ten thousand mile«
For examples, see The False True Lover (1st stanza) in
Belden (BS), 480-482, The True Lover's Farewell (2nd
stanza) in Butterworth, 20—21, and the same title (6th
stanza) in Sharp, II, 114-116 I). The stanza serves
as a chorus for Winter's Right in Arnold, 14-15»
Perhaps the most famous and widely distributed floating
stanzas are
Who will shoe your pretty little feet?
Who will glove vour hand?
■ ■■■ — . - — — ■ ■ ■■ ■ U ■ ■ . ■ — » ■ ■ —
Who will kiso your red , rosy lipe
While I'm in gome foreign land?
Papa will shoe r.v pretty little feet ,
Mama will glove my hand;
You v/lll ki g s xnv red, rosy lips
When you return from some foreign land .
These two stanzas, usually identified with versions of
The Lag° of Roch Royal , are found in versions of the
following songs: The Blue-5yea Boy , Careless Love,
Cold Winter * s Night, The False Young Man, The Foolish
Girl , Free Little Bird, The Gambling Man , The House
Carpenter , The Irish C-irl , John Hardy , John Henry ,
Kitty Kline, Lord Randal , LIy Nearest Bear , My Lady[s
Slipper , The New-Slain Knight , The Rejected Lover ,
Storms Are Over the Ocean , True Lover's Farewell , Wild
Bill Jones , plus innumerable others. In addition, the
same two stanzas are frequently encountered on their

MB
Song Texts
2233
own, as a song in their own right 0 H Such lyric natter,"
writes Flanders, II, 175, ""belongs to no one song and
cannot "be used to identify texts. Originally it must
have wandered into Child 76 much as it has wandered
into ten thousand other places."
Another stanza that floats from song to song is
0 don * t you gee that turtle dove
A-skipoing fros vine to vine,
A-mourning the loss of its own true love
Just a«» I mourn for mine?
American singers were extremely fond of certain ideas
and images, and expressed them over and over again. One
such idea is "getting away from it all." Apparently
the most popular way to "get av/ay from it all" is to
move up high, like
1*11 build me a castle
On a mountain so high .
Where my true love can see me
When she passes by 0
The third and fourth lines are often varied, and may
be expressed thusly:
Where the wild geese can hear me
As they do pass by .
OR
Where the bluebirds and white doves
Can * t hear my cry.
The above declaration® are uttered in such songs a 9
Clinch Mountain ( Unahony Lover III C) and Lula III in
MB; The Hard Working . Twiner in Fuson, 141; Farewell ,
Sweet Mary in Cox (FSS), 433; Pretty Mollie in Arnold,
5; I*m Sed and Lonely in Cambiaire, 84 and Henry (FSoH),
274, 278; Jack C' Diamonda in Lomax (CS-1919), 293, or
(CS-1938), 254; The Rabble Soldier in Sandburg (AS), 258;
The Troubled Soldier in Sandburg (AS), 138; and The
Waggoner* a Lad in Scarborough (SC), 282 H. The same ex-

MB
Song Texts
2234
pression is also part of The Coo Coo Bird in Robinson
(YF), 90; I’a Troubled in Lomax (FBITA), 208; and LulU
in Smith (3CB), 20.
The early American believed in ’’rugged individualism”
and, being an independent cuss, he would have the world
know that he intended to live just as he pleased. It is
an attitude clearly expressed in the following floaters:
1*11 eat when I’m hungry ,
And drink when I’m dry ...
Or, again:
It’s beefsteak when I’m hungry .
Whiskey when I’m dry ....
It sounds American, but it isn’t really. The expression
is proverbial. In llorthall (1892), 501, we find this
English forerunner:
Bread when you’re hungry ,
Brink when you’re dry ,
Rest when you’re weary ,
And heaven when you die.
Going back, we find almost the identical words in an Eng
lish broadside of 1737 ( Roxburghe Ballads , vm , 613):
He eats when he’s hungry ,
And drinks when he * q dry ...
A stlreak of self-pity ran the heart of American pioneers,
and was usually revealed when love went wrong. Of course
there was nothing original about self-pity expressed in
these words:
I wish I had never been born ,
Or died when I was young ...
Those lines appear in more than a dozen old songs, includ
ing James Harris , or The Demon Lover (The Carpenter 1 s
Wife in MB) .
Other popular traditional ideas were expressed in song
by ballad singers. When he meant to go out and overtake

MB
Song Texts
2235
a departed love, he pang
Saddle me the milk-white horse ,
Saddle me the brown,
Saddle me the swifted hor®e
That ever laid foot on ground.
Many adventure? were started with
_I Went up on the mountain top ,
To give my horn a blow.
When it came to marriage the American singer knew exactly
what he*d do with a bossy wife:
If _I had a scolding wife
I*d whip her , sure as she[s born. .♦
OR:
I*d take her down to some old town
And trade her off for corn.
In more songs than is possible to recite here, the rural
pioneer solved problems in unusual ways, some of which
were taken from one song and placed in another as was
the case with
I went to the river an d couldn 1 t get across
Jumped on an alligator and thought it was a
horse.
The rural pioneer knew all about animal®, of course, and
delighted in stretching the truth a little. The follow
ing lines are repeated in hundreds of ®ongs:
Jaybird ®ittin* on a hickory limb.
He winked at me and _I winked at him ,
OR
Possum sit tin 1 on a 1 ®imnon tree ,
Looked so cunnin 1 down at me,
OR
Rabbit in the [simmon tree ,
Possum on the ground .

MB
Song Texts
2236
The folk had an obvious liking for "bushy tails" on
various animals, and in song after song we hear
Raccoon got a bushy tail,
Possum tail is bare ,
Rabbit got no tail at all,
Nothing but a. bunch of hair !
The bushy tail was on the fox, the rabbit, or the
squirrel, defending on the preference of the singer.
"Wishing" was another folk favorite, and the singer was
always wishing he was this or that, or had one thing or
another. Examples of frequently repeated and floating
"wishes” are
I wish I was an acole, hanging on a tree, OR
I wish I had £ great bi g house , OR
I wish I had someone to love me.
There wa« a decided preference for "if only" lines, which
also floated in and out of songs:
If I»d a-listened to what mama said ,
1 wouldn’t be here today , OR
I*d be sleeping in a feather bed .
Or, it was:
If I had the wings of and angel
OR
If _I had died when I was young
OR
If whiskey don’t kill me.
When it came to religion, both black and white folk ex
pressed certain ideas over and over, in one song after
the other. In at least fifteen revival hymns, we find
the_ eame stanza:
Jesus, my all . to heave n is gone ,
And I_ don [ t expect to stay much longer here ;
He whom I fix r.v hopes upon.
And I don’t exrect to stay much longer here

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Song Texts
2237
And, being believers, they want to be with Jesus. So
they express this desire repeatedly in lines that float
from song to song, such as:
Farewell . vain world . I'm going hone .,..
This World is not ay home ....
— ' t expect to sta.y much longer here...
There is a tree in Paradise. ..,
On Jordan's stormy banks I stand ....
They also knew how they wanted to be buried. For those
who survive them, they leave this set of directions:
Big mg grave and dig it deep .
And lay me down and let me sleep...
OR:
P-Pon mg breast place a snow-white dove .
To show the world I died for love .
When tired of singing, or v/hen endings of songs had been
forgotten, the problem or subject was placed repeatedly
in the hands of the listeners, with these two lines:
There * s bread and chee°e upon the shelf,
If you want more . then sing it yourself ?
Throughout this Ka s ter Book the line® and stanzas set
down above will be encountered in dozens of different
songs# And this ip not the whole of it# Every kind of
traditional song has floating lines, sometimes variated,
sometimes not; and with rare exception, we do not know
which song first contained them#
**************************,,..*.,,

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Song Texts
2238

No. 517
FLOP-EARED MULE
According to Ford, " Flop - Eared ?/!ule is derived from
College Schottisch ," The tune is also =ometimes u<=ed
for an old English stall ballad, The Monkey Turned
Barber . Here in America the tune i« a fiddle piece,
used for Hoedowns and Square Dancing, There are no
known words except those set to the tune, such as De
Ole Mule[s Tail in Thede, 129.
See tune in TUNES, Master Book . For other versions,
see Ford (OTFM), 10 and (TMA), 121.
***********■**■**•*-■**-*■*■**•*■*•#■* •*■**••***** *

No. 518
FLORA KacDONALD
also known as
The Skye Boat Song
Speed, Bonnie Boat
Far Over Yon Hills
Flora MacDonald and the King
Traditional American versions of this old song are
usually derived from the Scottish piece, Skye Boat
Song —words by Sir Harold 3oulton and James Hogg, and
music by Annie MacLeod and Neil Gow. It is the most
familiar of the many songs about Bonnie Prince Charlie
and has always been easily available in print.
Historically, this =ong is related to the battle between
the Duke of Cumberland and the forces of Charles Edward
Stuart, Pretender to the British throne. After the
Battle of Culloden in 1746, Charles escaped to the Isle
of Skye, in the Begridee, with the aid of a Jacobite,
Flora MacDonald.
In 1774 Flora MacDonald emigrated with her family to
the Cape Fear region of North Carolina. She was already

MB Song Texts
2239
famous in song and story, not only for her aid to
Charles but also for having been visited (in 1773)
by Dr* Samuel Johnson and James Boswell 0 Flora de
parted North Carolina for Scotland in 1779*
Brown, III, 439, has a North Carolina ballad known
as Flora MacDonald * s Lament which begins:
Over the hill and lofty mountains
Where the valleys were covered with snow,
Hear the murmuring of the fountains
Where the crystal waters did flow.
Tet another Floral Lament is given in Macquoid, 266-
267 and Hudson (SC), 34-35, and it begins:
Sweet is the rose that's budding on yon thorn,
Down in yon valley saw cheery,
But sweeter the flower that does my bosom adorn,
And springs from the brea«t of my dearie*
For a poem called Prince Charles and Plora MacDonald's
Welcome to Skye . Bee Hudson (SC), 32 and Macqoid, 241.
Fragment of a Scots song called Flora MacDonald is in
Greig & Duncan, No. 132,
REFERENCES
Best, 95
Brewster (BSI), 326-327
Cole, 162-163
Gilbert (IOC), 21
Hopekirk, 39-41
Hudson (SC), 58-59
Leisy (LAS), 100-101
Macfarren, 216-217
Maine, 137
Moore (BESS), 147-148
Flora MacDonald
Speed, bonny boat, like a bird on the wing,
Over the sea to Skye!
Carry the lad who was born for a king,
Over the sea to Skye!

MB Song Texts
2240
Loud the waves roar, beat on the shore,
Ocean *« the Royal Bay;
And while you 9leep, Flora will keep watch
O’er your weary head.
Burned are our houses, exile and death
Scatter our loyal men;
Before the owora is cool in the sheath,
Prince Charles will come again.
Speed, bonny boat, like a bird on the wing,
Over the sea to Skye!
Carry the lad who was born to be king
Over the sea to Skye!

go. 519
FLOWERS, OARS AND SAILS
also known as
Choose Your Partner
Flower in the Garden
Gents to the Center
Oars on the Boat
Old Folks Say
Rose in the Garden
Sailing at High Tide
Sailing at High Tide
Sailing in the Boat when
the Tide Runs High
Sailing up the River
Sails Upon the River
There*s a Rose in the
Garden
When the Tide Runs High
A general title is supplied for this game song because
it is found in many versions. Our title contains words
prominent in all the versions in circulation. It does
appear to be compounded, using lines and stanzas that
float in and out of songs ox a like character. The tune,
of course, is the well-known Irish Washerwoman.
Writing of this and similar pieces, Gardner said they
are "Songs of little sense which merely furnish the

MB
Song Texts
2241
singers with some excuse for skipping about kissing.”
Newell classified it as a "Love Game,” in which "a
single player stands in the centre of the ring, which
circles and sings” the words*
Two versions are given below. The A version is commonly
known as Oars on the Boat , or Gents to the Center *
Version B is commonly known as Sailing at High Tide, or
glower in the Garden.
REFERENCES
Backus, 296
Botkin fAFL), 812-813
Botkin (APP3), 134-185
Brown, I, 127-128
Cox (SG), 203-204
Gardner (PSH), 243-244
Gardner (SPPG), 122
Hamilton, 299
Lomax (PSNA), 29
Newell, 110, 238-239
Quarterly (SPL), VI, No* 4
203-204
Scott (PSS), 12
Seeger (1), 160
Silverman, I, 87
Wilson (BA), 77-73
Flowers, Oars and Sail s
Version A
Gents to the center as the tide rolls high,
Gents to the center as the tide rolls high,
Gents to the center as the tide rolls high,
Waiting for a pretty girl to come by-and-by.
Choose your partner, stay till day (3)
We don’t care v/hat the Old Polks say.
Oars on the boat and she won’t go round (3)
Swing that pretty girl you juet found.
Ladies to the center as the tide rolls high (3)
Waiting for a handsome man to come whirling by.
Old folks say that the very best way (3)
Is court all night and sleep all day.

MB
Song Texts
2242
Oars on the boat and she won’t go round (3)
Till you kiss that pretty girl you just found.
VERSION B
Sailing in the boat when the tide runs high (3)
Waiting for some pretty girl to dance on by.
Here she comes all fresh and fair,
Sky-blue eyes and curly hair,
Rosy pink cheek, dimple in her chin—
Say, young man, but you can’t come in.
Flower in the garden for you, young man (3)
Better take care, choose the very best you can.
Promised you’d marry me ’neath the moon (3)
Better keep your promise, and keep it very soon.
Mama told my papa and he told me (3)
That a wedding like ours hadn't oughta be,
***************************

No. 520
FLOYD COLLINS
also known as
The Death of Floyd Collins Floyd Collins' Death
This is a "tragic event" song, and one that earned a
lot of money-but not for the author and composer.
The song appear in 1925, shortly after Floyd Collins
was trapped in a Kentucky cave. The facts are a matter
of public record.
On January 30, 1925, Floyd Collins descended into a
"sandhole" cave near Mammoth Cave, Kentucky, where
he was trapped by a landslide. He was found the next
day by his brother who sought immediate help. Attempts

H3
Song Texts
2243
to rescue him continued until February 16. ' The tragedy
and the attempted rescue excited the whole country, and
the song was an instant success. Collins remained alive
for 8 lx days, and in full view of men working around the
clock to rescue him, Ju«t prior to the time they finally
reched him, Floyd Collins died.
According to Jean Thomas ("Blue Ridme Mountain Country.
New York, 1942, p, 237): "This ballad was writtrn by
fifty-year-old Adam Crisp who lived in Fletcher, Korth
Carolina, at the time of Collins* death."
According to D. K. Wilgus, the song wa<« written by Rev.
Andrew Jenkins and Irene Spain of Atlanta, Georgia,
I happen to know that Thomas was incorrect and that
Wilgus was right, Jenkins, who was a blind writer and
singer, not only wrote Floyd Collins but other popular
songs, including Little Marion Parker and Ben Dewberry’s
Final Run. I know, because a friend of mine bought the
song and made it a national hit. His name is Frank Walker,
and he was a pioneer in the recording industry and one
of its leading executives for more than forty years. He
purchased Floyd Collins from an Atlanta based promoter
named Polk Brockman, who had previously purchased it from
Rev. Andrew Jenkins for twenty-five dollars. In fact,
Jenkins wrote the song after Brockman suggested that he
do so, A copyright was issued to P. C, Brockman in 1925,
and he turned it over to Frank Walker who immediately
recorded the song with Vernon Dalhart, a popular record
ing artist. After the Dalhart recording became a hit,
Walker and Brockman assigned the copyright to Shapiro,
Bernstein & Co., Inc., New York City. The sheet music
is still available under a renewed copyright.
The «ong in used here with permission of the copyright
owner.
REFERENCES
Brown, II, 498-500
Bulletin (TFo), XVI, 29f
Cambiaire, 90-91
Gardner fBSSM), 307-308

MB
Song Texts
2244
Green (OAM), 124-126
Henry (SSSA), 82-83
Laws (AB), G 22
Roberts tlP), 153-155
Thomas (BMMK), 110-111
Floyd Collins
Now come all you young people,
And listen while I tell
The fate of Floyd Collins,
A lad we all knew well.
His face was fair and handsome,
His heart was true and brave;
His body now is sleeping
In a lonely sand-stone cave.
0 mother, please don't worry;
And, father, don't be sad.
1*11 tell you all my troubles—
Oh, what a dream I had!
T dreamed I was a prisoner,
My life I could not save;
It seemed that I would perish
Within a sand-stone cave.
The rescue party labored,
They worked both night and day
To move the mighty barriers
That stood within the way,
“We'll rescue Floyd Collins, 1 '
This was the battle cry.
“We'll never, no, we'll never
Let Floyd Collins die!"
Now on that fatal morning
The sun rose in the skies,
The workers still were busy:
"7/e'll save him by and by."

MB
Song Texts
2245
But, oh! how sad the ending;
His life they could not eave!
His hody then was sleeping
In a lonely sand-stone cave.
Young people, please take warning
Prom Floyd Collins* fate,
And get straight with your Maker
Before it is too late.
It may not "be a sand-stone cave
In which you find a tomb,
But at the bar of Judgment
We all must meet our doom.
*******************************

Ho. 521
THE PLY HAS MARRIED THE BUMBLE BEE
also known as
Piddle Dee Dee
This is a nursery song that dates, probably, from the
colonial era. Songs about animals acting like human
beings have always been popular with children. This
one was no exception,
REFERENCES
Bertail, 77 Linecott, 196
Emrich (CBF), 12 Wier (YAM), I, 90
Ives (SB), 21 Yolen, 200-201
Leiey (LAS), 56
The Ply Has Married the Bum ble Be e
Piddle dee dee, fiddle dee dee,
The Ply has married the Bumble Bee!
Says the Ply, says he, '•"fill you marry me,
And live with me, sweet Bumble 3ee?”

MB
Song Texts
2246
Says the 3ee, says she, "I will marry you,
And live with you, and happily*”
Piddle dee dee, fiddle dee dee,
The Fly has married the Bumble Bee!
Piddle dee dee, fiddle dee dee,
The Fly has married the Bumble Beel
Says the Bee, says she, "If you bring the ring,
1*11 share your wing and never 9 ting."
Says the Fly, says he, "I will bring the ring,
Then wing to wing we’ll buzz and sing."
Fiddle dee dee, fiddle dee dee,
The Fly has married the Bumble Bee!
*********** ************

No. 522
THE FLYING CLOUD
also known as
Edward Holland Edward Hollander
This ballad of piracy was popular with sailors at sea
and with lumbermen in the woods. It is probably from
Irish-English broadside sources, though I have seen
no proof* Doerflinger thought it "may have originated
as early as about 1830." Colcord dates it 1819-1825®
The Flying Cloud of this song should not be confused
with a ship of the same name built by Donald McKay, at
Boston. McKay’s ship sailed to San Francisco in 89 days
in 1851.
According to the text (not always reliable), this Flying
Cloud was a famous pirate ship. Thus far, however, no
record has come to light of a pirate ship called the
Flying Cl oud. As Belden observed, "The name is one that
may well have been given to more than one vessel in the
palmy days of American shipping,"

KB
Song Texts
-2247
REFERENCES
Beck (FLM), 247-251
Belden (B8), 128-131
Botkin (AFL), 845-847
Colcord, 73-75, or 145-147
Creighton (SENS), 126-130
Dean, 1-2
Loerflinger, 136-139
Eckstorm, 214-216
Finger (FB), 84-87
Friedman, 411-415
Gordon (OSM)-11/8/1926,
206-207
Gray, 116-123
Greenleaf, 349-353
Hugill (1), 526
Hugill (2), 224-226
Jour (AFL), XXXV, 370-372;
XLVIII, 351
Leach (BB), 778-781
Lomax (A3FS), 504-507
Mackenzie, 283-285
Mackenzie (QB), 151-153
Peacock, III, 842-845
Rickaby, 145-149
Shay (ASSC), 183-186
Shay (111.73), 183-186
Shay (PF-2), 151-155
Shay (PF-3), 210-212
The Flying Cloud
My name is Edward Hallahan, and you must understand,
I came from County Waterford, in Ireland’s happy land.
When I was young and in my prime, fair Fortune on me
smiled;
My parents reared me honestly—I was their only child.
My father bound me to a trade, to work in Trenton town;
A ’prentice to a cooper there, whose name was William
Brown,
I served my master faithfully for eighteen months or
more,
Then shipped aboard the Ocean Queen , bound for a foreign
shore.
Now when I reached that foreign shore, I met a Captain
Moore,
Commander of the Flying Cloud that sailed from Baltimore,

MB
Song Texts
2248
He cordially invited ce, and asked if I would go
To haul the slaves from Africa, where sugar cane
does grow*
We all agreed except for five, and those we had to land.
Now two of them were Boston men, and two from Hindustan;
The other wa® an Irishman, who came from Baltimore—
If only I had joined them, and stayed with them on shore.
The Flying Cloud wa° Clipper "built, four hundred tons
or more,
And «he could out-sail any ship I'd ever seen Before.
Her sail® were white as driven snow, a ship I could
respect;
She carried thirty-two braes guns upon her polished deck.
We sailed away with no delay and struck Africa’s dark
shore;
Eighteen hundred of those poor blacks away with us bore.
We made them walk upon the planks, we stored them down
below;
Some eighteen inches to the man was all that she would
go.
Next day we sailed away to sea with our cargo of slaves.
They would have been much better off had they been in
their grave®.
The plague and fever came aboard and struck most dread
fully;
We dragged the dead up to the deck and flung them in
the sea.
We sailed along about a week, then came to Cuba’s shore;
We sold the slaves to planters there, to toil forever
more.
In rice and coffee field® to slave beneath the Cuban sun,
We left a band of human beingn and went to have some fun.

MB
Song Texts
2249
Our money soon was spent and gone, so we put out to sea;
Then Captain Moore stood on the deck as happy as could
be.
He said, "There’s gold and silver, hoys, if you will all
remain;
We’ll hoist aloft the skull and hones, and sail the
Spanish Main,”
We rohbed and plundered many ships upon the raging main,
And many men did plead with us to spare their lives in
vain.
We made them stand and walk the plank, ignoring all their
wails.
The captain often said to us that dead men tell no tales.
They took us down to Newgate, all fastened with a chain,
And charged us all with piracy upon the Spanish Main.
Now whiskey and had company have made a wretch of me,
So you young men a warning take: Avoid all piracy!
***************** •***.#..***-a.**.*.**.#.*.*.***

No. 523
THE FOGGY DEW
also known as
Chill of the Foggy Dew To Keep Her From the Foggy Dew
The Foggy, Foggy Dew The Weaver
This song dates quite far hack in British folklore. It
is old hut still popular. Not always sung to the same
tune (see Version B helow), we find that the versions
recovered in America are considerably different from
their British sources. According to Randolph, the song
"is clearly related to the Slago Town and Bugahoo songs
which Comhs (FSMEU), 167, 214-215, found in the Kentucky
mountains.” It is not related, however, to two other

MB Song Texts
2250
songs of like title, one of which was- specially written
by E. H. Milligan for a 1910 publication, Songs of the
Irish Harpers . The other, and possibly older song, is
in-Kidson (TT), 165-166, who infones us that the air
was "taken from a book of manuscript airs for the violin,
noted down about 1825 by a Yorkshire performer. In the
Ms. no words are appended, but these are here supplied
from a broadside." The Kidson text begins:
What shepherd was like me so blest
To tend his fleecy care,
For welcome unto yonder hills,
I freely did repair.
Milligan*s 1910 Irish text begins:
Down the hills I went one morn,
A lovely maid I spied;
Down the hills T went one morn,
She looked at me and smiled.
A fuller, more complete text of Milligan's song may be
seen in the following collections: Peacock, II, 520-
521; Randolph, I, 397; and Silber (HSB), 59«
Of the two versions, A and B, given below, version A
is the one most widely known in America. It's popularity
in our town is due in no small measure to the singing, of
balladeer Burl Ives.
REFERENCES
Agay (1), 6-7
Arnett, 37
Best, 43
Downes (1940), 192
Farnsworth, 14-15
Hubbard, 115-116
Ives (SA), 22-23
leisy, 103-106
Leisy (SPS), 66-67
Lomax (FSNA), 89-91
Lomax (PB), 34
Morris, 160-161
Peacock, II, 518-519
Quarterly (SFL), VIII,
Ives (SB), 64-65, 60-
61
Jour (FSS), I, 134;
III, 295
191-192
Randolph, I, 394-397
Reeves, 45, 111-113
Sandburg (AS), 14-15, 460

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Song Texts
2251
Scott (BA), 39
Sedley, 179-180
Sharp, II, 174
Shay (PP-1), 54-55
Shay (PF-3), 26
Silverman, I, 138
Sharp (PSPS), No. 17
The Foggy Dew
Version A
When I was a bachelor and lived all alone,
I worked at the weaver's trade;
And the one and only thing I ever did wrong
Was to woo a fair young maid.
I wooed her in the winter-time,
And part of the summer too;
The one and only thing I ever did wrong
Was keep her from the foggy, foggy dew.
One night she knelt beside my bed
While I lay fast asleep;
She threw her arms around my neck,
And she began to weep.
She wept, she cried, she tore her hair—
Ah, me! What could I do?
All night long I held her in my arm 9 ,
To keep her from the foggy, foggy dew.
Again I'm a bachelor, I live with my son,
We work at the weaver's trade;
And every time I look in his eyes,
He reminds me of the fair young maid.
Reminds me of the winter-time,
And part of the summer too—
Of all the nights I held in my arms,
To keep her from the foggy, foggy dew.

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Song Texts
2252
VERSION B
One night as I lay in my bed,
As I lay fast asleep,
My own sweet love stood beside my head,
And bitterly she did weep.
She wrung her hands and she tore her hair,
Asking, "What shall I do?
For they say the love that men-folk bear
Dries off like the foggy dew, dew, dew,
More swift than the foggy dew.
Watch on, dear love, the lee long night,
And the morning will be here.
Then rise, pretty maid, and don't be afraid—
Men love, be it mist or clear.
So dry your eyes and kiss me, dear,
As once you used to do:
For the only cold that you need fear
Is the chill of the foggy dew, dew, dew,
Is the chill of the foggy dew.
****************************************

No, 524
FOGGY MOUNTAIN TOP
also known as
If I Was on Some Foggy Mountain Top
This song is usually ignored by scholastic collectors of
traditional songs, probably because it was and is one of
those so-called country songs featured by "country music"
performerso
A -song that may be distantly related, The Rocky Mountain
Top , is in Quarterly (SFL), II, 75-76 and Sharp, II, 110.
The version below was taught me by Ollie Bunn, 7/ilson,
N. 0., when we were both broadcasting over radio station

MB
Song 'Texts
2253
WXS, S, C., in the 1930a* Of course, the song is older
because A. P« Carter, John lair, and others, had been
performing it for years prior to the 1930s.
REFERENCES
Brown, III, 433 Randolph, IY, 318 Silverman, II, 130
Foggy Mountain Top
If I was on a foggy mountain top,
I’d sail away to the we«t;
I*d fly all around this whole wide worl,
To the one I love the be«t,
To the one I love the best.
That girl caused me to weep and made me moan,
And caused me to leave my home.
Oh, for the lonesome pines and good old times,
And the comforts that are gone! (2)
Too blue to ’.veep, too sad to care,
And too far down to roam;
But Just the same I’m on my way,
’Cause I ain’t got no home! (2)
If ever you meet that gal of mine,
There’s something you can tell her:
I’d walk all around this whole wid,e world,
Just to be her loving feller* (2)
Tf I’d a—listened to what mama said,
I wouldn’t be here today,
A-lyin* ’round this old Jail-house
And a-livin’ this~a way! (2)
********************.****

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- No. 525
FOLLOW THE DRINKING GOURD
also known a*
The Drinking Gourd
This song has historical interest. A pre-civil War piece,
it was a code message disguised in song and used "by escap
ing slaves and those who aided and abetted them. According
to tradition, an old sailor with a "peg leg" led young
blacks from the country north of Mobile, Alabama, to the
Ohio River by way of the Little Tombigbee. To make certain
that the escaping slaves would know where to meet him, it
is said he would teach them the following song:
Where the little river
Meet'the great big one,
The old man waits—
Follow the drinking gourd.
"Gourd" meant the "Big Dipper" and the "great big one"
meant-the Ohio River.
This song was revived in rewritten form in modern times
by professional folk singers, freedom marchers, and black
demonstrators.
REFERENCES
Arnett, 62
Berger, 40-41
Bikel (FF), 176-177
Botkin (bFL), 478
Brewer, 184
Greenway, 99-100
Leisy, 106-108
Leisy (SPS), 35
Lomax (ABFS) , 227-228
Lomax (PB), 95
Okun, 115-116
Whitman, 90
Follow the Drinking Gourd
When the eun comes up and the first quail calls,
Follow the drinking gourd.
There is a man who’s waiting for to carry you to
freedom,
Follow the drinking gourd.

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Chorus
Follow the drinking gourd,
Follow the drinking gourd,
There 1 9 a nan out there who's waiting
For to carry you to freedom,
Follow the drinking gourd,
******* ************************* ***********

No, 526
FOREIGN LANGUAGE BALLADS AND SONGS
Foreign language Ballads and songs were generally ignored
by American folk song collectors. A dozen or so specialists
did pay attention to some foreign language material, But
most apparently assumed that all American tradition was
in English, Some collecting was done among the Pennsyl
vania Dutch, or Germans, some was done among the Indiana,
Missouri and Louisiana French, and even mere was done
among the Kexican-American settlements of the Southwest
and California. But little or no attention was paid to
others. For example, I have never seen or heard a
Chinese-American folk song, and this despite the high
number of Chinese who came and worked and helped to Build
this nation.
Long Before the English, Scottish, or Iri«h songs were sung
on the North American continent, the song 9 of the French
and Spanish echoed in the land. The Spaniards were first,
of course, and from the first they sang song® that have
persisted, some even into our own time. In the old chrcni-
cale are numerous references to Spanish folk songs, gener
ally romances (a= their ballad* were called), and we
learned from these references that the songs were the common
property of all classes.
Among the Spanish-American folk songs there is a threefold
repertoire: The traditional romances Brought over from

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Spain during the Conquest, the decIma so popular in the
19th century, and the diversified cancion that arrived
during the previous century from Mexico. The line cannot
be drawn definitely between the beginning of one type of
song and the end of a former one.
In California and the Southwest, where Mexicans settled
long ago, the guitar and violin lead all other instru
ments in musical expression. Singing was a popular past
time, and Spaniards took their singing seriously, Nearly
a hundred years before the English planted their first
permanent colony in Hew England, the Spaniards had estab
lished music schools in Mexico. Unfortunately, they made
no effort to preserve native music—yet, the common
people, i. e, lower classes, kept their songs alive by
the pimple process of singing them. The music schools
were primarily for the church and religiously approved
music.
The Spanish singing tradition is still with us. No other
people in this country, with the possible exception of
the Southern blacks, is more given to vocalizing than the
Spanish-speaking population. Yet they were not as attached
to Spain as one might think. Thi3 is understandable when
we remember that so few of them came directly from Spain.
The soldiery originated in Mexico, where Spanish colonizers
sexually involved themselves with the natives, taking
mistresses and wives. Then, too, Spaniards have an innate
tendency to identify themselves with the soil of the land
in which they happen to live. So once they crossed the
Rio Grande, traveling northward, their old songs began
to change. They did what the English settlers did later:
they adapted their songs to their new environment and
altered their meaning. Like many of the old English
ballads of the Southern mountaineers, many of the Spanish
folk songs extant in the Southwest can be traced back to
Old World origins.
English-speaking Americans might appreciate these Spanish

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language songs more were it not for the problem of
translation. Since most of us must sing in English,
we lose a chance to delight in many foreign language
songs. It is not too difficult to translate Spanish
into English, hut it is extremely difficult, if not
impossible, to make translated words match the times.
One is often forced to depart from the exact meaning
of the original words. In this work, however, every
attempt has been made to provide English words that
tell the same story, that are easy to sing, and that
remain as close as possible to the original thought
and feeling.
After the Spaniards came the French. But there was a
difference between the Spanish and French that had
nothing to do with the differences in their languages.
The typicAl singer of French language songs was not a
settler but a trader, a trapper and a boatman,, The
French traversed the continent, leaving their footprints
and their songs over much of what is not a very large
part of the United States. But we should not forget that
not too long ago the Gulf Coast area from New Orleans
to the Texas border was primarily French in language and
culture. This area i« the Cajun or "Evangeline" country,
many of whose people are descended from the French settlers
of Acadia, a region of Canada near Nova Scotia,
The French made a mark on the land and waterways that
cannot be erased. TChen New England was a mere colony,
with a few clusters of settlements, New France was an
Empire. In the 1630s French explorers v/ere already push
ing their canoes into the heart of the continent. By 1704
they had mapped the interior waterways. They left a ring
of French names on the 7/estern waters: Detroit, Sault
Ste, Marie, St. Croix, La Crosse, Prairie du Chien,
Dubuque, St. Louis, and Vincennes. All these places be
gan as stations in the wilderness, with the flag of
France beside a trading hut and a bark chapel lifting
a cedar cross.

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In a very few years, New Prance was an enterprise
flung over the waterways from the Gulf of St« Lawrence
to the Gulf or Mexico. Yet it was a thin line, so
thin one looks hard to trace it through the wilderness.
In 1700 there were only 12,000 Frenchmen in all New
Prance, while ten times that many English were enlarg
ing their colonies. A clash was bound to occur, and it
did.
In the contest that ensued, the French won early victories
but the English won the war. At the Treaty of Paris,
in 1763,-New Prance passed into history and England came
into possession of-all the territory east of the Mississ
ippi. Nevertheless, the French-did not leave. Neither
did their songs. And these songs, like those of the
Spaniards, descended from a romantic past; they conjured
up bright images of fabulous kings and princes with
silver guns a—hunting, or told tales like the King of
Spain’s Daughter who desired to have her gallant cavalier
dive to the bottom of the sea and retrieve her lost ring*
The French in North America were apparently satisfied
with their ancient songs, for, as Marius Barbeau reminds
us, they created new words and tunes for comparatively
few of them, and most of these deal with the lumberjack
experience which was too different from French life to
borrow its songs.
Although many of the French songs are preserved in better
versions in French Canada, many were also recovered in
Illinois, Indiana, Louisiana, and Missouri. The largest
and most diverse number were recovered in Louisiana,
where the French, Spanish and English Americans finally
came together.
In Louisiana there was the problem of dialect to contend
with. As Irene Whitfield said, the "folk songs are so
varied that a rigid classification is practically im
possible," Whitfield, in her collection, grouped the

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Song Texta
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Louisiana songs into three types "according to the
French used in them—Louisiana-French, Acadian or
Cajun-French, and Negro-French or Creole dialect,"
Because they originated in Louisiana, the cajun and
creole dialects are important to songs in American
folk tradition.
The cajun songs seem endless, for they are played over
and over and over again. They match the "pulling and
pushing" of the accordian, the principal instrument
in cajun music. There is little or no religious element
in cajun song, which is somehow surprising. Also, in
many cajun songs, there seems to be no semblance of
scientific rules of composition, nor development accord
ing to a plan of preconceived ideas.
Creole songs, like the cajun, lack the religious ele
ment, but they are often short, Generally they represent
a lover—not so gallant perhaps, but none the less sin
cere, Elements found in creole songs are: satire,
ridicule, or mockery, a sort of suggestive vulgarity,
and references to food. The creole dialect is the
language of the blacks of Louisiana who were formerly
slaves, owned by French masters, and who evolved this
dialect from the French of their owners.
Aside from the foreign language songs already discussed,
there are numerous others. Unfortunately not many of
these others were collected, studied and published. The
German songs in Pennsylvania were extensively investi
gated and gathered, but were primarily those in the
"Pennsylvania Dutch" catergory. Swedish songs were not
collected in great number either, though a few are ex
tant in the land, Italian songs play no part in American
tradition, and this despite the fact that Italians
possess a large number of folk songs. Hebrew folk songs
are also conspicuous by their absence from American
folk collections.

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Song Texte
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The nature of this work requires only that T report
on those folk songs available in print, as part of
an American collection that is recognized as belong
ing to American traditional music and song. There
fore, if large bodies of songs were not thus collected
and published, I have no wav of recording them herein.
For this is primarily a reference collection, ana the
points of reference are published collections of folk
songs. The foreign language songs in this Master Book
are le«s numerous than those in the Engli°h language
and are, therefore, merely representative of the vast
body of material that exists.
********************************

No. 527
FORGOTTEN LOVER
also known as
The Servant Man
Tou Can’t Come Again
The False Lover
Forlorn Lover
The Rejected Lover
This is a '’rejected lover” song that seems to be one
of those compounded pieces made up almost entriely of
lines and stanzas borrowed from other songs. For example,
Sharp gives ten versions and each one is different from
the others. The version given here is also different
from those versions in Sharp’s collection.
REFERENCES
Brown, II, 302-303;
IV, 168
Gainer, 20-121
Jour (AFL), XLV, 111-112;
Cox fFSW), 39-40
Cox (TBFS), 155
Dean, 108-109
Fuson, 145
LII, 17-18
Lomax (OSC), 130-140
Sharp, II, 96-102
Sharp (AEFS), 53-57

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2261
Forgotten lover
Oh, once I met a pretty little girl,
And I loved her more than life.
I*d give away all that I own
Just to have her as my wife.
Just to have her as my wife.
But I was gone six months or more,
And it caused her too much pain;
She wrote to me with her own hand,
Saying, Don’t come hack again. (2)
I wrote to her my only answer,
And I let my true love know:
A man would he quite foolish
To show where he could not go. (2)
I never heard from her again,
Tho' I heard that she had wed;
And then I started drinking wine
And wishing I was dead. (2)
Give heed to me you fair young men,
And listen close to me:
Don’t place all your affection, hoys,
On a green growing tree. (2)
The pretty leaves will wither soon,
And the roots will soon decay;
And all the love within your heart
Will quickly fade away. (2)
************************

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Ho, 528
FOR REASONS STATED
also known as
All in the Scenes of Winter
Forlorn Lover
If One Won't, Another Will
I've Found a New Sweetheart
The Lonesome Scenes of
Winter
Pretty Polly
The Rambling 3eauty
The Rejected Lover
The Scenes of Winter
The Scornful Lover
Since You Threw Me Over
This form of the "rejected Lover" presents a different
attitude than the one expressed in the Forgotten Lover
(above). Here we have a "now we're even" ending, which
could clarify it also as a "revenge" song. For a song
with a similar theme but very little verbal resemblance,
see Proud Nancy in Karpeles, 47-51. Also see and com
pare Dean, 108.
REFERENCES
Belden (BS), 195-196
Henry (FSSH), 298-300
Henry (SSSA), 136-137
Jour (AFL), XX, 273; XXIX
200; XLV, 111
Laws (AB), Nos. 16, 11 & 12
Owens (TFS), 59-60
Roberts (IP), 158-159
Shellans, 38-39
Wyman (TKMS), 94-97
For Reasons Stated
How lonesome is the winter,
How chilling is the snow;
The dark clouds hover 'round about me,
I heard the cold wind blow.
I went to see my true love,
As happy as could be,
But when I said I loved her,
She would not answer me.

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The little birds sang sweetly
Upon each bush and vine;
I told her how I loved her.
And asked her to be mine.
The roosters started crowing
Just at the break of day;
I told her I was waiting.
To hear what she would say.
"If it*s you I must marry,
1*11 live a single life;
I*ve never really loved you
Enough to be your wife.
•So take this for an answer,
And seek another bride;
For I've found a new sweetheart
And you must step aside."
It took about one summer
Por her to change her mind.
She wrote me then a letter,
And said 9 he had been blind.
She told me that she loved me,
And said I should have known;
She wrote, "I'm waiting for you
To claim be as your own."
I sent her back this answer,
And got it off with speed:
"I loved you once, my darling,
I loved you once indeed,
"But since you threw me over
I*ve learned to play the game—
I've found me a new sweetheart,
And you must do the same."
**********♦*****-*

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No* 529
FOR THE FOURTH OF JULY
Americans were extremely fond of the Yankee Doodle
tune in olden times. I have seen hundreds of songs
set to its air. This one dates back to at least
1829, when it appeared in the Southern and Western
Songster , a small book of songs published in Phil
adelphia by J. Grigg. For modern reprints, see
Jackson (ESUS), 84 and Luther, 77.
For the Fourth of July Tune: Yankee Doodle
Oh! Yankee Doodle is the tune j_
Americans delight in!
'Twill do to whistle, sing or play,
And just the thing for fighting.
Chorus
Yankee Doodle, boys, hurrah!
Down outside, up the middle,
Yankee Doodle, boys, hurrah!
Trumpet, drum and fiddle.
Now should Great Britain, Spain or France
Wage war upon our shore. Sir,
We'll lead them such a woundy dance
They'll find their feet are sore, Sir.
America's a dandy place,
The people all are brothers;
If one has got a pumpkin pie,
He shares it with the others.
The land we till is all our own,
Whate'er the price—we paid it.
And we will fight till all is blue
Should any dare invade it!
*******************

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Ho, 530
THE POX
also known as
The Black Buck
The Brown Buck
Pox and Geese
The Pox and the Gray
Goose
The Poxes
The Pox Is On the Town 0!
The Pox Traveled Out
The Pox Walked Out
The Pox Went Out on a
Starry Night
Miss Slippy Sloppy
The Moonlit Night
The Old Black Buck
Old Baddy Pox
Old Man Pox
Old Mother Plip-Plop
Old Mother Flipper-Flapper
Long famous in English tradition, this son has been
entertaining English-speaking people for centuries.
Around the latter part of the 18th century it became
a nursery song, Neverthele^^, it has remained a favor
ite of adults. The Pox is known in all areas of the
United States.
REFERENCES
Baring-Gould (BNSR), 10
Baring-Gould (EPSS), 64-65
Baring-Gould (SW), No. 55
Best, 10-11
Brewster (BSI), 323
Brown, III, 178-181; V,
107
Brown (BLNC), 12
Coleman, 12
Cox (PSS), 474-475, 531
Cox (TBPS), 172
Creighton (TSNS), 248-250
Bavis (FSV), 207-208
Dunstan, 4-6
Eddy, 215-214
Emrich (CBP), 29
Flanders (YPSB), 119-120
Puson, 181-182
Gardner (BSSM), 465
Graham (TNR), 37
Halliwell (NR), 30-34
Hubbard, 395
Ives (SB), 26-28
Jour (APL), XXXVI, 377;
LVI, 105
Karpeles (EPS), II, No,
333
Leach (EB), 749
Leisy (LAS), 86-87
Linscott, 202-204

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Song Texts
Logan, 292
McCollum, 105
Memoirs (APIS), XXIX, 42-44
Moorat, 26-27
Moore (BFSS), 261-264
Notes, 1st series, 371
Okun, 196-197
Opie, No. 171
Peacock, I, 12-13
Quarterly (SFL), IV, 148-
149
Randolph, I, 386-391
2266
Roberts (SBS), 191-192
Scott (PSS), 15
Seeger (3)» 32-33
Seeger (6), 80
Sharp, II, 332-333
Shekerjian, 44-45
Silverman, I, 305
Stout, 42-44
Talley, 40, 100
White, 177
Williams (FSUT), 247-248
Winn, 60
Yolen, 86-87
The Fox
The fox went out on a starry night,
And he prayed that the moon wouldn*t
shine too bright;
He had many a mile to go that night
Before he reached the town 0, town 0,
town 0,
He had many a mile to go that night
Before he reached the town 0!
At last he came to a poultry bin,
And he saw all the ducks and the geese
locked in;
Said a couple of you gonna grease my chin
Before I leave this town 0, etc .
He stuffed a goose in a gunny-sack,
And threw a brown duck over his back,
And the little brown duck went **quack!
quack! quack!
With legs all dangling down 0, etc .

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2267
The farmer's old wife jumped out of bed,
She ran to the window and shook her head.
Well! for crying out loud! the lady said,
The fox is on the town 0, etc .
The farmer ran to the highest hill,
And he blew on his horn rather loud and
shrill;
But the little old fox said, "Prom that hill
He*ll never spot my trail 0", etc .
The fox then ran till he reached his den;
His wife saw the «ack when she let him in,
And she said, "Maybe you should go back again,
For that's a real fine town 0", etc .
They carved the duck with a long, sharp knife.
Then they ate the old goose and he told his
wife,
"Never had it so good in all my life!
And now let's chew the bones 0!", etc.
****************************************

No. 531
FRANKIE AND ALBERT
also known as
Frankie Blues
Little Frankie
Frances She Shot Albert
Frankie
The origin of this American song has never been clearly
explained. Consequently, its history al«»o remains un
clear. According to Thomas Beer ( The Mauve Decade , p.
120), the song "was known on the Mississippi in the
(18)50s and was chanted by the Federal troops besieging
Vicksburg in 1863; a copy of twelve stanzas was made
by a young officer and is preserved."

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2268
Belden (BS), 330, referring to Beer's statement,
writes: "I have not "been able to get any documentation
of these claims.” I should add, "Neither have I.”
John Huston,- who turned the story into a play (Frankie
and Johnny ) in 1930, thought the song derived from
the killing of Allen Britt by Franxie Baker—figures
in the negro underworld of St. Louis in 1899* Or so
Carl Sandburg reported.
In a review of Henry (SSSA), Phillips Barry in
Bulletin (FSSN), X, 24, expressed the opinion that
the song was based on the killing of Charles Silver
by his wife Frankie at Toe River, North Carolina, in
1831, on the same provocation that led to the shooting
of Albert (Johnny) in the song as we now have it.
All agree, however, that the song was of Negro origin.
The same story, with slight changes, is told in several
other songs, including Josie in Sandburg (AS), 84-85
and Sadie (a woman’s version) in Sandburg (AS), 86.
Also see Frankie and Johnny and The Murder of Charlie
Silver in this Master Book .
REFERENCES
Belden (BS), 330-333
Botkin (SA), 323-325
Brown, II, 590-591; IV,
293
Bulletin (MHS), XXXVI,
75-77
Cambiaire, 5-8
Cox (FSS), 218-220
Friedman, 211-214
Henry (FSSH), 338-342
Hudson (FSM), 189-191
Jour (AFL), XXIV, 366-367;
XLII, 285; XLV, 141
Kincaid No. 1, 41
Lomax (ABFS), 103-110
Lomax (NFS), 192
Lomax (USA), 312-313
Ozark Life VI, No. 2
Perrow, XXVIII, 178
Randolph, II, 127-133
Roberts (SBS), 112-113
Sandburg (AS), 75, 82
Scarborough (NFS), 80-84
Spaeth (REW), 34-39
White, 217-214

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Song Texts
2269
Frankie and Albert
Frankie and Albert were lovers,
0 lordy, how they could love!
Swore to be true to each other,
True as the stars above—
He was her man, but he done her wrong.
Frankie she was a good woman.
Just like every one knows,
She sprent a hundred dollars
For a suit of Albert's clothes—
He was her man, but he done her wrong.
Frankie went down to Memphis,
She rode on the evening train.
She spent one hundred dollars
To buy him a watch and chain.
He was her man, but she done him wrong.
Frankie lived in a crib house,
A house with only two doors;
Her money went to Albert
Who spent it on call-house whores.
He was her man, but he done her wrong.
Frankie and Albert fighting,
They fought and quarreled all day,
And Albert said to Frankie,
"Goodbye, babe, I'm going away.
I was your man, but now I'm gone."
Frankie went down to the pawnshop.
And she didn't go for fun;
She hocked all her jewelry
And bought her a forty-four gun,
For to get her man who was doing her wrong.

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2270
Frankie went down to the hotel,
And she rang the hotel bell.
"Stand back all you chippies,
Or 1*11 blow you all straight to hell!
I want my man, for he’s done me wrong.
Albert grabbed off his Stetson,
■Good Lord, Frankie, don't shoot!”
But Frankie pulled the trigger,
The gun went root-a-toot toot!
He was her man, but she shot him down!
First tine she shot him he staggered,
The next time she shot he fell;
Third time she shot him, Lordy,
There was a new face in hell!
She killed her man; he had done her wrong.
Frankie she stood by the coffin,
She looked down on Albert's face;
She said, "Have mercy on me, Lord!
Wish I could take his place.
He was my man and I done him wrong.
Judge Gillum he told the jury,
"It's plain as plain can be,
This woman here is guilty—
It's murder of second degree.
She shot her man, but he done her wrong."
"Oh, bring a thousand policemen,
Bring them around today,
And lock me in that dungeon
And throw the key away.
I killed my man * cause he done me wrong.

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2271
Frankie walked up that scaffold
As calm as you ever did see;
She raised her eyes to heaven and cried,
"Good Lord, please have mercy on me!
He was my man, and I done him wrong. r
******************************

Ho. 532
FRAHKIE AND JOHNNY
also known as
Frankie Baker
He Done Her Wrong
Aggie and Alfred
Frankee Lee
Until 1911 this song was known as Frankie and Albert
(see preceding song). The Leighton Brothers, a popu
lar vaudeville team of the time, took the old song
and rewrote it. They changed "Albert" to "Johnny"
and rearranged lines, stanzas and melody. Then they
sold the song as an original composition to a music
firm in New York City—Shapiro, Bernstein & Company,
Inc. The combination of professional performers
and professional music promoters resulted in a nation
wide hit song. Frankie and Johnny , though patently
a rewrite, became and remained the more popular ver
sion of the tale. The tune has been borrowed by
several other "pop" song writers, including Irvin
Berlin, who used it for the verse of She♦s My Baby.
The story itself was adapted by several writers and
turned into novels, plays and motion picture scripts.
Republic Pictures released its production of Frankie
and Johnny starring Helen Morgan and Chester Morris
in 1939# Frankie Baker, who shot and killed Allen
Britt in St. Louis in 1899. promptly sued Republic
for two hundred thousand dollars, claiming defamation
of character and invasion of privacy© She shot Britt

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"2272
on October 15, 1899, and he died four days later. At
her trial she pleaded self-defense, and was acquitted.
She moved to Portland, Oregon, where she operated a
shoe-shine stand. John Huston, author of the play,
supported her claim that the song originated as a
result of her affair, trial and acquittal. But she
lost the suit, receiving nothing, when the presiding
judge dismissed the case. That was in 1942. Another
film version, starring Elvis Presley, was released in
1966; hut the only thing the story of that production
had in common with the song was its title.
According to Professor T. Williams ( Missouri Histori
cal Review , No. 34, £0 292-293 ). the song antedates
the Civil War.
Whatever the date or source of its origin, the song
is a genuine American folk piece and deserves recognition
as such.
REFERENCES
Agay (2), 188-189
Arnett, 148
Belden (BS), 330-333
Best, 13
Brown, II, 589-596;
Ives (SA), 224-225
Johnson (BBLL), 22-27, 43-48
Jour (AFL), XXIV, 366; XXVIII,
Bulletin (FSSN), X, 24
Camhiaire, 5-8
Chappell (FSRA), 189-191
Cox (FSS), 218-220
Downes, 294, or 342
Eddy, 245-246
Emrich (FAL), 317-321
Friedman, 214-217
Gordon (OSMS-Aug. 20,
Henry (FSSH), 342-348
Hudson (FSM), 189-191
1923), 191
IV, 294
178; XIII, 285; XLV, 141
Kennedy (AB), 141-145
Kennedy (TAB), 305-310
Kincaid No. 1, 41
Laws (NAB), 232
Leach (BB),761-765
Leisy, 115-119
Leisy (SPS), 41-43
Lomax (ABFS), 103-110
Lomax (F8NA), 569-570
Lomax (PB), 121
Morris, 126-128
Niles (SMM), 170
Odum (NHS), 228-230
Okun, 214-215

MB
Song Texts
2273
Randolph, II, 133-136
Richardardson (AMS), 38-39
Sandburg (AS), 78-81
Scarborough (NFS), 79-85
Seeger (6), 64
Shay (PF-1), 65-71
Shay (PF-3), 31-36
Silverman, II, 370
Spaeth (REW), 34-39
Spectator, 845
Thomas (SCFS), 12
White, 214
Prankie and Johnny
Prankie and Johnny were sweethearts,
0 Lordy, how they did love!
Swore to be true to each other,
Just as true as the stars above.
He was her man, but he done her wrong.
%
Prankie, she was a good woman,
0 lordy, everyone knows,
Gave her man a hundred dollars
Just to buy him a suit of clothes.
He was her man, but he done her wrong.
Prankie went down to the barroom,
Ordered a big glass of beer;
She then said, "Mister Bartender,
Has my loving Johnny been here?
He is my man, but he's doing me wrong."
"I won't tell you no stories,
And I won't tell you no lie;
Johnny left here 'bout an hour ago
With a girl named Nellie Bly.
If he's your man, he's doin' you wrong."
Prankie went down to the pawnshop,
Bought herself a big forty-four;
She aimed it up at the ceiling.
Shot a great big hole in the floor.
He was her man, but he done her wrong.

MB
Song Text
2274
Frankie went down to the hotel,
She rang that hotel hell:
•Stand hack, all you floozies,
Or 1*11 blow you all to hell!"
He was her man, hut he done her wrong.
Frankie looked over the transom,
And there before her eye,
She saw her loving Johnny
Bakin’ out with Nelly Bly.
He was her man, hut he done her wrong.
Frankie drew hack her kimono,
Took out that big forty-four;
Boot-a-toot toot! went the bullets,
Right through that hardwood door.
He was her man, hut he dons her wrong.
Frankie went to the funereal,
She went along for the ride;
Looked at Johnny in his coffin,
And she tore her hair and cried:
•He was my man, hut he done me wrong!”
Bring on your rubber-tired carriage,
Bring on your rubber-tired hack.
Take my Johnny to the graveyard,
But he’s never coming back!
He was my man, but he done me wrong.
They took Frankie to the Jail-house,
And they locked her in a cell;
Frankie turned and told the jailer,
•Now I reckon I'll go to hell!
I shot my man, but he done me wrong.”
Sheriff came around the next morning,
He said, ”It’s all for the best."
Then he said her lover, Johnny,
Was a low-down, dirty pest.
He was her man, but he done her wrong.

KB
Song Texts
2275
Frankie now sits in the parlor,
Cooled by an electric fan,
Telling all her little sisters
To beware of a gawddamn man.
"They’ll do you wrong! Yes, they'll do
you wrong!"
Now this story has no moral.
This story it has no end,
This story just goes to show
That there ain’t no good in men.
He was her man, but he done her wrong*
******** ******* ************

No. 533
FRANKLIN AND HIS CREW
also known as
The Lady Franklin
Lady Franklin's Lament
The Sailor Boy's Dream
The Sailor's Dream
Franklin and His Bold Crew
Franklin and His Ship's
Crew
Franklin's Crew
This song is about an event that aroused world-wide
interest and remained a mystery for fourteen years.
Sir John Franklin, an English explorer, organized an
expedition to search the Artie for the elusive North
west Passage, With more than two hundred men, Franklin
sailed with two ships, the■ Erebus and Terror, in 1845.
According to Doerflinger, "After an early report from
a whaling skipper who fell in with them near Baffin
Land," Franklin, his ships and crew "vanished without
a trace in the wastes of the Artie." In the years that
followed, Lady Franklin managed to secure funding sup
port for several expeditions, all of which failed to
learn what happened. Finally, in 1859» the mystery

MB
Song Texts
2276
was solved. As reported by Colcord, "An expedition
which she (lady Franklin) had organized and sent out
under Captain McClintock was successful in finding
the cairn in which the Franklin expedition had left
an account of the loss of two ships in the ice, and
their attempts to reach safety overland." The final
entry was made in April, 1848. The message, which was
found on King William Land, told how the ships had
been trapped in the ice and said that Franklin had
died; the rest of the crew pushed on, over the ice,
in an attempt to reach the distant mainland. They did
not make it. As Eskimo woman told Captain McClintock
that "the men fell down and died as they walked."
An old version of the song is in Joseph Faulkner’s
REFERENCES
Colcord, 158-159
Delaney, No. 23, 26
Doerflinger, 145-147
Creighton (FSNB), 202
Creighton (MFS), 145
Whaler, 1878, p
. 73
Greenleaf, 308-
310
Greig & Duncan,
No.
16
Laws (AB), 144
Songster (183),
I,
444
Wehman (CS), No
. 10
Kf-
C\J
•»
Franklin and His Crew
Homeward sailing across the deep,
All in my hammock I fell asleep,
And dreamed a dream that I think is true,
About Sir Franklin and his brave crew.
As we drew near old England's shore
I heard a lady lamenting sore;
She wept aloud and I heard her say,
"Alas, my Franklin is long away.
"For long years now those ships of fame,
Have bore my husband upon the main;

MB
Song Texts
2277
One hundred seamen of courage stout
Accompnaied him as he sailed out.
To find passage "by the cold North Pole,
Where storms do rage and wild waters roll;
*Tis more than any man can do,
With heart undaunted to see him through.
Now they sailed ea«t, and they sailed west,
Along Greenland’s coast which they knew best;
Against hard ship they vainly strove,
And into the ice their ships they drove.
In Baffin’s Bay where big whales blow,
The fate of Franklin no one does know.
0 many wives were left to mourn,
To weep and pray for their safe return.
****** •*•**•*•*-***-* •*••*•* ***■*■•*•*•* ****

No. 534
THE FROG AND THE MOUSE
also known as
The First Came In It Was
a Rat
A Froggie Did A-Courtin'
Go
Froggie’s Courtship
Froggie Y/ent A-courtin’,
He Did Ride
Froggy Went A-Courting
Frog He Did A-Wooing Go,
or Ride
The Frog He Went A-Courting
Frog He Would A-Wooing Go
Frog’s Courting, or Court-
Ship
Frog Song
Frog Went A-Courting
The Gentleman Frog, or
Froggie
It Was a Mouse
Mister Frog
Mister Frog and Missy Mouse
Mister Frog Went A-Courting
or A-Wooing
The Mouse’s Courting Song
A Toad Went A-Courting
Uncle Rat, £r Uncle Rat’s
Courtship
Wedding of the Frog and the
Mouse
Wedding Postponed

KB
Song Texts
2278
Songs in which various birds marry birds of a different
species are known and sung in most European countries,
and have been for centuries. It remained for the English
to bring the intermarriage of the animal kingdom down
to earth. English folklore concentrated on the marriage
of creatures like the owl and the cat and the frog and
the mouse. A poem called A Most Strange beddings of
the Frogge and the Mouse was circulating through Eng
land as long ago as 1580. A condensed version, set to
music, was published in Ravencrofts Melismata in 1611.
The version given below is a folk derivative, directly
related to the old ballad.
This song has spread through the whole English-speaking
world. Almost every section of America has its own
version, and it seems to be as popular in the cities
as it is in the rural areas. Today, however, it is
viewed primarily as a song for children.
REFERENCES
Agay (2), 12-13
Allsopp, II, 194
Armitage, II, 127
Arnold, 12-13
Baring-Gould (BNSR), 27
Baring-Gould (EFSS), 88
Belden (BS), 494-499
Bertail, 34
Beet, 38
Botkin (APPS), 66
Botkin (SFL), 722-723
Brewster (BSI), 226-228
Brown, III, 154-165; V,
85-95
Brown (BLNC), 11
Bulletin (TPS), Y, 43-45
Campbell & Sharp, No. 119
Cazden, I, 88-90
Chappell (OEPM), I, 142
Chappell (PMOT), I, 88
Chase (TBSSG), 15-16
Coleman, 20
Cox (FSS), 470-473, 531
Cox (TBFS), 174-180
Creighton (FSNB), 176-177
Creighton (SBNS), 194-195
Creighton (TSNS), 250-254
Davis (FSV), 208-213
Downes (1943), 240-213
Eddy, 137-141
Emrich (CBP), 3
Flanders (BMNE), 11-12

MB
Song Texts
2279,
Flanders (VFSB), 122
Gainer, 162-163
Gardner (BSSM), 435-459
Gardner (SPPG), 98-99
Greenleaf, 90
Halliwell (NRE), 70-72
Halliwell (NRNT), 110-112
Henry (FSSH), 392, 397
Henry (SSSA), 230
Hubbard, 387-389
Hudson (FSM), 282-283
Ives (SA), 54-55
Jjre s (SB), 22, 25
Johnson (1%), 434
Jour (AFL), VIII, 159;
XXVI, 134; XXXV,
392; XXXIX, 166;
XII, 574; XIII, 98,
287; III, 125
Jour (FSS), II, 225-227
Jour (IFSS), IV, 22
Jour (WFSS), I, 178
Karpeles (EPS), II, No. 330
Korson (PSL), 461-462
leather, 209
Leisy, 234-235
leisy (LAS), 28
leisy (SPS), 55
Linscott, 199-202
Loesser, 48-50
Lomax (ABFS), 310-313
Lomax (PB), 61
Lyle, 65
Mackenzie, 373-374, 407
Mason, 8-9
McIntosh (FSSG), 49-51
Moffat (LSLA), 53
Moore (BFSS), 251-252
Morris, 407-415
Notes (1st series), II, 75
Odum (NWS), 187
Opie, No. 175
Ow^ns (TPS), 136-139
Payne (TVFC), 5-48
Perrow, XXVI, 134
Quarterly (SPL), VIII, 179
Randolph, I, 402-410
Reeves (EC), 116
Richardson (AMS), 78-79
Rimbault (ONR), 26-27
Roberts (IP), 115-117
Roberts (SBS), 194-195
Sandburg (AS), 143
Scarborough (NFS), 46-50
Scarborough (SC), 244, 420
Scott (BA), 339-341
Scott (SA), 27
Seeger (1), 116-117
Seeger (6), 56
Sharp, II, 312-319
Sharpe (BB), No. 30
Shoemaker (MMP), 268-269
Silverman, I, 306
Stout, 30-32
Talley, 190-195
Thomas (DD), 154-155
Wells, 165-166
White, 176, 218
Wier (YAM), I, 118
Yolen, 116-117

MB
Song Texts
2280
The Prog and the Mouse
Mister Frog went a-wooing, and he did ride,
Uh-huh, Uh-huh,
Mister Frog went a-wooing, and he did ride,
A sword and a pistol at his side,
Uh-huh, ah-ha, uh-huh.
He rode up to Molly Mouse's door, etc .
As he had done many times before, etc .
Miss Molly Mouse, may I come in?, etc .
So glad you came! How have you been?, etc
Well he took Molly Mouse upon his knee, etc .
And said, Missy Mouse, will you marry me? etc
Oh, without my Uncle Rat’s consent, etc .
I would not marry the Pres-I-dent! etc .
Uncle Rat he laughed and held his side, etc .
To think his niece would be a bride, etc .
Well, her Uncle Rat gave his consent, etc .
And the weasel wrote the publishment, etc .
When the news got round to the Bumble Bee, etc .
He danced a little jig with a one-eyed flea, etc .
Well, the owl did hoot and the birds did sing, etc .
And a cigar band was the wedding ring, etc.
Hey, what will the wedding breakfast be? etc.
A kernel of corn and a black-eyed pea, etc.
They all sailed across a shallow lake, etc .
And got gobbled up by a big, black snake! etc.

KB
Song Texts
2281

Ho. 535
PROG IN THE WELL
also known as
Prog in a Mill Kitty Alone and I
The Prog in the Spring There Was an Old Prog
Kitty Alone
This is a distinct version of the previous song. The
Prog and the Mouse. It goes "back to the 18th century.
Although it is sung to an entirely different melody,
it is obvious that the words of Frog in the Well is
a derivative text. The line, "a frog lived in a well,”
is used to open many versions of The Frog and the
Mouse. However, some version^ are so remote that it
is difficult to relate them with any degree of certain
ty# For example. Brown, III, 149-150 gives a lullaby
version that does not mention the mouse, the courtship
or the wedding.
The "kitty alone" refrain also shows up in a great
number of songs, including an old one recorded by
Baring-Gould which he related to The Frog and the
Mouse«
For an entirely different song, see Kitty Alone and I
in this Master Book,
Many of the works referred to below contain confusing
versions of this piece as well as to The Frog and the
Mouse, but this fact is unavoidable since those col
lectors made such choices in their own reference lists.
REFERENCES
Baring-Gould (BNSR), 27
Baring-Gould (EFSS), 90-99
'Baring-Gould (GCS), No. 13
Belden (BS), 496 (I B)
Botkin (HEP), 881-882
Creighton (FSNB), 178
Creighton (MFS), 132-133
Ford (CR), 122-123
Henry (FSSH), 396-397
Jour (AFL), XXVI, 134;
XXXV. 392; XXXIX, 166

MB ' Song Texts
2282
Journal (F3S), II, 226
Joyce (OIFM), 331
leather, 209
Linscott, 204—206
Morris, 403-409
Pub (TFIS), 7, 18-25
Seeger (3), 48-49
Sharp, II, 323
Sturgis (SHY), 18-21
Talley, 67
Williams (FSUT), 133
Winn, 28
Prog in the Well
There was a frog lived in a well,
Hi diddle dee dee 0!
There wa 9 a frog lived in a well,
Dip tee die!
There wa 3 a frog lived in a well,
Missy Mouse lived at the Mill,
Kitty alone, kitty alone,
Kitty alone and I*
Prog had a wife and he liked her fine, etc«
Kept her busy all the time, etc .
She hopped around and carried on, etc .
Every day when he was gone, etc .
One day she hopped into the lake, etc .
Got eat’n up by a snake, etc,
And now the frog lives all alove, etc .
Hops about and croaks this song, etc .
*************************

MB
Song Texts
2283

Ho* 336
PROG POET)
Thin is a children’s game song. Text and tune were
taken from Newell, 116-117, who found it in Georgia.
Prog Pond
Come, neighbors, the moon is up,
It'8 pleasant out here on the hank.
Come, stick your heads out of the tank,
And let us, before we sup
Go kough, kough, kough,
And let us, before we sup,
Go kough, kough, kough.
Hush, yonder is the waddling duck;
He’s coming, I don’t mean to stay.
We’d better by half hop our way,
If we don’t he will gobble us up
With a kough, kough, kough,
If we don't he will gobble us up
With a kough, kough, kough.
***********************
*******************
***************
***********
*******
***

MB
Song Texts
2284
So. 537.
GALILEE I
also known as
Below Galilee In 01d Galilee
Tills is a kissing game song, and is closely related
to the old English game song, Hog Drovers (see in MB).
Por directions on how the game is played, see
Botkin (API), 811 or Newell, 232-234.
Galilee I_
Come under, come under,
My honey, sweet love, so happily,
Come under, come under,
In old Galilee.
We’ve caught and will hold you, etc .
I’ll hug you and kiss you, etc .
*********-*** **************

No. 538
GALILEE II
also known as
Down in Galilee In the Y/ilderness On to Galilee
A ring-game, dancing—type song, with only a reference
to Galilee in common with the previous song. For game
directions, see Botkin (APP3), 288-289.
Galilee II Tune: Out of the Wildernes s II
Sweet little lady in the wilderness,
In the wilderness, in the wilderness,
Sweet little lady in the wilderness,
Down in Galilee.

MB
Song Texts
2265
Chorus
Raise hands! and go around that lady,
Round that lady, round that lady,
Raise hands! and go around that lady,
Down in Galilee.
Swing that lady out of the wilderness, etc .
Next little lady in the wilderness, etc .
One more young lady in the wilderness, etc .
**************************

No. 539
THE GALLOWS TREE
also known as
The Briery Bush
By a Lover Saved
Down By the Green Willow
Tree
Dreary Gallows Tree
The Farmer's Daughter
The Gallent Tree
The Gallows Pole
The Gallus Tree
The Girl Freed from the
Gallows
The Girl to Be Hanged for
Stealing a Comb
The Golden Ball
Granny and the Golden Ball
The Hangman
Hangman, Slack on the Line
Hangman, Slack Your Rope
The Hangman's Rope
The Hangman's Song
The Hangman Tree
Hangman's Tree
Hang's a Man
Hangs Man Tree
The Highwayman
Hold Your Hands, Old Man
James Derry
Johnny Low
Lord James
The Lover Freed from the
Gallows
The Miller's Daughter
My Golden Ball
The Prickly Brier
The Prickly Bush
The Raspel Pole

MB
Song Texts
£286
Ropesman
Slack Your Rope
The Steets of Berry
The Sycamore Tree
True Love
Under the Creep-O-Mellow
Tree
The Weep-O-Mellow Tree
The story told hy this song is a familiar one in
European folklore, although each country seems to
have a slightly different version of the tale. All
American versions thus far recovered from oral tra
dition are derived from English versions of the song.
According to Child, who gave it as No. 95, "All Eng
lish versions are defective and distorted.”
In most American versions the story is far from com
plete; it is limited to a plea from the victim to a
succession of peopleto buy her or his freedom. In
most versions no member of the victim's family responds
favorably. In the end, however, a sweetheart agrees
to purchase the desired freedom and the victim is
saved. Why the victim is about to be hanged is not
explained. Nor is any explanation given for the re
fusal of the father, mother, sister and brother to
come forward and pay the ransom. Bespite all the un
explained gaps in the story, however, the song enjoys
a wide and surprising popularity in the United States.
Version B, below, is the one sung by country music
! *
performers.
REFERENCES
Amer (10), Vol. 1, No.
4, 247
Arnold, 68-69
Barry (BBM), 206-213,
389-393, 483
Belden (BS), 66-67
Botkin (AFL), 822-824
Brewster (BSI), 123-127
Broadwood (ECS), 112-113
Brown, II, 143-149; IV,
76-81
Brown (BLNC), 9
Buchan (ABS), II, 190
Bulletin (TFS), III, 4, 95
Bulletin (VFS), Nos. 2 & 6
8-10

MB
Song Texts
Cambialre, 15-16
Campbell & Sharp, No. 24
Chappell (FSRA), 35-36
Child, II, 346-355; V,
417
Coffin, 96-99
Cox (FSS), 115-119
Cox (TBPS), 38
Creighton (TSNS), 109-112
Davis (MTBV), 221-228
Davie (TBV), 360-382, 583
Dean-Smith, 86
Downes (1940), 40-42
Downes (1943), 44-45
Eddy, 62-64
Planders, III,* 15-41
Flanders (NGMS), 117-118
Folklore (PC), No. 105,
1-2
Friedman, 131-137
Fuson, 113-114
Gainer, 64-65
Gardner (BSSM), 146-148
Greig & Duncan, No. 248
Henry (BMPS), No. 9
Henry (PSSH), 93-99
Houseman, 140-142
Hudson (PSM), 111-114
Jekyll, 58-59
Jour (APL), XIX, 22; XXI,
56; XXIV, 337; XXVI,
175; XXX, 318; XXXIX,
105; XLII, 272
Jour (PSS), V, 231
Kirkland, 71
2287
Leach (B3), 295-300
Leley, 153-154
McIntosh (PSSG), 39-41
Modern Philology, XXVIII,
129
Moore (BPSS), 74-76, 179-
181
Morris, 295-300
Muir, 171-172
Niles (BB), 217-223
Okun, 101-102
Owens (TPS), 26-27
Pound, 31-33
Pub (MLA), XXXIX, 475-476
Pub (TPLS), XXIII, 45-47
Quarterly (NYP), II, 139
Quarterly (SPL), II, 71;
V, 25
Randolph, I, 143-148
Reeves, 153-154
Reeves (EC), 184-185
Ritchie (PS), 33
Ritchie (SPC), 152-154
Roberts (IP), 61-64
Roberts (SBS), 96-97
Sandburg (AS), 35-37
Sandburg (NAS), 71
Scarborough (NFS), 35-37,
39, 283-284
Scarborough (SC), 196-200,
408-409
Scott (BA), 14-15, 207
Sharp, I, 208-214
Sharp (PSPS), 54-55
Sharp (100), 42-43

MB
Song Texts
2288
Whiting (TBB), 18-21
Williams (FSUT), 281-283
Wyman (IT), 44-48
The Gallows Tree Version A
Slack your rope; hangs a man,
0 slack it for awhile;
I think I see my father there,
He's walked many a mile.
•Father,, have you brought me gold?
And have you paid my fee?
Or have you come to see you hang
Upon the Gallows tree?
Repeat above <=>eou*nce with mother , brother , sister ,
uncle , etc ., and conclude with the following;.
Slack your rope! hangs a man.
0 slack it for awhile;
I think I see my sweetheart now—
She's walked many a mile.
Sweetheart, have you brought me gold?
And have you paid my fee?
Or have you come to see me hang
Upon the Gallows tree?
Yes, Love, I've brought you gold,
And I have paid your fee;
I could not bear to see you hang
Upon the Gallows tree.
Silverman, I, 201, 219
Smith (SOB), 80-94
Thomae (DD), 164-165
Wells, 115-116
VERSION B
Oh, wait Mr. Judge! Oh, Judge, please wait!
Oh, wait for a little while.

MB
Song Texts
2289
I think I see my dear sweetheart,
She's walked for many a mile.
Sweetheart, have you brought me silver?
Sweetheart, have you brought me gold?
Or have you walked this long, long way
To see me on the high scaffold?
Oh, yes, I've brought you silver, Love,
And I have brought you gold.
I did not walk this long, long way
To see you on the high scaffold.
She saved me from the scaffold,
She untied my hands;
She held me in her arms and cried,
I love this highwayman!
She loves this highwayman, poor girl.
She loves this highwayman!
She bowed her head and cried, poor girl,
She loves this highwayman!
*****************************

Ho. 540
GAMBLING ON THE SABBATH LAY
This is a "condemned criminal" song, the origin of
which has not been clearly established. According
to Randolph, a persistent legend has it that "this
song was written by Bill Walker, one of a group of
night-riders known as Bald Knobbers, who was hanged
at Ozark, Mo., May 10, 1889." Of course Randolph did
not endorse or believe the legend.
This song is probably an off-shoot of The Murder of
Macefee' s Wife (<=ee in MB), a popular murder song
with textual <=»imilaritie«

MB
Song Texts
2290
Finger (FB), 42-43 gives three stanzas of this
piece and attributes them to Macafee. That song,
too, was supposedly written by the murderer him
self.
For other versions, see Botkin (WFL), 778-779 and
Randolph, II, 40-44.
Gambling on the Sabbath Bay
A young and foolish boy who dares
To disregard a father's cares,
And laughs at all his sister's tears,
And even scorne his mother*s prayers.
From all their words he turned away,
And then with gambling went astray;
A fellow gambler he did slay
While gambling on the Sabbath day.
His weeping parents standing by,
To hear the Sheriff tell them why
Their boy in prison had to lie
Until the time when he must die.
Don’t weep for me, they heard him say.
When I at last am laid away;
For with my life now I must pay,
For gambling on the Sabbath day.
The hangman cut the ghastly cord,
And sent his soul back to the Lord.
The doctor then pronounced him dead
And walked away with heavy tread.
His parents wept and cried aloud,
"God save and pity all this crowd!
And may they all be turned away
From gambling on the Sabbath day."
****jt*JHHHf*******

MB
Song Texts
2291

No, 541
OAJCE AND PLAY-PARTY SONGS
Game and Play-Perty songs represent a wide and
numerous group of traditional songs, and they all
have one thing in common—participation* Lance songs
and tune? are known to all cultures and all peoples,
primitive a?? well as civilized, hut only in America
were songs specially contrived for play-parties.
Such songs were developed to satisfy a social need,
mainly as entertainment pieces at '’play-parties,'*
The Play-Party wa® game-dance-song all in one piece,
an adult form of the singing games of children. It
was a form of un«elf-oonseious togetherness rarely
witnessed in our time.
Game songs have been around for centuries, and they
have played an effective role in the social structure
of all English-speaking peoples. In America, during
the Colonial period and throughout the 19th century,
there were game songs for adults and for children.
The adult group u«ually had to do with choosing, chasing,
kissing, or stealing a partner— and such games formed
a large part of play-party activity. Game songs for
children were generally simpler and, of course, less
romantic. Otherwise, the game songs for children and
the game songs for adults were more or le«s the same.
When considering games of either type, it is wise to
hear in mind that both have come to us from a society
no longer in existence. We should not make the mistake
of judging them in the context of the mores of our
time instead of their own—particularly play-party
songs. Game songs for children have remained more or
.less the «ame over the years. It is only now, in our
electronic age, that distinctive differences can be
observed.
Unfortunately, students of American culture and tra-

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dition paid far less attention to children’s games
and songs than did the English. Bor example, there
was a seventy year lapse between the first and second
serious collections published in the United States.
The first, William Wells Newell’s Games and Songs of
American Children, was published in 1893; and the
second, Paul Brewster's American Non-Singing Games ,
was published in 1953.
There hasn’t been a lack of song books for children
over the years, but most of these, as Dorothy Howard
observed, could as truthfully be called fake lore as
folklore, since none of them can be accepted as serious
studies in child folklore. Yet, to their credit, such
books are largely responsible for the preservation of
many game songs that may otherwise have disappeared.
Traditionally speaking, however, the major credit for
the preservation of game songs used by children must
go to the children themselves. Becognizing this fact
in 1893, Newell wrote: "Children have preserved
formulas so old as to have lost all reasonable meaning.
This is not surprising, since children are more interest
ed in sound than in meaning . In the final analysis
children are genuine conseratives. Therefore, it is
among the youngest children that tradition survives
longest; they demand the same stories and songs over
and over again, and, as any parent can testify, they
insist that the words do not vary from time to time.
Of course this is no longer as true as it once was.
Modern life, modern education, and television have all
but destroyed tradition.
Sad but true, today our children are subjected to an
adult prescribed play, organized and supervised by
‘teachers and other adults. The children are little
victims of technicolor memory-tracks unreeled from
the minds of adults who cannot recall the dark.

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mysterious corners of childhood# Thus it is, today,
that available traditional material is used by over
worked school teachers as "supplemental” reading
material, and by unimaginative educationalists who
take it upon themselves to revamp the old games to
fit supervised play programs, None of this is nearly
ao effective a«* the traditional ways, because too much
adult-thinking robs children of their freedom of ex
pression and thus kills tradition—not to mention
imagination.
The Play-party is, of course, dead and gone, and there
is no chance of revival. The environment for "play-
parties" no longer exists* Young adults—now called
"teenagers"—no longer require subterfuge for courting.
In the 18th and 19th centuries, however, the "play-
party" was a necessary social activity. Religious
leaders frowned on music and dancing, and they preached
that such things led directly to drinking whiskey and
illicit love-making. Some religious people hold and
preach that view in our time, but without success.
That point of view never meant much to very many people.
The rigid doctrines of strict religion were, even in
the earliest and mo«t religious of times, quite power
less against the music and dancing of centuries of
tradition.
Our forefathers didn’t actually go so far as to condemn
the singing games of children, even though many of
these were actually "round" dances. It was to these
songs, therefore, and these games, that older boys and
girls naturally turned for an outlet, adapting them
to their own special needs. As a result, the "play-party
was accepted by adults as innocent amusement.
.That is all in the past. Young people of today have no
use for the Play - Party. Yet, if they would take a look,
and listen, they might discover that their modern music
is not as far removed from the ancient songs as ignoranc

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of their structure has led most of them to believe.
For example, many of the game songs in this Master
Book would have a familiar ring to modern youth, be
cause more than a few of them have been modernized
by living songwriters and passed along to an unknow
ing market of eager teenagers as original creations.
The game songs for both children and adults that are
set down in this work are presented with words and
music. At no point in the selection of material was
consideration given to "games’* and "rhymes" that
were played or recited without melodic accompaniment.
Nor was any attempt made to include descriptions of,
or directions for, the games themselves. Such infor
mation is not important to the purposes of this work.
From the outset it was determined that this work
would be concerned only with traditional music and
songs.
*************************************

No. 542
GARRY OWEN
also known as
Gerry Owen
Garryowen is Irish and means, in English, Owen’s Garden;
it is a suburb of Limerick, Ireland. The tune was
printed in many old collections containing Irish airs
and dates back to at least 1802. It was the Regimental
Song of the Seventh Cavalry and General Armstrong
Custer’s favorite tune. It is given here because
the song is of historical as well as traditional in
terest, the tune having served for other songs regard
ed as genuine folk pieces.
REFERENCES
Lolph, 510-511
Ford ( TMA ) 7 118
Moffat (MI), 296-297
Silverman, I, 286

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Garry Owen
let Bacchus’ sons be not dismayed,
But join with me each jovial blade;
Come booze and sing, and lend your aid,
To help me with the chorus.
Chorus
Instead of Spa we’ll drink down ale,
And pay the reck’ning on the nail;
No man for debt shall go to jail,
Prom Garryowen in glory.
We are the boys that take delight in
Smashing the Limerick lights when lighting,
Through the streets like sporters fighting,
And tearing all before us.
We’ll break window**, we’ll break doors,
The watch knock down by threes and fours;
Then let the doctors work their cures,
And tinker up our bruises.
We'll beat the bailiffs out of fun,
We'll make the mayors and sheriffs run;
We are the boys no man dares dun,
If he regards a whole skin.
Our hearts so stout have got us fame,
Por soon *tis known from whence we came;
Where’er we go they dread the name
Of Garryowen in glory.
****** *•**•#•* •*-**-•****•*••*•**

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Bo. 543
THE GAT CABALLERO
also known as
I Am a Gay Caballero The Spanish Nobillio
This is one of those songs that really circulates and
survives via oral transmission. For another song set
to this melody, see The Filipino Eombre in this Master
Book.
Due to its bawdy text this song is seldom encountered
in published folk song collections.
The Gay Caballero
0 I am a gay caballero,
A good hand at shooting the bull 0!
I carry with me my wee tremble—tree,
And both of my wee tremble-li-toes.
I once met a gay senorita,
There never was one more sweeta;
She tickled my chin and bade me come in,
Then gave me a case of clapita.
0 I am a gay caballero,
A great one for spending dinero;
But Oh! what a shame I did not remain
Back home in Rio de Janiero.
******* ***************

Bo. 544
THE GAY COWBOY
also known as
The Lavender Cowboy
A version of this song appeared first as a poem in
Harold Kersey's Singing Rawhide . It shows up again,
this time a® a song, in Lomax (CS-1938), 304-305.

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Song Tertta
¥
97
6
However, a version was recorded prior to Lomax on the
RCA-Bluebird label (B-8229A) as The Lavender Cowboy ,
sung by Vernon Dalhart. That record was released in
the late 1920s. Burl Ives recorded a version in the
1940s, which gave it a wider and more popular circu
lation.
The version below is somewhat different from the others,
but there is no doubt that it is the same song. Our
version, with its more explicit title, is from Dickson
Hall.
REFERENCES
Fife, 114 Ives (SA), 212-213 Lee (TTGC), 120, 209
The Gay Cowboy
He was such a delicate creature,
With eyes of heavenly blue,
And he longed to follow the heroes
And fight like the he-men all do.
But he was inwardly troubled
By a fear that gave him no rest:
0 how could he be a real hero
With only two hairs on his chest?
Hair oils and other such tonics
Were rubbed on his chest ev'ry night,
But each time he looked in the mirror
The same two hairs were in sight.
But at last he conquered his complex,
Decided that he’d face the test;
He purchased two pearl-handled pistols,
And with ’em he started out West.
He rode o’er mountain and prairie,
A-singing his song light and gay;
And he rode his pony side-saddle—
He said he preferred it that way.

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Now he meant to be a brave cowboy,
To fight for justice and strive
To be the very first hero
To smell of Chanel Number Five!
At last he came to Dodge City,
Out there where the fellows play rough;
They made him the new city marshal
And gave him his chance to be tough.
He fought for Red Nellie’s honor
And he cleaned out an outlaw*s nest,
And he died with both guns a-smoking—
With only two hairp on his chest!
*************************

No. 545
GENTLY, JOHNNY, BE GENTLE 0!
also known as
Gently, Johnny, My Jingalo
An American version of an old English song, and one
usually considered too ribald for polite society«
It is generally encountered in collections of sea
songs, such as Farnsworth’s. Here, however, we have
a land version from Ohio; it was given to me in 1944
by Louis "Bud” Sherman.
For a shanty adaptation, see Early in the Morning III
in this Master Book,
REFERENCES
Beet, 95
Cole, 46-47
Farnsworth, 60-61
Leisy, 121-122
Leisy (SPS), 91
Reeves, 113-114
Sharp (100), 146-147
Gently , Johnny, Be. Gentle 0!

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I took her hand into my own,
Pair maid is a dilly, 0!
She said, "If you love me alone,
Come to me, but gently;
Bo not do me injury—
Gently, Johnny, be gentle 0!"
I said, "You know I love you, dear,"
Pair maid is a dilly, 0!
She whispered softly in my ear:
"Come to me, but gently;
Bo not do me injury—
Gently, Johnny, be gentle 0!"
I placed my army around her waist,
Pair maid is a dilly, 0!
She laughed and turned away'her face:
"Come to me, but gently;
Bo not do me injury—
Gently, Johnny, be gentle 0!"
I kissed her lips like rubies red,
Pair maid is a dilly, 0!
She blushed, and tenderly she said:
"Come to me, but gently;
Bo not do me injury—
Gently, Johnny, be gentle 0!"
I slipped a ring into her hand,
Pair maid is a dilly, 0!
She said, "The parson*s near at hand*
Come to me, but gently;
Bo not do me injury—
Gently, Johnny, be gentle 0!"
*************************

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Bo. 54-6
GEORDIE
also known as
Charley’s Escape
The Death of Geordie
Geordie Lukelie, or
Lukely
George E. Wedlock
George Stoole
Georgia, or Georgie
Georgie and Sally
Georgie Stoole
Georgy-0
Gight’a Lady
The Laird of Gae, or Geight,
or Gigh
The Life of Georgia
London’s Bridge
Maiden’s Lamentation for Her
Georgey
Will Ye Go to the Hielans,
Geordie?
Origin and development of this Ballad is in dispute,
■with some opting for one form as opposed to another.
Child has 14 versions, none American, and the earliest
version is one contributed to Johnson (SMM) by Robert
Burns, However, there are broadsides of the song from
the 17th century, and Ebsworth (RB) thought these were
the earliest form. The difference of opinion regarding
the matter came about because of two quite similar
broadsides, Georgie Stoole (early 1600s) and The Life
end Death of George of Oxford (issued first in 1700).
Both these songs are involved in the background of
Geordie , which may have been first, second or third.
All three forms of the song may have developed, it’s
said, from an as yet unidentified traditional form.
We do know, however, that 19th century broadside pub
lishers issued their versions and that, with few ex
ceptions, all American versions are derived therefrom.
Henry (FSSK), 142-145, has a ballad ( The Judge and the
Jury ) which, in his view, is a derivative of George of
Oxford.
REFERENCES

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Song Texts
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Barry (BEM), 475
Belden (BS), 76-78
Broadwood (ETSC), 32
Brown, II, 168-169; IV,
91-95
Buchan, II, 143
Buchan (ABS), I, 133
Bulletin (VPS), Nos. 7 &
9
Campbell & Sharp, No. 28
Chappell (FSRA), 37
Child, IV, 123-142
Christie, I, 53; II, 44
Coffin, 126-127
Cox (PSS), 135-136
Creighton (MFS), 27
Creighton (TPS), 18-19
Creighton (TSNS), 73-75
Davis (MTBV), 262-266
Davie (TBV), 435, 592
Dean-Smith, 68
Ebeworth (RB), VII, 67
Edwards (CHSB), 48
Flanders, III, 231-235
Flanders (VFSB), 241-243
Gainer, 75-76
Gardner (BSSM), 317
Greenleaf, 40
Greig, I, art. 75
Greig & Keith, 130-133
Hudson (SC), 8
Johnson (SMM), No. 346
Jour (AFL), XX, 319; XXXII
504; LX, 245
Jour (FSS), I, 164; II, 27
47, 208; III, 191;
IV, 89, 332
Kids on (FSNC), 14-15
Kidson (TT), 24-25
Kinloch (ASB), 187-192
Kinsley, 557-559
Leach (BB), 554-559
MacColl & Seeger, 91-95
Moore (BFSS), 101-102
Niles (BB), 285-287
Niles (SHF), 12-13
Ord, 408-410, 456-457
Pound (SFSN), I, 13
Randolph (OMF), 224-225
Roberts (IP), 71-73
Scarborough (SC), 213, 411
Sharp, I, 240-243
Sharp (ECFS), 89-91
Sharp (FSE), II, 47
Sharp (FSFS), I, 5
Sharp (100), 24-25
Shoemaker (KMP), 162-163
Shoemaker (NPM), 158-159
Silverman, I, 225
Wells, 118-119
Wetmore, 13-15
Williams (EFS), 42
Williams (FSEC), 47
Geordie

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There was a battle in the North,
And troubles there were many;
And they have killed poor Charlie Hay,
And laid the blame on Geordie.
He has written a long letter,
And sent it to his lady,
M You mu^t come up to Edinboro town,
To cee your loving Geordie.”
When first she saw the letter,
Her face blushed red and rosy;
When she had read a word or two,
She had to read it over.
She mounted then her best white steed,
And galloped off with ferver;
And she did neither eat nor drink
Till Edinboro town did see her.
At first appeared the fatal block,
And soon the axe to head him;
Then Geordie he came down the stair
With bands of iron on him.
0 down she went on bended knees,
Her face so pale and weary;
"0 pardon, noble king," she cried,
n Please give me back my dearie.
"I’ve borne to him some seven sons,
And they all need their father;
To take his life would serve them ill,
And waste, away their mother.”
"Go bid the headin’ man make haste,”
The king replied quite lordly.
"0 Noble king, take all that’s mine,
But give me back my Geordie!”
Beside the king there stood a lord.
He said, ”0 king, but hear me:

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Tell her to pay ten thousand pounds,
And give her hack her dearie.”
Some gave her marks, some gave her crowns,
Some gave her dollars many;
And she put down ten thousand pounds,
And that was more than plenty.
Then Geordie took her in his arms
And kissed her lips so rosy—
"The fairest flower of woman kind
Is my sweet, bonnie lady!”
, *********************

Wo. 547
GEORGE COLLINS
also known as
Dame Alice Was Sittin* on
Widow's Walk
Earl Colvin
George Allien
George Carey
George Coleman
George Collum
George Promer
Giles Collins
Jiles Scroggins
John Collins
John Harman
Johnny Collins
Lady Alice
A Lover’s Farewell
Song Ballad of George
Collins
Young Collins
This English ballad circulated extensively east of the
Mississippi, particularly during the first three quart
ers of the 19th century. Child, who has it as No. 85,
considered it to be "a sort of counterpart to Lord
Lovel." Bronson gives 43 tunes, although several of
-them are quite similar. An English form of the song
is in Gammer Gurton’« Garland , 1810, p, 38, under the
title: Gile Collins and Proud Lady Anna,
The old ballad ha® been professionally "refined and

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modernized” By various individuals over the years.
A parody, Giles Scroggins , was written By William
Reeve (1757-1815). In fairness, however, it must Be
pointed out that many others attributed the parody
to DiBdin. Authorship aside, the song was a favorite
of American publishers. Blander* reports three pro
duced in Vermont alone: The New England Pocket
Songster, The Singer* a Own Book (Both at Woodstock,
Vt., 1838), and The Songster** Companion (Brattle-
Borugh, Vt., 1815).
Baring-Gould (SM), I, 26, reports that William Reeve
"published his version in 1830.” This was quite a
remarkable feat considering that Reeve died in 1815.
His obituary notice may be seen in Gentleman*s Magazin e,
Vol. 85, No. 1 (1815), £. 648.
The parody may be seen Ashton (MBS), 103—104 and
Ravi8 (TBV), 352-353.
The version below ha«=> obviously been Americanized, but
the story remains similar wherever it is found.
REFERENCES
Barry (BBM), 452-453
Bell (APBS), 127
Brown, II, 131-140; IV,
69-74
Brown (BLNC), 9
Bulletin (VPS), Nos. 2 .&
10
Cambiaire, 76
Campbell & Sharp, No. 22
Chappell (FSRA), 33-34
Child, II, 279-280
Combs (FSKH), 8-9
Cox (PSS), 110-114
Creighton (MFS), 85
Ravis (MTBV), 199-206
Davis (TBV), 346, 581-583
Ford (BB), No. 3126
Gainer, 59-60
Gardner (BSSM), 53
Henry (BMPS), 2-3
Henry (PSSH), 89-90
Henry (SSSA), 47
Hudson (PSM), 107-111
Hudson (SMFL), No. 14
Jour (APL), XXII, 500; XXX,
317, 340; XXXIX, 102,
148; XLV, 77; LII, 47;
LVIII, 73-103
Jour (PSS), III, 299-302;
IV, 106

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Karpeles, 67-68, 265-266
Mason (NRCS), 46
McGill, 8-9
Moore (BFSS), 70-72
Morris, 291-294
Niles (BB), 207-211
Notes (2d series), I, 354,
418
Peacock, 738
Perrow, XXVIII, 151
Quiller-Couch, 795-796
Randolph, I, 139-140
Roberts (IP), 57-59
Scarborough (SC), 117, 393
Sharp, I, 196-199
Silverman, I, 59
Smith (SCB), 129, 142-143
Smith (TBSCS), No. 9
Williams (EPS), 44
George Collins
George Collins came home last Tuesday night,
And he took sick and died;
And when Missis Collins heard George was dead,
She bowed her head and cried.
His dear lonely bride was in the hall,
And sewing silk so fine;
When they came and told her that George
was dead,
She cast it all aside.
"0 daughter, dear daughter,” her mother said,
There are more men than George;
There are many young men waiting now,
To take you in their charge."
"0 mother, dear mother," the daughter said,
"I’m not too blind to see;
There are many young men waiting now,
But none of them for me."
She followed him up, and followed down,
Till in the grave he was laid;
And she fell down on bended knee
And wept, and mourned, and prayed.

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•0 put down the coffin and raise the lid,
Give me a comb so fine,
And I will comb his cold, black hair,
For now he can’t comb mine.
"I see over yonder a lonesome dove.
It flies from pine to pine;
0 it’s mourning for its own true love,
As I do mourn for mine.”
*******************************
Washington’s Trip to
Cambridge
Little can be said of George Washington that is not al
ready know. Every American school child is familiar
with certain basic facts, such as his role as military
leader of American Revolutionary forces, the name of
his wife, and that he was the first elected President
of the United States. However, they may not remember
that he was an Independent candidate for the Presidency
in 1789 and that eleven other candidates opposed him,
including John Adams and John Jay.
In those days political songs were not necessarily
campaign songs. In Washington’s case it would have made
little difference, because he did not campaign at all.
When the U. S. Government began, in 1789, the candidates
had not yet organized effective partisan parties. There
fore, songs were written "in praise of" or were "dedicated
to" such political leaders as Washington, Adams and
.Jefferson.
In 1788, Eli Lewis and Edward Tyler wrote A New Federal
Song and sub-tiled it: In Praise of George Washington.
Prior to that song, an anonymous author produced God
Save Great Washington , and set the words to the air of

No. 548
GEORGE WASHINGTON I
also known as
Adames Fall
The Trip to Cambridge

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God Save the King . The text was published in the
Continental Journal , Philadelphia, April 7, 1786*
However, all songs about Washington were not in praise
of him. During the Revolution, when the Colonies were
divided, tho«e who remained loyal to the Crown also
expressed their opinions in song.
About three weeks after the battles at Lexington and
Concord, the second Continental Congress unanimously
appointed George Washinton Commander—in-Chief. He
immediately set out for his new headquarters at Cam
bridge. The new® of hi<=» appointment and his trip inspired
a Tory to compose a song of ridicule, which was quickly
published and distributed. Sung to the well-known air
of Yankee Doodle , the song enjoyed a wide popularity.
It is that song which we give here,
REFERENCES
Brand (S-76), 49 Lawrence, 60 Silber (SI), 79-80
George Washington I Tune: Yankee Doodle
When Congress sent great Washington,
All clothed in power and breeches,
To meet old Britain*s warlike sons
And make some rebel speeches;
Twas then he took his gloomy way
Astride his dapple donkeys,
And traveled well, both night and day,
Until he reached the Yankees.
Away from camp, f bout three miles off,
From Lily he dismounted;
His sergeant brushed his sun-burnt wig
While he the specie counted.

Song Text?
All prinked up in full bag-wig—
The shaking notwithstanding—
In leathers tight, oh! glorious sight!
He reached the Yankee landing.
The women ran, the darkeys too,
And all the bells they tolled;
For Britain's sons, by Doodle doo,
▼ere sure to be consoled.
Old mother Hancock, with a pan
All crowded full of butter,
Until the lovely Georgius ran
And added to the splutter.
Says she, ”Our brindle has just calved
And John is wondrous happy;
He sent a present to you, dear,
As you're the 'country's papa'.”
Pull many a child went into camp,
All dressed in homespun kersey,
To set the greatest rebel scamp
That ever crossed o'er Jersey.
The rebel clowns, oh! what a sight!
Too awkward was their figure.
Twae yonder stood a pious wight,
And here and there a nigger.
Upon a stump he placed himself,
Great Washington did he,
And through the nose of lawyer Close,
Proclaimed great liberty.
The patriot brave, the patriot fair,
Prom fervor had grown thinner;
So off they marched, with patriot zeal
And took a patriot dinner!
******************-*¥■ **** *

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No. 549
GEORGE WASHINGTON II
also known as
General Washington
War and Washington
Ward and Washington
Washington
Here we have one of the first major ballads of the
American Revolution. The words, written by Jonathan
Mitchell Sewall, a lawyer and minor poet who lived in
Portsmouth, N. H., were set to the English tune: The
British Grenadier . The name "Ward" in the last line
of the first stanza refers to General Artemas Ward.
Text first appeared in Dixon and Hunter’s Virginia
Gazette , Eeb. 24, 1776. As it grew in popularity, the
broadside and newspaper publishers took over and dis
tributed it throughout the colonies. For other versions
see: Lawrence, 63 and Silber (SI), 97.
George Washington II
Vain Britons, boast no longer
With proud indignity,
By land—your conquering Legion—
Your matchiefs strength at sea
Since we, your braver sons,
Incensed, our sword have girded on.
Huzza, huzza, huzza, huzza
For Ward and Washington!
Urged on by North and vengeance,
Those valiant champions came,
Loud bellowing Tea and Treason!
And George was all on flame.
Yet sacriligious as it seems—
We rebels still live on—
And laugh at all your empty puffs,
And so does Washington.

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Song Texts
2310
Still deaf to mild entreaties,
Still blind to England’s good,
You have for Thirty Pieces—
Betrayed your Country’s blood.
Like Aesop’s greedy Cur, you’ll gain
A shadow for your bone.
You find us fearful Shades indeed,
Inspired by Washington!
****************************

No. 550
' GEORGE WASHINGTON III
also known as
The President’s March
Washington’s Grand March
George Washington March
Hail, Columbia!
This i«? one of many mu«ical pieces called The V/a^hington
March , but it is the one composed by Philip Phile as
an inaugural march for George Washington in 1789# The
words were written nine years later, at a time whem
Americans were divided by their sympathies over Eng
land and Prance, then engaged in a war. Josephh
Hopkinson, who wrote the words, made no allusion to
either country in the text, which he called Hail ,
Columbia! ; it was intended to unite the country.
REFERENCES
Agay (2), 32-33
Amer (13), 5-6
Mackenzie (SH), 83-84
Rabson, 88-89
Silber (SI), 187-188
Vinson, 68-70
Wier (YAM), III, 42
Wilder, 84-86
Lloyd, 26-27
Ives (SA), 274-276
Johnson (PS), 586-589
Kobbe, 142-143
Lair (SLL), 75
Lawrence, 88-89
Linscott, 81

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Song Texts
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George Wa°hington III
Hall, Columbia! happy land.
Hail, ye heroes! heaven born band!
Who fought and bled in Freedom's cause,
Who fought and bled in Freedom's cause,
And when the storm of war was gone,
Enjoyed the peace your valor won.
Let Independence be our boast,
Ever mindful what it cost.
Ever grateful for the prize,
Let its altar reach the skies.
Firm, united, let us be
Railing round our Liberty,
As a band of brothers joined,
Peace and safety we shall find,
Sound, sound the trump of fame!
Let Washington's great name
Ring thro the world with loud applause!
Ring thro the world with loud applause!
Let every clime, to freedom dear,
Listen with a joyful ear;
With equal skill, with steady power,
He governs in the fearful hour
Of horrid war, or guides with ease
The happier time of honest peace.
Behold the chief who now commands,
Once more to serve his country stands,
The rock on which the storm will beat!
The rock on which the storm will beat!
But armed in virtue, firm and true,
His hopes are fixed on Heaven and you.
When hope was sinking in dismay,
When gloom obscured Columbia's day,
His steady mind from changes free,
Resolved on death or liberty.
***********************

Song Texts
2312
KB

Bo. 551
GEORGIE PORGIE
English nursery rhyme. According to Opie, "numerous
guesses have been hazarded that an historical character
is portrayed." If so, the identity of that historical
character has yet to be satisfactorily established.
Despite this song*s long tradition it does not appear
in any of the American folic collection* that I have seen.
Ealliwell has it in Nur*ery Rhymes of England , and
Kidson publi«hed a version in 1904 set to the tune of
Tom loves Mary Pa*«in g Well .
REFERENCES
Bertail, 38 Opie, 185 Wier (YAM), I, 45
Georgie Porgie
Georgie Porgie, puddin* and pie,
Kissed the girls and made then cry.
When the boys came out to play,
Georgie Porgie ran away 0
******************* **********

Bo. 552
GETTING MARRIED I
also known
Around the Ring
Choose Your Mate
Here Stands a Young Couple
Here We Go Around This Ring
Here We Go In a Ring
In This Ring Comes a Lady
Loving Couple
Marriage
■This game song originated in England. What we have here
is, probably, an Americanized version of the Marriage
. Newell recovered a version that dates back to
game

MB
Song Texts
2313
1865, but the game is much older. The piece come9
in so many forms and versions that separation and
clear identification is now highly improbable. Col
lectors have related the song to dozens of others
on the basis of similarity and floating lines. Some
suggested relationships are quite far-fetched. The
task of unraveling the problems involved requires
much more confirmable information than I have been
able to find. Therefore, I have grouped three forms
together, using the same title and the device of
numerals to distinguish them.
There are dozens of similar song texts in circulation
and some of them are undoubtedly related to the songs
given here, I have selected four such songs to serve
as examples, primarily because each of them are re
ferred to by several of the collectors in my own
reference list.
Gardner (FSH), 240 has a two-stanza "kissing game"
entitled Kind Companion :
Don’t you want a kind companion
For to soothe the cares of life?
If you do I advise you to marry,
Therefore go and choose a wife.
Now you’re joined in bonds of wedlock,
love her as you do your life;
Kiss her and promise never to forsake her
So long as she remains your wife.
On p. 243, the same author offers another two-stanza
"kissing game" piece entitled: Here Stands a Young
Oouple:
Here stands a young couple,
How well they agree;
The handsomest couple
I ever did see.

KB
Song Texts
2314
Just put your arms around her.
And it’s how-do-you-do;
Kiss your old woman,
And she will kiss you,
Gomme, I, 369-373, reports an English game song, STerrv-
Ma-Tansa, that may have contributed to our form of the
song. Among the numerous stanzas given by Gomme are
the following three:
Here we go the jingo-ring,
The jingo-ring, the jingo-ring,
Here we go the jingo-ring.
About the merry-ma-tansa.
Come name the lad you like the best,
Like the best, like the best,
Come name the lad you like the best,
About the merry-ma-tansa.
Now they’re married we wish them joy,
Wish them joy, wish they joy,
Now they’re married we wish them joy,
About the merry-ma-tansa.
Newell, 60, gives a stanza under Marriage which he re
lates to this song, but it may belong to another game
gams piece: Green Grass (see in MB). It goes:
On the green carpet here we stand,
Take your true love by the hand;
Take the one whom you profess
To be the one you love the best.
For other similar pieces, see: Marriage By Knife in
Amer (2), I, 267-268; Choose Your Mate in Owens (PPT),
170-171; and Susan Brown III in this Master Book. For
•additional variations and related items, see Getting
Married II & III below.
REFERENCES

KB
Song Texts
Backus, 297-298
Botkin (APPS), 185-186
Brown, Y, 546
Puson, 173
Gardner (PSH), 243
l 2315
W *
Jour (API), XXXII, 495;
XLIX, 250-251
Newell, 240-241
Owens (ST), 63
Wolford, 43-44
Getting Married I
Here we go around this ring,
For you to choose while others sing;
Choose the one you love the best,
And I am sure * twill please the rest.
In the center stands with pride,
The waiting girl and future bride;
Happiness will not be dim,
If she is lucky choosing him.
Circle round the lady fair,
With sky-blue eyes and sunny hair,
Rosy cheeks and dimpled chin—
The one she chooses must go in.
Married now you must be good,
Be sure and chop your husband’s wood;
Live with him for all your life.
And be a good and faithful wife.
Now you’re wed I wish you joy,
Por you’re a fine and handsome boy;
This is all you need to do—
Just kiss her twice, if once won’t do!
******************

No. 553
GETTING MARRIED II
also known as
Choose Your Mate
I and My True Love

MB
Song Texts
2316
Loving Couple
Marriage
Yonder She Cones
Yonder Stands Two People
Yonder Stands Young
Couple
This form of the "marriage" genre is a Play-party as
well as a game song for children. Sharp, who obtained
a version in 1917 from the singing of children at the
Pine Mountain Settlement School, Harlan County, Kentucky,
place it among his Play-party songs, saying that it
"is danced as a longways County dance, men on one side
and women on the other." Gardner listed it as a "ring
game" in which all sing as they circle about a couple
in the center." Botkin has it as a Play-party piece
from Oklahoma. Newell said it was a dance song in
Massachusetts. Similar items referred to are: Lordy ,
What a Man in Dudley & Payne, 29-30; Advice to Bachelors
in Barrett (EPS), 88-89; I’ll Be the Reaper in Gardner
SPPG), 103-104; and All Over Arkansas in Randolph, III,
398 * Also see Getting Married & III in MB.
See and compare: Green Grass A & B in MB.
REFERENCES
Piper (SPPG), 275-276
Sharp, II, 367
Wolford, 43-44
Ames (MPP), 310
Botkin (APRS), 357-358
Gardner (PSH), 241
Newell, 59-62
Getting Married II
Yonder stands a couple,
They*re standing hand in hand,
And one is a pretty girl,
And one is a man.
Guess they’d marry
If both could agree.
March through the valley
With a lover on your knee.

MB
Song Texts
2317
Come and be my partner,
We*11 join heart and hand;
You are look.ng for a wife,
I want me a man.
Married we will be
If you do agree—
March through the valley
With a lover on your knee.
Now they are married,
And everybody knows,
Ee*s gone in the infantry
And wears army clothes.
War is over and
There*s peace in the land;
Give me some joy
By the raising of your hand.
Yonder comes a soldier,
And it*s how-do-you-do,
And how have you been, girl,
Since I last spoke to you?
War is over and
Prom troubles they are free;
March through the valley
Just as happy as can be.
*************************

No. 554
GETTING MARRIED III
also known as
Better Dead Than Wed The Roving Bachelor
This is an "anti-marriage” song. It is not related
to either of the two preceding songs, Getting Married
I & II. However, it is probably related to Advice to

MB
Song Texts
2318
Bachelors in Barrett (EBB), 88-89
references
Hubbard, 172-173
Tolman & Eddy,
431-432
Getting Married III
Come all you roving bachelors
Who plan to change your life,
Be wise and don’t be hasty, boys,
To choose yourselves a wife.
For women were made by God to be
A race of great variety,
More devious, the good Lord knows,
Than anything that lives and grows.
Tag Line
Remember what a wise old bachelor ^ ia -
-Rove is fine, but better dead than wed.
There was a man all in a ca^t,
Who faced the hangman’s hand;
A messenger arrived from court
And ordered him to stand. ^
"By marrying a wife you may be quit.
But he refused to hear of it.
"The bargain’s bad in every paxt,
1*11 have no wife, drive on the cart."
The driver took his whip in hand,
Drove on at his commend,
At lightning speed the horses flew,
And near the hangman drew.
When he arrived and stood in place,
He said, "My sorrows now erase.
Five minutes ought to do the job,
And entertain the waiting moo.

MB
Song Texts
2319
As he prepared to meet his doom,
Beep within some dark tomb,
He says, "I'd rather lose my life
Than live with some old wife."
Then looking at Jack, who tied the rope,
He says, "I now can die in hope#
For if ten thousand years I'd live,
No joy that wedding ring would give,”
****************************
No# 555
THE GIRL I LEFT BEHIND I
also known as
The Girl I Left Behind Me
The Maid I Left Behind Me
The Volunteer
Alma
Brighten, or Brighton
Camp
This song has traveled a long way in tradition after
beginning its journey in either England or Ireland—
no one seems to know for certain# We can, however,
trail -the song from England to Scotland, to North
America and, finally, to Australia# Along the way
it was employed as a military march, a sailor song,
a stage song, a "goodbye" song, a Play-party song and
a hoedown tune# Although the words were frequently
changed and adapted to meet area needs and conditions,
the melody lost none of its original flavor in the
process. Some texts are so far removed from the origi
nal English and Irish versions that it is often diffi
cult to recognize them. Only the tune has served to
make identification possible#
According to Chappell (PMOT), the tune was "in a manu
script in the possession of Dr. Rimbault, of date about
1770, and in several manuscript collections of military
music...It is a march, and either entitled The Girl I

MB
Song Texts
2320
Left Behind Me or Brighton Came A version written
in 1795, entitled Blyth Camp , or The Girl I Left Behind
Me, is in Bell’s Rhymes of the Northern Bards , 8 vols.,
published in 1812. It was, as Chappell observed, "e
lame alteration of Brighton Camt>. "
John Philip Kemble, who became manager of the Drury
Lane Theatre (about 1790) and subsequently of Covent
Garden, introduced the melody on stage as both a Morris-
dance and a march for processions.
Where, then, did the melody originate? Although he
admitted the possibility of Irish origin, Chappell
claimed it for England. As he added, it "is included
in two collections of Irish music—in Moore*s Irish
Melodies , and in Bunting’s last collection, 1840."
Edward Bunting informs us that the air he printed was
"procured from A. O'Neil, harper, A. D. 1800—author
and date unknown." Later, however, in a letter to
William Chappell, dated January 24, 1840, Bunting said
the air "has been played for the last fifty years, to
my knowledge, by the fifes and drums, and bands of the
different regiment«, on their leaving the towns for new
quarters." Both Bunting and Moore used the English
title rather than the Irish, The Sailpin Panach , or
The Rambling Laborer , words and music of which were
printed in Dublin in 1791.
In the United States the melody proved no less popular
than in Ireland, England and Scotland, and many a local
wordsmith wrote lyrics to it. Spaeth (HEW), 16, points
to the song's "intimate connection" with American history
then adds: "Mc^t people know this only as a grand fife
time, and it has probably marched more soldiers into
battle than any other, besides serving as a stock fare
well song on shipboard."
The Girl I Left Behind was an extremely popular song
with Union troops during the Civil War and it is a matter

MB
Song Texts
2321
record that Virginia Military Institute cadets marched
to the battle of Newmarket with their fifers and drum
mers The Girl I Left Behind Me. It is also a matter
of record that the Seventh U. S. Infantry changed the
words and used the song as a marching piece. The air
was also extremely popular with hoedown fiddlers and
cowboys, with the latter, in general, retaining very
little of the original text. In most U. S. versions,
•Girl" not only became "Gal," but the false-heartedness
of the male was transplanted upon women.
Variations developed rapidly, and soon there were
"game" versions for children and "Play-party" versions
for young adults. Such adaptations have been collected
from oral sources from almost every geographic area
of America.
Few and sometimes rather original texts were fitted
to the tune, several of which have sustained a place
for themselves in tradition. Others simply enjoyed a
brief popularity and then gradually faded away. One
or two of the latter were rescued by the printing press,
such as two in this Master Book: The Pate of John
Burgoyne and I Fight Mit Segal. Another, Albert , s.
religious song, now all but forgotten, is in the Social
Harp» 1855, p. 153.
Many bawdy songs set to the air of The Girl I Left
Behind Me have survived in oral circulation. These
were rejected by collectors because of "unacceptable
language." Hundreds of genuine folk songs never see
print for this same "unacceptable language" reason.
The title is not exclusive, as is easily determined
bjL the number of songs entitled The Girl I Left Behind
which follow.
See and compare The Girl I_ Left Behind Me in O’Lochlainn,
36-37.
REFERENCES

MB
Song Texts
2322
Agay (2), 31
Chappell (OEFM), II, 187
Chappell (PMOT), II, 708
Chappie (HS), 66-67
Colum, 604
Deutsch, 80-81
Dolph, 507-509
Durlacher, 56
Elson, 66-67
Ford (OTFM), 9
Ford (TMA), 116, 211,
417
Ford (VSBS), 101-104
Gainer, 173-174
Hamilton, 297
Hudson (FSM), 229-230
Jour (AFL), XXVI, 133;
XXXIII, 99; XLII,
230; XLIV, 15;
XLVIII, 351
Johnson (FS), 503-504
Linscott, 79-80
Mackenzie (^H), 103
Oberndorfer, 110-111
Piper (SPPG), 286
Randolph, III, 354
Richman, 33
Ryan, 51
Shaw, 382
Shay (ASSC), 202-203
Shay (DFW), 124-125
Shoemaker (MMP), 155-156
Shoemaker (NPM), 150-151
Songs (15), 134
Songster (10), 229
Spaeth (REW), 16-17
Staton, 106
Whitman, 35
Wier (IS), 93
Wier (SWWS), 57
The Girl I Left Behind I
VERSION A ( Irish)
The dames of France are fond and free,
And Flemish lips are willing,
And soft the maids of Italy,
And Spanish eyes are thrilling.
Still, tho' I bask beneath their smile,
Their charms fail to bind me,
And my heart falls back to Erin’s Isle,
To the girl I left behind me.
For she's as fair as Shannon's side,
And purer than its water,

KB
Song Texts
2323
But she refused to be my bride,
Tho many a year I sought her.
Yet, since to Prance I sailed away.
Her letters oft remind me,
That I promised never to gainsay
The girl I left behind me.
She says, "My own dear love, come home,
My friends are rich and many,
Or else abraod with you I'll roam,
A soldier stout as any.
If you'll not come, nor let me go,
I'll think you have resigned me."
My heart nigh broke when I answered, "No,"
To the girl I left behind me.
For never shall my true love brave
A life of war and toiling,
And never as a skulking slave
I'll tread my native soil on.
But were it free or to be freed,
The battles close would find me
To Ireland bound, nor message need
From the girl I left behind me.
VERSION B ( English )
I'm lonesome since I crossed the hill,
And o'er the moor and valley,
Such heavy thoughts my heart do fill,
Since parting with my Sally.
I seek no more the fine and gay,
For each but does remind me.
How swift the hours did pass away
With the girl I left behind me.

MB
Song Texts
2324
Oh, ne’er shall I forget the night
The stars were bright above me,
And gently lent their silvery light
When first she vowed to love me.
But now I’m bound to Brighton Camp—
Kind Heaven, then, pray guide me,
And send me safely back again
To the girl I left behind me.
Had I the art to sing her praise
With all the skill of Homer,
The only theme should fill my lays—
The charms of my true lover.
So, let the night be e’er so dark,
Or e’er so wet and windy,
Kind Heaven send me back again
To the girl I've left behind me.
Her golden hair, in ringlets fair,
Her eyes like diamonds shining,
Her slender waist, with carriage chaste,
May leave the swan repining.
Ye gods above! oh, hear my prayer,
To my beauteous fair to bind me,
And send me safely back again
To the girl I’ve left behind me.
The bee shall honey taste no more,
The dove become a ranger,
The falling waves shall cease to roar,
Ere I shall seek to change her.
The vows we registered above
Shall ever cheer and bind me,
In constancy to her I love,—
The girl I've left behind me.

Song Texts
2325
VERSION C (American)
The Regimental Song of the Seventh Infantry
The hour was sad I left the maid,
A ling'ring farewell taking,
Her sighs and tears my steps delayed,
I thought her heart was breaking.
In hurried words her name I blessed,
I breathed the vows that bind me,
And to my heart in anguish pressed
The girl I left behind me.
Then to the East we bore away,
To win a name in story,
And there, where dawns the sun today,
There dawned our sun of glory;
Both blazed in noon on Alma's heights
When in the post assigned me
I shared the glory of that fight,
Sweet girl I left behind me.
Pull many a name our banners bore
Of former deeds of daring,
But they were of the days of yore,
In which we had no sharing;
But now our laurels freshly won
With the old ones shall entwined be,
Still worthy of his sire each son,
Sweet girl I left behind me.
The hope of final victory
Within my bosom burning,
Is mingling with sweet thoughts of thee
And of my fond returning.
But should I ne'er return again,
Still worth thy love thou'It fine me;
Dishonor's breath shall never stain
The name I leave behind me 0
*************************

MB
Song Text9
2326

No. 556
THE GIRL I LEFT BEHIND II
This 3.9 a parody of the preceding song. Certain stanzas
have been eliminated because of their vulgarity. I got
the words in 1939 from Red Foley, a country singer who
became nationally known through recordings.
The Girl I Left Behind II Tune: Girl I Left Behind I
I never will forget the night,
When first she said she loved me;
The stars peeped out, the moon shone bright
On the girl I left behind me.
I fooled around beneath her skirt,
And then I thought I had her,
But when I tried to slip it in,
She emptied out her bladder.
That girl! that girl! that pretty girl!
0 how desire did blind me!
Her rosy lips and sexy hips,
And thighs to hold and bind me.
She said she would and teased me good,
And then she made me leave her;
All the while I knew she wanted me
Of virginity to relieve her*
She jumped in bed and covered up her head.
And swore I could not find her;
She knew damn well she lied like hell—
I jumped right in behind herl
But now I*ve gone to fight the foe;
In battle you will find me.
When the fighting ends the fun begins
With the girl I left behind me!
*********************

MB
Song Texts
2327

Ho, 557
THE GIRL I LEFT BEHIND III
also known as
The Gal I Left Behind Me
Cowboys were fond of using favorite melodies for songs
of their own, and The Girl J Left Behind Me turned out
to be one of the most suitable.
Versions of this adaptation have circulated widely, in
the South as well as in the West.
REFERENCES
Allen (CL-1933), 127-128
Clark (CS), 36
Finger, 63
Frey, 94-95
Hudson (FSM), 229-230
Lingenfelter, 390-391
Lomax (ABFS), 282-283
Lomax (CS-1910), 342-343
Lomax (CS-1938), 58-60
Patterson (SRR), 19-20
Silverman, I, 54
Thorp (1921), 69-70
Wilder, 112-113
The Girl I Left Behind III Tune: Girl I Left Behind I
I rode the trail in seventy-nine,
The herd strung out behind me;
As we crossed the plains
My thoughts returned
To the gal I left behind me.
In the still of night,
When 8tars are bright,
I see her face before me;
And I long to be back home again
With the gal who does adore me.
She wrote ahead to where I said,
And never wrote unkindly;
She said, "I f m true
And still love you,

2328
MB Song Texts
And here is where you'll find me,"
One day, when I get off the trail,
And Indians don’t find me,
1*11 hurry bach to that sweet gal,
To the gal I left behind me.
The trail was slow, the wind did blow,
And rain did fall and blind me,
And every inch was danger-rent,
With redskins to remind me.
At end of drive we sold the herd,
And homeward thoughts inclined me,
To the fastest train across the plain,
To the girl I left behind me.
*****************************

No. 558
THE GIRL I LEFT BEHIND IV
also known as
The Frieds I Left Behind Me
This appears to be a goldrush era adaptation of The Girl
1 Deft Behind Me . The gold-seekers, like the cowboys,
were fond of singing songs about themselves and their
adventure, and they usually set words to familiar tunes.
For examples, see the series of songs entitled GOLD
SEEKER I through XXV in this Master Book.
According to Fife, a version of this song appeared in
The Oregon Spectator , July 4, 1854. Another version is
in Pub (TFLS), I, 1916, 28-29. Both versions are reprinted
in Fife, 170-172.
The Girl I Left Behind IV Tune: Girl I Left Behind I

MB
Song Texts
2329
I*m lonesome since I crossed the plains,
And fleeting are my joys;
For all that’s near and dear to me,
I left in Illinois.
When I think hack upon those days
«y tears incline to blind me;
How I long to see old Illinois,
And the friends I left behind me.
I heard of California*s gold,
And thought I ought to try it;
I packed my grip to make the trip.
And surely can*t deny it.
When traveling ’cross our far-flung land,
I prayed that luck would find me;
All the while I longed for home sweet home,
And the friends I left behind me 0
I live in California now,
The gold fields I am raking;
I write and tell my friends back home
A fortune I am making.
Sometimes I meet good people here.
And often they remind me
Of my fam’ly back in Illinois,
And the friends I left behind me.
1*11 stay and rock my cradle well
In places where they mine it;
And if a fortune can be found,
1*11 do my best to find it.
May heaven soon upon me smile.
And fortune quickly find,
And speed me back to Illinois,
To the friends I left behind me.

MB
Song Texts
2330

Ho. 559
THE GIRL I LEFT BEHIND V
also known as
Down in New Orleans Promenade the Girl Behind You
The Gal I Left Behind Me Swing the Girls
This is a Play-party or dance version of The Girl I Left
Behind Me. All sorts of lines and stanzas have floated
in and out of this version, hut it has been found, in one
version or another, all over the country.
REFERENCES
Ball, 15
Botkin (APRS), 188-192
Dudley & Payne, 28-29
Durlacher, 56
Fife, 171-172
Gardner (SPPG), 99-100
Hamilton, 297
Lair, 30
Lomax (ABFS), 280-281
McIntosh (FSSG), 73, 76
Owens (TFS), 153-154
Piper (SPPG), 286
Randolph, III, 353
Randolph (OPP), 230-231
Wolford, 46-47
The Girl I Left Behind V Time: Girl I Left Behind I
I traveled down to New Orleans,
I landed there on Sunday;
They threw me in the calaboose,
And turned me loose on Monday.
Oh! that gal! that pretty gal,
That gal I left behind me!
The more I drink, the less I think
Of that gal I left behind me!
First young gent to opposite lady,
And take her by the hand!
Nov/ swing your partner by the left.
And promenade the girl behind you!

MS
Song Texts
2331
Oh, that gal! that sweet little gal,
That gal I left behind me!
1*11 laugh and cry until I die
O'er the gal I left behind me!
Next young gent to opposite lady,
And swing her by the right hand;
Now swing your partner by the left
And promenade the girl behind you.
If I travel this road again,
And passion doesn't blind me,
I'll stop and see that pretty gal,
The gal I left behind me.
Oh, I could buy such girls as you
For thirty cents a dozen;
But I'm going home tomorrow night
And marry my country cousin!
I'll sleep tonight 'neath yonder tree,
Where her ol' Pa can't find me;
On the grass so green perhaps I'll dream
Of the gal I left behind me.
The same cl' boy, a brand new gal,
So owing her by the right hand;
Now swing your partner by the left,
And promenade the gal behind you.
If ever I get drunk again,
And whiskey doesn't blind me,
I'll go right back to that ol' shack,
To the gal I left behind me.
Now if by chance I lose my job,
I*m sure I'll find another;
I know I won't, and if I don't
I'll move in with her mother.

MB
Song Texts
2332
Oh, that gal! that pretty little gal,
That gal I left behind me!
I think I’ll go and spend the night
With the gal I left behind me.
********************** ********-*Tr-r

No. 560
THE GIRL I LEFT BEHIND VI
also known as
The Fal°e-hearted Lover
The Gal I Left in Arkansas
The Girl I Left on New
River
Janey Ferguson
Lament of the Wandering Boy
The Lover’s Lament
Maggie Walker
The Maid I Left Behind
My Parents Raised, or Reared,
or Treated Me Tenderly
Peggy Walker
The Rambling Boy
The Rambling Cowboy(s)
A Rover Bold
The Roving Lad
The Tennessee Girl
There Was a ?/ealthy Gentleman
In its original form, this song was a broadside ballad.
Several collectors have related it to The Girl _I Left
Behind I A & B (see headnotes to that song in this MB) .
Belden has three versions under the title Peggy Walker,
and writes: "It is a derivative of, or at least owes
its temper-giving line to, The Girl I Left Behind Me,
since the eighteenth century the favorite farewell song
of British soldiers and sailors."
Several other collectors have taken Belden’s position,
and some of them elected to go a step further, stating
flatly that all American versions of this song are de
rivatives of The Girl _I Left Behind Me. It is not, in
my opinion, a very tenable position, A floating stanza
or line, even a title line, is insufficient grounds upon
which to build a ca°e for derivation. Sensitive to this

MB
Song Texts
2333
point, Belden added: "The British stall ballad which
gives us the American Peggy Walker was printed by Such
as The Lover’s L ament: or . The Girl I Left Behind Me;,
also by Bebbington, and by Walker of Durham,"
In other words, The Lover * s Lament , the song with which
we are here concerned, was a British broadside subtitled
The Girl I Left Behind Me. See herdnotes to The Girl I
Left Behind I for additional information,
American versions of The Lover’s Lament were published
under many different titles, with most being variations
of the subtitle used for it by British broadside publish
ers , The Girl _! Left Behind Me.
Cox (PBS) gives a version from Virginia, Mv Parents Reared
Me Tenderly , and remarks: "This text is very close to The
Maid I Left Behind in The Forget - Me - Not - Songster (New York,
Rafis & Cornish), p. 220, running line for line with that
song and showing only trifling variations in phraseology,"
For songs that make interesting comparison studies, see
Lackey Bill in Lomax (CS-1910), 83-86, or (CS-1938), 187-
189, and I’ll Never Forget the Parting in Ord, 4-5-47.
The A and B versions below are geographical variants, not
different songs.
REFERENCES
Finger (FB), 63-64
Gardner (BSSM), 98-100
Allen (CL), 20
Belden (BS), 198-200
Brown, II, 378-385
Bulletin (CFS), III, 6
Cambiaire, 47-49
Chappell (FSRA), 137-139
Cox (F3S), 300-301
Creighton (FSNB), 106-107
Creighton (MF5), 76-77
Doerflinger, 305-306
Fife, 173-174
Glass (SFRF), 11-13
Greig, Nos. 83 & 157
Henry (FSSH), 354-358
Jour (APS), XXVI, 133; XXVII,
297; XXXIII, 99; XLII,
150; XLVIII, 351
Jour (FSS), VIII, 262-263
Laws (AB), 20, 248
Laws (NAB), P 1-B

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Song Texts
2334
Leach, 322
Lingenfelter, 392-393
Lomax (CS-1910), 244-245
Lomax (CS-1938), 192-194
Lomax (FSNA), 318-320
MacColl & Seeger, 219-220
Manny, 241-242
Moore (BF3S), 202-205
Ohrlin, 200-201
Peacock, II, 449-450
Perrcw, XXVIII, 161
Randolph, I, 283-288
Sharp, II, 62-65
Shearin (SKFS), 23
Shoemaker (NPM), 150-151
Thorp (1921), 134-135
Treat, 38-40
Wyman (LT), 76-78
The Girl I Left Behind VI
VERSION A
I knew a rich old rancher,
He lived in the valley near-by,
And had a lovely daughter
Who caught my roving eye.
She was handsome, sweet and gentle—
So beautiful and fair;
There was no other girl in the country
That could to her compare.
I went unto my own true love
To say I soon must go;
With aching heart and broken sighs.
She shared my grief and woe.
0 would it make a difference
If I should cro®s the plains?
She said, "You know I will surely miss you
*Til you come back again."
Her eyes were sad with weeping.
And her bosom suppressed a sigh.
"My love," said she, "fear not for me;
True love can never die."

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Song Texts
2335
And then she said, "I had a dream,
A dream I can*t believe—
That distance breaks the link of love
And leaves a maid to grieve« n
I lightly kissed my darling
And told her she mustn’t fear;
I swore by God in heaven
That I would prove sincere*
She said that she would wait for me
♦Til death did prove unkind;
We kissed, embraced, and said goodbye—
I left my girl behind.
When first I left ol* Texas,
To Kansas I was bound;
When I arrived in Witchita,
I roamed the country ’round.
The Jobs and pay were plentiful,
The girls were free and kind;
My love began to fade a bit
For the girl I left behind.
I took a walk one morning,
And walked to the public square;
I saw the stage coach roll in,
And met the driver there.
He gave to me an envelope
That wrecked my every plan—
The girl I left behind me, boys,
Had wed another man,
***********************
VERSION B
My parents raised me carefully—
They had no child but me;

MB
Song Texts
2336
But I was bent on rambling,
The world I had to see.
So I became a rover bold.
Which grieved their hearts full sore;
I left my aging parents,
And went the world to explore.
There was a wealthy gentleman
Residing in that part
Who had a handsome daughter,
And I had won her heart.
She was a noble-minded girl,
And beautiful and fair;
With heaven’s fairest angel
She easily could compare.
I told her my intention was
To sail across the sea;
I asked her to be faithful,
And not prove false to me.
She threw her arms around me then,
Her bosom heaved a sigh;
"Pear not for me," she whispered,
"My love will never die*"
According to agreement signed,
I went aboard my ship,
And to the town of Glsgow
I had a pleasant trip.
And gold I found-in plenty there,
And maids of special kind;
My love began *o weaken
For her I left behind.
I next sailed down to Dumfies town,
A most hospitable land,

MB
Song Texts
2337
Where handsome Peggy Anders
First took me by the hand.
She said, ’’I’ve gold a plenty here.
That you may share in kind,”
And soon I had forgotten
The girl I left behind.
Says she, "If you will marry me,
And no more you’ll roam,
The gold I have will be yours,
And this shall be your home.
Your parents dear and other friends—
All those you’ve left behind—
You must forget to love them,
And banish them from mind."
To all of this I did consent,
I own it to my shame;
A man cannot be happy
While knowing he’s to blame.
It * s true I’ve gold a plenty now,
And that my wife is kind,
But still my heart is haunted
By the girl I left behind.
*************************

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Song Texts
2338

Mo. 561
GIVE ME JESUS
This is a campground as well as a slave spiritual, or was
How it is almost never encountered among strictly white
religious groupso The time is obviously adapted from
Sweet YTillian and Lady Margaret (see Margaret*s Ghost in
El*
The version below is from the repertoire of the Original
Fisk Jubilee Singers.
REFERENCES
Chambers (THS), 36-37
Jackson (SFS), 210
Johnson (BANS), 160-161
Jour (FSS), VIII, 88
Jubilee (PS), 13
Marsh (SJS), 140
Odum (NHS), 94
Pike, 180, 222
Work (ANSS), 80
Give Me Jesus
0 when I come to die,
0 when I come to die,
0 when I come to die,
Give me Jesus.
Give me Jesus, give me Jesus,
You can have all this world,
Give me Jesus.
In the morning when I rise, (3)
Give me Jesus, etc.
Dark mid-night was my cry, (3)
Give me Jesus, etc.
I jus* heard the mourner say, (3)
Give me Jesus, etc.
************* * ******* *******

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Song Texts
2339

No, 562
GIVE ME THE WINGS
also known as
Oh! Give Me the Wings
Early 19th century spiritual. This version is also from
the repertoire of the Original Pisk Jubilee Singers 0
See Marsh (SJS), 263.
Give Me the Winga
Oh, child of Christ is my real name,
And oh, glory!
And I will live and die the same.
And oh, glory!
Chorus
Oh! give me the wings, 0 good Lord,
Give me the wings, and Oh!
Give me the wings, my good lord,
Give me the wings for to move along.
I love the shouting Methodist,
And oh, glory!
Because they sing and pray the best,
And oh, glory!
I'm born of God, like every man,
And oh, glory!
Now, friend, deny it if you can,
And oh, glory!
***********************

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Song Texts
2340

No, 563
GIVE ME TIME TO KNEEL AND PRAY
also known as
Give Me Little Time
to Pray
I, or I've Been in the
Storm so Long
Revivalist song that was taken over by slaves and turned
into a spiritual.
See and compare: I've Been 'Buked and I've Been Scorned
in Okun, 98 and I've Been Toilin' at de Hill in Lett, 226.
For other versions of this song, see Carawan, 134-135 and
Marsh (SJS), 174.
Give Me Time to Kneel and Pray
Oh! let me tell my mother how I came along,
Oh! give me time to kneel and pray!
With a bowed down head and an aching heart,
Oh! give me time to kneel and pray!
Chorus
I've been in the storm so long,
I»ve been in the storm so long, children
I*ve been in the storm so long,
Oh! give me time to kneel and pray.
(repeat chorus)
Oh! when I get to heaven, I'll walk all about, etc.
There'll be nobody there, to turn me out, etc.
I'll go straight up to heaven and take my seat, etc.
And I'll cast my crcwn at Jesus' feet, etc 0
***************************

KB
Song Texts
2341

No* 564
GLORY HALLELUJAH!
also known as
Antioch Let Us Praise Him
I Have a Home 0 Glory, 0 Glory
I Know That My Redeemer Shout On, Children
Lives Shout On, Pray On
This is a revivalist-type hymn and spiritual# The tune,
which is older than any of the known texts, has been
credited to more than one composer. Por example, Jackson
(DES), says M the core of the text is by Samuel Medley,
1738-1799. H Then Jackson (SPS), referring to the same
text, says it "is attributed to Daniel Medley, about
1784.”
The tune, too, comes in for several claims# Under the
title Antioch in The Social Harp , where it first appeared,
the tune is attributed to P. C. Wood. Under the title
Church* s Desolation , in the Original Sacred Haro , the tune
is attributed to J. T. White. Under the same title, in
Walker’s Christian Harmony , the tune is claimed by William
Walker.
The tune bears some resemblance to the older Scottish
ballad, Wae * s Me Por Prince Charlie , and is recognizable
in the following: Barbara Allen in Smith (AA), 30; The
Cruel Mother in Sharp, I, 58; and Edv/ard in Sharp, I, 47.
Spirituals and hymns using the same tune, are: Burges
in the Social Harp, 106; Let Us Praise Him in Dett, 195
4 .
or Jackson (7/SSU), 260; Shout Along and Pray Along in
Brown, III, 688 & V, 392; Shout On, Children in Allen
(SSUS), 60, or 109; Shout , Shout , We * re Gaining Ground
in McDowell, 53 or Randolph, IV, 72-73; We’ll Go On in
Hillman, 252; and I_ Know That My Redeemer Lives in this
Master Book#
The version below is from Herman Blackwell, Goldsboro,
North Carolina,

MB
Song Texts
2342
REFERENCES
Cobb (SH), 189
Nett, 195
Jackson (DES), 263
Jackson (SFS), 179, 180
Jackson (WSSU), 227, 239
James, 277
Mackenzie (SH), 170-171
McCurry, 158
Swan, 68
White & King, 277
Glory Hallelujah?
I know that my Redeemer lives.
Glory hallelujah!
What comfort such sweet knowledge gives.
Glory hallelujah!
Chorus
Let us praise Him, let us praise Him,
Glory hallelujah!
Let us praise Him, 0 praise, 0 praise,
Glory hallelujah!
Believe in Him and never die,
Glory hallelujah!
No need on earth to mourn or cry,
Glory hallelujah!
Shout on, children, we're gaining ground,
Glory hallelujah!
The dead'9 alive, the lost is found,
Glory hallelujah!
When Gabriel blows that silver horn.
Glory hallelujah!
He*11 come for me on Judgment morn,
Glory hallelujah!
When I arrive on Heaven*^ shore,
Glory hallelujah!
1*11 live with Him for evermore,
Glory hallelujah!

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Song Texts
2343

Ho. 565
GO CALL THE DOCTOR
also known as
Calomel Mister A. B.
Dose of Calomel Old Doctor Grey
Go Call the Doctor and Be Quick
This song, written hy J. J. Hutchinson, is a satirical
music hall piece about the old-fashioned American doctor.
It was published by Firth and Hall, New York, 1843, and
was popularized by the Hutchinson Family Singers 0
Calomel is a medicine.
REFERENCES
Arnold, 40
Belden (BS), 441-442
Brewster (BSI), 308-310
Brown, III, 389-390
Henry (FSSH), 412-413
Hudson (FSM), 217
Jordan, 234-237
Jour (AFL), XII, 250
Memoirs (AFL), XXIX, 100
Pound, 126-127
Spaeth (WSM), 203
Go Call the Doctor
Physicians of the highest rank,
To pay their fees you’d need a bank.
Combine all wisdom, art and skill,
Science and sense,, in calomel.
Calomel, calomel, calomel.
4
When Mister "a" or "B" is sick,
Go call the doctor, and be quick!
The doctor comes with such good will,
But ne’er forgets his calomel, etc .
He takes the patient by the hand
And compliments him as his friend;

MB
Song Texts
2344
He sits awhile his pulse to feel,
And then takes out his calomel, etc .
He then deals out the precious grain,
"Now this," he says, "will ease the pain.
Once in three hours, at tone of hell,
Just take a dose of calomel, etc, «"
The man grows worse quite fast indeed:
Go call the doctor, ride with speed.
The doctor comes, like post with mail,
Doubling his dose of calomel, etc .
The man near death begins to moan—
The fatal job for him is done;
He dies alas, but sure to tell,
A sacrifice to calomel, etc.
0 when I must resign my breath,
Pray let me die a natural death,
And bid the world a long farewell
Without a dose of calomel, etc.
******************************

No. 566
GO DOWN, MOSES
also known as
Let My People Go
A classic spiritual, and one that is still going strong.
The song has been recorded and published innumerable
times. The version here was taken from Marsh (SJS), 142
143, and is the first version ever published.
REFERENCES
Agay (1), 62
Best, 153
Brown, III, 621; V, 360
Carawan, 136-137

MB
Song Texts
2345,
Chambers (TNS), 38
Dett, 108-109
Downes (1940), 168-169
Downes (1962), 198-199
Edwards (BSS), 28
Fisher (NSS), 131
Gainer, 213-215
Gilbert (100), 108
Hayes, 22-23
Jackson (WNB), 181
Johnson (BANS), 51-53
Jubilee (PS), 4-5
Kolb, 210
leisy (LAS), 137-138
Leisy (SPS), 204
Lomax (PB), 82
Lomax (USA), 372-373
Luther, 218-219
Mackenzie (SH), 105-106
Marsh (SJS), 142-143
Pike, 182, or 224
Silverman, II, 103
Waite, 72-73
Whitman, 14-15
Work (ANSS), 165
Go Down , Moses
When Israel was in Egypt’s land.
Let my people go,
Oppress’d so hard they could not stand,
Let my people go.
Chorus
Go down, Moses, way down in Egypt land,
Tell ole Pharaoh, Let my people go!
Thus spoke the Lord, Ole Moses said, etc.,
If not I’ll smite your first-born dead, etc.
No more shall they in bondage toil, etc .,
They shall come.out with Egypt’s spoil, etc .
0 let us all from bondage flee, etc .,
0 let us all walk proud and free, etc .
Why mu«t we always weep and moan? etc .
A man is not a thing to own, stc.
0 what a great day that will be, etc .,
When every man is walking free, etc.
*** ************* *******

MB
Song Texts
2346

No. 567
GOING DOWN TO TOWN
also known as
Down to Lynchburg Town Hawkie Is a Schemin * 1 Bird
Get Along Down Town I*se Gwine Down Town
Get On Down to Richmond Lynchburg Town
Town
This began as a minstrel-show song about the middle of
the 19th century. Taken over by the folk, both blacks
and whites developed versions and both incorporated
lines and stanzas from other songs« Every stanza in
the version below, for example, is also found in versions
of other songs, such as Old Joe Clark and Liza Jane.
REFERENCES
Brown, III, 398-401; V,
277-280
Coleman, 54
Jour (AFL), XXII, 249
Lomax (FSNA), 507-508
Lomax (OSC), 60-62
Minstrel, 140-141
Perrow, XXVIII, 139
Randolph, II, 360
Roberts (IP), 284-286
Sandburg (AS), 145
Scarborough (NFS), 192
Scott (FSS), 32
Seeger (1), 158-159
Shearin (3KFS), 20
Silverman, I, 366
White, 178
Wilgus (FSUS), 231
Going Down to Town
I used to have an old gray horse,
He weighed five thousand pound;
And ev'ry tooth in his stubborn head
Was sixteen inches round,,
Chorus
I'm a-going down to town,
I'm a-going dwon to town,
I'm a-going down to Lynchburg town,
To carry my tobacco down.

MB
Song Texts
2347
I used to have a pretty gal,
She lived down in the South;
The only thing I found wrong with her,
She had a great hig mouth.
I went up on the mountain top,
To give my horn a "blow,
I thought I heard my true love say:
0 yonder comes my beau.
01* Hawkie he’s a clever bird,
He sails away up high,
And dives into my chicken-yard
And makes my chickens fly.
I wish I was a great big bird,
1*11 tell you where I*d go;
I*d fly up over Washington
And chirp and let *er go!
**********************

No. 368
GOING TO BOSTON
also known as
How You Go A-Courtin f
Quite Early in the Morning
We*ll All Go to Boston
Boston
Goodbye, Girl*s, I’m
Going to Boston
This 19th century "Play-party" and dance tune ha® a
long and popular tradition in the South. It is in use
today as a number for Square dancing.
REFERENCES
Botkin (APPS), 148-150
Dudley & Payne, 16-17
Jour (AFL), XX, 275
Lloyd, 47

MB
Song Texts
2348
Lomax (ABPS), 297-298
Lomax (PB), 66
Owens (TPS), 154
Randolph, III, 315-316
Randolph (OPP), 215-216
Randolph (Ozarks), 158- 159
Ritchie (PS)., 25
Sharp, II, 371
Shearin (SKPS), 36
Wolford, 49
Going to Boston
Goodbye, Girls, I'm off to Boston!
Goodbye, Girls, I*m off to Boston!
Goodbye, Girls, I'm off to Boston!
Quite early in the morning.
Rights and lefts play the better (3),
Quite early in the morning.
You're so pretty on the dance floor, (3)
Quite early in the morning.
Go and promenade, one, two, three, (3)
Quite early in the morning.
Turn around and kiss your partner, (3)
Quite early in the morning.
************************************

No. 569
GOING UP
also known as
Gwine Up to See de Hebbenly Land Oh, Yes, I'm Going Up
I*m Going Up
Pre-Civil War spiritual that was obviously adapted from
Yie w That Heevenly Land, which is given elsewhere in this

MB
Song Texts
2349
Master Book. Also see and compare: Going Up , Going TJj>,
To See the Lord in White, 125.
Other versions of this spiritual are in Lett, 34-35 and
Johnson (BANS), 118-119. For a similar spiritual, see
Work (FSAN), 66.
Going Up
Oh, yes, I'm goin' up, goin' up,
Goin* all the way, Lord,
Goin' up, goin* up,
To see the Heavenly Land.
Oh, Lord, I can't wait, can't wait.
Can't wait to get there,
Goin' up, goin' up,
To see the Heavenly Land.
********* ********************** *********

No. 570
GO IN THE WILDERNESS
also known as
Leaning on the Lord
If You Want to See Jesu9
A version of this spiritual was in Atlantic Monthly
19, June 1867, p. 690. It is similar to the Methodist
hymn. Ain't I Glad I Got Out of the Wilderness .
See and compare: Out of the Wilderness _I & I_I in MB .
REFERENCES
Allen (3SUS), 14, or
45
Lett, 208-209
Jubilee (PS), 14

MB
Song Texts
2350
Go in the Wilderness
If you want to meet Jesus,
Go in the wilderness,
Go in the wilderness,
Go in the wilderness,
If you want to meet Jesus,
Go in the wilderness
Leaning on the Lord.
I felt so happy when I came out of
the wilderness,
Came out of the wilderness,
Came out of the wilderness,
I felt so happy when I came out of
the wilderness,
Leaning on the Lord.
TAG Refrain
Oh, leaning on the Lord,
Leaning on the Lord,,
Oh, leaning upon the Lamb of God,
Who was slain on Calvary.
*************************************

No. 571
GOLD BUCKLES
This is one of those fiddle tunes known by practically
every fiddler that plays old-time music. There is no
text. See under TUNES .
**********************************
****************************

MB
Song Texts
2351

No. 572
THE GOLD DUST EIRE
This is a "roustabout” or "riverboat" song that was re
covered by Wheeler (SD), 43o
The focus of the song is on an actual disaster. On August
7, 1882, the packet Gold Dust sailed away from Hickman,
Kentucky and was destroyed when her boilers exploded,,
Seventeen people were killed, and forty-seven wounded,,
Mark Twain had been a passenger on the Gold Dust, and
he wrote about his journey and the disaster in his Life
on the Mississippi.
The Gold Dust Fire
Ain«t that a pity, 0 Lord?
Ain’t that a pity, 0 Lord?
Ain’t that a pity, 0 Lord?
Ain’t that a pity ’bout the Gold Dust men?
Some got scalded, some got drownded,
Some got burnt up in the Gold Dust fire.
Boilers exploded, 0 Lord (3)
Boilers exploded, set the boat on fire.
Some was cryin', some was dyin’,
Some got burnt up in the Gold Dust fire.
******************************

No. 573
GOLDEN CITY
Another roustabout boat song recovered and published by
Wheeler (SD), 52.
According to Wheeler, The Golden City , a stern-wheel
packet, was built in Cincinnati in 1876. It burned at

MB
Song Texts
2352
Memphis in 1882, Several river steamers are mentioned
in song’s text, the Golden City , Golden Crown , Paris C.
Brown and JU Johnson . All except the Golden Crown
were destroyed by fire.
The tune is an adaptation of OhS Dem Golden Sleipoers .
Golden City
The Golden City an’ the Golden Crown ,
m Iron Johnson an' the Paris C. Brown ,
All uv them boats got to go to town
To be unloaded in the mornin’.
Chorus
Oh, that Golden City ,
Oh, that Golden City ,
Golden City is a big fine boat;
She’s got to be unloaded in the mornin*.
**•*#*# ***************** *****•*■»**•»*

No, 574
GOLDEN SLIPPERS
also known as
Chariot in the Morn My Old Banjo
Going Up Oh! Dem Golden Slippers
This was originally published as a "popular" song, with
words and mu«ic by James A. Bland. It was copyrighted
and published by the John P. Perry Comapny, 1879. After the
1930s, when the copyright expired, versions immediately
appeared in song folios issued by various publishers. The
tune became and remained a favorite with fiddlers and
najoists.
The chorus has been used in other songs, such as Karo

MB
Song Text9
2353
Town (flee in MB), and Raccoon Uo in de 'Simmon Tree in
Scarborough (NFS), 172.
REFERENCES
Best, 24
Brown, III, 622-623; V,
361-362
Ford (TMA), 113, 410-411
Henry (FSSH), 413-414
Johnson (RAS), 154
Loesser, 122-125
Lloyd, 160-161
Luther, 245
Mackenzie (SH), 45-46
Minstrel, 195-197
Scarborough (NFS), 172
Shaw, 383
Silverman, II, 82
Waite, 30-31
Wehman, I, 68
White, 106-107
Wier (SWWS), 211-212
Zanzig, 97
Golden Slippers
Oh, my golden slippers am laid away,
Kaze I don't 'spect to wear 'em till my weddin' day,
And my long-tailed coat dat I loved so well,
I will wear up in de chariot in de morn.
And my long white robe dat I bought last June,
I*m gwine to get changed kaze it fits too soon.
And de ole gray hos^ dat I used to drive,
I will hitch him to de chariot in de morn.
Chorus
Oh, dem golden slippei^s! Oh, dem golden slippers!
Golden slippers I'se gwine to wear bekaze they look
eo neat.
Oh, dem golden slippers! Oh, dem golden slippers!
Golden slippers I'se gwine to wear to walk de golden
street*

MB
Song Texts
2354
Oh, my old tanjo hangs on the wall,
And it ain’t been tuned since ’way last fall,
But the folks all say we’ll have a good time,
When we ride up in the chariot in the morn.
There’s old brother Ben and his sister Luce,
They will telegraph the news to Uncle Bacco Juice.
What a great camp meetin* there will be that day.
When we ride up in the chariot in the morn.
Oh, it’s goodbye, children, I will have to go.
Where the rain don’t fall and the wind don’t blow,
And your overcoats you will never need,
When you ride up in the chariot in the morn.
But your golden slippers mu^t be nice and clean,
And your age must be just sweet sixteen.
And your white kid gloves you will have to wear,
When you ride up in the chariot in the morn.
*******************************

No. 575
THE GOLDEN VANITY
also known as
The American Ship
Bold Gallantry
The Bold Trellitee
The Cabin Boy
The Captain’s Apprentice
The Prench Gallee
The Gallant Victory
The Golden Furnity
The Golden Vanistee
The Golden Victory
The Golden Willow Tree
The Green Willow Tree
The Little Cabin Boy
The Low Down Lonesome Low
The Lonesome Low
The Lowland Lonesome Low
Lowlands
The Lowlands Low
Mary Golden Lee
Mary Golden Tree
Sinking in the Lowlands Low
The Sweet Trinity
There Was a Little Ship
The Three Ships
The Turkey-Rogher Lee
The Turkey Shivares

MB
Song Texts
2355
The Turkish Revery
The Turkish Revoloo
The Virginal Three
The Weeping Willow Tree
The Weep-Willow Tree
The Vellow Golden Tree
The oldest form of this ballad is the 17th century-
broadside, Sir Walter Raleigh Sailing in the Low Lands ,
copies of which nay be seen in Ashton (CB), 201-204;
Child, No. 286 A; Crawford, No. 1073; Euing, No. 334;
Huth, II, No. 134; and Pepy's Ballads, IV, No. 189.
Under various titles the ballad is one of the most wide
spread in American tradition. Versions from England
arrived here with the first emigrants and have circu
lated ever since.
This ballad is sometimes confused with Edwin in the
Lowlands Low , but the ballads are not related. Parodies
are also widely known, particularly one known as A Boy
He Had An Auger , a stanza of which is in Sandburg (AS),
343 . According to Cox, the parody was also published
as a favorite college piece in Waite's Carmina
Colligensls (Boston, 1868), 171; White's Student Life
in Song (Boston, 1879), 58; and The American College
Songster (Ann Arbor, 1876), 101.
REFERENCES
Baring-Gould (GCS), 14-15
Baring-Gould (SV/), III,

No. 64
Barry (ABB), No. 1
Barry (BBM), 339-347
Belden (BS), 97-100
Berger, 26-28
Best, 128-129
Brewster (BSI), 158-163
Broadwood (ECS), 182-183
Brown, II, 191-195; IV,
Brown (BLNC), 9
120-124
Buchan MSS, II, 390, 411
Bullen & Arnold, No. 42
Bulletin (FSSN), V, 10-11
Bulletin (VFS), Nos. 3 & 4
Cambiaire, 93-94
Campbell & Sharp, No. 35
Cazden, I, 46-48
Chappell (FSRA), 43-45
Chase (AFTS), 12-121
Child, V, 135-142, 424
Christie, I, 238
Coffin, 153-155
Colcord, 78, 154-155

MB
Song Texts
2356
Coleman, 16
Cox (FSS), 169-171
Cox (TBFS) , 64, 66, 68
Creighton (FSNB) , 17-18,
19-21
Creighton (SBNS), 20-21
Creighton (TSNS), 101-106
Davie (MTBV), 339-543
Davis (TBV), 516-520, 602
Davis (SSC), 30-31
Dean-Smith, 69
DeMarsan (SJ), II, 686
Duncan (I0SB), 216
Ebsworth (RB), VI, 418
Findlay MSS, I, 161
Flanders, IV, 188-263
Flanders (CSV), 40-41
Flanders (VFSB), 230-231
Fowke (TSSO), Nos. 4 & 61
Friedman, 409-411
Gainer, 96-97
Gardner (BSSM), 214-215
Greenleaf, 43
Greig, II, arts. 116-119
Greig & Duncan, No. 37
Greig & Keith, 238-239
Harlow (C), 35-37
Henry (FSSH), 127-133
Hubbard, 43-45
Hudson (FSM), 125-127
Hudson (SMFL), No. 22
Ives (SA), 16-17, 62-64
Ives (SB), 44-46, 42-43
.Jour (AFL), XVIII, 125;
XXIII, 429; XXX, 330;
XLV, 25; XLVIII, 312,
386-388
Jour (FSS), I, 104; II,
244
Karpeles, 107
Kidcon (GEFS), 72
Kirkland, 79
Kittredge (BS), 330-331
Leach, No. 8
Leach (BB), 667-670
Leisy, 128-131
Linscott, 136-137
Logan, 42, 45
Lomax (FSNA), 191-192
Lomax (OSC), 210-212
Masefield (SG), 175
McGill, 96-102
Moore (BFSS), 134-135
Morris, 326-328
Niles (BB), 321-324
Notes (series 5), VI, 138
Okun, 127-128
Ord, 450-451
Owens (TFS), 38-40
Pound, 24-26
Quiller-Couch, 701-702
Raine, 121
Randolph, I, 195-201
Randolph (Ozarks), 177-180
Reeves (EC), 123-124
Richardson (AMS), 28-29
Roberts (IP), 89-92
Rollins (PB), IV, No. 189
Scarborough (SC), 184-189,
406-407
Scott (BA), 138-139
Sharp, I, 282-290
Sharp (EC?$), 68-71
Sharp (EFS), I, No. 14

KB
Song Texts
2357
Sharp (100), 36-37
Sharpe (BB), 160
Shearin (BBCM), 4
Shearin (3KFS), 9
Shellans, 62-63
Shoemaker ( MMP ), 132-133»
299
Shoemaker (NPM), 126
Silber (HSB), 19
Silverman, II, 242
Tozer, No. 15
Treat, 11-12
Welle, 53-54
Williams (EPS), 46
Williams (PSUT), 199-200
Wyman (LT), 72-75
The Golden Vanity
Our Captain sailed a ship in the North Countree,
She went by the name of the Golden Vanity;
He said, "I am afraid of the dreadful enemy,
As we sail upon the lowlands, Lowlands Low,
As we sail upon the Lowlands Low.”
"0 Captain,” said young Tom, our little cabin boy,
"What will you give me if them I do destroy?”
"1*11 give much gold to you, and my eldest daughter,
too,
If you sink them in the Lowlands, Lowlands Low, etc
Young Tom took up his auger and dived into the sea,
And swam along the side of the feared enemy.
"0 wealthy I shall be, with a wife to care for me,
When I sink them in the Lowlands, Lowlands Low, etc.
Some men were playing cards, and some were playing
dice.
And all were unaware of the auger striking twice.
Young Tom struck once again and the water rushed
right in,
And he sank her in the Lowlands, Lowlands Low, etc.

KB
Song Texts
2358
Totmg Tom then turned about and, swimming thro the sea,
He ewam along side of the Golden Vanity.
•0 Captain," young Tom cried, "I f ve earned myself a
bride!
For I sank them in the Lowlands, Lowlands Low, etc .
•How throw me down a rope that I may climb aboard;
And fetch for me clothing fine,—the best you can afford*"
•Ho rope will I throw you down, for I mean to let you
drown.
As we sail upon the Lowlands, Lowlands Low, etc ."
Toting Tom was weak and tired, but he reached the star-
board-side ;
We laid him on the deck, where he heaved a moan and died.
We sewed him in a sack and we threw him o*er the side,
As we sailed upon the Lowlands, Lowlands Low, etc.
******************************

Ho. 576
THE GOLD SEEKER I
also known as
I Come from Salem City The San Francisco Company
Oh, California
The gold fields of California were responsible for more
than gold, because without them California would not have
become a state as quickly as it did. As some unknown poet
put it,
*
The miners came in *49.
The whores in *31-—
They met in San Francisco
And produced the native son.
They also produced songs, and more songs, using melodies
that belonged to composers unable to protect their copy
rights.

MB
Song Texts
2359
The words to this song were written by John Nichols.
The tune was borrowed from Stephen Poster*9 Oh!
Sueannah! Nichols' song is version A. Version B,
written in 1849, used the same Poster melody with words
by Captain Isaac W. Baker*
REFERENCES
Dwyer, 17-18 Lengyel (HB), 11
Grant, Lingenfelter, 26—27
Lengyel, 16 Shay (ASSC), 114-117
The Gold Seeker I Version A Tune: Oh! Susannah!
I name from Salem City with my washbowl on my knee;
I'm going to California, the gold dust for to see.
It rained all night the day I left,
The weather it was dry,
With sun so hot I froze to death!
Oh, brothers, don't you cry.
Chorus
Oh! California,
That's the land for me!
I'm bound for San Prancisco
With my washbowl on my knee.
I soon shall be in 'Prisco, and there I'll look around,
And when I see the gold lumps there I'll pick them off
the ground. s
I'll scrape the mountain clean, my boys,
I'll drain the rivers dry;
A pocketful of rocks bring home,
So, brothers, don't you cry.
I thought of all the pleasant times we've had together
here;
I thought I ought to cry a bit, but couldn't find a tear.

MB
Song Texts
2360
The pilot*s heard was in my mouth,
The gold dust in ay eye,
And though I’m going far away,
Dear brothers, don’t you cry!
Version B
Time: Oh! Susannah!
The San Francisco Company, for San Francisco bound,
Our barque is San Francisco , too— the same name all
around.
A company of jolly boys as ever got together,
All bound for California, in spite of wind and weather.
Chorus
Oh! California, we’ll see you bye and bye.
If we’ve good luck, and if we don’t, why, bless you,
don’t you cry.
We started from Old Beverly, mid cheers from great
and small.
We hope to get back bye and bye when we’ll return them
all.
The day we left the wind was fair, and pleasant was the
sky.
The fair sex wept, the boys hurrah’d, and we’d no time
to cry.
We doubled clo^e ’round Beverly bar, *twas close upon
our lee,
We then hove to and called the roll, and squared away
for sea.
We’ve forty men in Company, a cook and steward too;
We’ve twenty pigs, a dog and cat, and what is that
to you?

MB Song Texts 2361
How here*?? success you’ll surely say, to all you
willing souls,
And may you have the joyful chance of filling all
your howls*
But not just yet, hut hye and hye, and full of glit
tering ore,
And then return to where you wish and never want for
more •
«-»*********************************

Ho* 577
THE GOLD SEEKER II
also known as
The Banks of the Sacramento Hoodah Bay
California On the Banks of the
For Californi-o! Sacramento
Sacramento
This is a capstan shanty, and it comes in many versions.
This, too, was «ung to one of Stephen Poster’s popular
airs, Camptown Races (see in MB). In this case, however,
there is a trace of douht among folklorists as to which
came first—the shanty or Poster’s tune. I have no douht
that Poster’s tune came first. If Poster did any borrow
ing, which I douht, he borrowed from the old campground
spiritual, Roll , Jordan , Roll (see in MB) <>
It is possible, of course, .that Gold Seeker II ante-dates
Poster’s song, which was copyrighted Peh. 19, 1850*
#
Hugill tells us, "This capstan song was very well known
to German seamen who sang it in Plaat Beutsch under the
title: Ber Hamhorger Veermaster. ’’ Hugill added, "Nor
wegians sang ’ Ota Hayti! ' for ’hoodah’, and Swedish
tars sang ’Oh, Bermudas , Oh, Bermudas! ' for the same
refrain*" The shanty may,
therefore, have had a similar

MB
Song Texts
2362
time— so similar in fact that adaptation to Poster’s
tune became easy for American sailors and gold miners„
REFERENCES
Baltzer, I, 72
Botkin (WFL), 734
Bullen & Arnold, 21
Carmer (SRA), 185
Colcord, 105-106
Davis (SSC), 16-17
Doerflinger, 68-70
Downes (1940), 126
Downes (1943), 154
Gordon (PSA), 96
Grant (SP), 87-88
Harlow, 109, 319
Hugill (1), 112-113
Hugill (2), 155-157
Ives (SB), 162-163
King, 15
Lengyel, 20
Lengyel (HB), 12
Lingenfelter, 32-33
Lomax (USA), 140-141
Masefield (SC), 365
Meloney, 10
Robinson (July 21), 26
Sampson, 4
Sandburg (AS), 112
Scott (PSS), 46
Shay (ASSC), 82-83
Shay (IMWS), 82-83
Silber (SGAW), 12-13
Silverman, I, 13
Smith (BOS), 24-25
Smith (MW), 10
Terry, II, 10
Whall (SSS), 103-104
The Gold Seeker II Tune: Camptown Races
On the U. S. Line I waste my-time,
Doo dah, doo dah,
Never have a lousy dime,
Doo dah, doo dah day!
Chorus
Blow, boys, blow, for Californi-o!
There’s plenty of gold, so I’ve been told,
On the banks of the Sacramento!
We're just the boys to make her go, etc .
Around the Cape in rain or snow, etc«

MB
Song Texts
2363
A Bully ship, a bully crew, etc ,
A bully mate and captain too, etc,
Around Cape Horn we're bound to go., etc ,
We*re bound to see a 'Frisco show, etc,
The Spanish gals ain't got no combs, etc .
They comb their hair with old fish bones, etc ,
We surely had a mighty time, etc.
Back in the days of forty-nine, etc,
****** *******************************

No, 578
THE GOLD SEEKER III
also known as
Banks of the Sacramento Ho, Boys, Ho! to California Go
California Ho! for California
The Californian On the Banks of the Sacramento
Shore
This song was written for professional singers to per
form on stages. Later, it was adapted and sung by miners
in the gold fields# The original words were written by
J, J. Hutchinson, and he wrote them to fit the tune of
The Boatman's Lance (see in MB) .
Along the way, the song picked up many titles which it
shares in tradition with Gold Seeker II, but the two
# ——— "
songs are not otherwise related.
REFERENCES
Dwyer, 15-16
Eddy, 285
Howe (A49), 79
Hugill (1), 106-107
Hutchinson (BW), 22-23
Jour (AFL), XXXV, 361
Lingenfelter, 14-15
Luther, 122
Sandburg (AS), 110-111
Siegmeieter, 64-65
Silber (SGAW), 9-11

MB
Song Texts
2364
The Gold Seeker III Tune : The Boatman*s Dance
We were well-manned when we formed our band
To journey afar to the Promised Land;
The golden ore is rich in store
On the banks of the Sacramento shore.
Chorus
It*P ho, boys, ho! To California go!
There*s plenty of gold in the world I*m told,
On the banks of the Sacramento shore.
Altho we roam o*er the dark sea's foam,
We'll never forget all our friends back home;
On cold damp ground we'll all sleep sound,
Except when the wolves are howling 'round.
The gold is there almost every where;
We'll dig it out rich, and with time to spare;
But where it's thick, with spade and pick,
We'll take out the lumps as big as brick!
As we explore on that distant shore,
We'll fill our pocketp with the shining ore;
0 how 'twill sound, as the word goes 'round,
Of our picking up gold by the pound.
In days of old prophets all foretold
Of future cities all framed in gold;
Now could it be they did foresee
The dawning in Californ-i-ee?
*************-*******-**********

MB
Song Texts
2365

Ho. 579
THE GOLD SEEKER IY
also known as
Hip! Goes the Boiler Sailing for San Francisco
A Hipping Trip
This gold-rush parody of the very popular Pop! Goes
the Weasel was written by John A. Stone, who wrote many
such songs under the pen-name of "Old Put. M
The text first appeared in Put’s Golden Songster (1st
edition, 1858), 46-47 and (2nd edition, 1858), 9.
Black, 18-19
Dwyer, 31-32
Fife, 36-37
Grant (SP), 79-80
Bandy, 434
Ives (SA), 184
REFERENCES
Ives (SB), 273
Lengyel, 19
Lingenfelter, 28-29
Lomax (CS-1919), 407-408
Lomax (CS-1938), 387-3S8
Luther, 123
Sherwin (SGM), 38-39
The Gold Seeker IV Time: Pop! Goes the Weasel
You go aboard a leaky boat
And sail for San Francisco;
You’ve got to pump to keep her afloat,
Or swim there, by jingo!
The engine soon begins to squeak,
With nary a thing to oil her;
It’s impossible, boys, to stop the leak—
Rip! goes the boiler!
How pork-and-beans you can’t afford,
They’re sold to class "a” raters;
The cook is seen to fall overboard.
With three sacks of taters.

MB
Song Texts
2366
The engineer, a little tight.
Starts handing us all a big line;
When he finally wants to say good-night-
Rip! goes the boiler!
Cholera begins to rage,
A few came down with scurvy;
Chickens dying in their cage—
Steerage topsy-turvy.
When you get to Panama,
Greasers want a back-load;
Officers begin to jaw—
Rip! goes the railroad!
Back hone, you*11 tell an awful tale,
And always will be thinking
How long you had to pump and bail,
To keep the tub from sinking.
Of course, you’ll take a glass of gin,
•Twill make you feel so funny;
Some city sharp will rope you in—
Rip! goes your money!
**#***********•*•****•**♦■*■■*•*•*■*•*

Ho. 580
THE GOLD SEEKER V
also known as
That Is Even So
This John A, Stone text was set to the tune of an old
campground spiritual (see On Journey Home I in this
Master Book ). Song was first published in Put * s Golden
Songster, 53-55. Later versions are in Dwyer, 47 and
Pife, 44-45

MB
Song Texts
2367
The Gold Seeker V Time: On My Journey Home I
When first I heard the people tell
Of finding gold in veins,
I hade my friends a long farewell
And started o'er the plains.
And started o'er the plains,
And started o'er the plains,
I hade my friends a long farewell
And started o'er the plains*
I joined a train and traveled on,
And all seem satisfied
Until our grub was nearly gone,
And I got alkalied.
And I got alkalied, etc .
My bowels soon began to yearn,
My legs began to ache;
My only show was to return,
Or winter at Salt Lake.
Or winter at Salt Lake, etc .
The Mormons knew that Uncle Sam
Had troops upon the route,
And Brigham prayed the Holy Lamb
Would help to clean them out.
Would help to clean them out, etc.
The distance was one thousand miles,
And in my face did stare,
For Brigham swore no damned Gentiles
Again should winter there.
Again should winter there, etc.

MB
Song Texts
2368
I reached the mines with "nary red,"
Was treated mighty cold;
* /
I found no lumps, but found instead
I*d been completely sold*
I*d been completely sold, etc .
I hope and pray that every man,
If mineral lands are sold,
Will drop his shovel, pick and pan,
And leave the land of goldo
And leave the land of gold, etc.
*******************-**•*********

No. 581
THE GOLD SEEKER VI
also known as
Arrival of the Greenhorn I*ve Just Got in Across the
Going to the Mines Plains
Miner*s Song
John A. Stone parody, California style; it is an ex
cellent example of gold-rush humor. As always, Stone
set his words to a well-known tune, this time Jeannette
and Jeanot (see in MB).
REFERENCES
Belden (BS), 345-346
Black, 44-46
Dwyer, 45-46
Grant (SF), 107-109)
Lingenfelter, 46-48
Sherwin (SGM), 3- 5
Songster (144), 31-33
Vitus, 9-10
The Gold Seeker VI
Tune: Jeannette and Jeanot

MB
Song Texts
2369
I've just got in across the Plains,
I'm poorer than a snail,
My mules all died, but poor old Clip
I pulled up by the tail*
I fed him last at Chimney Rock—
That*8 where the grass gave out—
I'm proud to tell, we stood it well
Along the Truckee route.
But I f m very weak and lean,
Tho I started plump and fat;
How I wish I had that gold machine
I left back on the Platte!
And a pair of striped bedtick pants
My Sally made for me,
To wear while digging after gold,
And when I left, says she:
"Here, take the laudanum with you, Sam,
To check the diaree*"
When I left the Missouri River
With my California rig,
I had a shovel, pick and pan,
And tools with which to dig<>
My mules gave out along the Platte,
Where they got alkalied;
And I was sick with the di-a-ree,
My laudanum by my side.
When I reached the little Blue
I'd one boot and a shoe,
4
Which I thought by greasing once or twice
Would last me nearly through.
I had needles, thread and pills,
Which my nanny did prescribe,
And a flint-lock musket full,
To shoot the Bigger tribe—
But I left them all on Goose Creek,
Where I freely did imbibe.

KB
Song Texts
2370
I joined in with a train from Pike,
The Indians came in that night,
Stampeded all their stock*
They laughed at me, said, "Go a-foot,"
But soon they stopped their fun,
For my old mule was left behind,
So poor he could not run*
I crawled out and started on,
And I managed very well.
Until I struck the Humboldt,
Which I thought was nearly hell.
I traveled till I struck the sink
Where outlet can’t be found:
The Lord got through late Saturday night—
He’d finished all around,
But would not work on Sunday,
So he run it in the ground.
The Peyouts stole what grub I had.
They left me not a bite,
And now the Devil was to pay—
The desert was in sight!
And as the people passed along,
They’d say to me, "You fool!
You’ll never get thro the world
Unless you leave the mule."
But I pushed, pulled and coaxed
Till I finally made a start,
And his bones, they squeaked and rattled so,
I thought he'd fall apart,
I killed a buzzard now and then,
Gave Clip the legs and head;
We crossed the Truckee thirty times,
But not a tear was shed.
We crossed the summit, took the trail
That to Nevada led.

MB
Song Texts
2371
When I got to Sacramento,
I got a little tight;
I lodged aboard the Prison-brig
One-half a day and night,
I vamoosed when I got ashore,
Went to the Northern mines
And found the saying very true:
"All is not gold that shines,"
I dug, packed and chopped,
And drifted night and day,
But I haven’t struck a single lead
That would my wages pay.
At home they think we ought to have
Gold on our cabin shelves,
Wear high-heeled boots, well blacked,
Instead of rubbers number twelves—
But let them come and try it,
Till they satisfy themselves<>
****************************

No, 582
THE GOLD SEEKER YII
also known as
I*m Off to See the Elephant Off to See the Elephant
Leave, You Miners, Leave Seeing the Elephant
A Miner’s Song When I Left the States
for Gold
This song is sung to the tune of The Boatman’s Dance.
The words were written by David G. Robinson,
Belden (BS), 347
Black, 50-52
REFERENCES
Davidson (RMF), 212
Dwyer, 53-55

MB
Song Texts
2372
Lengyel, 34-36
lengyel (HB), 14-15
Lingenfelter, 87-88
Luther, 128-129
Sherwin (SGM), 27-29
Silber (SGAW), 107-110
The Gold Seeker VII
Time: The Boatman* s Dance
Now when I went to search for gold.
Everything I had was sold—
My bed, my 9tove, and a skinny old sow,
Sixteen chickens and a muley cow.
Chorus
I*m off to see the elephant,
And hope to strike it big;
I»m off to see the elephant,
And dig, boys, dig!
Off I started, Yankee-like,
And soon fell in with a lot from Pike;
The next was, "Damn you, back, wo-haw,"
A right smart chance from Arkansas.
On the Platte we couldn't agree,
Because I had a di-a-ree;
We there split up, I made a break,
With one old mule for the Great Salt Lake.
The Mormon girls were fat as hogs,
The chief production, cats and dogs;
Some had ten wives, others none,
Thirty-six had Brigham young.
Being brave, I cut and carved,
On the desert nearly starved;
My old mule laid down and died,
I had no blanket, took his hide.

MB
Song Texts
2373
On I traveled through the pines,
At last I found the northern mines;
I stole a dog, got whipt like hell,
Then away I went to Marysville.
There I filled the town with lice
And robbed the Chinese of their rice;
The people say, "You've got the itch,
leave here, you lousy son-of-a-bitch!"
The people threatened me my life,
Because I stole a miner’s wife;
They showed a rope, to give me signs,
So off I went to the Southern mines 0
I mined awhile, got lean and lank,
And then I stole a monte-bank;
Went to the city, got a gambler's name
And lost my bank at the thimble game,,
I met a California girl,
Her eyes were grey, her hair did curl;
She had a nose so long it touched her chin,
But when I called, I couldn’t get in*
When the elephant I had *een,
I*m damned if I thought I was green;
And others say, both night and morn,
They saw him coming ’round the Horn.
***********•*-*■•*•*■■*•■*••*■*•*■*•*■•*■■»■* *■*•*•*•

Ho. 583
THE GOLD SEEKER VIII
also known as
Away Up on the Yuba
John A. Stone wrote the words of this song to match

MB
Song Texts
2374
Stephen Poster’s extremely popular piece, Old Polks At
Home (see in MB). The text first appeared in Put’s
Original California Songster and was reprinted in
Dwyer, 66-67.
The Gold Seeker VIII Tune: Old Polks at Home
Away up the Yuba River,
Par up in the mines,
That’s where I’ve been mining
Ever since we dug our rockers out of pines*
All up and down the digger nation,
Many times I’ve roamed;
All dirt and rags, besides starvation,
Hair that seemed it never had been combed.
Chorus
All the mines look hard and dreary,
Everywhere I roam;
Oh, miners, how my heart grows weary,
He’er a cent, and far away from home.
All around the northern mines I wandered,
With my blankets on my back;
All I made for whiskey then I squandered,
Fever had a dollar in my sack.
When I was fluming on the Feather,
I was going to make a strike,
Till I was drove out by the rainy weather,
Such thund’rin* luck! I never saw the like.
When I was mining with my partner,
He and I could not agree;
I made all the bread—did this, that and t’other,
He got mad if he had to make the tea.

MB
Song Texts
2375
He wan lazy an the very devil,
Swore with me he wouldn't work;
We divided; he took tent, pick and shovel—
Away he went, the lazy, lousy shirk!
♦♦•■if*************************

No. 584
THE GOLD SEEKER IX
also known as
An Honest Miner Pig ina Bag
This is yet another humorous song using a text hy
John A. Stone set to the tune of a famous song:
Samuel Lover's Low-Backed Car (see in MB).
REFERENCES
Black, 12-13 Lingenfelter, 132-134
Dwyer, 83-84 Sherwin (SGM), 24-26
Grant (SF), 134-136 Songster (144), 29-30
The Gold Seeker IX Tune: The Low-Backed Car
When first I went to mining,
I was uncommon green,
With 'gallus' rig I went to dig,
And claimed a whole ravine.
But when I could not make my grub,
With implements to gag.
An honest miner might have been seen
At night with a pig in a bag.
Chorus
As he lugged it away from the pen,
Was thinking how lucky he'd been;
Went into a hole, dug deep after gold,
With pig in the bag tumbled in.

MB
Song Texts
2376
I wandered ’round from place to place,
And no one did mistrust,
But what an honest miner had
Most any amount of dust.
It seems a gang of thieves had robbed
A hen-roost neat and clean,
An honest miner wringing their necks,
Might possibly have been seen.
Chorus
As he thought of the elegant stew,
The rooster would make—but he flew;
He’d cook up the hens and invite in his friends,
As the dog run him out of the roost.
A certain class will drink and fight.
And gamble all the while,
And live among the prostitutes
In low, degraded style.
The people think it’s with the few,
But I for one will tell,
An honest miner’s often seen
Crawling out of a Spanish corral.
Chorus
And pretend to respectable be,
Will damn them for A to Z;
They’re first to shout "let’s run ’em out,"
And the first to get round where they be.
An honest miner'll drink and fight
And raise the very devil,
But that’s all right, if once a week
He’s seen with pick and shovel.
Of course he’ll starve before he’ll steal,
But, try him a trip and see;

MB
Song Texts
2377
I«ve mined too long to be deceived—
I have that, yes-sir-ree!
Chorus
But we*re all of up bound to live.
By mining though, without or with;
Though after awhile we*11 all make a pile,
So remember the pig in a bag.
********************************

No. 585
THE GOLD SEEKER X
also known as
I*m a lousy Miner The Lousy Miner
John A. Stone set the words of this humorous song to the
tune of Pair Phoebe and Her Dark-Eyed Sailor (see
Disguised Lover II in this Master Book ).
REFERENCES
Black, 24-25
Botkin (AFL), 863-864
Dwyer, 155
Grant (SF), 122-123
Lingenfelter, 98-99
Lomax (FSNA), 338
Sandburg (AS), 107
Silber (SGAW), 117-119
Silverman, II, 419
Vitus, 23
The Gold Seeker X Tune: Disguised Lover II
It*s four long years since I reached this land,
In search of gold among the rocks and sand;
And yet I'm poor when the truth is told,
I'm a lousy miner, I'm a lousy miner in search of
shining gold.

MB Song Texts
2378
I»Te lived on swine till I grunt and squeal;
Mo one can tell how my howels feel,
With slapjacks a-swimming round in bacon grease.
I*m a lousy miner, I’m a lousy miner—when will
my troubles cease?
I was covered with lice coming on the boat,
I threw away my fancy swallow-tailed coat,
And now they crawl up and down my back.
I*m a lousy miner, I’m a lousy miner—a pile is
all I lack.
My sweetheart vowed she’d wait for me
Till I returned; but don’t you see
She’s married now, sure—so I’m told,
left her lousy miner, left her lousy miner, in
search of shining gold.
Oh, land of gold, you did me deceive,
And I Intend in thee my bones to leave;
So farewell, home, now my friends grow cold,
I*m a lousy miner, I’m a lousy miner, in search
of shining goldo
*********»***-***-**■**-*-*•***-»••***■*•

Ho. 586
THE GOLD SEEKER XI
also known as
A Gambler’s Life I Do Admire
I’m Bound to Play All Night
Boo Da, Boo Ba Bay
The Gambler
This is John A. Stone's rollicking parody on Stephen
Poster’s Camptown Races (see in KB).
REFERENCES
Black, 40-41 Bwyer, 110-111 Sherwin (SGM), 18-19

MB
Song Texts
2379
The Gold Seeker XT
Tune: Camotown Races
A gambler's life I do admire,
Doo da, doo da,
The best of rum they do require,
Doo da, doo da day!
The poker sharps begin to pout,
Doo da, doo da,
I played all night and cleaned 'em out,
Doo da, doo da day!
Chorus
I'm bound to play all night!
I'm bound to play all day!
I bet my money on the ace and king,
Who dares bet on the trey?
There's faro, sledge, and twenty-one, etc .
Oh, boys! let's have a little fun, etc .
You gamblers better hold your tongue, etc .
The monte dealers have all been hung, etc.
I used to wear a ruffled shirt, etc .
But now I'm covered with rags and dirt, etc .
A Colt revolver and a Bowie-knife, etc .
I'm bound to gamble all my life, etc .
***•»*•»** •**•*■*•* ************

No. 587
THE GOLD SEEKER XII
also known as
I Often Think of Writing
Home
It Keeps a Man Humping
'Round
The popular English-Irish song, Irish Molly 0! , was
used by John A. Stone for this gold-ru«h piece, which

MB
Song Texts
2380
> • »
turned out to be one of his more popular creations<>
Por a text of Irish Molly 0! see elsewhere in this
Master Book.
REFERENCES
Black, 8—9 Dwyer, 166—167 Silher (SGAW), 111—113
The Gold Seeker XII Tune: Irish Molly , 0J_
I often think of writing home, hut very seldom write;
A letter now and then I get, which fills me with delight.
But while I’m here with Romans I’ll do as Romans do,
And let it rip, till I return and tell my-etory true.
: Chorus
Por it keeps a man humping ’round, to keep up with the
times,
An* pen and ink is very scarce with people in the mines;
And writing don’t amount to much, unless you have the
dimes.
If I would write them every mail I know it would them
please,
But neighbors would then flock around them, like a swarm
of bees;
And great would be the cry abroad that such a man’s a fool
And if he was a friend of mine, I’d have him sent to
school.
I*ve half a mind to drop a line and tell them I’m alive.
And watch the California boats whenever they arrive,
Por I intend to home return, whene’er I feel inclined—
Then drop a line informing them I’ve lately changed my
mind.
I like to live among the hills and pleasant mountain
towns,

MB
Song Texts
2381
And like the cities better since they drove away the
hounds;
But were they fifty times as fair, for all I would not
fail
To be a man forevermore, and write them every mail*
****************************

No. 588
THE GOLD SEEKER XIII
also known as
Gold The Miner*s Lament
John A. Stone wrote the words of this song and set
them to the tune of H. S. Thompson’s Lilly Dale (see
in MB). Stone called his song The Miner*s Lament, a
title for at least two other gold-rush songs, one by
D. G. Robinson, set to the tune of Irish Dragoon , and
one by J. E. Johnson, set to the tune of 1*11 Sing No
More Until I Drink. Both songs are in Dwyer, 160, 161.
REFERENCES
Belden (BS), 347-348 Dwyer, 158-159
. The Gold Seeker XIII Tune: Lilly Dale
When the gold fever raged, I was doing very well,
With my friends all around, young and old;
•Twas a long time ago, and I bade them farewell,
And embarked for the land of gold.
Chorus
Oh, miners! poor miners, hungry and cold,
Though poor I’ll return to my home far away;
So farewell to the land of gold.

MB Song Texts
2382
*Twas a hard thing to part from those little
ones so gay.
That were playing in the yard round the door,
And my wife sobbed aloud a® I started away,
Saying, "Farewell, I’ll see you no more!"
I dreamed I was home and in the orchard tread
With those loved ones so gay, it did seem.
As I reached for the apples that hung o’er my head,
Disappointed I woke from my dream,
I toil r d night and day with hope of gaining wealth,
Through the cold winter’s rain with delight;
But, alas! sad misfortune has ruined my health,
So, my fond friends at home, all good night 0
************** ****** **********

Wo, 589
THE GOLD SEEKER XIV
also known as
Oh! What a Miner The Prospector’s Dream
The Prospecting Dream
John A, Stone turned once again to a Stephan Foster
song for his words. In this case, he took the tune
of Oh! Susannah.
REFERENCES
Black, 42-43
Dwyer, 74-75
Grant (SF), 114-115
Lengyel, 52-53
Lengyel (HB), 18-19
Lingenfelter, 92-93
Sherwin (SGM), 34-35
Vitus, 11
The Gold Seeker XIV
Tune: Oh! Susannah

MB
Song Texts
2383
I dreamed a dream the other night.
When everything was still;
I dreamed that I was carrying
My long-tom down a hill—
uy feet slipped out and I fell down,
Oh! how i jarred my liver!
I watched my long-tom till I saw
It fetch up in the river*
Chorus
Oh! what a miner, what a miner was I!
All swelled up with the scurvy,
So I really thought I’d die.
My matches, flour, and chili beans
lay scattered all around,
I felt so bad I wished to die,
As I lay on the ground
My coffee rolled down by a rock,
My pepper I could not find,
•Twas then I thought of Lena Belle,
The girl I left behind.
I took my shovel, pick and pan,
To try a piece of ground,
I dreamed I struck the richest lead
That ever had been found 0
Then I wrote home that I had found
A solid lead of gold,
And I’d be home in just a month—
But what a lie I told!
I dug, I panned, and tommed awhile,
Till I had but a dollar;
I stuck it here, and right down there,
I could not raise the color.

KB
Song Texts
2384
John Chinaman he bought me out,
And pungled down the dust.
Then I had ju°t an ounce in change
To start out on a "bust,"
I went to town and I got drunk;
Hext morning, to my surprise,
I found that I had got a pair
Of roaring big black eyes.
And I was strapp*d, had not a cent,
Hot even pick or shovel;
My hair snarled up, my breeches torn,
I looked just like the devil!
#*******************-***•****

No. 590
THE GOLD SEEKER XV
also known as
The Sensible Miner
The words of this song were set to the tune of Lament
of the Irish Emigrant (see in M3). The words are by
John A. Stone.
Another version is in Dwyer, 85-86.
The Gold Seeker XV Tune; Lament of the Irish
Emigrant.
I*m mining in a dry ravine
That may not pay at all;
I*ve dug a long and fancy drain,
To sluice through in the Pall.
But should the rains hold off till late,
And keep me in suspense,
1*11 write a line and tell dear Xate
My hide is on the fence.

MB
Song Texts
2385
When I have filled my pockets with "rocks,”
1*11 live and easy life;
1*11 buy a silver pepper-box,
Likewise a bowie-knife.
No man shall rob my camp at night.
Not even if he weighs a ton!
1*11 show that miners are some on the fight,
And a "right smart chance" on the run.
The money "I'm looking for!" troubles me now,
And unless I should build a balloon
To send it safe home, I've no idea how,
No more than the man in the moon.
*Twould never arrive should I send it by mail,
For they'd steal it and spend it for beer,
And sharpers would swindle me someway, or fail.
So I think I'll enjoy it here.
*****************************

No. 591
THE GOLD SEEKER XYI
also known as
Get Out of My Way Striking a Lead
From the Original California Songster, 1855, comes this
song with text by John A. Stone and tune from Old Dan
Tucker (see in M3) ♦
Another version is in Dwyer, 73.
The Gold Seeker XYI Tune: Old Dan Tucker
I took my shovel, pick and pan,
And went to mining like a man;
I picked up chunks that weighed a pound—
They lay like lemons on the ground.

MB Song Texts
2386
Chorus
Get out of my way, I’m mad as fury!
Get out of my way, I’m mad as fury!
Get out of my way, I’m mad as fury!
I’m from Pike, in old Missoury<>
I laughed to see so many fools
Come running with their mining tools,
When up a sign went, "Whiskey out,"
One bit a glas« for good rot-gut.
I’m going home, I've made my pile.
I a going through in cabin style;
I’ll get my money and life insured,
For fear I’d get knocked overboard.
************************

No. 592
THE GOLD SEEKER XYII
also known as
The Golden Days Have Passed Those Golden Days
Oh, Happy Home Those Happy Days
The Unhappy Miner
Even in the Golden Songster, where it first appear,
no author’s name was supplied for this song. It was
specified, however, that the tune was Stephen Poster's
Old Dog Tray (see in MB) .
For other versions, see Black, 2—3 and Dwyer, 153-154#
The Gold Seeker XYTI Tune: Old Dog Tray
My happy days are past, the nines have failed at last,
The canyons and gulches no longer will pay.
There’s nothing left for me, I’ll never, never see
My happy, happy home far away.

MB
Song Texts
238 ?
Chorus
Oh, happy home, now where art thou? Friends that were
kind and sincere!
Alas, I do not know, my heart is full of woe, thinking
of loved ones so dear*
I mine from break of day, but cannot make it pay,
Disheartened return to my cabin at night,
Where rattlesnakes crawl round my bed made on the ground
And coiling up, lay ready to bite*
My poor old leaky lamp is always cold and damp,
My blanket is covered with something that crawls;
My bread will never rise, my coffee-pot capsize—
I*d rather live inside prison walls.
My boots are full of holes, like merchants have no soles
My hands, once soft, are harder than stone;
My pants and woolen shirt are only rags and dirt;
And mu^t I live and die here alone?
I know how miners feel when pigs begin to squeal,
Or hens on their roosts do cackle and squall;
It makes my blood run cold to think it f s all for gold,
And often wish that Gabriel would call!
It f s "Starve or pay the dust," for merchants will not
trust,
And then in the summer the diggings are dry;
Of course then I am broke, swelled up by poison oak;
It»s even so, I really would not lie.
If I were home again, to see green fields of grain,
And all kinds of fruit hanging ripe on the trees;
I there would live and die, the gold mines bid goodbye—
Forever free from bed-bugs and fleas!
*****************************

M3
Song Texts
2388

Ko. 593
THE GOLD SEEKER XVIII
also known as
I*m a Used-Up Man Life in California A Used-Up Man
This text, set to the air of a song called Used - Up Man ,
was written by David G. '’Doc” Robinson. It was published
in Robinson*s Comic Songs; or. Hits at San Francisco ,
1853.
REFERENCES
Black, 4-5 Dwyer, 108-109 Silber (SGAW), 104-106
The Gold Seeker XVIII
0, I haint got no home, nor nothin* else I s’pose,
Misfortune seems to follow me wherever I goes.
I come to California with a heart both stout and bold,
And I *ve been up to the diggins for to get some lumps
of gold.
Chorus
But I*m a used-up man, a perfect used-up man,
And if I ever get home again, 1*11 stay there if I can.
I lived *way back in Maine, where I heard about the diggins,
So I shipped aboard a darned old barque commanded by Joe
Higgins,
I sold my little farm, and‘from wife and children parted;
I sailed to California, and left them broken-hearted.
When I got to San Francisco, I saw such heaps of money.
And the way the folks at monte played— I thought the
game quite funny.
Well, I took my little pile and on the table tossed it,
And the chap who dealt the cards says, "My friend, you»ve
lost it!”

MB
Song Texts
2389
I got into a steamboat and started up the river,
Where I thought the damn mosquitos would eat away
my liver!
When I got to Sacramento I buckled on this riggin',
And when I found a decent place I started right in
diggin*.
I got into the water, where the fever came and took me;
And after I was froze to death, it turned 'round and
shook me.
But still I kept on workin*, a-hopin* 'twould be better,
But the water didn't fall a bit—jus* kept a-gettin*
wetter*
I 'spose if I should die they'd take me to the Mission,
Or else Jim Riddle T d sell me to pay up my physician.
I've tried to keep up courage, and swore I wouldn't
spree it,
And here's my pile for five months work—I'd lief as not
you'd see it.
I don't know what to do, for all the time I'm diggin'
To hunt up grub enough to eat and find a decent lodging.
I can't get any liquor, and no one seems to meet me;
Who'll take me by the collar now and kindly ask to treat
me?
I'll go on up to '’Woodcock” and see if Tom won't trust me;
01' Tom has got too good a heart to let the hard times
bust me.
But if they don't know me there, or say I can't be trusted,
Why, then, friends, without your help, this poor old
miner's busted.
I don't know how it is, but I've a dreadful feeling
If I don't get some business soon, I'll have to take
up stealing.

MB
Song Text3
2390
I'd like some city office here, and the tax law needs
correctin'—
I»d make a first-rate Mayor too, and only need electin'.
To all the friends I have here, my thanks—I can't
express 'em;
For all their generosity, ju^t let me say, God bless 'em.
What they don’t know of kindness, I'm sure ain't worth
the knowing,
So with warmest thanks, kind friends, I think I'll be
a-going.
*******************-******** *■*•*■***

No. 594
THE GOLD SEEKER XIX
also known as
When I Went Off To Prospect
Por this rollicking satire, John A. Stone, the author,
used the tune of King of the Cannibal Islands , or
Po-ca-hon-tas , by J. Brougham.
REFERENCES
Black, 26-27 Lingenfelter, 109-110
Dwyer, 71-72 Silber (SGAW), 100-103
Grant (SP), 116-118 Songster (144), 46-47
Lengyel (H3), 21
The Gold Seeker XIX Tune; King of the Cannibal Islands
I heard of gold at Sutter's Mill,
At Michigan Bluff and Iowa Hill,
But never thought it wa° rich until
I Ptarted off to prospect.
At Yankee Jim’s I bought a pur^e,
Inquired for Iowa Rill, of course,
And traveled on, but what was worse
Fetched up in Shirttail Canyon.

No. 595
THE GOLD SEEKER XX
also known a9
Farewell! Farewell! Then Hurrah for Home!
Hurrah for Home!
John A. Stone was not the kind of songwriter who would
overlook a good tune, so it is not surprising that he
used the tune of the extremely popular Few Days for this
song.
For another version, see Dwyer, 175-176.
The Gold Seeker XX Tune: Few Days
I’m going home to stop awhile,
Farewell! Farewell!
Before I go we'll take a smile,
Then hurrah for home!
These banking thieves I will not trust,
Farewell! Farewell!
And with me take my little dust,
Then hurrah for home!
Although I like the diggings,
Farewell! Farewell!
Although I like the diggins,
I*m going to leave.
For I can't be with you always,
Farewell! Farewell!
For I can't be with you always.
Then hurrah for home!

MB
Song Texts
2393
Oh, won’t I have some high-old times,
Farewell! Farewell!
Telling yarns about the mines?
Then hurrah for home!
1*11 leave this world of rags and dirt,
Farewell! Farewell!
And wear a plug with ruffle shirt!
Then hurrah for home!
*•*■******•**•**•*•**•*■**•*•*•**

No, 396
THE GOLD SEEKER XXI
also known as
The Miner’s Farewell
Sung to the tune of Jeannette end Jeanot (see in MB),
this "farewell" about a miner luck enough to strike
it rich was written by Mart Taylor and published in
his Gold Diggers’ Song Book , Marysville, Ca,, 1856.
Another version is in Dwyer, 177-178
The Gold Seeker XXI Tune: Jeannette and Jeanot
I am going far away, far away unto the home
That I left long ago, in the Golden State to roam;
Yet my heart is light and free, and my feeling void
of woe,
For I’ve made myself a millionaire, and gladly now I go
And *tis gladly to the State I will bid a long adieu,
For though I have been a wanderer, my heart was ever
true.
And I’m anxious to return, and to see my friends once
more—
Bear me safely on, ye angry waves, unto my native shore

MB
Song Texts
2394
Then farewell, my mining friend, you have my pick
and spade,
I have got my pile at last, and no longer need their aid.
I am going to a land where my aged parents dwell,
And the pleasures offered by the sight no strange
tongue can tell.
Then goodbye to heavy bread, and the rugged paths I*ve
tread;
I*m going to a country where I shall be better fed 0
Then goodbye to mouldy beans, and to dismal, dark ravines
I shall have a better prospect now, for I have ample
means,
♦Tie my wish for miners all, that each one may make a
pile,
And be able to come after me, in a very little while 0
For their hardships have been heavy, and their trials
very great,
And most of them are guided by a very fickle fate,
I would ask that all my friends might quickly make a
strike;
I wish them bags of gold, that they all might cross the
main,
And meet with friends and relatives, no more to pan again
***********************************

No. 597
THE GOLD SEEKER XXII
also known as
California As It Is and Was I Remember, I Remember
The text of this song is from Put 1 s Original California
California Songster and is the work of John A. Stone,
The tune used for the words was borrowed from Mrs. E,
Fitzgerald's popular song, I Remember , !_ Remember , a.
version of which is in Johnson (FS), 14-15.

MB
Song Texts
2395
As pointed out in Dwyer, 184-186, the text of this
song "alludes to a great deal of specific history:
floods on the American River, Chinese on the Yuba,
government land grants to the railroads, and the ad
vent of the Know-Nothings *lynch law*, and Prank
Pierce."
This song is not related to Thaddeus W, Meighan’s
California A« It I«, which was set to the tune of
Jeannette snd Jesnot (see in MB),
The Gold Seeker XXII
I remember, I remember, when once I used to mine,
My cabin still is standing beneath the sugar pine;
Prom daylight in the morning, till the sun went out
of sight,
Alone I used to dig for gold and mend my clothes at
night,
I remember, I remember, when grub was very high,
We had to live on pork and beans—* twas little pork
indeed—
And miners were very poor, could not afford to buy;
With enough to grease the frying-pan, we thought we»d
struck a lead,
I remember, I remember, when we flumed American River;
The floods came down, swept off our dam, and all hands
damned together.
We lost our time and mining tools, and everything we had
Instead of leaving a pile we were left without a scad,
I remember, I remember, when the Yuba used to pay.
With nothing but a rocker, five hundred dollars a day.
We used to think *twould always last, and last with
perfect ease,
If Uncle Sam had only stopped the coming of Chinese,

MB
Song Texts
2396
X remember, I remember, we're compelled to pay a tax,
Which people say is gambled off—I wonder if those
are facts?
And certain ones are trying to give our mineral lands
away,
To build a railroad from the States to San Francisco
Bay,
I remember, I remember, when we hadn't any laws;
We then could live in peace among the diggers and
their @quaws.
But now it's Whigs and Democrats, and Know-Nothings
of late,
All fighting after office, with a chance to rob the
State.
I remember, I remember, when Captain Lynch was boss;
We had no use for prison brigs—we hadn't that, old hoss.
But now it's thieve® on every side, political thieves
. ■ t
in flocks,
And all promised office if they wait till Frank Pierce
buys more rocks,
******* ****************************

Ho. 398
TEE GOLD SEEKER XXIII
also known as
The Days of Forty-Nine Gone Are the Days
Technically, this song is not a gold-rush song: it was
written some years after the gold-rush was over. It
expressed a longing for the past, just as those songs
written during the gold-rush expressed a longing for
friend**, sweethearts and comforts of homes left behind.
The version below is from Dickson Kali's Songs and
Stories of the Gold Push , narrated by Burgess Meredith

MB
Song Texts
2397
on Epic Records.
The Gold Seeker XXIII
Time: Auld Lang Syne
Those golden days are passed,
The mines have failed at last,
And prospectin' is a waste of time today.
We never more will see
Those days thet used to be,
For the stream of time has borne them away.
Chorus
Gone are the days,
the days of Forty-Nine,
Gone are the days,
the days of Auld Lang Syne,
To California's shore
Came people by the score,—
The hills and rivers there were filled
with gold.
The history then made
Will never, never fade
From the minds of men, whether young or old,
*****************************

No. 599
THE GOLD SEEKER XXIY
also known as
The Lays of *49
The Lays of Old
Here You See Old Tom Moore
In the Lays of Forty-Nine
Old Tom Moore
Tom Moore
This song is post-Gold Rush, having come into print in
1872, in the Great Emerson New Popular Songster, San

MB
Song Texts
2398
Francisco. The words, by Charley Rhodes (Bensell),
were set to the tune of Auld Lang Svne. The song
was issued in sheet music form by Sherman & Hyde,
San Francisco, in 1876. The text was published in
Pioneers of Jj~9, Nicholas, Ball, Lee & Shepard, Boston
1891, which probably accounts for its traditional
existence throughout New England 0
REFERENCES
Allen (CL-1933), 151-153
Black, 53-55
Botkin (WFL), 735-736
Clark (CS), 26-27
Dwyer, 189-190
Flanders (CSV), 38-39
Fowke, 253-254
Frey, 76-77
Grant (SF), 52-55
Hubbard, 297-299
Lengyel, 58-59
Lengyel (HB), 44-45
Lingenfelter, 558-559
Lomax (CS-1910), 9-14
Lomax (CS-1938), 378-381
Lomax (USA), 161, 180-183
Lummie, 203-204
Randolph, II, 221-222
Sherwin (SGM), 12-13
Silber (HSB), 64
Silber (SGAW), 96-98
Silverman, I, 14
Vitue, 20-21
The Gold Seeker XXIV Tune: Auld Lang Syne
Here I am, Old Tom Moore, a relic of bygone days;
A miner who has dug for gold in many diff’rent ways.
Now heart is filled with grief and woe, for now I
live and pine
For days of old, the days of gold, in the days of
Forty-Nine.
I had good comrades then, a rowdy group, I must confes
.But staunch and brave and true as steel, those miners
of the West.
But like so many other fish they’ve now used up their
line;
Yet they were there, and they were fair, in the days
of Forty-Nine.

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Song Texts
2399
Monte Pete 1*11 ne'er forget—what luck he always had!
He'd deal for you both night and day, or long as you
had scad.
One night a pistol laid him out, his last lay out, in
fine;
It caught Pete sure, right in the door, in the days
of Forty-Nine.
Mew York Jake, a butcher boy, was fond of getting tight;
Whenever Jake got full of gin he looked to find a fight 0
One night he ran against a knife held by old Bob Kline—
So over Jake we had a wake, in the days of Forty—Nine 0
There was another chap^Big Ruben was his name—
And in the Square, with time to spare, began a faro game.
He became a millionaire right there all in the course
of time,
But death stepped in and called the tune in the days
of Forty-Nine.
There was Carolina Jes«s, who never would repent;
He wasn't known to miss a meal, or ever pay a cent.
But poor old Jess, like all the rest, to death had to
resign,
And in hi* 1 bloom went up the Flume in the days of
Forty-Nine.
Of all the miners I knew then, there's none left but me;
And if I'm good for anything, it's more than I can see.
As I pass by, the people cry, "There goes a travelin*
sign—
That's old Tom Moore, the miner, from the days of
Forty-Nine!"
*****************************

Song Texts
2400
KB

No, 600
THE GOLD SEEKER XXV
also known as
The Klondike Train
Aside from the tune to which the words are set, I have
no information to contribute concerning this song, I
rechecked my collection* of "gold rush" songs, thinking
I had perhaps misplaced or lost notes concerning it, but
it was not in any of them.
The Gold Seeker XXV Tunet Mustang Gray
Well, I traveled to the Klondike
Way back in ’Ninety-eight;
I thought I would strike it rich,
And be living great,
I’d heard of all that yaller gold,
And that made up my mind;
I told all my friends "goodbye"
And left my home behind.
When I got to the mining camps,
I looked around for gold;
But just like many others there,
I found the weather cold.
I started diggin 1 right away,
I shoveled and I panned;
While others ’round struck it rich,
I struck snow and sand.
I don’t know what you have been told,
Or what you think it’s like,
But you’re welcome to my share—
So take the whole Klondike!
*******************

MB
Song Texts
2401

No, 601
GOOBER PEAS
also known as
Eating Goober Peas
Confederate soldiers apparently maintained a sense of
humor even when they felt the war primarily through
the stomach. This song is an example, of their humor
under difficult circumstances, Hungry, bedraggled, and
with no hope of victory, they joyfully sang of the de
lights of a diet of peanuts, or, in their language,
"goobers" or "goober peas,"
The song was published at New Orleans by Armand E,
Blackmar, who is generally believed to have written
it, Oliver Ditson, Boston, also published a sheet
music version and credited the composition to "A Pender
and P. Nutt."
REFERENCES
Agay (1), 24
Arnold, 100
Arnett, 82
Botkin (SFL), 715-716
Dolph, 302-304
Glass (SS-2), 150-151
Ives (SA), 301-303
Leisy (LAS), 55-56
Leisy (SPS), 60
Lloyd, 128-129
Loesser, 228-229
Lomax (PB), 52
Silber (HSB), 40
Silverman, II, 328
Staton, 41
Warner, 85
Goober Peas
I*m sitting by the roadside upon a summer day,
Just chatting with my mess-mates, to pass the
time away.
I’m lying in the shadow, underneath the trees—
Goodness! how delicious, eating goober peas!

MB
Song Texts
2402
Chorus
Peas, peas, peas, peas, eating goober peas!
Goodness! how delicious, eating goober peas!
Now when a horseman passes, the soldiers have a rule:
They cry out at their loudest, "Mister, how’s your
mule?"
But another pleasure, enchanting-er than these,
Is wearing out your grinders eating goober peas.
0, just before the battle, the General hears a row;
He says, "The Yanks are coining, I hear those rifles
now."
He turns around in wonder, and what do you think he
sees?
The Georgia militia eating goober peas!
I think my song has lasted almost long enough;
The subjects interesting, but rhymes are mighty rough.
I wish this war was over and free from rags and fleas—
We’d kiss our wives and sweethearts and gobble goober
peas!
**********************************

No. 602
GOODBYE, MY LOVER, GOODBYE
also known as
Goodbye, My Love, See the Train Go Round
Goodbye the Bend
Originally this was an English song; it was written and
composed by H. T. Allen. The tune now in use in America
is the work of an anonymous composer.
Sailors adapted the song to ship-life, calling it Good -
Bye, My Love , Goodbye , and sang:
I’m bound away to leave you,
Goodbye, my love, goodbye.....

Song Texts
2403
MB
Sailors discarded the chorus, however, because it
was not suitable shanty material.
On land the song also underwent changes, including
two Southern versions in which the ship is replaced
by a train. Parodies appeared, too, and one of them,
Goodbye . My Money . Goodbye , is given immediately fol
lowing this version.
The song as now known is available in many commercial
songbooks and folios, and the tune is popular as a
Square Dance piece, usually as a "singing call."
See and compare the Goodbye . My Lover . Goodbye in
Botkin (MRP), 391.
REFERENCES
Best, 132
Brown, III, 322-323
Bulletin (TFS), V, 33-34
Chamberlain, 324-325
Colcord, 62
Davis (FSV), 197
Durlacher, 76
Ford (TMA), 304-305
Henry (SSSA), 169
Leisy (LAS), 69
Leisy (SPS), 168-169
Most (PCS), 26-27
Waite, 70-71
Wier (SWWS), 159-160
Winn (2), 214-215
Goodbye , My Lover, Goodbye
The ship goes sailing down the bay,
Goodbye, my lover, goodbye;
We may not meet for many a day,
Goodbye, my lover goodbye.
Chorus
Singing, by-low, my baby,
By-low, my bouncing baby boy,
Singing, by-low, my baby,
Goodbye, my lover, goodbye,
Goodbye, goodbye, my lover, goodbye.

MB
Song Texts
2404
My heart will evermore be true, etc.
Though now we sadly say adieu, etc .
1*11 miss you on the stormy deep, etc.
How ail I’ll do is sit and weep, etc.
0 cheer up till we meet again, etc.
I # ll try to bear my weary pain, etc♦
**** ****** ****** ■**•** •*••*■*■**

Ho. 603
GOODBYE, MY MONEY, GOODBYE
also known as
Bought Me a Rooster By, 0, My Rooster
Some anonymous poet sat down with the above tune and
wrote this parody, borrowing a line from She * 11 Be
Coming Round the Mountain in the process. For another
version, see Ford (TMA), 442.
Goodbye , My Money , Goodbye Tune: Goodbye , My Lover ,
Goodbye
Bought a rooster for fifteen cents,
Goodbye, my money, goodbye!
He flew right over the barnyard fence,
Goodbye, my money, goodbye!
Chorus
By, 0, my rooster! He don’t crow like he use~ter
By, o, my rooster! Goodbye, my money, goodbye!
Mother gave me another dime, eto 0
I think I’ll buy a hen this time, etc 0
****■*■*•*•*****•*■#*•***■*•*■**■**

MB
Song Texts
2405

No, 604
GOODBYE, SWEETHEART, GOODBYE
also known as
I Heard the Whistle Blowing Off to the War I f m Going
I learned this song from Riley Puckett sometime during
the early 1930s. I have seen it in only one collection
of traditional material: Henry (FSSH), 425.
Goodbye , Sweetheart , Goodbye
I hear the whistle blowing,
I hear the whistle blowing,
I hear the whistle blowing,
Goodbye, Sweetheart, goodbye.
The train is at the station, (3)
Goodbye, Sweetheart, goodbye.
It's off to the war I*m going, (3)
Goodbye, Sweetheart, goodbye.
A ring of gold I give you, (3)
Goodbye, Sweetheart, goodbye.
One day 1*11 be returning, (3)
Goodbye, Sweetheart, goodbye.
***•*****■*•**■*••****•# #•*•**■**■*•*****

No. 605
GOOD NEWS IN THE KINGDOM
also known as
I Won*t Die No More
This late 19th century spiritual was published by The
American Polk-Lore Societv in 1895.

MB
Song Texts
2406
Good News in the Kingdom
My Lord and Saviour came and died,
And I won't die no more!
They pierced my Jesus thro his side,
And I won't die no more!
Chorus
Good news in the Kingdom,
And I won't die no more!
No, never!
Good news in the Kingdom,
And I won't die no more!
He saw ol' Peter "by the sea, etc .
He said to Peter, "Follow me.", etc .
A Roman soldier pierced my Lord, etc.
They nailed his hands and used a sword, etc .
I heard a rumble in the «ky, etc .
I thought I heard my Saviour cry, etc,
I've got the right to sing and shout, etc .
The Lord done cast ol' Satan out!, etc.
****************************

No. 606
GOOD NEWS, MEMBER
also known as
I Heard From Heaven Today
This is an old slave spiritual. It was first published
in Allen (SSUS), 97-98, or, 153. Also see: Greenway,
79.

MB Song Texts
2407
Good News, Member
*y brother, have a seat and I f ll be glad,
Good news. Member, good news!
My brother, see the light and don’t be sad,
•Cause I heard from Heaven today.
Chorus
Good news, Member! Good news, Member!
Don’t you mind what Satan say;
Good news, Member! Good news,
For I heard from Heaven today!
My Jesus said that He is coming back, etc .
My Saviour’s train is rolling down the track, etc .
0 brother, put away your cards and dice, etc.
We’ll live with Jesus up in Paradise, etc 0
**************************

No. 607
GOOD NEWS: THE CHARIOT’S COMING
Slave spiritual that has remained popular in certain
areas, probably because it is still being sung by pro
fessional entertainers.
For variations see: Jackson (WNS), 157, 195; Johnson
(BANS), 155; and White, 75, 120. Also see and compare
the song in William Henry Smith’s Book of Spirituals ,
Chicago, 1937, pp. 8-10.
REFERENCES
Brown, III, 623; V, 362-363
Dett, 90-91
Hayes, 79-82
Leisy, 131-133
Marsh (SJS), 248-249
Work (FSAN), 49
Good News: The Chariot’s Coming

Song Texts
2408
MB
Chorus
Good news, the chariot* s coming!
Good news, the chariot’s coming!
Good news, the chariot's coning!
I don't want it to leave me behind.
Gonna
ride
up
in
the
chariot,
Lord,
I
know!
Gonna
ride
up
in
the
chariot,
Lord,
I
know!
Gonna
ride
up
in
the
chariot,
Lord,
I
know!
And I don't want it to leave me behind!
There's a long white robe in Heaven, Lord, I know, etc .
There's a golden crown in Heaven, Lord, I know, etc .
Oh! I'll have wings in Heaven, Lord, I know, etc.
************* ******************* *

No. 608
GOOD OLD CHARIOT
also known as
Don't You Leave Me Behind
This spiritual has much in common with Good News: The
Chariot's Coming (see above lifting) and Swing Low , Sweet
Chariot (see elsewhere in MB), but whether it came first,
last, or inbetween is something I haven't been able to
determine.
This version is from the repertoire of the Original Risk
Jubilee Singers as printed in Marsh (SJS), 210-211.
Good Old Chariot
Swing low, sweet chariot,
Swing low, sweet chariot,
Swing low, sweet chariot,
Don’t you leave me behind.

MB
Song Texts
2409
Good old chariot, swing so low, etc.
Good old chariot, take up all home, etc.
Good old chariot, rolling along, et£.
Swing low, sweet chariot, etc,
******************************

No. 609
GOOD OLD MOUNTAIN DEW
also known as
Real Old Mountain Dew
Old Mountain Dew
This song hap "been a staple item in the repertoires of
"country music" performers, and it appears to he a re
working of an old song known variously as The Moonshiner
and The Kentucky Moonshiner, versions of which are in
Bikel (FF), 239; Downes, 218, or 258; Kennedy (TAB), 109
Lloyd, 52; Lomax (FSNA), 257; and Sandhurg (AS), 142.
A very similar piece. The Real Old Mountain Dew,” an
Irish street ballad, is in O’Lochlainn, 128-29, which
indicates an Irish origin for our °ong.
The sheet mu=ic version of an American Good Old Mounta in
Dew wa« written by Bascom L. Lunsford, Lulubelle and
Scotty Wiseman and published under a 1939 copyright.
I remember hearing the song, however, as early as 1932;
it was being sung at the time by an entertainer with a
traveling "medicine" show in Wilmington, N. C.
REFERENCES
Best, 103
Botkin (SFL), 736-737
Leisy, 251
Leisy (SPS), 118-119
Lomax (ABFS), 180-181
Silber (HSB), 66
Silverman, I, 276

MB
Song Texts
2410
Good Old Mountain Pew
There is a place that I know down the road
Where you slap down a dollar or two;
If you ahut up your mug they will plip you a jug
Of that good old mountain dew,
Chorua
It*s called that good old mountain dew,
And them that refuse it are few;
You may think it’s a sin, but you'll return again
For some good old mountain dew.
When its fragrance so rare starts to fill up the air
You'll know that they're just about through;
So just pucker up your lips and then take a few sips
Of that good old mountain dew.
There's an old whiskey still up on the still
Run by a hardworking crew;
You can tell by the whiffle whenever you sniffle
It's that good old mountain dew.
The preacher came by with a tear in his eye,
And said that his wife had the flu;
So we told him, "Be smart—just go get her a quart
Of that good old mountain dew,"
Oh, what a thrill is that ol* still on the hill
When they run off a gallon or two;
Even birds in the sky they get high flying by
On that good old mountain dew.
My cousin Paul is quite skinny and small,
No taller than about four foot two;
But he thinks he a giant after drinking a pint
Of that good old mountain dew.
**************************

MB Song Texts
2411

No. 610
GOOD OLD TURNIP GREENS
also known as
Greens Turnip Greens
A lively song that is usually heard as a "hoedown"
or country dance piece. In some versions "turnip
greens" are replaced by other vegetables. For ex
ample, see the Carrot Greens in Cheney, 145-146.
Also see Greens in Sandburg (AS), 347.
REFERENCES
Hudson (FSM), 202-203 Randolph, II, 370-371
Good Old Turnip Greens
I had a dream the other night, I dreamed that I could fly
I flapped my wings like a buzzard, and flew up to the sky
Chorus
Turnip greens! Turnip greens! Good old turnip greens!
Cornbread and buttermilk, and good old turnip greens!
St, Peter met me at the gate, he stood upon his feet,
Invited me in to dinner, and gave me this to eat:
He asked me where I had come from and I of course re
plied:
"I flew in from Mississippi where greens are what we
pride,"
He said, "You don’t belong up here, and you know what
that means!"
And so he kicked me down below for stealing turnip
greens!
**************************

MB Song Texts
2412

No. 611
THE GOOD OLD WAY I
also known as
In the Good Old Way
0 Halle, Hallelujah!
This song has a long and interesting tradition. Origi
nally a folk hymn (see version A below), it became a
revivalist spiritual during the campground revival years
(see version B below) 9 and, around the same time, slaves
turned it into a black spiritual (see The Good Old Way II
which follows the two versions of this one given below).
The original hymn dates somewhere between 1775-1806.
REFERENCES
Jackson (SFS), 103, 182
White & King, 213
Dover, 56
Hauser (OL), 8
The Good Old Way I ( Version A)
Lift up your heads, Emmanuel's friends,
And taste the pleasure Je®us sends;
Let nothing cause you to delay.
But hasten on the Good Old Way,
Our conflicts here, though great they be,
Shall not prevent our victory,
If we but watch, and strive, and pray
Like soldiers in the Good Old Way.
0 Good Old Way, how sweet thou art!
May none of us from thee depart,
And may our actions always say
We're marching in the Good Old Way.
VERSION B

MB
Song Texts
2413
lift up your heads, Immanuel , n friends,
0 halle, hallelujah!
And taste the pleasure Jesus sends,
0 halle, hallelujh!
Let nothing cause you to delay,
0 halle, hallelujah!
But hasten on in the Good Old Way,
0 halle, hallelujah!
*******************************

No. 612
THE GOOD OLD WAY II
also known as
As I Went Down in the
I Went Down to the Valley
Oh, Lord, Teach Me to Pray
Show Me the Way
Valley to Pray
Come, Let Us All Go Down
Down in the Valley to Pray
Thie is a re-working of Good Old Way I (above), but in
combination with another revivalist spiritual, Down in
the Valley to Pray . Version A is the campground re-work
ing sung by whites and version B is the slave version
Bung by blacks. Version B is not related to the Show
Me the Way given elsewhere in this Master Book . For a
parody, however, «ee White, 132.
REFERENCES
Allen (8SUS), 54, 84,
or 136
Brown, III, 610-611;
V, 348-349
Fisher (NSS), 78
Jackson (SFS), 209
Jackson (WNS), 166-167
Jour (AFL), XXV, 233-234
Jubilee (PS), 33
Marsh (SJS), 156
McDowell (SOCG), 44
Pike, 196, or 238
White, 71, 406
Work (ANSS), 69

KB
Song Texts
2414
The Good Old Way II (Version A)
I went down to the valley to pray,
Studying about the good old way.
Who will wear the starry crown?
Oh, Lord, teach me to pray.
All you sinners had better go pray,
Better start to live the good old way;
Bow your head and to Him say,
"Oh, Lord, teach me to pray."
VERSION B
As I went down in the valley to pray,
Thinking about that good old way,
Wanting to wear a starry crown—
Good Lord, show me the way.
Chorus
Bye and bye we’ll all go down,
All go down, all go down,
Bye and bye we'll all go down,
Down in the valley to pray.
I think I heard the sinner say,
Let*s go down in the valley to pray;
Gotta have me a starry crown—
Good Lord, show me the way 0
I mean to live the good old way,
Thinking on Judgment night and day;
Gotta have me a starry crown—
Good Lord, show me the way.
**************************

MB
Song Texts
2415

No. 613
GOOSEY, GOOSEY GANDER
An English nursery rhyme that dates back to at least
1784, the year it appeared in The Nursery Parnassus by
Gammer Gurton. It is also in The Tom Tit * s Song Book ,
published by C. D. Piguenit in 1790.
There is reason to believe that the nursery rhyme was
brought to America by some of the earliest settlers.
However, it does not appear in American folk song col
lections, probably because versions are in so many of
commercial books for children.
REFERENCES
Bertail, 7
Moffat (LSLA), 59
Opie, 191-193
Talley, 75
Wier (YAM), I, 52
Goosey , Goosey Gander
Goosey, goosey gander,
Whither shall I wander?
Up stairs, down stairs,
And in my lady's chamber!
There I met an old man
Who would not say his prayers.
I took him by the left leg
And threw him down the stairs!
************** *•#•*•****•*■*****

No. 614
THE GOSPEL TRAIN
also known as
Get On Board, Children
Git On Board, Little
The Gospel Train Am Leabin
The Gospel Train is Coming
Children

MB
Song Texts
2416
The Gospel Train*s A-Coming That Gospel Train is
Oh, Run, Mary, Run Coming
This ip a gospel-type spiritual that dates back to
the first part of the 19th century. There are numer
ous versions and variations, several of which have
become established as songs in their own right.
For example, see Ral^e a Ruckus Tonight in this Master
Book, Al*o compere the I_t Ain * t No Harm To Trust In
Jcpus in White, 65.
The selected title is shared with several other old
spirituals using the railroad train as a symbol and
theme, but none are related to this song. Two such
Gospel Train spirituals are in Odum (NHS), 113 & 114»
Version A, below, is from the repertoire of the
Original Risk Jubilee Singers Version B is not related
in a true traditional sense, but it does have the same
theme and thought in its make-up and is, therefore,
given here as an example of variation.
REFERENCES
Agay (2), 174
Brewer, 150
Chambers (TNS), 21-23
Chappell (FSRA), 145-146
Dett, 134
Downes (1943), 204
Fisher (**NS), 52-55
Jackson (WHS), 210-211
Johnson (BANS), 126-127
Jubilee (PS), 19
Kennedy (BC), 74
Leisy, 133-134
Luther, 219
Marsh (SJS), 150-151
Odum (NHS), 114
Pike, 190, or 232
Scarborough (NFS), 254-255
White, 64, 441-442
The Gospel Train ( Version A)
The Gospel train is coming, I hear it near at hand;
I hear the car-wheels rolling and rumbling thro the
land.

MB
Song Texts
2417
Chorus
Get on board, children, get on board, children,
Get on board, children, there’s room for many-a more.
I hear the bell and whistle; it’s coming round the curve
She’s using all her power, and straining every nerve.
No other train is running, to follow on the line—
And you’ll be lost forever if you get left behind,,
It*s nearer to the station, 0, sinner, don’t be vain!
Step up and get your ticket—be ready for the train.
The fare is not expensive, both rich and poor are there;
So bring along the fam’ly—there’s no diff’rence in the
fare.
We’ll phout o’er all our sorrows, and «ing forevermore
With Christ and all his angels on that celestial shore.
VERSION B
also known as
The Train is Coming
Other versions of this spiritual are in Brown, III, 588-
589, V, 333-334; Jour (AFL), XL, 299, XLI, 460; Kennedy
(M-2), 40-41; Scarborough (NFS), 253-254; Seeger (1),
150-151.
The train is'a-coming, oh, yes!
Train is a-coming, oh, yes!
Train is a-coming, train is a -coming,
Train is a-coming, oh, yes!
I am on my mission, oh, yesj etc
Thank God! here’s my ticket, oh, yes! etc

MB
Song Texts
2418
Lord Jesus is conductor, oh, yes! etc
On my way to Heaven, oh, yes! etc .
Just look at them angels, oh, yes! etc
*****#***■»*****■»■»**■» ***■»*■*

No. 615
THE GOSPEL WAR
also known as
Die in de Field We*ll Die in the Field
Thi° spiritual dates "back to the middle of the 19th
century.
REFERENCES
Johnson (BANS), 68-69 Marsh (SJS), 139
Jubilee (PS), 4 Pike, 178, or 221
The Gospel War
0 what do you say, seekers?
0 what do you say, seekers?
0 what do you say, seekers,
About the Gospel War?
Chorus
0, I will die in the field!
1*11 die in the field!
1*11 die in the field!
I*m on my journey home,
0 what do you say, brothers (3)
About the Gospel War?
0 what do you say, sisters (3)
About the Gospel War?
******♦*****-**** 4r * ****-* *

ME
Song Texts
2419

No, 616
SO STRAIGHT ACROSS THE HALL
also known as
Across the Hall Swing on the Corner
Straight Across the Hall
Game song for children. It was once quite popular in
the South, but no longer,
REFERENCES
Botkin (APRS), 41 McDowell (FDT), 28-31
Downes (1943), 134 Randolph, III, 334
Go Straight Across the Hall
Go straight across the hall,
To the opposite lady;
Swing her by the right hand,
Right hand round and back to the left.
And balance to your partner.
Go all around the hall,
Walking with your lady;
Take her by the left hand,
Left hand round and back to the right,
And bow low to your partner,
***************************************

No, 617
GO TELL IT ON THE MOUNTAIN
Well-known campground spiritual that was taken over by
Southern Blacks, who promptly made it over. The Freedom
Movement of the 1950s and f 60s used an adaptation by
Carlton Reese and Mrs. Hammer to dramatize its struggle.
Adaptation is in Carawan, 100-101.
REFERENCES

MB
Song Texts
2420
Best, 144
Dett, 78
Leisy, 126-127
Leisy (LAS), 139
Lelsy (SPS), 200
Silber (HSB), 72
Silverman, II, 100
Work (ANSS), 215
Go Tell It On The Mountain
»$own in a lonely manger,
The humble Christ was born,
And God sent out salvation
That blessed Christmas morn 0
Chorus
Go tell it on the mountain,
Over the hills and everywhere;
Go tell it on the mountain,
That Jesus Christ is born.
While shepherds were out watching
0*er silent flocks by night,
Behold! throughout the heavens
There shone a holy light!
*************************************

No. 618
GOT THE BLUES
also known as
Got Them Blues
Traditional "country" blues. For other versions, see:
Sandburg (AS), 232-233; Silverman, II, 16 ft (FB), 157.
Got the Blues

MB
Song Texts
2421
Got the blues but I’m too mean, Lordy,
I*m too damn mean to cry.
Got the blues but I’m too damn mean to cry.
Yes, I got the low-down blues'
But I’m too damn mean to cry,
too mean to cry.
Gal done gone but I’m too mean, Lordy, etc .
Lost my job but I’m too mean, Lordy, etc.
********************************
' No. 619
GO ’WAY, OLD MAN!
This is one of those "composite" songs that is made
up almost entirely of lines and stanzas belonging to
other songs. Its title and chorus line is from 1!
Wouldn’t Marry III (see in MB) . The first stanza is
found in several other songs. The text and music
used here is from Chappie (H3), 298.
Go ’ Way , Old Man!
Oh, I’ll build me a little hut
In the mountains so high
Por to gaze on my true love,
As she passes by.
Chorus
Go ’way, old man, and leave me alone,
Por I am a stranger, and a long way
from home.
Oh! her eyes sparkle like diamonds,
Like the bright morning star,
And her cheeks are so lovely,
Her face am «o fa’r!

MB
Song Texts
2422
Oh, she do look po sweet,
Like de ro*e on de vine-—
Long lit) dat luVly lady
Dat dwells in my mind!
Then come back to your true love
When de pum’kins am in bloom,
-- When de hummin’ birds am a singin*
In de sweet month of June!
**********************************

No, 620
' GRANDMA GRUNTS
also known as
Boys Can Whistle, Girls Whistling Girls and
Must Sing Crowing Hens
A childrens song. The notion that "boys can whistle"
but "girls must sing" is very old in folklore, and it
is expressed in variou® unrelated songs. For examples,
see songs from the Pennsylvania Dutch country, Connecti
cut, and Ontario, Canada in Jour (AFL), II, 198; XXXI,
31 ; and XLV, 502,
REFERENCES
Brown, III, 194-195; V, Wetmore, 36
112-113 Tobitt, 50
Leisy (LAS), 57
Grandma Grunts
Grandma Grunts said a curious thing,
"Boys can whistle, but girls must sing,"
That is what I heard her say,
♦Twas no longer than yesterday.

MB
Song Texts
2423
Chorus
Boys can whistle.....( whistle )
Girls must sing..(tra-la, la la la).
Boys can whistle, and of course they may;
They can whistle the live-long day.
Why can't girls whistle, too, pray tell,
If they manage to do it well?
********************************

No. 621
' GRANNY*S OLD ARM CHAIR
also known as
Grandmother*s Old Arm Chair The Old Arm Chair
In reference li*ts of some folk song collections there
is some confusions where this song is concerned,. Probably
because two English songs with the same title were pub
lished in the United States at practically the same time.
There are distinct differences in these songs, however,
and only one of them was written and composed by Eliza
Cooke and Henry Russell. The jTooke-Russell song, The
Old Arm Chair , begins:
I love it, I love it, and who shall dare
To chide me for loving that old arm chair?
I've treasured it long as a holy prize,
I've bedewed it with tears, and embalm'd
it with sighs..
A version of that song may be seen in Chappie (HS), 270-
271 and Wier (SWWS), 21-22. The tone and approach of
the Cooke-Russell song ha« nothing in common with the
song given below, yet Brown and others make references
as though the two songs are related. They aren't.
REFERENCES

MB
Song Texts
2424
Brown, V, 411-412
Jour (AFL), LXIX, 456
Quarterly (SFL), IV, 199
Randolph, III, 224-227
Scarborough (SC), 373, 457
Spaeth (WSM), 205-206
Granny's Old Arm Chair
My grandmother, at the age of eighty-three,
One day in May was taken ill and died;
And after she was dead, the will of course was read
By a lawyer, as we all stood by his side.
To my brother it was found,
She had left a hundred pounds;
The same unto my sister, I'll declare.
But when it came to me, the lawyer said, "I see
She has left to you her old arm chair,”
Chorus
How they tittered, how they laughed,
How my sister and brother chaffed,
When the lawyer said, ”1 do declare!
Granny only left to you her old arm chair,”
I thought it wasn't fair but I said I didn't care,
And in the evening took the chair away.
The neighbors all came past as my relatives all laughed,
And said, "The chair will be useful someday.
When you're settled down in life,
Take a girl for a wife,
You'll find it very handy, I'll declare,
On some cold and frosty night, when the fire is burning
bright,
To be seated in your old arm chair,”
One night the chair fell down, I picked it up and found
The seat had fallen out upon the floor;
And then to my surprise I saw before my eyes
The notes—two thousand pounds or more,

MB
Song Texts
2425
When my Brother heard of this, instead of feeling Bliss,
He got angry and tore his hair;
But I only said to him, "Now listen to me, Jim,—
Don’t you wish you had the old arm chair?"
********************-*************

No. 622
GREAT GRANDDAD
also known as
When Grandpa Was Young
Sheet music versions have Been puBlished By several
music companies, one of whom attributes the composition
to BoB Miller. According to White (GALD), .this eong
"Began its career on the pages of the Saturday Evening
Poet , FeB. 28, 1925, and the original words were written
By Lowell Otus Reese, a California journalist." The music,
says White, was "composed By Romaine Lowdermilk." For the
first version puBlished in a song folio, see White (SHP),
1929, pp. 17-18.
REFERENCES
Brown, II, 621; IY,
297
Clark (CS), 37
Coleman, 24
Felton, 64-68
Frey, 59
Haywood (F3W), 41
Larkin, 73-75, or 83-85
Lingenfelter, 557
Loe8ser, 204-205
Lomax (CS-1938), 302-304
Luther, 131
Randolph, III, 248
White (GALD), 179-180
Great Granddad
Great granddad, when the West was young,
Barred his door with a wagon-tongue,
For the times were rough and the redskins mocked,
And he said his prayers with his shot-gun cocked!

MB
Song Texts
24?6
He was a citizen tough and grim;
Danger was duck—soup to him#
He ate corn-pone and bacon fat—
His great grandson would starve on that!
Great granddad was a busy man,
He cooked his grub in a frying pan;
And he picked his teeth with a hunting knife,
And wore the same suit all his life 0
Twenty-one children came to bless
The old man's house in the wilderness;
But great granddad he didn't lose heart;
His dogs hunted rabbits and ketched right smart.
Twenty-one boys, and how they grew!
Tall and strong on the bacon, too;
Slept on the floor with the dogs and cats,
And hunted in the woods for their coon-skin hats.
Twenty-one boys, and not one bad;
They didn’t get fresh with my great granddad!
For if they had he'd have been right glad
To tan.their hides with ahickory gad.
They all grew strong of heart and hand,—
The firm foundation of our land!
Twenty-one boys!—but his great grandson,
He has a terrible time with one!
* *********** ****•*•*■*■*•*•**•*•** *

No. 623
GREAT GRANDMA
also known as
Old Grandma
Pjraise waff algo heaped upon the memory of great grandma.

MB
Song Texts
2427
John White claims the lyric, which was published in
his folio; but Edith Fowke said the song dates back
to the California gold rush. Unfortunately, it does
not appear in any of the old "gold rush" books I have
seen. In fact, I haven’t been able to find it in any
book older than "White’s folio, 1929,
REFERENCES
Fowke (FSC), 94-95 White (GALD), 184, 186
Luther, 129-130 White (SHF), 19
Great Grandma Tune: Great Granddad
Back in the days of ’forty-nine,
Great grandma was in her prime;
She packed her things and the kids right glad,
And headed for the West with great granddad.
They joined up with a wagon train
And prodded that ox-team across the plain;
Nothing to see but sage and sand,
Not one hitch-hiker nor a hot dog stand.
One fine day they heard a meadow lark,
Great granddad says, "Here’s where we park,"
Great grandma says, "Well, I’m game;"
Unloaded the kids and they staked their claim.
Great granddad built a house of sod,
By hustle and tussle and the grace of God;
Just as he was finishing the roof,
A cyclone came and the house went "poof,"
She worked hard seven days a week,
To keep granddad well-fed and sleek;
She b’iled the beans and hung out the wash,
And never had time to drink tea, by gosh!

MB Song Texts
2428
She could ride and plow and shoot,
Boss great granddad and the kids to boot.
Twenty-one boys a-raisin’ cane,
Chasin’ one another across the plain.
Twenty-one necks she had to scrub,
Wash twenty-one shirts in an old wash tub;
Twenty-one meale three times a day—
That’s how she frittered her time away!
**************************

No. 624
THE GREAT SPECKLED BIRD
Song with a religious theme, but not a hymn. It is not
always «»ung to the same melody nor credited to the same
writer. A 1937 version wan published by M. M. Cole,
in Chicago, with words credited to Rev, Guy Smith and
the music to Roy Acuff, Other publishers credited other
writers and composers, which indicates that no one in
dividual has a strong enough claim to legally enforce
it.
The melody most used for the song is much older than
the words and, therefore, is not the result of compo
sition work by any of the claimants. The melody has al
so been used for many songs, including Honky - Tonk Angel
and I’m Thinking Tonight of My Blue Eyes.
The lyric takes its title and theme from Jeremiah , chap.
12, ver. 9s "Mine heritage is unto me as a speckled bird
the birds round about are against her."
REFERENCES
Benziger, 21
Edwards (CHSB), 136
Leisy, 136-137
Leisy (SPS), 206-207
Randolph, IV, 59-60
Silverman, II, 116

MB
Song Texts
2429
The Great Speckled Bird
What a beautiful thought I am thinking,
Concerning the great speckled bird;
Remember her name is recorded
On the pages of God’s shining word.
All the other birds flocking ’round her,
And she is despised by the squad;
But the great speckled bird in the Bible
Belongs to the great church of God.
All the other religions oppose her,
They envy her glory and fame;
They hate her because she is chosen,
And has not denied Jesus' name.
Desiring to lower her standards,
They watch every move that she makes;
They want to find fault with her teachings,
But can’t seem to find her mistakes.
I am glad I have learned of her meekness,
I am glad that my name's on the Book,
And I hope to be one never fearing
On the face of my Saviour to look.
When He comes down, descending from heaven,
On a cloud, as He wrote in the Word,
I’ll be carried to joyfully meet Him
On the wings of the great speckled bird,,
********■****-****•***•***•*■*•#•*■#•

No. 625
GREENBACK DOLLAR
This dance tune doesn't have an exclusive title, but
it is different from those songs sometimes known as
Greenback Dollar.

M3
Song Texts
2430
The title comes from a type of money called ’’green-
hacks," which was issued during the Civil War when
paper money and the national hank note were put in
circulation.
For another «ong known as Greenback Dollar , see
Earnest Love III A in this Master Book.
This piece has no words, and the air is given in the
TUNE section, No. 625 .
This version is from Thede, 91•
■*•**•#** ********************* ********

No. 626
GREEN GRASS
also known as
Dossy, Dossy, Green Grass
Dusty, Dusty Day
Green Carpet
Here We Come Upon the
Green Grass
On the Green Carpet
Standing on the Green
Grass
Sweet Pinks and Roses
Treading on the Green Grass
Tread, Tread the Green Grass
Tripping Up the Green Grass
Trip, Trap Over the Green
Grass
Walking on the Green Grass
Walking Up the Green Grass
English-Scottish game song that became, in America, a
Play-party song as well. The game, says Gomme, derives
from ancient burial rites in which games and songs played
an important part. In ancient times hand-clapping instead
of bell-ringing wa« practiced at funereals.
For similar forms and types, see: Green Leaves or Honey
in the Gum in Botkin (APPS), 203 B; Brown, I, 124-125 &
V, 525-527; Dudley & Payne, I, 25; Morris, 208-209; Owens
(ST), 76; Price, 46; Pub (TFLS), XIII, 321-323; Wolford,
49-50; Green Rocky Road in Courlander (NSA), 101 and
Taking a Walk in Talley, 183.

MB
Song Texts
2431
A8 a game, thi^ piece seeing to be related to several
others, such as Oats and Beans and Barley (in MB) .
Three versions (A, 3 & C) are
REFERENCES
Botkin (AFL), 807-809
Botkin (APPS), 32-33, 343-
345
Broadwood (ECS), 106-107
Brown, I, 98-99
Chambers (PRS), 137-138
Clarke, 288
Dudley & Payne, 20
Gomme, I, 153-166
given below.
Halliwell (NRE), 126-127
Heck, 29
Henderson, 27
Jour (AFL), XIV, 297; XXXI
48, 55, 160
Linscott, 46-47
Newell, 50-51, 226-227
Northall, 381-382
Talley, 92
Green Grass ( Version A)
Tread, tread the green grass,
Dust, dust, dust,
Come on, you pretty fair maids,
And walk along with us.
If you’re a fair maid,
As I suppose you be,
I’ll take you by your sweet hand
And lead you o’er the sea,
I will give you pots ’n* pans
If you*11 let me pass;
I will give you anything
For a lovely lass.
Tread, tread the green grass,
And make you no demands,
Birds shall sing and bells shall ring,
And we shall all clap hands 0
1*11 trade you gold and silver,
I will give you pearl;

MB
Song Texts
2432
I will give you anything
For a lovely girl.
VERSION B
On the green carpet here we stand,
Take your true love "by. the hand;
Take the one that you love best,
Before you close your eyes to rest*
You shall have a duck, my dear,
If you*11 stand beside me here;
Here’s a nice young man to take
And love forever for his sake.
If this young man should tell a lie,
Fall from grace, get sick and die,
Matters not the kind of weather,
We’ll dance and sing and clap together.
On the green carpet where we stand,
Hold your lover by the hand;
Take the time to turn and swing,
Then come and clap your hands and sing.
VERSION C
Walking on the green grass,
Walking side by side,
Walking with a pretty girl,
Who shall be my bride.
Now we form a ring,
The girls are at our sides;
Dancing with the pretty girls,
Who shall be our brides.
Stepping on the green grass
Thus, and thus, and thus;

MB
Song Texts
2433
Now we have the pretty girls,
Come along with us.
Pair maid, pretty maid,
Give your hand to me,
We shall go upon the grass
Dancing merrily,
*********************************

No, 627
THE GREEN GRASS GREW ALL AROUND
also known
And the Green Grass Grew
All Around
Down in the lowlands There
Grew a Tree
The Everlasting Circle
Green Grass Growing All
Around
The Green Leaves Grew All
Around
On This Hill
The Pear Tree
The Prettiest Little Girl
as
Pretty Bird
Pretty Pear Tree
There Was a Little Tree
There Was a Tree Stood in
the Wood
Tree in the Mountains
Tree in the Valley-0!
The Tree in the Wood
The Tree in the Woodland Green
With the Green Grass Growing
All Around
This is a cumulative song that originated in England,
There are corresponding forms of the song in many Euro
pean countries. In Brittany, it is called Ar pare caer
( The Fair Field); in France, it is known as Be Bois Joli;
in Holland, it is called Le Boom stond in cte Schadwe ;
and in German, among the Pennsylvania Dutch, we hear it
as Was W achat uff diesen Bam? (What Grows On This Tree? ),
A version of the latter is in Korson (PSL), 72-77. For
the Irish form, Hi! Ho! The Rattlin 8 Bog , see Langstaff
(1), 11-13 and Reeves (SC), 101-104,

M3
Song Texts
2434
Two New York songwriters, William Jerome and Harry Von
Tilzer, fashioned a version of this song for the popular
mu«ic market in 1912, and the commercial version was
quite succe°«=ful. It did not, however, displace or
lower the popularity of the traditional versions then
in circulation,
REFERENCES
Armitage, II, 55
Baring-Gould (3NSR), 33
Baring-Gould (SW), IV,
44-45, No. 104
Boyer, 46-47
Broadwood (ECS), 174-175
Brown, III, 184-185; V,
108-109
Bulletin (HFL), III, 67
Campbell & Sharp, No. 110
Creighton (SBNS), 199-200
Davis (FSV), 186
Emrich (CBF), 16
Farnsworth, 28-29
Fuson,‘87-88
Gardner (B8SM), 474
Greig, I, art. 87
Halliwell (NRE), 115
Halpert (GIF), 6-7
Henry (FSSH), 403-405
Hornby, 110
Jour (AFL), VIII, 86-88;
XI, 272
Jour (FSS), III, 276; IV,
52-56
Jour (WFSS), I, 40
Karpeles, 249-250
Karpeles (EFS), II, No. 340
Karpeles (FSN), I, 72
leach, No. 107
Linscott, 79
Mason, 26-27
Moore (BFSS), 388-390
Morris, 419
Newell, 111-113
Oberndorfer, 116
Owens (TFS), 141-143
Randolph, III, 213-215
Reeves, 211-212
Reeves (EC), 101
Ritchie (SSB), 20-21
Roberts (SBS), 188-190
Scarborough (SC), 359-360
Sharp, II, 281-282
Sharp (EFS), II, 12-13
Sharp (FSFS), II, 12-13
Sharp (NEFS), 5-7
Sharp (100), 230-231
Williams (FSUT), 182-183
Winn (2), 19-21
The Green Grass Grew All A.round

MB
Song Text9 2435
There wap a tree stood in the ground,
The prettiest tree you ever did see;
The tree in the wood, and the wood in the ground,
And the green grass grew all around, round, round,
And the green grass grew all around.
And on this tree there was a limh,
The prettiest limb you ever did see;
The limb on the tree, and the tree in the wood,
And the wood in the ground,
And the green gras® grew all around, round, round,
And the green gras* grew all around.
And on this limb there was a bough,
The prettiest bough you ever did see;
The bough on the limb, the limb on the tree,
And the tree in the wood and the wood in the ground,
And the green grass grew all around, round, round,
And the green grass grew all around.
And on this bough there was a twig, etc .
And on this twig there was a nest, etc.
And in this nest there was an egg, etc.
And in this egg there was a bird, etc .
And on this bird there was a wing, etc.
And on this wing there was a feather, etc.
And on this feather there was some down,
The prettiest down you ever did see;
The down on the feath, the feather on the wing,
And the wing on the bird, and the bird in the egg,
The egg in the nest, and the nest on the twig,
The twig on the bough, and the bough on the limb,
And the limb on the tree, and the tree in the wood,

MB
Song Texts
2436
And the wood in the ground,
And the green grass grew all around, round, round,
And the green grass grew all around„
***********************************

No, 628
GREEN GRAVEL
also known as
Around the Green Gravel 0 Mary, 0 Mary
Green Guava Sweet Gravel
This game song for children is, in many ways, similar
to Green Grass (above). Both songs came to America from
England, and both are probably derived from the same
funereal rite, wherein death was followed by the clap
ping of hands to ward off evil spirits.
According to Randolph, the tune is Irish.
REFERENCES
Arnold, 129
Babcock, 244
Balfour, 117
Beckwith (FGJ), 62
Broadwood (ECS), 26-27
Brown, I, 56-57; V, 510
Bulletin (TFLS), V, 28
Burne, 510
Collins, 21
Cox (SG), 210-212
Flanders (VFSB), 188
Folklore Journal, VII, 214
Folklore Record, V, 84, 86
Forbush, 48-49
Ford (TMA), 256-257
Gardner (SFPG), 100
Gomme, I, 170-183
Halliwell (NRE), 148
Heck, 15
Jour (AFL), VIII, 254;
XXVI, 132; XXXIII,
100; XL, 13; XLII,
220; LIX, 439; LX,
42
Kit, J. 12
Linscott, 10-11
Maclagen, 83
McDowell (FDT), 64
Morris, 219
Newell, 71, 242

MB
Song Texts
2437
Notes (4th series), VII
Perrow, XXVI, 139
415, 523
Owens (ST), 8
Randolph, III, 322-323
Randolph (Ozarks), 161
Whitney & Bullock, 147
Green Gravel
Green gravel, green gravel
The grass is so green,
And all the young maidens
Are arrayed to he seen.
0 Mary, 0 Mary,
Your true love is dead;
The king Pent a letter
Just to turn hack your head.
Green gravel, green gravel,
Go kneel hy his side;
One touch of your hands
And he’ll come hack to life,
***************************

No. 629
GREEN GROWS THE LAUREL
also known as
The Bonnets So Blue
Can’t You Love Whom You
The Green Laurels
I Once Had a Sweetheart
I Wrote My Love a Letter
The Orange and the Blue
Please?
Green Grows the Wild Isle
Green Growe the Wild Olive Red, White, and Blue
Green Grow the Lilacs
The source of American versions of this song is the
old and popular Irish piece, The Orange and the Blue.

MB
Song Texts
2438
The pong came to America as a broadside during the
first part of the 19th century, a copy of which is
on file in the Harvard Library (25242,2, p. 105)<>
Two stanzas of the song exist in English tradition-
-?eee Jour (FSS), I, 246 & V, 70, The first stanza
eerved also as an opening for a gypsy song—see:
Gillington (30R), 8-9. For lines and stanzas found
in other songs, see: Forsaken in Jour (AFL), XXXIII,
170; The Green Mountain in Jour (AFL), XXX, 348; The
New River Shore in Mackenzie (QB), 162; Streams of
Lovely Nancy in Jour (AFL), XXX, 347; and The Wagoner’s
Lad in Jour (AFL), XX, 269.
The text underwent specific changes in the United States.
Very quickly the "orange and the blue" wa® changed to
the "red, white, and blue." In the West, cowboys dropped
"laurel" and replaced it with "lilac e ." Lynn Riggs, the
dramati*t, used the cowboy title for his play, Green
Grow the lilacs (see version B below), Riggs* play was
later musicalized by Richard Rodgers and Oscar Hammer-
stein II and re-titled OKLAHOMA..
Version 3 is now more popular in America than version A 0
REFERENCES
Belden (BS), 490-491
Brown, III, 328-329; V,
Greig, art. lxx
Henry, No. 165
Jour (AFL), XX, 269; XXII,
198-200
Campbell & Sharp, No, 64
Chappell (FSRA), 136
Combs (FSHEU), 222
Cox (FSS), 417-418
Creighton (SENS), 40-41
Davis (FSV), 86
Flanders (VFSB), 113-114
Fowke (TSSO), 110-111
Gardner (BSSM), 101-102
Greenleaf, 74-75
310-346
Jour (FSS), I, 246
Karpeles (EF3), I, 637
Kennedy, 358
Leiey, 137-142
Lloyd, 70
Lomax (FSNA), 332-333
Luther, 198-200
MacColl & Seeger, 212-213
76; XXXIX, 147; LXXII

MB
Song Texts
2439
Moore (SPSS), 200-201
Ord, 182
Peacock, II, 454-457
Randolph, I, 272-275
Scarborough (SC), 331, 445
Green Grows th e Laurel
( Version A)
I often have wondered why women love men,
But more times I've wondered how men can love them*
They're men's ru-i-nation and sudden downfall,
And they cause men to labor behind the stone wall.
Then green grows the laurel and so does the rue,
How sad was the day that I parted from you.
But at our next meeting our love we'll renew,
And change the green laurel for the Orange and the Blue
Now some love a short time, while others love long,
And some love a weak love, while others love strong;
Some hug you and kiss you and give your heart ease,
Then go off and leave you and love whom they please.
On top of yon mountain the green grass does grow,
Way down in the valley the still waters flow.
I met with my old love, who proved to be true—
We changed the green laurel for the Orange and the Blue
Sedley, 123-124
Sharp, II, 211
Shearin (SKFS), 37
Wilder, 96-97
VERSION B
also known as
GREEN GROW THE LILACS
For other versions, see: Agay (1), 20; Emrich (CBP), 39
Leisy (LAS), 29; Leisy (S?S), 68; Luther, 199-200; Lynn
(GS), 6; Patterson (SRR), 17-18; Silber (SGAW), 49-51;
Silverman, II, 318; Whitman, 133.

MB
Song Texts
2440 -
I used to have a sweetheart, but now I have none;
Since she’s gone and left me, I care not for one.
Since she ’9 gone and left me, contented I’ll be,
For she loves- another far better than me.
Chorus
Green grow the lilacs, all sparkling with dew,
I’m lonesome, my darling, since parting from you;
And by the next meeting I hope to prove true,
To change the green lilacs to the red, white and blue,
I passed my love’s window both early and late,
The look that she gave me, it made my heart ache.
The look that she gave me was hurtful to see,
For she loves another far better than me,
I wrote my love a letter in red rosy lines,
She sent me an answer all twisted in twines,
Saying, "Keep your love letters and leave me behind;
You write to your sweetheart and I’ll write to mine,"
********************************

No, 630
GREEN GROW THE RUSHES, 0!
also known a9
Green Grow the Rashes, 0!
Scottish song with words by Robert Burns, who set his
lyric to a tune found in Walsh* s Country Dances, pub
lished in 1740, Song was immediately popular in the
United States, as was many of Burns’ works, American
soldiers sang it during the War with Mexico, and, as
soldiers have always done, added some words of their
own. One such stanza came as a result of the resent
ment of Mexican girls, many of whom found the frivolous
advances of American eoldiers insulting. So the soldiers
sar.g:

MB
Song Texts
2441
Green grow the rushes, 0!
Red are the roses, 0!
Kiss her quick and let her go,
Before you get the mitten, 0!
The song was heard so often in Mexico that the Mexi
cans referred to American soldiers as "Green grow,"
an expression which soon became "Gringo,"
The song is derived from a form of a game song known
as Green Grows the Willow Tree , Newell recorded it
as a game song in the 1880s, Linscott printed it as
a Play-party song from New England,
Actually, the song has survived in a variety of forms
in America, and, as is the case with many other songs,
the title is sometimes used for unrelated pieces 0 For
example, Leisy, 138-139* has a cumulative religious
song called Green Grow the Rushes which seems to be a
version of The Twelve Apostles (see in MB),
REFERENCES
Best, 32
Broadwood (ECS), 158
Creighton (FSNB), 203
Ford (TMA), 72, 184,
394
Johnson (FS), 406-407
Knight, 201
leisy (SPS), 164-165
Linscott, 11-13
Macfarren, 66-67
Newell, 56
Okun, 81-82
Scott (BA), 97-99
Sedley, 65
Shekerjian, 52-53
Silverman, I, 316
Woodgate, 104-105
Green Grow the Rushes, 0!
There *r naught but care on ev*ry hand.
In ev*ry hour that parses,
Oh! what signifies the life of man,
And *twere not for the lassies, oh!

MB
Song Texts
2442
Chorus
Green grow the rushes, 0!
Green grow the rushes, 0!
The sweetest hours that e’er are spent
Are spent among the lassies, 0!
The worldly race may riches chase,
And riches still may fly them, Oh!
And though at last they catch them fast,
Their hearts may ne’er enjoy them, Oh!
Give me a quiet hour at eve’n,
My arms about my dearie, Oh!
And worldly cares and v/orldly men
May all go topsy-turvey, Oh!
For you so prim you «near at this,
You’re naught but senseless asses, Oh!
The wisest man the world e’er saw,
He dearly loved the lassiee, Oh!
Old Nature swears the lovely dears
Her noblest works she classes, Oh!
Her ’prentice hand she tried on man,
And then she made the lassies, Oh!
**************************** ***

No, 631
GREENLAND FISHERY
also known as
Greenland
Greenland Fisheries
The Greenland Whale Fishery
The Whale
The Whale Catchers
The Whale-Fish Song
An old whaling song, and one that is known in several
differing versions and variants. According to Baring-

MB
Song Texts
244 ?
Gould, the earliest version "is the black letter
ballad reprinted in A Collection of Old Ballads , vol .
Ill (1725), 172, which is in a different metre, and
was set to the tune of Hey to the Tenole ." Perhaps,
But the way I read it, the two ballads are so widely
different that making one the derivative of the other
is hardly more than private fantasy.
This ballad was used as a forecastle song in the Eng
lish whaling trade, and goes back to at least 1824, the
year mentioned in the Pitts broadside which, as Eckstorm
points out, was "probably contemporary with the date
of the song," On the other hand, the date mentioned
varies from version to version, depending upon the sing
er; the date being changed to match the sailing time or
voyage of the vessel under consideration.
Broadsides were published by Such, and by Catnach as
well as by Pitts, The text has been quoted in novels
and reproduced in Magazines and Songbooks, including
the Pocket Book of Poem.g and Songs for the Open Air,
published by E, P, Dutton & Company, 1907,
For a WWI adaptation, see the Whale Song in Niles (SS),
10-11, Also 9ee: Greenland in Greig-Duncan, No. 10 and
Greenland’s Icy Shores in Trident, 76-77,
REFERENCES
Armitage, I, 112
Ashton (MSB), 265-267
Ashton (RSS), 83
Baring-Gould (GCS), 56-57
Beck (FLS), 174-175
Belden (BS), 104-105
Best, 127
Botkin (API), 832-833
Colcord, 76-77, or 151-152
Eckstorm, 226-230
Edwards (CHSB), 118
Friedman, 401-403
279
Karpeles, 157-158
Karpeles (EFS), II, No. 292
148-149
Jour (FSS), I, 101; II,
Greig, art, lxxxv
Greig & Duncan, No. 9
Harlow, 225-230
Huntington, 9-12
Ives (SA), 80-81
Ives (SB), 168-169, or
243; VII, 228; VIII,

MB
Song Texts
2444
Quiller-Couch, 841-842
Reeves (EG), 134-136
laws (AB), K 21, 150
Leach (BE), 707-708
Lomax (FSNA), 61
Lomax (OSC), 214-215
Peacock, I, 147-148
Scott (BA), 142-144
Sharp (PSPS), III, No. 74
Sharp (SS), No. 202
Silverman, II, 241
Trident, 120-121
Whall (SSS-1920), 69-71
Williams (EPS), 50-51
Yolen, 170-171
Greenland Fishery
It was eighteen hundred and twenty-four,
On a quiet and beautiful day,
That our gallant ship, her anchor weighed,
And for Greenland sailed away, brave boys,
And for Greenland sailed away.
Now Greenland is a barren land,
For nothing there grows green;
But the ice and snow, and the wild whale-fish blow,
And the daylight’s seldom seen, brave boys, etc .
The boatswain at the crosstrees stands,
A spy-glass to his eye,
"There’8 a whale! a whale! There’s a whale fish,"
he cried.
"She blows on every hand, brave boys, etc ."
Our captain wa« walking the quarter deck,
And a wily old man is he;
"Overhaul, overhaul, let your davit tackles fall,
And launch your boats to sea, brave boys, etc . 11
Our boats were launched with the men aboard,
And the whales were still in view.

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Song Texts
2445
Resolved, resolved, was each whaler so bold,
To steer where that whalefish blew, brave boys, etc ,
When the whale was struck, our lines played out,
And he gave a fluke with his tail;
Then the boat capsized, and we lost five men,
And we never caught that whale, brave boys, etc.
When the sad news to our captain came,
He said, "It grieves me sore.
But to strike and lose a hundred barrel whale—
That grieves me even more, brave boys, etc 0 "
*****************************

Ho. 632
GREENSLEEVES
also known as
Lady Greennleeves
This song shows no sign of losing its popularity. Accord
ing to Chappell (OEPM), I, 239, "The earliest mention of
the ballad of Green Sleeves in the Registers of the
Stationers' Company, London, is in September, 1580, when
Richard Jones had licensed to him 'A new Northern Dittye
Of the Lady Greene Sleeves .'"
In those times, however, the date of the entry is not
always the date of the song. Greensleeves had obviously
attained some popularity prior to September, 1580, be
cause on the same day of Jbnes* entry an Edward White
had a license to print, "A ballad, being the Ladie Greene
Sleeves Answers to Donkyn his frende. " Pour years later,
the same Richard Jones brought out "A new courtly sonet
of the Lady Greensleeves." This tells us that both
words and music were not always the same.
The song's popularity is demonstrated by references to
it in Beaumont and Fletcher's The Loyal Subject and

MB
Song Texts
2446
Shakespeare’s The Merry Wives of Windsor 0 At the
time of England's Civil War no fev/er than 14 songs
against the Roundheads were sung to the tune of Green -
sleeves ,
The tune is as popular today as ever it was.
REFERENCES
Agay (1), 47
Agay (2), 10-11
Bantock, 27
Beet, 25
Bikel (FF), 40-41
Chappell (OEPM), I, 239-241
Cole, 16-17
Ives (SA), 24-26
Ives (SB), 34-36
Leisy, 145-147
leisy (LAS), 94-95
Leisy (SPS), 100-101
Luther, 22
Okun, 110-111
Silber (HbB), 125
Silverman, I, 226
Greensleeves
Alas, my love, you do me wrong
To cast me off discourteously,
And I have loved you so long,
Delighting in your company„
Chorus
Greensleeves was all my joy,
Greensleeves was my delight,
Greensleeves was my heart of gold,—
And who "but Lady Greensleeves?
I bought thee petticoats of the best,
The cloth as fine as could be;
I gave thee jewels for thy cheat,
And all this cost I spent on thee.
Thy smock of silk, both fair and white,
With gold embroidered georgeously,

MB
Song Texts
2447
Thy petticoat so soft and light,
And these I bought thee gladly.
Well, I pray to God on high,
That thou my constancy mayst see,
And that yet once before I die,
Thou wilt vouchsafe love to me<>
Greensleeves, now farewell, adieu!
God I pray will prosper thee!
For I am still thy lover true,
Come once again and love me 0
************ ******* *******

No. 633
THE GREY GOOSE
This song got a nationwide workout during the 1950s
and 60» when professional folk-singers were everywhere,
Leadbelly sang it and Lomax printed it, Lomax (ABFS)
produced a version taken down from the singing of Iron
Head, without giving any other identity. That version
was reproduced by Botkin (AFL), who said that it was
”u»ed on the Texas prison farms for hoeing." Burl Ives
recorded the song for Columbia Records and included it
in two of his song books.
The version below was taken down from the singing of
Red Foley, Chicago, Ill., in 1946 0
REFERENCES
Ives (SB), 246-247, or
224-225
Langataff (1), 89
Greenway, 109-110
Ives (SA), 126-127
Botkin (AFL), 907-908
Lomax (ABFS), 242-243
Lomax (USA), 20-21
Seeger (3), 38-39
Warner, 49
Yolen, 152-153

M3
Song Texts
2448
The Grey Goose
Last Sunday morning, lord, lord, Lord!
Last Sunday morning, Lord, Lord, Lord!
My Papa went a-hunting, Lord, Lord, Lord! (2)
He took along his rifle, Lord, Lord, Lord! (2)
Well, along came the grey goose, etc .
Well, Papa raised hie rifle, etc.
He pulled back on the trigger, etc .
The rifle went a-boom-bang, etc .
He brung a-down the grey goose, etc .
He was six weeks a-failing, etc ♦
We put ’im on to parboil, etc.
He was ten weeks a-cooking, etc ,
We put him on the table, etc ,
The knives they couldn’t cut ’im, etc «
We took him to the saw-mill, etc,
The blade it couldn’t cut ’im, etc.
Last time I saw the grey goose, etc,
He was a-flyrin’ o’er the ocean, etc,
With a long string of goslins, etc .
And he was singin’ "Quink, Quank!”, etc

MB
Song Texts
2449

No, 654
GROUND HOG
also known as
Groun* Hawg Old Ground Hog
Old Aunt Sally The Whistle Pig
Thip song is still very popular in the Southern states,
particularly as a fiddle piece. The tune probably
originated in England, or, perhaps, in Ireland, but it
isn’t likely that the words did. The text obviously
grew out of Southern frontier life and environment,
as did many of the traditional animal songs. Habitat
of the Groundhog alias Whi^tlepig, and known in the
Northern states as a 7/oodchuck, extends from Canada
to somewhere near the Gulf of Mexico,
REFERENCES
Botkin (AFL), 893-895
Lomax (PB), 41
Brown, III, 253-255; V,
Lomax (USA), 26-27
140-142
Randolph, III, 150-153
Coleman, 56
Richardson (AMS), 92-93
Combs (CFBB), 246-250
Ritchie (SS3), 68-69
Cox (FSS), 498
Roberts (IP), 294-296
Davis (FSV), 246
Roberts (SBS), 181-185
Downes (1940), 212-215
Roberts (TSCF), No, 86
Downes (1943), 252-253
Scott (FSS), 58
Emrich (CBF), 11
Seeger (5), 22-25
Gainer, 182-185
Sharp, II, 540
Gainer (100), No, 41
Shearin (SKFS), 58
Henry (BKFS), 58
Silverman, II, 154
Henry (FSSH), 588-592
Wheeler (KMFS), 26-52
Henry (SSSA), 5-6
White, 160
Ives (SA), 120-121
Wilgus (FSUS), 220
Jour (AFL), XLV, 175
Winn (1), 46
Kincaid No. 2, 51
Wyman (LT), 50-55
Lomax (ABFS), 271-274
Lomax (FSNA), 254
Yolen, 98-99

MB
Song Texts
2450
Ground Hog
Whistle up your dog and load your gun,
Whistle up your dog and load your gun,
We're going to the hills to have some fun*
Ground-hog!
Big old fellow a-sittin' on a log, (2)
I heard him whistle and know'd it was a dog*
Ground-hog!
Big old fellow, as big as a bear, (2)
The meat we'll eat, the hide we'll wear.
Ground-hog!
Come here, John, with your great big pole, (2)
And twist this ground-hog outta his hole*
Ground-hog!
Work, boys, work for all you earn, (2)
Skin him after dark and tan him in a churn*
Ground-hog!
Dragged him home, put him in to boil, (2)
You could smell that hog for a dang-gone mile!
Ground-hog!
Come here. Mama, make John quit, (2)
If he keeps eatin', I won't get a bit!
Ground-hog!
The children laughed until they cried, (2)
They love that ground-hog baked and fried*
Ground-hog!
Old Aunt Sally came skippin* down the hall, (2)
We got enough whistle pig to feed 'em all!
Ground-hog!
********-*********************

MB
Song Texts
0 2451

No, 635
GUN FIGHT AT THE 0. K. CORRAL
also known as
The Clanton and McLowry Boys
The gun-fight at the 0, K. Corral occurred in Tombstone,
Arizona, Oct. 26, 1881, and it was the Clanton's and
McLowry*s versus the Earp's and Doc Holliday, m less
than three minutes the most famous and controversial
gunfight in western history was over. Ike Clanton was
the only survivor of the losing side, having run away
when the shooting began.
The song is from one of the twelve in Dickson Hall’s
Outlaws of the Old West '' (MGM Records, 1951), and is
used here with the author's permission.
Gun Fight at the 0. K. Corral Tune: Erie Canal II
The Clanton and McLowry boys
Together they did ride,
And every time they rode to town
The people stayed inside.
The marshal of old Tombstone town
Warned them to stay away,
But the outlaws said, "We'll see you dead!
•Cause we intend to stay! we intend to stay!"
Oh! what a fight they had that day!
Forget I never shall!
The marshal and the outlaws met
At the big 0. K. Corral.
You should have seen them walking there—
My goodness, what a sight!
Four men dressed neat, out in the street,
A-walking to a fight! walking to a fight!

MB
Song Texts
2452
The Clanton and McLowry boys
Had ridden into town,
And told the people they had come
To shoot the marshal down.
The marshal and his deputies
They started throwing lead—
Ike Clanton ran when the fight began,
The others soon lay dead! the others soon
lay dead!
Oh, what a fight they had that day!
Forget I never shall!
The Clenton and McLowry’s died
At the big 0. K. Corral!
The people who stood watching there
All said the fight was fair—
But no one cried when the outlaws died,
And no one seemed to care! no one seemed
to care!
*****************************

No, 636
GWILM’S DELIGHT
I haven’t seen this old hoedown i' any of the published
collections, but remember it from my early radio days
when fiddler Clarance Ashley played it on our programs.
There is no words, only music 0 See under TTJHES in M3 .
*****************************

MB
Song Texts
2453

No. 637
GYPSY DAVY
also known as
Bill Harman
Black Cat Davy
Black-Eyed Davey
Blackjack Daley, or
David, Davie, Davy
The Dark-Clothed Gypsy
The Dark-Eyed Gypsy
Davie Paw
The Egyptian Davy 0
Gyp* a Come Tripping 0*er
the Plain
Gypaey Davey, or Davie
Gypaia Song
The Gyps of Davy
Gypsum Davey
Gypsy Daisy
Gypsy Davey, or Davie
The Gypsy Laddie
The Gypsy Lover
The Gypsy Rover
The Gyptian Laddie
Harvey V/alker
The Heartless Lady
How Old Are You, My Pretty >
Little Miss?
Johnnie, or Johnny Paa
The Lady and the Gypsy
Lady*s Disgrace
A Neat Young Lady
Oh, Come and Go Back, My
Pretty Pair Miss
Seven Gypsies in a Row
The Three Gypsies
This Ip obviously one of those songs that accumulates
titles as it travels. Singers simply give the leading
character a different name and thereby create a new
title. Originally a Scots ballad, the song crowed the
border into England and took on differences that finally
launched it on a traditional career across the Atlantic,
in America, where innumerable versions and variations
developed.
In discussing Gypsy Davy , Child IV, p. 63 states: "The
earliest edition of the ballad styles the gypsy Johnny
Paa, but gives no clue to the fair lady. Johnny Paa was
a prominent and frequent name among the gypsieso”
Baring-Gould (S77), II, No. 50 and Quilier-Couch, 781-
783 both give a two part version of a ballad called The

MB
Song Texts
2454
Sip8y Countesp , and part II contains much of the text
of Gypsy Davy, Unfortunately, there is nothing of
Part I surviving in American tradition and seems to
have "been forgotten in England,,
In America the gypsy was frequently discarded, to be
replaced by Blackjack Davy, or some other more English-
sounding name. One variation retained the gypsy motif,
however, and became established as a song in its own
right (nee Wraggie Taggle Gypsies , 0! in this Master
Book ).
Even though this ballad is believed to be much older
than the earliest recorded version, the fact remains
that no version ha« been located earlier than the latter
half of the 18th century.
For further information about Johnny Paa and various
traditional stories surrounding this ballad in Europe,
see Child, IV, pp. 61-74.
For an Iri^h variation known to American tradition,
see Gypsy Rover in this Master Book . For an interest
ing adaptation found in Pennsylvania, see Harrison
Brady in Korson (PSL), 52,
To learn how extensively this ballad has pervaded
American tradition, one need only count the number
of folk collections in which one or more versions of
it appears. For example, Bronson, III, gives one
hundred and twenty-eight different airs to which as
many texts are sun.
REFERENCES
Baring-Gould (SW), II
Brewster (BSI), 134
Bronson, III & IV
Brown, II, 161-168; IV

No, 50
Barry (ABB), No. 9
Barry (BBM), 269-277
Belden (BS), 73-76
Brown (BLNC), 9
Burne, 550
84-91
Botkin (WFL), 785-786

M3
Song Texts
2455
Cambiaire, 59-60
Campbell & Sharp, No, 27
Chappell (FSRA), 37
Chase (TBS), 40
Child, IV, 61-74
Coffin, 120-124
Cox (FSS), 130-133, 524
Cox (TBFS), 40
Creighton (FSNB), 12-13
Creighton (TSNS), 71-72
Davis (MTBV), 253-261
Davis (TBV), 423-431, 590
Dean-Smith, 69
Eddy, 67-69
Flanders, III, 193-229
Flanders (GGMS), 78-79
Flanders (VFSB), 220-221
Fowke (TSSO), No. 3
Friedman, 105-109
Gainer, 72-73
Greenleaf, 38-39
Greig, II, art. 110
Greig & Duncan, No, 278
Greig & Keith, 126-129
Henry (FSSH), 110-112
Henry (SMFL), No. 18
Herd, II, 95
Hubbard, 26-27
Hudson (FSM), 117-119
Hudson (SC), 9
Johnson (SMM), No. 181
Jour (AFL), XVIII, 191;
XIX, 294; XXII, 80;
XXIV, 346; XXV, 173;
XXVI, 353; XXX, 323;
XLVIII, 385; LII, 79
Karpeles, 81-84
Karpeles (FSE),I,.. 160-170
Karpeles (FSN), 81-84
Kincaid No. 1, 33
Kinloch MSS, V, 331
Kinsley, 249-250
Korson (PSL), 52
Leach (BB), 543-544
Linscott, 207-209
Lomax (OSC), 156-159
Lomax (PB), 112
Lunsford, 4
McGill, 14-17
Moore (BFSS), 97-100
Morris, 304-307
Motherwell, II, 223-236
Neely, 140-141
Niles (BB), 280-284
Ord, 411
Owens (TFS), 29-31
Peacock, I, 194-197
Pound (SFSN), I, 6
Pub (TFLS), XXII, 47-49
Quarterly (SFL), VIII, 156;
XI, 130-131
Raine, 119
Ramsay (TTM), 427
Randolph, I, 152-160
Reeves (EC), 141-145
Ritchie (FS), 86
Roberts (IP), 69-71
Sandburg (AS), 311
Sanders, 106-107
Scarborough (SC), 215-225;
411-413
Sedley, 69-70

MB
Song Texts
2456
Silber (HSB), 21
Silverman, I, 213
Smith (AA), 44
Sharp, I, 233-239
Sharp (100), 13
Shellans, 36-37
Stout, 11
Thede, 51
Wells, 116-117
Whiting (TBB), 21-23
Whitman, 93
Williams (FSUT), 120
Gypsy Davy
Gypsy Davy came over the hill,
The way was cool and shady;
He sang until the echoes rang,
And charmed the heart of a lady.
And charmed the heart of a lady.
Come go with me, my pretty miss,
Come go with me, my honey;
We'll sail across the deep blue sea,
And you'll never want for money. (2)
0 she took off her high-heeled shoes,
All made of Spanish leather,
And then put on a pair of boots,
And they rode off together. (2)
When her husband came home late that night,
He asked about his lady.
Her maid was there to answer him:
"She's gone with Gypsy Davy," (2)
"Go saddle up my fastest horse,
The black I call my Sonny,
And I'll ride east, and I'll ride we«t,
And overtake my honey," (2)

MB
Song Texts
2457
At la*»t he came to the deep blue sea,
And in a camp so shady
The tears cane running down his cheek,
For there he saw his lady, (2)
"Will you forsake your house and lands,
Will you forsake your baby?
Will you forsake us all, my love,
To go with Gypsy Davy?” (2)
"Yes, 1*11 forsake my house and lands,
And 1*11 forsake my baby;
And.I*11 forsake the world I know,
To go with Gypsy Davy, (2)
"I never loved you in my life,
I never loved the baby;
I married you against my will,
But I love Gypsy Davy.”
"0 come, go back, my own true love,
0 please come back, my honey;
1*11 give you everything I own,
Including all my money!” (2)
"I won*t go back and be your love,
Nor will I be your honey;
I wouldn’t trade sweet Davy’s lips
For all your lands and money, (2)
"Last night I slept on a feather bed,
I slept beside my baby;
Tonight I’ll sleep upon the ground,
And roll with Gypsy Davy,”
****************-*-*-*-**-*

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Song Texts
2458

No. 638
THE GYPSY ROVER
also known as
The Whittling Gypsy
This is an Irish re-working of Gypsy Davy (see above),
and is a fairly recent song. Words and music are
credited to Leo Maguire, and the sheet music wa« pub
lished by Walton's Piano and Musical Instrument Gal
leries, Ltd,, Dublin, 1951. The song was published in
the United States by Box & Cox, Inc., under an agree
ment with the Irish copyright owners.
The version below was taken down from the singing of
Sonny Cox, a partner in the American-English firm of
Box & Cox, Inc., in August, 1953.
Leisy printed a version that was recorded by Tommy
Makem at the Newport Polk Festival, I960 (Vanguard,
VRS 9083). Another version is in Silber (HSB), 120,
The Gypsy Rover
The gypsy rover came over the hill,
Down through the valley so shady,
He whistled and sang till the greenwoods rang,
And he won the heart of a lady.
Chorus
Ah de doo ah de doo da day,
Ah de doo ah de day dee,
He whistled and sang till the greenwoods rang,
And he won the heart of a lady.
She left her father's castle gate,
She left her fair young lover,
She left her servants and her state,
To follow the gypsy rover.

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Song Texts
2459
Her father saddled up his fastest steed,
He ranged the valleys- over;
He sought his daughter at great speed,
And the whistling gypsy rover.
He came at last to a mansion fine,
Down by the river Clady,
And there was music and there was wine,
For the gypsy and his lady,
"He is no gypsy, father dear,
But lord of these lands all over.
I’m going to stay ’til my dying day
With my whistling gypsy rover,"
***********-***•****************

No, 639
THE GYPSY’S WARNING, ANSWER, AND DECISION
also known as
Decision in the Gypsy’s Warning Gipsy’s Warning
Do Not Trust Him, Gentle Lady Trust Him Not
The age, origin, and name of the author of this song
is not known. According to Cox (FSS), 439? it was
published in 1864 with a music arrangement by Henry
A, Coard,
A published song with "music arranged by" usually means
that the song is much older than the version arranged.
Here we have three songs with one melody, "Version A,
The Gypsy’s Warning , occupies a unique place in Ameri
ca’s history of communication. Alexander Graham Bell,
at a public demonstration of his invention, the tele
phone, persuaded his associate, Thomas Walton, to sing

MB
Song Texts
2460
this «ong into the transmitter. The text of Gypsy [p
Warning contains the first words ever publicly heard
over a telephone.
The song was so popular that it spawned an "answer"
version and several imitations (see versions B and C
below). In 1899, H. Rosenfeld, a well-known song
writer, copyrighted and published his spin-off called
Trust Him Not (see Randolph, IV, 222) 0 Rosenfeld*s
spin-off has been forgotten, but the original song is
still afloat. If the tune seems vaguely familiar, it
is probably because of a remarkable similarity beteen
it and the tune of HIGH NOON , title song of a motion
picture starry Gary Cooper and Grace Kelly, sung by
Tex Ritter,,
The Gypsy’s Warning was published in broadside and in
many early songsters„ Broadsides were issued by Be
Marsan (New York), List 18, No, 26; Partridge (Boston),
No. 1022; Wehman (New York), No, 95; and others.
Songsters in which it appeared, include: The Gipsy[s
Warning Songster , 1867, p. 5; The Pretty Little Sarah
Songster , 1867, p. 7; The Captain Jinks of the Horse
Marines Songster , 1868, p, 33; Ban Bryant * s ”S hoo Fly ”
Songster , 1869, P. 45; The Baiey Beane Songster , 1869,
p. 8; The Vocalist^’ Favorite Songster, 1885, p. 183;
and Be Marsan’s Singer’s Journal , I, p. 11,
REFERENCES
Arnold, 73
Belden (PLSB), No. 35
Brewster (BSI), 271-273
Cox (FSS),^439-440
Cox (TBPS), 201
Finger (PB), 116-118
Ford (TMA), 378-379
Henry (SSSA), 154
Hubbard, 123-126
Pound (SFSN), XIII, 43
Randolph, IV, 219-220
Roberts (IP), 208-209
Shoemaker (MMP), 111-112
Shoemaker (NPM), 94, 108
Spaeth (REW), 20-21
Staton, 109
Stout, 76-77
Wilgus (FSUS), 220

KB
Song Texts
2461 0
The Gypsy*s Earning ( Version A)
Trust him not, Oh, gentle lady,
And though his voice he low and sweet,
Heed not him who kneels before thee,
Gently before thy feet.
Your young life is in its morning,
Cloud not this your happy lot—
Heed you now the gypsy's warning:
Gentle lady, tru«t him not.
Lady, once there lived a maiden,
Pure and kind and bright and fair;
But he came and wooed and won her,
Pilled her loving heart with care.
0, he heeded not her weeping,
Nor did he care her life to save.
Soon she died, and now lies sleeping
In a cold and silent grave.
Bo not turn so coldly from me,
For I speak to save your youth;
Of his stern and withering power,
I would only speak the truth.
Let me shield you from the danger,
Save you from his tempting snare.
Lady, shun that dark-eyed stranger—
Heed my warning and beware.
Keep your gold, I do not want it;
Lady, I have prayed for this—
For the tine when I might foil him,
Rob him of expected bliss.

MB
Song Texts
2462
Gentle lady, do not wonder
At my words so strange and wild,
In that green grave over yonder
lies this gypsy*s only child.
VERSION B
Gypsy 1 s Warning: an Answer
also known as Reply to the Gypsy*s Warning
This follow-up, sung to the same tune as version A,
was also quite popular. Versions were recovered from
traditional sources by: Brewster (3SI), 273; Hubbard,
127; Randolph, IV, 220-221; Roberts (IP), 209-210;
Shoemaker (MMP), 112; and Shoemaker (NPM), 94, 109«
Gentle Lady, do not listen;
Trust me, for my love is true—
Constant as the light of morning,
I will ever be to you.
Lady, I will not deceive you,
Nor leave you a heart of woe;
Trust me, lady, and believe me,
And no sorrow shall you know,
Down beside the flowing river,
Where the dark green willows weep,
Stands a grave not yet forgotten,
Where the gentle maiden sleeps.
Every morn a lonely stranger
Comes to linger many hours,
For he loved the gypsy's daughter,
And he strews her grave with flowers.

MB
Song Texts
2463
Lady, do not heed the gypsy'—
Lay your soft white hand in mine;De
Dear, I seek no fairer laurel
Than the constant love of thine«
VERSION C
also known a§
Decision in the gypsy* s Warning
The same story continues, this time with the young
girl speaking. In a sense, what we have here is
"an answer" to "an answer" in which the girl informs
the would-be lover that she believes not him but the
gypsy mother. For other versions, see: Belden (PLSB)
No, 35 and Randolph, IV, 221-222,
Down beside yon flowing river,
There bereft, where willows weep,
There must lie that fair one ever,—
Stranger, who those vigils keep?
Why go there alone so early,
All those morning flowers to strew?
Do you love in truth so dearly,
Do you grieve as others do?
Stranger, I’ve been thinking sadly,
How you promised, wooed and won,
How her innocent love gladly
Heard fair words, built hopes thereon.
Now she’s in the cold ground sleeping,
By the river’s moaning wave,
And the willows now are weeping
O’er that maiden’s early grave.

Song Text3
2464
MB
Warnings from that grave do tell me,
And a living voice I hear
Of a wooer who would seek me,
Pleading by a love sincere,
Saye without me life is sorrow,
Wants this hand and heart of mine,
Promise bliss for every morrow,
Then forsake me, let me pine 0
Stranger, I will heed the warning
Coming from the river’s side;
Flowers you strew there in the morning
1*11 renew at eventide.
There we’ll walk, but not together,
For the gypsy tells me true,
Mourns her child in tears that smother
Every kindly thought of you.
*********************************
*****************************
*************************
*********************
*****************
*************
*********
*****

MB Song Texts H
2465

No. 640
HALLELUJAH, I’M A BUM
also known a?
Hallelujah, Bum Again
This pong ha® been attributed to and claimed by several
writera, including Joe Hill. Some claim that the words
were written by Harry McClintock, a hobo. Carson J.
Robison, who made a recording of it in the 1930s, is
credited with authorship by the publisher of his version.
Botkin (AFL), 882, reports that Budd L. McKillups in
formed him that "the song wa® found scribbled on the
wall of a Kansas City jail cell where an old hobo, known
as ’One-Finger Ellis’, had spent the night, recovering
from an overdose of rotgut whiskey." I don’t know who
wrote the words, but I know the tune was borrowed from
an old hymn, Hallelujah, Thine the Glory .
A song of identical title was written by Lorenz Hart
and Richard Rodgers as the title song of a motion picture
starring A1 Jolson, who sang it in 1933.
REFERENCES
Best, 18
Botkin (AFL), 882-884
Clark (CS), 77
Dobie (CG), 39
Downes (1940), 330-331
Downee (1962), 386-387
Fowke (^Y/F), 126-127
Glazer (S’.V), 6
Greenway, 197-202
Kornbluh, 71-72
Leiey (SPS), 78-79
Lingenfelter, 529
Lomax (ABFS), 26-28
Lomax (PB), 129
Milburn, 97-101
Ohrlin, 32-33
Sandburg (AS), 184-185
Siegmeister, 54-55
Silverman, I, 380
Toelken (KTB), 15
Whitman, 84-85

MB
Song Texts
2466
Hallelujah , 1*13 a Bun
Oh, why don’t I work like other men do?
How the hell can I work, when there’s no work
to do!
Chorus
Hallelujah, I’m a bum! Hallelujah, bum again!
Hallelujah, give me a hand-out to revive us again.
The springtime has come, and I’m out of jail;
Without any money, I'll go riding the rail,
I went to a house, and I knocked on the door;
A lady came out, says, "You've been here before!"
I went to a house, and I asked for some bread;
A lady said, "Bum! Bum! the baker is dead!"
Oh, I ride box cars and I ride fast mails,
When it’s cold in the winters I sleep in the jails.
If I was to work, and save all I earn,
I could buy me a bar and have money to burn!
*******************************

No, 641
HAND-CART SONG I
also known as
Handcarts Our Handcarts
This song 1« a reminder of just how harmful religious
prejudice and animosity to the ideas other than our own
can be, even in a democratic society. The Mormons suf
fered both the prejudice and animosity of their neigh
bors until it became virtually impossible for them to
live among Americans of different beliefs.

MB
Song Texts
2467
Between 1855 and 1860, a total of 1600 men, women
and children, broken down into ten companies, de
parted the United States en mass and headed 7/eet.
They settled, finally, in what was then Indian Terri
tory and is today the state of Utah, The Indians,
themselves the victims of prejudice and animosity,
welcomed the Mormons.
The two hand-cart songs (I and II) given here are based
upon the fact that many of the Mormons literally pushed
their belongings across country in wheelbarrow -like
carts.
For a third handcart song—one that deals with the
1857 call that sent seventy-six missionaries pushing
handcarts from Salt Lake City to Florence, Nebraska—
see Cheney, 66-67 and Lingenfelter, 200-201.
REFERENCES
Botkin (WFL), 753-754
Carter (SCS), 513-514
Cheney, 64-66
Davidson (MS), 278-279
Durham (PS), 21
Fife (SSS), 67-70
Glass (SW), 26-27
Hubbard, 399-407
Ives (SA), 180-181
Ives (SB), 268-269, or
244-245
Pioneer Songs (1932), 21
Silber (SGAW), 80-82
Warner, 107
Hand-Cart Song I Tune; King of the Cannibal Islands
The lands that boast of modern light
We know are all a® dark as night,
Where poor men toil and want for bread,
And rich men's dogs are better fed.
The land that boasts of liberty
I never again wish to see.
Then you from Europe make a start,
And we‘11 cross the plains in our handcarts.

MB
Song Texts
2468
So on the roads the carts were spurled.
It surely must surprise the world
To see the old and feeble dames
Thus lend a hand to pull the same.
Young maidens too will dance and sing,
Young men more happier than kingsj
And children too will laugh and play,
Their strength increasing day by day.
And long before the valley's gained
We will be met upon the plains
With music sweet and friends so dear,
And fresh supplies our hearts to cheer.
0, then with music and with song,
How merrily we will march along!
And we'll bless that day we made our start,
For we crossed the plains in our handcarts,
******************* ********

No, 642
HAND-CART SONG II
also known as
Hurrah for the Camp of Israel!
For information concerning the subject matter of this
song, see headnotes to Hand-Cart Song I above.
REFERENCES
Beadle (4), 137-138 Hubbard, 403
Davidson (MS), 279 Lingenfelter, 199
Hand-Cart Song II Tune: A little More Cider
Oh, our faith goes with the handcarts,
And they have our hearts' be*t love;
f Tls a novel mode of traveling,
Deviled by the God above.

MB
Song Texts
2469
Chorus
Hurrah for the Camp of Israel!
Hurrah for the handcart scheme!
Hurrah! Hurrah! * tis "better far
Than the wagon and ox-team.
Old Brigham’s their executive;
He told us the design,
And the Saints are proudly marching on,
Along the handcart line.
Who cares to go with the wagons?
Not we who are free and strong!
Our faith and arms, with right good will,
Shall pull our carts along.
*******************************

No. 643
HANGMAN JOHNNY
also known as
Hanging Johnny, or Johnnie Singing Johnny
Halyard shanty. Song mey have traveled from land to sea,
or from sea to land. No one seems to know. Practically
every collector has an opinion concerning it, but not
too much information. Doerflinger said, ’’The tune seems
related to Shenandoah. n Masefield said, "It has a
melancholy tune that is one of the saddest things I
have ever heard." Sharp said, "In character the tune
recalls The 7fearing of the Green."
For an English adaptation, let Us 7/alk A.long Together ,
sae Farnsworth, 20-21. For a work song sung by Southern
blacks, Call Me Hangin* Johnny , see Parrish, 203.
The A version below is a land treatment and version B
is how sailors sang it.

MB
Song Texts
2470
REFERENCES
Armitage, II, 85
Brown, V, 499-1500
Bullen & Arnold, 23
Colcord (1924), 27-28
Colcord (1938), 72-73
Davis (SSC), 5^-55
Doerflinger, 31
Emrich (FAW), 460-461
Farnsworth, 102
Harlow, 253-254
Harlow (C), 47-48
Hugill (1), 284-285
Hugill (2), 192-193
King, 6
Masefield (SG), 358
Masefield (SS), 69-70
Meloney, 18
Parrish, 204
Patterson (SA), 231
Robinson, 72
Samson, 40
Sharp (EFC-2), 56
Shay (ASSC), 54
Shay (IKtfS), 81
Smith (BOS), 44
Terry, I, 40
Whall (SSS), 97
Hangman Johnny ( Version A)
Oh, my name is Hangman Johnny—
You know what people say:
1*11 hang a man for money—
That’8 how I earn my pay*
That*s how I earn my pay 0
Oh, I hung a man in Pittsburgh
Just as the sun went down;
I ate a hearty supper,
And then got out of'town. (2)
Oh, they say I’d hang my mother.
But that is not quite true;
•Cause if I had a mother.
It*s one I never knew. (2)
VERSION B

MB
Song Texts
2471
Oh, they call me Hanging Johnny,
Away, my boys, away!
Because I hang for money,
Away, my boys, away!
At first I hanged me father, etc.
It wasn’t such a bother, etc 0
Oh, then I hanged me mother, etc .
Me sister and me brother, etc .
I’d hang all mates and skippers, etc.
I’d hang ’em by their flippers, etc.
A rope, a beam, a ladder, etc .
The victim doesn’t matter, etc .
We’ll hang ’em to the yard-arm, etc.
Then quit and buy a pig-farm, etc,
******** ***********************

No. 644
HANG ME, 0 HANG ME
also known as
Blue Stone Mountain My Father Was a Gambler
The Gambler Tommy’s Hanging Bay
My Baddy Was a Gambler
This is a "goodnight” or "farewell to life" song; it
is similar to the old bluesr-spiritual, I Bon’t Mind
Dying , If Bying Was All .
REFERENCES
Belden (BS), 472-473
Friedman, 232
Pound, 130-131
Randolph, II, 80-82
Sandburg (AS), 216
White, 78

MB
Song Texts
2472
Hang Me, 0 Hang Me
My father was a gambler.
And he taught me how to play.
My father was a gambler,
And he taught me how to play.
He said, "Never go a-beggin'
While you hold the Ace and Trey,
Hold the Ace and Trey,"
Chorus
Hang me, 0 hang me,
An* 1*11 be dead and gone.
Hang me, 0 hang me,
An* 1*11 be dead and gone 0
Oh, I wouldn’t mind the hangin*,
But it’s layin’ in the grave so long,
lord, lord, so long,
I*ve got a younger brother
Who thinks the world of me.
I*ve got a younger brother
Who thinks the world of me.
He*s cornin’ to the death house
Just to see the last of me,
See the last of me.
If I had minded mama—
She taught me how to pray.
If I had minded mama—
She taught me how to pray;
If I had listened to her then
I wouldn’t be in jail today,
Be in jail today#
All round the world I’ve traveled,
And I've been here before.

MB
Song Texts
2473
All round the world I’ve traveled,
And I’ve been here before*
But when I go tomorrow
1*11 be gone forevermore.
Gone forevermore,
**************************

No. 645
HANGTOWN GAIS
A parody on a popular song that struck gold in the
California gold fields. Words are by John A. "Old
Put" Stone, The tune was taken from New York Gals ,
REFERENCES
Arnett, 97 Sherwin (SGM), 22-23
Dwyer, 126 Silber (SGAW), 123-124
Luther, 132-133
Hangtown Galo
I come from the state of Arkansas,
To see the sights that can be saw;
But I’ve seen nothing on sea or sod
To beat them Hangtown gals, by God!
Chorus
Hangtown gals are lovely creatures,
Think they'll marry wealthy preachers!
Heads thrown back to show their features,
Ha! Ha! Ha! Hangtown gals!
Hangtown gals are plump and rosy,
Hair in ringlets mighty cosy;
Painted cheeks and gassy bonnets,
Every one can sting like hornets!

KB
Song Texts
2474
They*re kind of shy of forty-niners,
Turn their noses up at miners;
Promenade in silk and satin,
Cannot talk and murder latin.
On the street they’re always grinning,
Modest like they lift their linen;
Petticoats all trimmed with laces,
Matching well their painted faces 0
To church they very seldom venture—
Hoops so large they cannot enter;
Go it, gals, you’re young and tender,
Shun the pick and shovel gender*
***■#■•**■*•**•*-*•*********•*•*•#**

No, 646
HAPPY LAND OP CANAAN I
also known a*?
Revolutionary War Song
This song is frequently referred to and sometimes orint-
ed as a Revolutionary War Song, But I think it came into
existence considerably later, sometime during the first
quarter of the 19th century. The opening line, "I’m
nearly ninety and nine, but I still remember the time,”
indicates that the writer is referring to "a memory of”
the Revolution, and is not speaking as a direct witness
to, or participant in, an ongoing action.
Without question, this song inspired a later one using
the same title (see Happy Land of Canaan II), although
I have seen no mention of such a connection in print.
For another version, see Morris, 22-23*
Happy Land of Canaan J[

MB
Song Texts
2475
I'm nearly ninety and nine, but I still remember the
time
When the country was invaded by the British.
One of freedom's noble sons, our brave George 7/ashington
Made them skee-daddle from the happy land of Canaan.
Chorus
Ha, ha, ha, ha! Ha, ha, ha. ha! Bound for the happy
land of Canaan.
One of freedom's noble sons, our brave George Washington
Made them skee-daddle from the happy land of Canaan.
****************************

No. 647
HAPPY LAND OP CANAAN II
also known as
Ha, Ha, Ha, Ha! A Pocket Pull of Money
This is clearly a derivative of the foregoing song,
though "reworking” may be a more appropriate term.
Belden, who printed a Confederate version (see B, below)
said it was "evidently a minstrel-stage song remade to
catch the favor of Confederate sympathizers..." Version
A was the Union's way of looking at the same situation.
It is difficult to say which version was the first one,
and, in this case, it really doesn't matter too much.
REFERENCES
Belden (BS), 365-364 Randolph, II, 280-283
Cox (PSS), 270 Sharp, II, 201
Happy land of Canaan II ( Version A)
When the war is ended, the boys will have some fun;
They'll march thro* the South with their ladies.
I'll march mine thro' some Southern Union clime,
And I'll raise me some little Union babies.

MB
Song Texts
2476
Chorus
Ha! ha! ha! Don’t you hear me now?
The Black Horse caval'ry is coming;
The ladies in the town all dressed in fancy
gown,
The hoop-skirts they are a honey!
It takes forty yards of alapac to cover up
the hoops,
And something like a pocketful of money.
VERSION B
also known as
Over the Happy Land of Canaan
Down at Harper’s Perry the Yankees were quite merry,
Old Brown thought the niggers would sustain him;
But old Governor Wise put the spectacles on his eyes
And sent them over to the happy land of Canaan,
Chorus
Ha! Ha! Ha! See them all a-runnin*!
The time of our glory is a-comin';
We yet will see the time when all of us
will shine,
And drive the Dutch from the happy land
of Canaan.
There were some Japanese came here to raise a breeze,
And they brought little Tommy to entrain ’em;
But he fell in love with a little Dixie Dove,
And they sent him over the happy land of Canaan,
The ladies every day promenade Broadway,
The size of their hoops are a-gaining;
If they stop for a talk, they cover-up the whole sidewalk,
Till there is no room in the happy land of Canaan.

MB
Song Texts
2477

Ho. 648
HARD OP HEARING
also known as
The Deaf Woman*s Courtship Old Woman, Old Woman
This is (or was once) a nursery rhyme. Version is found
in Wheeler’s Mother Goose Melodies , Boston, 1878, p. 92.
Someone with a sense of humor and an ability to write,
rewrote the nursery rhyme into a piece for adults.
REFERENCES
Belden (BS), 265
Brown, II, 458; 17,
245-246
Chambers (PRS), 158
Chappell (PSRA), 79-80
Chaee (APTS), 136-137
Creighton (TSNS), 243-244
Eddy, 299
Halliwell (NRE), 56
Hecht, 205
Moore (SPSS), 223-224
Randolph, III, 39-40
Ritchie (SSA), 72-73
Scott (PSS), 40
Sharp, II, 252
Winn (2), 75
Hard of Hearing
"Old woman, old woman, will you go a-shearing?"
"Speak a little louder, sir, I’m rather hard of hearing."
"Old woman, old woman, are you fond of spinning?"
"Speak a little louder, sir, I only see you grinning."
"Old woman, old woman, will you go a—walking?"
"Speak a little louder, sir, I barely hear you talking."
‘fOld woman, old woman, are you fond of weaving?"
"Speak a little louder, sir, my hearing is deceiving."
"Old woman, old woman, will you hug and kiss me?"
"Thank you very kindly, sir, that time I heard you
clearly!"
****************************

MB
Song Texts
2478

No, 649
HARD TIMES I
also known as
Song of the Times
Thi9 song has its roots deep in English history and
tradition. To the poor, the expression "hard times”
has always and everywhere seemed the best way to de
scribe their condition. Lacking a real power to change
that condition, except in specific cases, the poer
sought relief through humor. They "poked fun” at them
selves and satirized the occupations, professions and
life-style of those who, at least to them, seemed to
enjoy "easy times” at their expense. Condition, ex
pression and attitude all combined to create a rich
soil for song-makers.
An early form of this song, Chapter of Cheats , or The
Roguery of All Trades , was issued in broadside by
Bradford, Catnanch, Pitts, Spencer, and others in Eng
land, A derivative, Here[e First To Those Farmers ,
collected and printed in the first quarter of the 20th
century, can be seen in Williams (FSUT), 104.
The precise date of thin song 1 s arrival in America is
unknown, but we do know that it thrived as well here
as in its homeland. Many versions and variations have
been recovered from oral sources; and some of them
have combined and fused with other songs.
The expression "hard times” was regularly employed by
American songwriters to serve as title and theme for
a wide variety of songs. One such piece, Negro Soldier^
Civil War Chant , or In These Hard Times , (see Talley,
15), begins:
Ole Abe (God bless *is ole soul!)
Got a plenty good victuals,
an* a plenty good clo'es;
Got powder, an* shot, an e lead,

MB
Song Texts
2479
To bust in Adam’s liddle Confed*
In dese hard times.
American publishers printed versions of the English
Hard Times , with three of the earliest being preserved
in Beadle[s Dime Song Book Ho. 1 (1860, 24, De Marsan
broadside, List 10, No. 30, and Ford (BB), No. 3160.
Two versions (A and B) are given below, but with little
difference between them. However, a real difference
exists between these two versions and Hard Times II ,
which follows this one.
REFERENCES
Belden (BS), 433-434
Brown, III, 385-387; 7,
231-233
Flanders (VCB), 38^45
Gardner (BSSM), 443-445
Hubbard, 353-357
Hudson (FSM), 215-216
Lomax (ABFS), 332-334
Lomax (CS-1919), 103-105
Owens (TFS), 113-114
Peacock, I, 57-59
Hard Times I ( Version A)
Come listen awhile and give ear to my song,
It*s all about hard times, and it won’t take long:
I will sing of how people all struggle and fight,
And' in cheating each other they think they do right.
They think they do right—
And so it*s hard, hard times wherever you go.
The baker will cheat you in bread that you eat,
So will the butcher in the weight of the meat;
He’ll tip up his scales and then make them go down,
And he’ll swear to the weight tho it lacks half a pound,
It lacks half a pound—
And so it’s hard, hard times wherever you go.

MB
Song Texts
2480
The miller will tell you he’ll grind for your toll
And do the work as well as he can for his soul;
But when your hack is turned, the dish in his fist,
He'll give you the toll and himself keep the grist,
Himself keep the grist—
And so it's hard, hard times wherever you go.
The landlord will feed your horse oats and hay,
And when your back's turned, he'll take them away;
For oats he'll give chaff, for corn he'll give bran,
And yet he will holler, "I'm too honest a man,
Too honest a man!"—
And so it's hard, hard times wherever you go.
And now for the ladies, those sweet little dears,
So fine at the ball and the grand parties appear,
With whalebones and corsets themselves they will squeeze,
Till you'll have to unlace them before they can sneeze,
Before they can sneeze—
And so it's hard, hard times wherever you go.
The doctor will tell you he'll cure all your ills
With his puffs and his powders, his syrups and pills;
He'll give you a dose that will make you grow fat,
And his fee it will leave you your shoes and your hat,
Shoes and your hat—
And so it's hard, hard times wherever you go.
You've listened awhile and have heard all my song,
Therefore you can’t say I've sung anything wrong:
If there's anyone here who has taken offense,
They can go to the devil and seek recompense,
And seek recompense—
Because it's hard, hard times wherever you go!

MB
Song Texts
2481
VERSION B
Come all you good people, 1*11 sing you a song
About the poor people, how they get along.
The times are so bad folks are hard put to live;
They have nothing to ask for and nothing to give,
And it*s hard, hard times.
Prom sister to sister, from brother to brother,
They’ve all learned to cheat, and they’re cheating
each other.
Since our leaders cheat us without hesitation,
The habit might spread all over the nation,
And it’s hard, hard times.
Young men will rise up and to church they will go,
They’ll ruffle and scuffle and make a fine show;
They’ll stop at the tavern and have beer or wine,
Then try to make out with your daughter or mine,
And it’s hard, hard times.
The ladies will rise at the dawning of day,
They’ll ruffle and scuffle and try to look gay;
They’ll paint up their faces, appear nice and sweet,
And swear that they love you but secretly cheat,
And it’s hard, hard times.
The blacksmith earns pay by the sweat of his brow,
And so does the farmer who follows his plow;
No finer two men are you lifely to meet,
But when they start dealing, they’re likely to cheat,
And it*8 hard, hard times.
Then there’s the doctor who tells you and me,
He'll cure all our ailments for Just a small fee;
He'll take only half of the things you possees,
And if he don’t kill you he'll take all the rest,
And it’s hard, hard times.

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Song Texts
2482
There goes the old preacher, always on the stage,
He'll open his Bible and read you a page;
He'll give you commandments to live your life by,
But business is business, and in business he'll lie!
And it's hard, hard times.
Well, folks, I have come to the end of my song,
But wish to remind you before moving on:
The bigger the sinner the bigger the fall,
If God doesn't take you the devil gets all!
And it's hard, hard times.
*****************************

Ho. 650
HARD TIMES II
also known as
Courting the Widow's Daughter Johnny McCardner
Here we have a combination of two song3 in one: the
first being a description of a courting affair, the
second being a description of certain people and how
they behave.
REFERENCES
Belden (BS), 248-249 Lomax (OSC), 124-125
Cox (FSS), 511-513
Hard Times II
Last Saturday night I went to her house,
And through the dark window I crept like a mouse;
I knocked at her door, and my love let me in,
And to her dark bedroom I soon entered in.
And it's hard times.

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Song Texts
2483
We talked and we laughed and made a mistake;
The next thing we knew, her Ma was awake!
She came in the room and ehe said, angrily:
"What impudent scoundrel is this that I see?"
And it's hard times.
I offered my hand and said to her, "Mam,
Please hold your temper till you know who I am.
I’m Jimmy DeVore, and that’s really my name,
And courting your daughter is the reason I came."
And it’s hard times.
"0 daughter," she cried, "0 why must it he,
You choose a man who is old enough for me?"
"0 mother, dear mother, why show such alarm?
The man I have chosen is a man of great charm."
And it’s hard times.
"Old lady," I said, "if you’ll hold your tongue,
I’ll tell you the reason why your daughter’s the one.
I’m older, it’s true, hut that isn’t a sin—
And surely you know young girls perfer older men?"
And it*8 hard times.
She turned to me then and said, "She’s too young!
You will he suited and my daughter get stung.
You are too old, and I think you’re a hum!"
And grabbing a hrromstick, at me she did come.
And it’s hard times.
I dove thro the window, into the snow,
The gate I flung open and away I did go!
I ran and I ran, and I cursed and I swore;
I'd never been beaten with a broomstick before.
And it's hard times©

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Song Texts
2484
Now all you young men, come listen to me:
Be careful of the young girls you go to see.
There’s always the chance, if you get in her room,
That all you will get is the end of a broom.
And it*s hard times.
0 there's a young man, as all of you know,
A-courting young girls he was bound for to go;
Her parents will simper, they'll complain and grieve,
And when she is willing, they'll invite him to leave.
And it'8 hard times.
And there's the young miss, a nice little dear,
Attends the parties that are given all year;
Whale-boned corset her ribs tightly squeeze—
She'll have to unlace them before she can sneeze!
And it*s hard times.
0 there is the judge, who thinks himself true;
He sits on the bench and he stares down at you.
For twenty-five cents he'll send you to a cell,
For five dollars more he will send you to hell.
And it's hard times.
0 there's the doctor, I almost forgot—
I really believe he's the worst of the lot!
He says he will cure you for half you possess,
And then he will kill you and take all the rest.
And it*8 hard times.
********************************

No. 651
HARD TIMES III
also known as
Times Gittin* Mighty Hard
An expression like "Hard Times" was certain to wind-up
in the language of the rural American population, and

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Song Texts
2485
it is not surprising to find it as a title for
■country blues" pieces such as this one. It is also
a partly compounded song, having in it entire stanzas
borrowed from other songs. For example, the opening
stanza from Old Fee Makes De Honey Comb in Uncle
Beams , His Song3 and His Sayings (New and revised
edition, New York, 1920), p. 195. It is also in White,
p. 382. The second stanza, the "White Man goes to
college," is a floater (see Perrow, XXVIII, 140).
Also see and compare, Gellert (NSP), p. 9.
Brown, III, 549» gives a version of this song, the
chorus of which is quite similar to the Times Gettin'
Hard , Boys in Sandburg (AS), p. 242.
Hard Times III
Big bee makes the honey comb,
Little bee gets the honey;
Black man grow* the cotton an' corn.
White man gets the money.
Chorus
Times gettin' mighty hard,
Livin' on two skinny dimes;
If I only had a dollar bill,
I’d lose these hard, hard times.
White man goes to college,
Black man goes to the field;
White man learns to read and write,
Black man learns to steal.
Black man by the kitchen stove,
White man's food good an' hot;
One eye on the table, boys,
T’other one on the pot.

Song Texts
2486
MB
Hunger makes my "belly growl,
Wrinkles up my face;
If I had me a dollar bill,
I*d leave this no good place,
************************************

No. 652
HARD TIMES IY
also known as
Hard Times in the Mill
This song originated around the beginning of the 20th
century, and mo«t likely in the South. According to
Scott (BA), it "arose out of the open shop conditions
of textile mills in the South...when the 12 hour day,
starvation wages, and child labor were still the rule."
I think the song came from the Southern lumber-mill
workers and was then borrowed by textile workers.
A variation, with several identical lines, is a version
of The Durant Jail in Lomax (CS-1938), 176-177o
REFERENCES
Arnett, 145 Greenway, 142
Berger, 47-48 Scott (BA), 274-275
Hard Tines IY Tunct Prisoner* s Song IX
Rise an' shine at half-past four,
The cook is yellin' thro' the door.
Chorus
It*8 hard times at the mill, 0 Lord,
Hard times at the mill.
Whistle blows, you know it’s five;
It's rise and shine, dead or alive!

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Song Texts
2487
Breakfast comes at six o’clock;
Pour cold pancakes hard as a rock!
Sawmill hoys don’t make enough,
Just grin an' hear ’cause times are rough!
Every night when I get home,
It’s grit8 and gravy an' old cornpone!
Work like a dog to earn my pay.
But I'm always broke after payday!
*****************************

No* 653
HARD TIMES COME AGAIN NO MORE
Source song, with words and music hy Stephen Poster.
Part of the song is given here, to show its relation
ship to a parody of it given as version B.
The original manuscript of this song is at Poster Hall,
Indianapolis, Indiana. Like most of Poster's compositions,
this one is available in dozens of song-hooks and folios.
REFERENCES
Chappie (HS), 82-83 Staton, 42
Luther, 154 Whitman, 87
Oherndorfer, 102 Wier (SWWS), 202
Hard Times Come Again No More
VERSION A
Let us pause in life's pleasures,
And count its many tears
While we all sup sorrow with the poor;
There's a song that will linger
Forever in our ears:
Oh! hard times come again no more.

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Song Texts
2488
Chorus
•Tin the song, the sigh of the weary;
Hard times, hard times, come again no more.
Many days you have lingered around my cabin
door;
Oh! hard times come again no more.
While we seek mirth and beauty.
And music light and gay,
There are frail forms fainting at the door;
Though their voices are silent,
Their pleading looks will say:
Oh! hard times come again no more.
YERSION B
also known as
Hard Crackers Come Again No More
This is a Civil War parody of version A. Other versions
are in Dolph, 320-322; Glass (SS-2), 142-143; and Luther
178.
Let us close our game of poker,
Take our tin cups in hand
While we gather round the (look's tent door,
Where dry mummies of hard crackers
Are given to each man—
Oh! hard crackers come again no more.
Chorus
•Tie the song and the sigh of the hungry,
Hard crackers, hard crackers, come again no
more!
Many days have you lingered upon our stomachs
sore—
Oh! hard crackers come again no more.

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Song Texts
-2489
There’s a hungry, thirsty soldier,
Who wears his life away,
With torn clothes, whose better days are o’er;
He is sighing now for whiskey,
And, with throat as dry as hay,
Sings, ’’Hard crackers come again no more o'*
*Tis the song that is uttered
In camp by night and day,
•Tis the wail that is mingled with each snore;
•Tis the sighing of the soul
For spring chickens far away—
Oh! hard crackers come again no more.
*******************************

Ho, 654
HARRISON VS CLEVELAND
also known as
Benjamin Harrison Grandfather’s Hat
1888 was an American Presidential election year. The
Democratic incumbent, Grover Cleveland, was up for re-
election. His Republican opponent was Benjamin Harrison
of Ohio, a Union Army General during the Civil War.
More importantly, perhaps, is the fact that Benjamin
was the grandson of William Henry Harrison (see Harri
son vs Van Buren I thro XIV), one time President 0
This campaign song dwelled upon the candidate’s famous
ancestor, even using one of the same tunes employed so
successfully in grandpa’s 1840 Whig campaign. Of course
there were other songs, pro and con, in the 1888 cam
paign, but this seems to be the only one that made a
lasting impression. For two others, see:
Hip . Kip , Hurrah . Harrison! in the Harrison
& Morton Campaig n Songster , or in Silber
(SAVB), 156, and

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Song Tests
2490
Let's Have a Change (Pro-Cleveland
eong of the 1834 campaign) in the
Cleveland and Kendricks Songster ,
or in Silher (SAVE), 126.
When the 1888 campaign was over, and the votes were
counted, Benjamin Harrison was the 23rd President of
the United States.
A text of this song is also in Luther, 269*
Harrison vs Cleveland Time: Rosin the Bow
You jolly young lads of the nation,
And all of you Democrats too,
Come out from the free traders' party,
And vote for our Tippecanoe.
And vote for our Tippecanoe!
And vote for our Tippecanoe!
Come out from the free traders' party.
And vote for our Tippecanoel
Old Tippecanoe, in the 'forties,
Wore a hat that was then called the hell;
His grandson, our leader, now wears it,
And it fits him remarkably well!, etc .
His granddad, when all thro' with fighting
Had no leisure in which to grow fat;
Went back to work at his farming,
On Sundays he wore that old hat., etc.
Remenber November is coming!
Free traders begin to look blue.
They know there's no chance for fat Grover,
• For grandfather's hat will sail through 0 » etc .

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Song Texts
2491
So vote for our -Tippecanoe, boys,
Go vote for our Tippecanoe!
Come out of the free traders’ party,
And vote for our Tippecanoe!, etc .
*****************************

No. 655
HARRISON VS VAN BUREN I
also known as
All of the Olden Time The National Whig Song (1840)
The Presidential campaign of 1840 brought a new tone
to American politics, but not necessarily improvement.
It was, however, the first ” rip-roaring” presidential
campaign conducted in the United States. It was the
first time that a major political party had no plat
form at all.
The Whig party had only a name, several slogans, a
willingness to misrepresented facts and to lie about
their own candidate as well as the opposition. Other
than this, all they had were several excellent song
writers.
On the other side, the Democrats had an incumbent
President who suffered from a severe case of inde
cision. He could not even decide on a running mate
at the national convention. Worse, following the panic
of 1837, he faced hard times and a steady decline in
popularity. Martin Van Buren, 8th President, was the
right man in the right place at the wrong time. His
opponent, William Henry Harrison, was the wrong man
in the right place at the right time. It was a no-win
position for the country as well as for Van Buren, and
it’s doubtful the Whigs could have lost the election
with a totally unknown candidate.

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Song Texts
2492
Harrison was an aristocrat, not the rough frontiers-
nan he was supposed to be. He was, in fact, a deai-
god; a soldier—undoubtedly heroic, but not, so far
as anyone knew, qualified to be President of the
United States. Nevertheless, he was the Whig candidate.
He and the party unfairly painted Van Buren as a nan
of great wealth who was out of sympathy with the common
man. And it worked. At the close of the campaign, Van
Buren explained his defeat in these words: "We have
been sung down, lied down, drunk down."
Harrison won an empty victory. He rode to the inaugu
ration on horseback, then stood for two hours or more
in freezing weather minus an overcoat, delivered an
inaugural address composed chiefly of classical allu
sion and quotations, celebrated at not one, but three,
lavish inaugural balls on March 4, 1841. Exactly one
month later he was dead.
In no other American presidential campaign have politi
cal ballads and songs played so important a role. We
will not attempt to give versions of all the songs
produced during that campaign, only the fourteen known
to have' been the more popular and believed to have been
the most influential.
The song below is the first of the fourteen, though not
necessarily the first to appear in the campaign. It was
written by William Hayden, published in sheet music form
by Parker & Ditson, Boston, 1840, and distributed and
sung throughout the nation by the Whig Party. See:
Lawrence, 266.
Harrison vs Van Buren I Tune: Pine Old English
Gentleman
1*11 sing you now a new Whig song,
Made to a good old rhyme,
Of a fine, true-hearted gentleman,
All of the olden time.

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Song Texts
2493
By birth and blood, by kith and kin,
A sound, true Whig was he,
For his father signed the charter
That made our country free,
like a fine, true-hearted gentleman,
All of the olden time.
In youth, upon the tented field,
His laurels he did gain,
Ho Chief so many battles fought.
That never fought in vain.
In peace, the quiet statesman he,
But when grim war arose,
He buckled on his armor then,
To meet his country*s foes,
Like a fine, true-hearted gentleman,
All of the olden time.
And when he*d served his country well,
In Senate and in field,
The honors that awaited him
Most freely did he yield.
He turned him to his home again
And sought a farmer*s toils;
For, though he filled the offices,
He never took the spoils,
Like a fine, true-hearted gentleman,
All of the olden time.
Let every sound, true-hearted Whig
How raise his voice on high,
And, for the triumph of the cause.
Join Freedom’s loudest cry:
Come to the fight! We-’11 win in the field!
Away with doubts and fears!
The People’s man is Harrison—

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Song Texts
2494
Let's give him three good cheers!
Por he's a fine, true-hearted gentleman,
All of the olden time.
*«**************•#•■*•***•*•#■■*****•»**-*

No. 656
HARRISON VS VAN BUREN II
also known as
The Harrison Song A long Tine Ago
Professional songwriter* usually know a good thing
when they see it, and they saw it in the 1840 Presi
dential campaign. This song, with words by T. Power
and music by Sporle, was published in sheet music
form and distributed as a "pop" song. Even so, it
proved less popular with the public than many of the
amateur creations.
Por a facsimile of the sheet music, see Jordan, 125.
Harrison vs Van Buren II
In days of old, as we've been told,
Was one to valor dear,
Whose plough-share was a falchion once,
His pruning-hook a spear.
When notes of war were heard no more.
He laid his falchion down,
And since most worthily he bore
A verdant laurel crown,
With heart and voice we'll gaily sing,
And tell Columbia's Poe
Of the days when he went soldiering,
A long time ago.
Of the days when he went soldiering,
A long time ago.

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Song Texts
2495
Prom stately hall and cabin wall
let paeans loud arise;
The people's choice is Harrison,
The dauntless and the wise.
0*er every hill he echoed still
The watchword of the brave—
A knell to every tyrant ear,-—
The hero comes to save!
With heart and voice we'll gaily sing,
And tell Columbia's Poe
Of the days when he went soldiering,
A long time ago.
Of the days when he went soldiering,
A long time ago.
***********************

No. 657
HARRISON VS VAN BUREN III
also known as
Tip and Ty
Tippecanoe and Tyler Too
The words of this extremely popular song were written
by Alexander Coffman Ross, who set them to the tune of
little Pig's Tail. What the Marseilles Hymn was to
Frenchmen, this song was to the Whigs of 1840. It is
one of the most popular and famous political campaign
songs in American history. It not only swept the country
but literally swept Harrison into office.
REFERENCES
Johnson (FS), 475
Kennedy (TAB), 56
Lawrence, 268
Lloyd, 112
Luther, 105
Silber (SA7B), 37

Song Texts
MB
2496
Harrison vs Van Buren III
Oh! what caused this great commotion, motion, motion.
Our country through?
It is the hall that’s rolling on, for Tippecanoe and
Tyler too.
For Tippecanoe and Tyler too;
And with them we’ll heat little Van, Van, Van,
Oh! he’s a used up man!
And with them we’ll heat little Van,
Like the working of the mighty waters, waters, waters,
On it will go;
And its course will clear the way for Tippecanoe and
Tyler too.
Now you hear the Van-Jacks talking, talking, talking,
They look quite blue;
For all the world seems turning round for Tippecanoe and
Tyler too.
Let them talk about hard cider, cider, cider,
And Log cabin too;
It will only help to speed the hall for Tippecanoe and
Tyler too.
Little Marty’s days are numbered, numbered, numbered,
And out he must go!
And in his place we’ll put the good old Tippecanoe and
Tyler too.
****************************

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Song Texts
2497

No, 658
HARRISON VS VAN BUREN IV
also known as
The Parmer of North Bend
The Whigs made a very hard sell in 1840, and one of
their slogans tells exactly how hard: We Stoop to
Conquer. They stooped, too. When President Van Buren
and the Democrats pointed out that Harrison consumed
considerable amounts of "hard cider,” the Whigs replied
with such songs as The Best Thing We Can Do, which be
gins:
The times are bad and want curing,
They are getting past all enduring;
Let us turn out Martin Van Buren,
And put in Old Tippecanoe.
For a complete version, see Jackson (ESUS), 105.
When the Democrats asked for information regarding
Harrison*s qualifications, or attempted to show that
he was not qualified to be President, the Whigs re
plied with another song, The Hero of Tinpecanoe :
They ask us who Harrison is,
And what he has ever done, too;
The soldier, the patriot, the states
man, ar.d sage—
Hurrah, then, for Tippecanoe,
Hurrah for Old Tippecanoe!
For a complete version, see Jackson (ESUS), 108.
In short, the entire Whig campaign was a musical one.
A large number of their songs praised Harrison by way
attacking Van Buren, as in the song given below.
The "John, Levi, Joel and Jim" mentioned in the text
were members of Van Buren*s cabinet: John Forsyth,
Levi Woodbury, Joel Poinsett, and James K. Pauling,

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Song Texts
2498
The "Amos" referred to in the text is Amos Kendall,
the Postmaster General, who resigned to devote full
time to the Democratic campaign.
For other versions, see: Belden (3S), 335 and Lawrence
276 .
Harrison vs Van Buren IT
A farmer there was that lived at North Bend,
Esteemed by his neighbors and many a friend;
And you'll see on a time, if you follow my ditty,
How he took a short walk up to Washington city.
Chorus
Ri tu, di nu, di nu, di nu,
Ri tu, di nu, ri tu, di nu, ri tu na.
The farmer walked on, and arrived at the door,
And he gave such a thump as was ne'er thumped before.
Master Van thought his rap was the sound of a flail,
And his heart beat with fear as he turned deathly pale
"Run, John, and run, Levi! run, Joel and Jim,"
Said Van, "but leave Amoe, I cannot spare him.
There's only one living dares make such ado,
That's the sturdy old fellow called Tippecanoe."
Says Tip, "My fine fellows, get out of my way;
I've routed whole armies like you in my day.
My mind is made up to take over that chair,
Where Van takes his wine with a swaggering air."
"Oh! pray mister Parmer, just walk up this way.
We hardly expected to see you today.
So many stout swiggers are here at this time,
There's but one bottle left, but you'll find it prime.

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Song Texts
2499
"I tell you what, Amos, I see what you're at—
I won't touch a glass of champaigne, and that's flat!
But a mug of hard cider will answer ay turn;
It's getting in fashion up here, you'll soon learn*"
Then Amos and Van searched the table all round,
Not a drop of hard cider was there to be found;
So the farmer advised them to lay in a store
By the fourth of next March, if they couldn't before!
******************************

No. 659
HARRISON VS VAN BUREN V
also known as
Little Vanny
The singing campaign of the Whig party continued like
a waterfall, supported by a flood of songsters and
sheet music. The song that follows is a contradiction
of the whole 7/hig singing campaign; the opening line
is proven ridiculous by the large number of songs made-
up about Van Buren <>
For other versions, see Lawrence, 287 and Silber (SAVB),
35.
Harrison vs Van Buren V Tune: Rosin the Bow
You can't make up a song to Van Buren,
Because his long name will not do;
There's nothing about him alluring,
A8 there is about Tippecanoe.
Ae there is about Tippecanoe,
As there is about Tippecanoe;
There's nothing about him alluring,
As there is about Tippecanoe.

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Song Texts
2500
He never was seen in a battle,
Where bullet and cannon shot flew;
His nerves would be shocked with the rattle
Of a contest with Tippecanoe!, etc,
While Harrison march’d to the border,
siy Van stay'd at hone as you know,
Afraid of the smell of gun-powder.
Then hurrah for Old Tippecanoe!, etc.
And now with his gold spoons and dishes,
He lives like a king with his crew;
He'll feast on the loaves and the fishes,
Till we put in Old Tippecanoe!, etc.
****************** ********************

Ho. 660
HARRISON VS VAN BUREN VI
also known as
The Abortive Van Buren Convention Pretty Little Martin
Thin song is a lampoon of the Democratic convention at
Baltimore, in May, 1840. The convention became a tar
get because the delegates failed to nominate a candidate
for Vice-President.
The "Polk" mentioned in the text is James K. Polk, who
became President at a later date. The "Tecumseh" was
nothing more than one of several nicknames for old
Rumpsey-Dumpsey Johnson.
Harrison vs Van Buren VI
Tune: Hey , Betty Martin!

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Song Texts
2501
Pretty little Martin, tip-toe, tip-toe,
Pretty little Martin, tip-toe fine;
Couldn't get a candidate for Vice-President,
Couldn't get a candidate to please his mind.
Old Dick Johnson he wouldn't answer,
He was too rough for a President so fine;
Pretty little Martin, tip-toe, tip-toe,
Couldn't get a candidate to please his mind.
Pretty little Martin, tip-toe, tip-toe,
Couldn't make the loco-focos toe the line;
Some were for Polk and some for Johnson,
But no one but Polk could please his mind.
Pretty little Martin, tip-toe, tip-toe,
He couldn't get old Tecumseh to decline.
Old Tecumseh's friends would not leave him,
And said that Mister Polk didn't please their minds,
Polkites and Johnsonites wouldn't pull together,
The split was too wide for them to combine.
Pretty little Martin, tip-toe, tip-toe,
Couldn't get a candidate to please his mind.
***********************************

No. 661
HARRISON VS VAN BUREN VII
also known as
When This Old Hat Was New
Whigp came from every state to meet in convention at
Baltimore, in May, 1840, and ratified Harrison's
nomination.
There were many songs sung at the convention, but the

KB
Song Texts
2502
one that caught the public fancy was When This Old
Hat Was New (version A, below). The song struck a
responsive chord in the Democrats, too, and they sent
forth a musical reply using the same title and the
same tune (see'Version B, below).
For another version, see Silber (SAVB), 44.
Harrison vs Van Buren VII
( Version A)
When this old hat was new, the people used to say:
The best among the Democrats were Harrison and Clay.
The Locos now assume the name, a title most untrue,
And most unlike the party name when this old hat was new.
When this old hat was new, Van Buren was a Fed,
An enemy to every man who labored for his bread.
And if the people of New York have kept their records
true,
He voted ’gainst the poor man's rights, when this old
hat was new.
When this old hat was new, those worthies did oppose
The Cause and friends of Liberty, and stood among their
foes.
Not so with "Granny Harrison," for at Tippecanoe
He bravely fought the savage foe, when this old hat
was new.
VERSION B
(From the Albany Argus , Aug. 29, 1840, came this reply
of the Democrats).
When this old hat was new, some twenty years ago,
The Fed’ralists began to fear their final overthrow,,

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Song Texts
2503
And so to keep the Party up and make it look like
"■blue,"
They’ve changed their names a dozen times, since
this old hat was new.
When this old hat was new, they thought the people
fools,
And still they hope for Fed’ral ends, to find them
willing tools.
But tho they’ve often changed their names, as knaves
are wont to do,
Their doctrines look Just as they did when this old
hat was new.
When this old hat was new, Van Buren was the man
The people loved—altho abused by all the Federal clan,
A Democrat, unmoved, unchanged—still to his country
true,
He*s ever been her friend and guard—since this old hat
was new,
***************************************
♦

No, 662
HARRISON VS VAN BUREN VIII
also known as
Hail to Old Tippecanoe
No President, including Abraham Lincoln, was ever more
villified by the opposition party than was Martin Van
Buren, The Whigs villified him from every direction.
This song is a good example of the musical abuse un
fairly heaped upon the 8th President of the United
States,
Text is from The Tippecanoe Song Book (1840), Also
see Lawrence, 276.

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Song Texts
2504
Harrison vs Van Suren VIII Tune: The Mistletoe Bough
Van Buren sits in his marble hall,
And liveried slaves come forth at his call,
The banquet is spread—the silver gleams—
The dark wine flows in purple streams—
Around him bends a servile host,
And loud they shout the welcome toast:
Down with Old Tippecanoe!
Down with Old Tippecanoe!
"Bring forth,” he cries, "the glittering plate,
We’ll dine today in Royal state."
He speaks—and on his table soon
They place the golden fork and spoon.
The dazzling goblets glance around,
And high the joyous shouts resound:
Down with Old Tippecanoe!
Down with Old Tippecanoe!
But mark! a panic runs through the hall:
They see the handwriting appear on the wall!
• The thunder peals from Virginia’s ehore,
" The dark magician shall rule no more! 11
The Whigs come on with a conqueror’s wing,
And the vaulted roof with paeans ring:
Hail to Old Tippecanoe!
Hail to Old Tippecanoe!
**«***-» ***•*•*******■*•*■*•*•»»• *■***•****■***
Ko« 663
HARRISON VS VAN BUREN IX
also known as
Marty loves the Working Man Song for the Working Man
Here we have another satirical salvo aimed at Martin Van
Buren by the Whig party. See Lawrence, 286.

Song Texts
2505
MB
Harrison v=> Van Suren IX Tune: Yankee Boodle
That Marty loves the working man,
Ho working man can doubt, sirs;
Por well doth he pursue the plan
That turns the workers out, sirs.
He turns them out of Whig employ,
He turns them out of bread, sirs;
And middle-men doth he annoy
By striking business dead, sirs.
Chorus
Por Marty is a Democrat,
Sing, Yankee Doodle Dandy,
With spoons of gold, and English coach,
And servants always handy 0
But time is short to tell of all
The love of little Van, sirs,
He is the friend—doubt not at all—
Of every working man, sirs 0
And if he scrimps your daily food
By docking down your pay, sirs,
•Tis only for his own best good—
Then what have you to say, sirs?
Now if you do not like such love,
And vote for Harrison, sirs,
All I can say, is "Van must move,
Por then his race is run, sirs."
Still Marty ia a Democrat
By Yankee Doodle Dandy’
His golden spoons and English coach,
And serfs, are always handy*
**************************

MB
Song Texts
2506

So. 664
HARRISON VS VAN BUREN X
also known as
King Matty and Blair
This is one of the most insulting songs from the Whig
campaign of 1840. It was one ef a whole collection of
insulting songs issued by the Whigs in a booklet called
A Miniature of Martin Van Buren. Also see Lawrence,
278 .
Harrison vs Van Buren X Tune: Lord Lovel
King Matty he sat in his big "White House,"
A-curling his whiskers fine;
And the Globe man Blair sat at his side,
A-drinking his champaigne wine, wine, wine,
A-drinking his champaigne wine.
Then awful shook King Matty®a locks,
And fearful glanced his eye,
And he stamped his foot upon the floor,
And he heaved a monstrous sigh, sigh, sigh,
And he heaved a monstrous sign.
"Oh, what's the matter, King Matty?" said Blair.
*0h, what's the matter?" said he.
"I'm a gwine to go to Kinderhood,
My family for to see, see, see,
My family for to see."
Says Blair, "You are a good hearted man,
And love your family dear;
I thought that you would not go back
•Til after another four year, year, year,
•Til after another four year,"

KB
Song Texts
2507
"Nor would I go back, my dearest Blair,
But what the duece can I do?
The people say I must make room
For the hero of Tippecanoe, noe, noe,
For the hero of Tippecanoe.”
"Alack and alas!” said Globe man Blair,
"We*re deep in the mud and the mire."
"Alack and alas!” said Matty the King,
■The sub-Treasury fat*8 in the fire, ire, ire,
The sub-Treasury fat*a in the fire*"
Both Matty and Blair then raised their eyes,
Each other*s face to see,
And they placed their thumbs upon their nose.
And their fingers twirled twiddle de, de, de, de,
And their fingers twirled twiddle de t de®
* ***•*•*•* ******* ************

No. 665
HARRISON VS VAN BUREN XI
Vote for Old Tippecanoe Ye Jolly lads of Ohio
This song was rephrased-in 1888 for another Presidential
Campaign (see Harrison vs Cleveland in MB) , but whether
it was as effective in that election is open to question.
It was, however, on the winning side in both elections.
Harrison vs Van Buren XI Tune; Rosin the Bow
Ye 3olly young lads of Ohio,
And all ye sick Jackson men too,
Come out from among the Van party,
And vote for Old Tippecanoe,
And vote for Old Tippecanoe!

MB
Song Texts
2508
And vote for Old Tippecanoe!
Come out from among the Van party
And vote for Old Tippecanoe!
The great Twenty-second is coming,
And the Van-jacks begin to look blue;
They know there’s no chance for poor Marty,
If we stick to Old Tippecanoe., etc.
I therefore will give you a warning,
Not that any good it will do,
For I’m certain you all are a-going
To vote for Old Tippecanoe., etc.
Then let us all go to Columbus,
And form a procession or two,
And I tell you the Van-jacks will strike
At the sound of Old Tippecanoe., etc.
And if we get any ways thirsty,
1*11 tell you what we can do:
We*ll bring down a keg of hard cider
And drink to Old Tippecanoel, etc.
******** *********** ******* ******

No. 666
HARRISON VS VAN BUREN XII
also known as
Harrison Song Roll Away, Roll Away
Thic is the "confident” type of campaign song, the
kind that tells the listener its candidate is going
to win, and why. For another version, see Lawrence,
282 .

MB
Song Texts
2509
Harrison v° Van Burcn XII Tune: Yankee Doodle
On seventy-six, our minds we’ll fix
And take it for our texy, sir,
I now declare, our nation’s chair
William shall take next, air.
Chorus
Old Tip Ca Hu, he has been true,
So eays our countryspoiler;
So now, my boys, without much noise,
A health to Tip and Tyler.
Roll away, roll away,
Keep the ball in motion;
Roll away, roll away,
Prom Rocky Hill to Ocean!
Now little Van is not the man
For our next President, air;
But Harrison, he is the one—
For him our course is bent, sir.
Ye voters all, both great and small,
I’d have you to remember,
The time’s at hand, come take your stand,
And don’t forget November.
And when that day has passed away,
We’ll then lay by our fighting,
And every one, both old and young,
Will see us all uniting.
******** ******* *******

MB
Song Texts
2510

No. 667
HARRISON 7S VAN BUREN XIII
also known as
Old Tippecanoe
Tippecanoe
Another song of praise for candidate Harrison. Other
version* are in Brown, III, 472-473; Jackson (ESU3),
120; and Silber (SAVB), 40.
Harrison vs Van Buren XIII
Tune: Ro*in the Bow
A bumper around now, my hearties,
1*11 sing you a song that is new;
1*11 please to the buttons all parties,
And sing of Old Tippecanoe.
And sing of Old Tippecanoe!
And sing of Old Tippecanoe!
1*11 please to the buttons all parties,
And sing of Old Tippecanoe.
When first by the Thames* gentle, waters,
My sword for my country I drew,
I fought for America's daughters,
’Long side of Old Tippecanoe 0 , etc .
Ere this too when danger assailed us,
And Indians their dread missiles threw,
His counsel and courage availed us—
We conquered at Tippecanoe,, etc.
And when all the troubles were ended,
I flew to the girls that I knew;
They promptly declared they intended
To kiss me for Tippecanoe,, etc.

MB
Song Texts
2511
And now that the good of the nation
Requires that something we do,
We’ll hurl little Van from his station
And elevate Tippecanoe,, etc.
********** ************ **********

No, 668
HARRISON VS VAN BUREN XIV
also knows as
The Non-Committal Song
This is the final song of the 1840 Presidential series
of campaign songs, and this one, like the others, are
highly critical of Martin Van Buren, The song makes
fun of Van Buren*s name and his family background, and
pictures him as an idecisive man, ?or another text,
see Lawrence, 279.
Harrison vs Van Buren XIV Tune; Snapoo
A Dutchman came over from Kinderhook, snapoo!
A Dutchman came over from Kinderhook, snapoo!
A Dutchman came over from Kinderhook;
When asked for his name, he replied with a shy look;
Snapooter, snapeter, philantro, kiksheeter, snapoo!
He got on a stump and palavered away, snapoo! (2)
He got on a stump and palavered away
In a very mysterious, obfuscated way,
About snapooter, snapeter, philantro, kiksheeter, snapoo!
He cast a sheep's eye at the President's chair, snapoo! (2)
He cast a sheep's eye at the President's chair.
You mu^t answer some questions before you get there,
Mister snapooter, snapeter, philantro, kiksheeter, snapoo!

MB
Song Texts
2512
Oh, what’s your opinion of this and that, snapoo! (2)
Oh, what's your opinion of this and that ;
With a cringe and a how, quick replies little Mat:
Snapooter, snapeter, philantro, kiksheeter, snapoo!
Some said he meant yes , and some said he meant no ,
snapoo! (2)
Some said he meant yes , and some said he meant no ;
But resolved to the White Hou«»e the Dutchman should go,
With his Rnapooter, snapeter, philantro, kiksheeter,
snapoo!
Por three or four years we have tried the Dutchman,
snapoo! (2)
Por three or four years we have tried the Dutchman,
And we have found to our cost what he meant hy his plan
Of snapooter, snapeter, philantro, kiksheeter, snapoo!
So Matty to Kinderhook, march, march away, snapoo! (2)
So Matty to Kinderhook, march, march away.
Says Van, "If you’ll but allow me to stay,
1*11 snapooter, snapeter, philantro, kiksheeter, snapoo!
********************************

No, 669
HARRY DUNN, or DUNNE
also known as
The Hanging Limb The Woods of Michigan
Lumbering Boy
This is a lumbering song from Nova Scotia, Lumbermen
brought it into Maine, according to Eckstorm, about
1910, Before that, however, it was sung in Michigan,
which is where the story unfolds.
REFERENCES

KB
Song Texts
2513
Beck (LLC), 212-217
Beck (SMI), 160-165
Creighton (SENS), 280-281
Doerflinger, 222-223
Eckstorm, 120-122
Gardner (BSSM), 282-283
Greenleaf, 329-330
Jones, 4
Jour (APL), XXXI, 75-76
Peacock, III, 763-765
Rickaby, 103-109
Harry Dunn , or Dunne
Now all you Canadian boys, wherever you may dwell,
I beg you, hear my story and learn its lesson well.
0 do not leave your home, boys, but by your parents
stand;
But if you ever set out to work, steer clear of
Michigan.
0 once I knew a fine young man, his name was Harry Dunn;
His father was a farmer, Harry was his only son.
They had everything they needed, like houses and good
land.
But Harry thought he’d like to winter in the woods of
Michigan.
The day before he went away he heard his mother say:
"My heart if breaking, Harry, 0 please don*t go away!
I fear for you to leave us, your poor old Pa and me,
For I believe that, when you go, your face no more
I’ll see.”
But Harry only laughed at her, and begged her not to fear
"The winter soon will pass, * 1 * he shid, "and 1*11 come
right back here.
1*11 earn enough money for to spend—and don’t you
understand?
I f m going just -fc 0 have a time in the woods of Michigan."

MS
Song Texts
2514
One morning early he arose without his happy smile;
He called his buddy close to him, a young man named
Joe Lyle;
"Now, Joe," he said, "I’ve had a dream that fills my
heart with woe,
I dreamed there’s something wrong at home, and I fear
that I must go."
His comrade only laughed at him, which pleased him
for a time,
Saying, "Harry, this is no time to leave, we’ve got
to fall the pine."
He worked away till one o’clock upon that fatal day,
And then a limb fell down on him and crushed him into
the clay.
His comrades gathered round about where broken he was
cast •
"0, Joe," he said, "I’m dying now. My time has come at
last.
So lift me up and take me down and send my body home.
I wish to God I’d never left—0 why did I ever roam?"
One morning bright and early, at the rising of the sun,
A man brought home the last remains, and there lay
Harry Dunn,
And when his mother saw his face, she fell upon the
ground,
And with the son she loved so much, her poor soul was
heaven bound.
Likewise his aged father, tho’ he lingered for awhile,
But from that day thereafter he was never known to smile.
Remember Harry Dunn, my boyg, if lumbering you plan,
Go anywhere, but don’t go near the woods of Michigan.
*******************************

MB
Song Texts
2515

Ho. 670
HASTE TO THE WEDDING
also known as
Come, Haste to the Wedding Perry's Victory
An Irish song, Haste to the Wedding , was introduced
in the pantonine, The Elonenent, in 1767. The tune
is used in the United States as a fiddle piece for
a country dance called lady of the lake, it is some
times known as Perry's Victory, because a song of that
title was set to the tune by John Neal.
For a text of Perry's Victory, which commemorates
the American Naval victory over the British in the
Battle of lake Erie, on Spetember 10, 1813, see
Kennedy (TAB), 42-43.
The original Haste to the Wedding is an old Irish air
used by P, J. M'Call for the following text,
REFERENCES
Breatnac, 294-295 Lair (SLL), 32
Ford (OTFM), 36 Linecott, 88-89
Ford (TMA), 53
Haste to the Wedding
I*d polished the silver, I'd tidied the kitchen,
My dresser looked white as a stack in the snow;
And here by the window my skirt I was stitchin*,
For I'm very neat with a needle to sew.
What's the use of me mendin' my finery,
it is fit for a queen on her throne?
For it's, 0 dear! there isn't a sigh o' me
Gettin* a man and a place o' my own.
Chorus

MB
Song Text3
2516
• Twas haste to the weddin*, and haste to the weddin*,
I sang as I sat at the window alone;
Kovrone, 0! ’twas oft 1 was dreadin’
I*d not get a nan with a place of my own.
I found in my first cup o’ tea the next Monday,
A lucky red tea-leaf—some stranger to call;
I tried seven times, and he travelled on Sunday,
I wonder’d who was it was conin’ at all.
Who was is but Lanty, last Sunday for Nancy—
He buried hia mother last May in Kilcone;
And it’s now, dear, I’ll marry my fancy—
The boy o' my heart with a place of his own.
Chorus
• Tis haste to the weddin*, and haste to the weddin*!
Hot long I’ll be sittin’ and singin* alone;
For soon, dear, with young Lanty Reddin,
1*11 reign like a queen in a house of my own.
******* ***************** *******

No. 671
HAUL AWAY, JOE
This is a "short-drag" or "short-haul" shanty from Eng^
land. When American seamen got hold of it, the shanty
was Americanized, which means, in this case, that all
political references were eliminated. Examples of the
differences in the shanty sung by English and American
sailors are interesting. English sailors sang:
Louis was the king of Prance
Before the Revolution,
But Louis got his head cut off,
Which spoiled his constitution!
American sailors, with more important things to sing
about, changed the words to:

MB
Song Texts
2517
Once I had a German girl,
But she was fat and lazy;
Then I had an Irish girl—
She damn near drove me crazy!
The shanty dates back to the second half of the 18th
century. In America, it dates back only to the years
immediately following the War of 1812.
For an interesting adaptation by Southern fishermen,
Haul . Haul , Haul . Boys . Ip in Brown, III, 257. Also
see the Haul Away . My Ro«»y in Lomax (OSC), 208.
REFERENCES
Adams, 312
Best, 130
Brown, V, 500-501
Bullen & Arnold, 31
Clements, 32
Colcord, 41-42
Davis (SSC), 60-61
Loerflinger, 4-5
Finger (SCCS), 15
Frothingham (SS), 257
Greenleaf, 338
Harlow, 76-78
Harlow (MS), 272
Harper's (July, 1882), 282
Hille, 31
Hugill (1), 358-360
Hugill (2), 198-200
Ives (SA), 65-67
Ives (SB), 160, 140
Jour (AFL), V, 18, 20,
31, 312
King, 12
Kolb, 112-113
Langstaff (1), 69
Leisy, 154-156
Linscott, 138
Masefield (SG), 368
Robinson, 71
Sampson, 51
Scott (SA), 6-7
Sharp (EFC-2), 32
Sharp (PC), 18
Shay (ASSC), 30
Shay (IMWS), 92
Silverman, II, 258
Whall (SSS), 87
Wood, II, 65
Haul Away , Joe!

MB
Song Texts
2518
When I was a little hoy,
My dear old Mother told me,
Hey! haul away!
We*11 haul away, Joe!
That if I did not kins the girls
My lips would grow all mouldy.
Hey! haul away!
We*11 haul away, Joe!
Oh! once I was in Ireland
A-bettin on the races,
Hey! haul away!
We'll haul away, joe!
But now I’m on a sailing ship
A-haulin' sheets and braces!
Hey! haul away!
We'll haul away, Joe!
Oh! once I had a Southern girl,
And she was young and tender.
Hey! haul away!
We'll haul away, Joe!
She left me for a Yankee lad,
So young and rich and slender!
Hey! haul away!
We'll haul away, Joe!
**#***#****•*•*■#••#■•****■**•******• *

Ho. 672
HAUL THE BOWLINE
also known a3
Haul Away the Bowline Haul on the Bowline
This is one of the oldest known shanties in the English-
speaking world; it dates back to the reign of Henry VIII,

MB
Song Texts
2519
The term "bowline* is pronounced w bo-lin, M and it
refers to a small rope on the leech of a sauaresail
—a very important rope aboard sailing ships of the
15th century. The term continued in use even after
the shanty began to be used for such work as hauling
aft "the fore and main sheet and sweating up halyard;
For a version of this combine with a version of Haul
Away, Joe, see Doerflinger, 5*
REFERENCES
Adams, 310
Leiey, 156
Bone, 38
linscott, 139
Bradford, 2
Luce, 13
Bullen & Arnold, No. 37
Masefield (SG), 303, 368
Chappie (HS), 459
Meloney, 26
Colcord, 42-43
Oberndorfer, 67
Dabis (SSC), No. 18
Patterson (SA), 221
Doerflinger, 9-10
Robinson, 102
Emrich (FAL), 466
Sampson, 50
Finger (SCCS), 14
Scott (BA), 131
Greenleaf, 338
Sharp (EFC-2), 42-43
Greig & Duncan, No. 1
Shay (AS3C), 27
Harlow, 95-96
Shay (IM37S), 132
Harper’s (July, 1882),
Siegmeister, 13
282
Silverman, II, 253
Hugill (1), 354-356
Smith (MW), 13-14
Hugill (2), 196-197
•Terry, I, No. 20
Jour (FSS), V, 314
Terry (SS), No. 5
King, 12
Williams (SC), 80
Haul the Bowline
Haul the bowline! the Captain says we’re rollin’,
Haul the bowline, the bowline, haul!

MB
Song Texts
2520
Haul the bowline! the Captain is a-growlirg!, etc
Haul the bowline! 0 Kitty, you*re my darling!, etc.
Haul the bowline! I wish I had some whiskey!, etc.
Haul the bowline! we*re on our way to England!, etc.
***** ******************************* *

Ho. 673
THE HAUNTED WOOD
algo known as
The Haunted Palls
This song comes without confirmable information re
garding time or place of origin. The story of Indians
attacking a cabin and killing children is not exclusive
to this ballad, but the fact that the mother survived
as a ghost or spirit is not consistent with the history
of traditional song in America,
Quoting an informant about a similar song, Burt, 144-
146, gays "it may be a garbled version of the killing
of a German family which is said to have started the
massacres in Minnesota in 1862,"
Por other versions, see Coffin & Cohen, 93-94 and
Fife, 118-119.
The Haunted Wood
Once upon a time a river flowed
Between two mountain walls,
And the place from which it started
Formed a frame for Haunted Palls.
Rugged rocks had pushed and risen
Far upon either side;

MB
Song Texts
And its powerful base was washed there
Through the years by rolling tide*
On a quiet day the father
To the town for mail had gone,
Leaving wife and little babies
A few quiet hours alone.
Soon she heard the tramp of horses
And she quickly turned in fright
Just in time to draw the door bolt
As the Indians rode in sight.
Then she seized and hissed her babies,
Bid them neither speak nor cry;
Hid them in a secret closet,
And she nerved herself to die.
With an angry push, the Chieftain
Tore the bolt from off the door;
There he saw the weeping woman
Lying seared upon the floor.
Warriors seized the weeping woman.
Roughly raised her from the floor,
Held her by her dark brown tresses,
Roughly dragged her to the shore.
There they sang and danced around her,
Heeding not her piteous cries,
Cast her on the rocks below them,
And in agony she died.
"Come, we’ll burn this little dwelling
Warriors cried and circled ‘round;
Then they burned the little babies,
And the dwelling to the ground.
2521
(t
f
Row the husband wanders lonely
Where hie dwelling once had stood,

MB
Song Texta
2522
And the people of the village
Call that place the Haunted Wood 0
**************************-****

Ho, 674
HAVE ANOTHER DRINK WITH ME
also known as
Here’* a Health to Thee, Tom Moore
This is an adaptation of an old Irish drinking song,
Here's a Health to Thee , Tom Moore.
Have Another Drink With Me
Iffy wife I know is waiting,
And I’m where I shouldn’t be,
But before I go, old friend,
Have another drink with me.
I’ll drink to those who love me,
I'll drink to those who hate;
And whatever may befall me.
Here’s a double one for fate 0
Tho* the world in which we're living
May be near the awful brink,
Let’s smile and be forgiving,
While we order one more drink.
My train is at the station,
And I’m where I shouldn't be,
But before I go, old friend,
Have another drink with me.
******************

MB
Song Texts
2523

No. 675
HAVE YE STRUCK ILE?
This is a mid-19th century American song, with words by
Joseph B. Quinby. The time was adapted from The Irish
Jaunting Car (see in MB).
The song is about oil. Marco Polo described petroleum
as far back as 1290, but six hundred years elapsed be
fore anybody did anything about it. In the summer of
1859 oil was discovered in the Allegheny Valley of
Pennsylvania. This discovery resulted in a quick growth
of such towns as Oil City, bringing vast wealth to men
like John W. Steele, better known as Coal Oil Johnny*
The situation inspired the song. For similar versions,
see Carmer (SRA), 3-4 and Jordan, 44-46.
Have Ye Struck lie?
Prom California ocean laved,
To old Virginia shore,
And from the Gulf of Mexico
To Northern Labrador,
All o*er the land the word is now
Petroleum all the while.
And all the borers and the bores inquire:
Have ye struck ile?
Chorus
Hurrah! Hurrah!
Rich treasures in our soil!
What care we if all Europe rage?
Our nation has struck oil!
But yesterday that man was poor
Who T s now a millionaire.

KB
Song Texts
2524
For on his lands deemed worthless then
Are found oil-wells most rare.
His neighbors all, now half run mad.
Are boring thro* the soil;
And oleaginous signs they seek,
All hoping to strike ile,
*********************************

No, 676
HAYES VS TILDEN
also known as
The Boys In Blue Will See It Through
Political campaign song for Rutherford Birchard Hayes,
19th President of the United States <>
Hayes served one term in the U. S, House of Represent*
atives (1865-1867), then was elected Governor of Ohio
(1868-1872). In 1876, after being out of public office
for four years, he again ran for the Governorship of
Ohio and won. During his second term, he became a
candidate for President of the United States, The
election results were disputed in several states, namely,
South Carolina, Florida, Louisiana, and Oregon, An
electoral commission was appointed by Congress, and
that commission decided in favor of Hayes and against
Samuel J. Tilden.
For another version, see Luther, 237.
Hayes vs Tilden
The boys in blue will see it through;
They*11 send to Washington
The candidates who have been true,
And have their laurels won.

Song Texts
2525
KB
In General Rutherford B. Hayes,
We have an honest man;
And Wheeler has such upright ways,
We*re "bound to lead the van.
The "boys in "blue will see it through,
And conquer in the fight;
Our candidates are firm and true,
And work for truth and right.
***************************

No. 677
HE AROSE I
also known as
Dust and Ashes
This is one of the "slave" spirituals featured and made
popular by the original Fisk Jubilee Singers. Slaves
obviously "borrowed" the words from the older campground
spiritual, Mary Weening , a version of which may be seen
in James, 408 or in this Master Book as Weening Mary III
Also see He Arose II in MB.
REFERENCES
Dett, 213-218 Marsh (SJS), 160
Jubilee (PS), 30-33 Pike (1873), 200
Jackson (WSSU), 269 Pike (1875), 242
He Arose I
They killed my poor Jesus,
They killed my poor Jesus,
They killed my poor Jesus,
And laid Him in the tomb.
Chorus

KB
Song Texts
2526
He aro^c, He aro<=»e, He arose,
And went to heaven in a cloud.
Then down came an angel, (3)
And rolled away the stone.
Then Mary she came weeping, (3)
A-looking for her Lord.
But Jesus He was missing, (3)
His Father called Him home.
***************************

No. 678
HE AROSE II
also known as
He Arose From the Dead
Another "slave” spiritual featured by the original Fisk
Jubilee Singers. For other versions, see Brewer, 160 and
Karsh (SJS), 208-209.
He Arose II
The Jews crucified Him, and nail’d Him to the tree,
The Jews crucified Him, and nail’d Him to the tree,
The Jews crucified Him, and nail'd Him to the tree.
And the Lord shall bear His children home.
Chorus
He rose, He rose, He rose. He rose, He rose from the dead,
He rose, He rose, He rose, He rose. He rose from the dead.
He rose, He rose, He rose, He rose, He rose from the dead,
And the Lord shall bear His children home.

MB
Song Texts
2527
Joseph begged His body, and laid it in the tomb, etc,
Down came an angel, and rolled the stone away, etc.
Mary, she came weeping, her Lord for to see, etc.
********************************

No. 679
TEE HEARSE SONG
also known as
The Old Gray Hearse The Worm Song
This piece of "gruesome humor" was, says Dolph, a song
"especially popular with the aviators" during WWI. It
gained some popularity among post-War college students
and seems to have an appeal for children,
REFERENCES
Beet, 5 Niles (SMM), 188
Dolph, 122 Sandburg (AS), 444
Loesser, 183 Winn (2), 178
Lomax (ABFS), 556
The Hearse Song
The old gray hearse goes rolling by,
You don't know whether to laugh or cry;
For you know someday it'll get you too,
That the very next load may consist of you.
Chorus
The worms crawl in, and the worms crawl out;
They'll do a right dress and they'll turn about.
Then each one will take a bite or two
Out of what they used to call you.

MB
Song Texts
2528
They'll take you out, they'll lower you down;
The men with the shovels will gtard around.
They'll shovel in dirt, shovel in rocks,
And they won't give a damn if they break the box!
Your eyes'll drop out, your teeth fall in,
The worms'll crawl on your mouth and chin;
They'll invite their friends and relatives too,
And you'll look like hell when they're through
with you!
******** ******************* ********

No, 680
HEART OP OAK
also known as
Hearts of Oak
Source Song, The tune of this song has contributed to
American history and musical tradition, but the song it
self is not otherwise part of American folk-song. It was
however, a very popular song in the colonies prior to
the American Revolution, which explains the use of tis
tune for songs in this Maste r Book . See Liberty Song I ,
II & III,
According to William Chappell, the original Heart of Oak
with words by David Garrick and music by Dr, William
Boyce, was introduced in the stage play, Harlequin's
Invasion . London, 1759.
Version A is an English text. Version B is an American
text by J. W, Hewlings, written in 1775.
For other versions, see Chappell (OEPM), 189-191;
Chappell (PMOT), II, 715-717; Ives (SB), 82-85; and
Vinson, 38-39o

MB
Song Texts
2529
Heart of Oak ( Version A)
Come, cheer up, my lads, ’tin to glory we steer,
To add something more to this wonderful year;
To honor we call you, as free men, not slaves,
For who are so free an the sons of the waves?
Chorus
Heart of oak are our ships, heart of oak are our men;
We always are ready, steady, hoys, steady,
¥6*11 fight and we’ll conquer again and again.
Our worthy forefathers, let’s give them a cheer,
To climates unknown did courageously steer:
Through oceans, to deserts, for freedom they came,
And dying bequeathed us their freedom and fame.
VERSION B
Come, rouse up, my lads, and join the great cause,
In defense of your liberty, property, and laws!
•Tis to honor we call you, stand up for your right.
And ne’er let our foes say we are put to the flight.
Chorus
For so just in our cause and so valiant our men;
We always are ready, steady, boys, steady;
We’ll fight for our freedom again and again.
They tax us contrary to reason and right,
Expecting that we are not able to fight;
But to draw their troops home I do think would be best,
For Providence always defends the oppressed.
The valiant Bostonians have entered the field,
And declare they will fall there before they will yield;
A noble example! In them we’ll confide,
We'll march to their town, stand or fall by their side.
*■***# *•*•*#•***■**•*****■***■****•»■*

MB
Song Texts
2530

Ho. 681
HEAVE AWAY I
also known as
Yellow Gal, I Want to Go
The term "heave away” is a comoon one in sea shanties,
hut, in this instance, we are dealing with a *shore"
work song, and one that apparently originated asong
American blacks during slavery. Whether or not the
dock workers adapted it from a version learned from
Irish seamen is one of those unresolved questions so
frequently encountered in the study of folk song.
For shanty versions and an Irish comic fore-runner,
see Heave Away II and III in MB,
REFERENCES
Hugill (1), 301
Lomax (ABFS), 485
Sandburg (AS), 407
Allen (SSUS), 61, 111
Downes (1940), 144
Downes (1943), 170
Heave Awav I
Heave away, heave away!
I*d rather court a yellow gal
Than work for Henry Clay,
Yellow gal, I want to go.
I*d rather court a yellow gal
Than work for Henry Clay.
Heave away!
Yellow gal, I want to go 0
*■*****•*-***•*-*■*■*•* ****** **•#■**•* ***■#• *

MB
Song Texts
2531

No, 662
HEAVE AWAY II
also known as
Heave Away, Me Johnnies We Ate All Bound To Go
Heave Away, My Johnnies, We're All Away To Sea
or Johnny We're All Bound To Go
According to Doerflinger, this shanty was a general
favorite. Mackenzie was of the opinion that the Irish
comic song, Yellow Meal (see Heave Away III), was de
veloped from this shanty. Others believed that the
shanty grew out of the Irish song, Colcord said the
shanty began along the Liverpool waterfront.
REFERENCES
Boughton, 194
Colcord, 93
Davis (SSC), 8-9
Doerflinger, 62-64
Parnoworth, 109-111
Harlow, 14-16
Harlow (MS), 103-105
Hugill (1), 303-307
Hugill (2), 122-124
Jour (P3S), V, 308; VIII,
98
King, 19
Luce, 225
Mackenzie, 259-261
Mackenzie (QB), 76-78
Robbins, 113
Robinson, 43
Sampson, 8
Sharp (EFC-2), 30
Sharp (FSFS), 58-61
Shay (ASSC), 73
Shay (IMWS), 102
Smith (MW), 54-56
Terry, I, 28-29
Whall (SSS), 56
Heave Away II
Some say we're bound for Liverpool,
Some say we're bound for France,
Heave away, my Johnny, heave away!
I think we're bound for 'Frisco, boys,
To give the girls a chance!

MB
Song Texts
.2532
Heave away, ay Johnny,
We are all bound to goi
When I get down to New Orleans,
1*11 eail the seas no more.
Heave away, my Johnny, heave away!
1*11 marry me a Creole girl
And live my life ashore*
Heave away, my Johnny,
We are all bound to go!
****■•****■*■» ***************

No. 683
HEAVE AWAY III
also known as
Lay Me Down
Yellow Meal
Across the Western Ocean
The Irish Emigrant
This is a version of the Irish comic song that either
derived from or generated the shanty, Heave Away II,
given above. Versions of this song appears in many
19th century songsters and books, including: Dayton*s
Letter-Carrier Songster , 1862, p. ?; ^ elaney* s Irish
Song Book No. 2, , p. 18; Jim , The barter Lad, Songste r,
1870, p. 20; The ’’You Know How It Is Yoursclve^ Songster ,
1870, p. 53,
Version B is the shanty most like the Irish original,
and is given here for comparison.
REFERENCES
Doerflinger, 61-62
Hugill (1), 299-301
O’Conor (1901), 56
Smith (BOS), 67
Heave Away III
( Version A)

KB
Song Text8
2533
As I walked out one morning, down by the Sligo Dock,
I overheard an Irishman conversing with Tapscott:
■Good morning, Mr. Tapscott—would you be after telling me,
Have you ever a ship bound for itew York, in the State
of Amerikee?"
"Oh, yes, my handsome Irish boy, I have a ship or two;
They’re laying at the wharf there, waiting for a crew.
They are New York packets, and on Friday they will sail;
At present she is taking in one thousand bags of meal*"
Straightaway then I started, ’twas on yellow—grog road;
Such roars of mille-murder! Oh, the like was never known!
Right there I paid my passage down in solid Irish gold—
It*8 often times that I sat down and wished myself at
home*
The very day we started, *twas on the first of May,
The Captain he came upon the deck and this to us did say:
■Cheer up, my hearxy Irish blades, don’t let your courage
fail!
Today I’ll serve you pork-and-beans, tomorrow yellow meal,"
One day as we were sailing in the channel of St. James,
A north-west wind came up to us and drove us back again.
But luck to the Jo^h A. Walker, and the day that she set
sail,
For the dirty sailors broke open my chest and stole my
yellow meal.
But now I’m in America and working upon the canal;
To cress the ocean in one of those boats, I know I never
shall.
But I’ll cross it in a great big ship that carries meat
and sail.
Where I’ll get lashings of corned meat, and none of your
yellow meal!

MB
Song Texts
2534
VERSION B
( See reference list; Heave Away II )
Oh, as I walked out one summer's morn,
Down by the Salthouse Docks,
Heave away, me bullies, heave away, away!
I met an emigrant Irish gal
Conversin' with Tapscott;
An* away, me bully boys,
We're all bound to go!
I'll take a farmer's daughter,
One beautiful and bold,
Heave away, me bullies, heave away, away!
Her father died and left her
Five hundred pound in gold;
An' away, me bully boys,
We're all bound to go!
Her rich old uncle came one day,
One bright and summer day,
Heave away, me bullies, heave away, away!
Another man's in favor,
Is what I heard him say;
An' away, me bully boys,
We're all bound to go!
*************************************

No. 684
HEAVE AWAY IV
also known as
Cape Cod Gals, or Girls
Cape Cod Shanty
The Codfish Shanty
Hanstead Boys
We Are Bound for California
We're Bound for Australia
We're Bound for South
Australia

MB
Song Texts
2535
This shanty comes in several forms and variations, and
is most likely an off-shoot of older English songs.
Version A is an American version. Version B, known as
Rolling King is probably older than version A. For a
Southern version sung by blacks, see Haul Away , I’m a
Rolling King in Parrish, 220, For an English shanty
with a near-like title, see Bound to Au q tralia in
Hugill (1), 524.
For a game version of Heave Away IT A, see Winn (2),
110 - 111 .
For versions of the shanty, see Colcord, 90, 91 and
Silverman, II, 265, 277.
Heave Away IV ( Version A)
0, Cape Cod girls they have no combs,
Heave away, heave away!
They comb their hair with codfish bones,
Heave away, heave away,
Heave away, you bully, bully boys!
Heave away, heave away!
Heave away, and don’t you make a noise,
For we’re bound for Australia.
0, Cape Cod boys they have no sleds, etc .
They slide downhill on codfish heads, etc .
0, Cape Cod cats they have no tails, etc .
They ble?/ away in heavy gales, etc.
VERSIO N B
also known as
Rolling King Ruler King South Australia
South Australia is my home,
Heave away, heave a?/ay!

MB
Song Texts
2536
South Australia is my home,
I*m bound for South Australia!
Heave away, heave away,
Heave away you rolling king,
I’m bound for South Australia!
There is only one thing grieves my mind, etc.
To leave that pretty gal behind, etc.
How fare you well, 0, fare you well, etc.
A sailor talks, but does not tell, etc.
***************************

No. 685
HEAVENLY CHOIR
also known as
I*b a Soldier of the Cross What Kind of Shoes Are You
Soldier of the Cross Going to Wear
Yes! Yes! My Lord
This is a slave spiritual from the repertoire of the
original Fisk Jubilee Singers. It appears to be a re
arrangement of the old campground spiritual, What
Kind of Crowns Do the Angels Wear? (see in Brown, III,
683-684), which begins:
What kind of crowns do the angels wear?
The angels wear the golden ground,
the golden crown.
1*111 bound to rest, I’m bound to rest,
I*m bound to rest, the golden crown,
I*m bound to rest, bound to rest with God.
For a parody of the spiritual below, see White, 297-298.
For other versions, see Jubilee (PS), 31; Marsh (SJS),
168-169? and White, 107.

MB
Song Texts
2537
Heavenly Choir
What kind of shoes you gonna wear? Golden slippers!
What kind of shoes you gonna wear? Golden slippers!
Golden slippers I’a bound to wear,
That out shine the glittering sun.
Chorus
Yes, yes, my Lord,
I*m gonna join the heavenly choir!
Yes, yes, my Lord,
I’m a soldier of the Cross!
What kind of crown you gonna wear? Starry crown! (2)
Starry crown I*m bound to wear,
That out shines the glittering sun.
What kind of robe you gonna wear? Long white robe! (2)
Long white robe I*m bound to wear,
That out shines the glittering sun.
What kind of song you gonna sing? Brand new song! (2)
Brand new song I»m bound to sing,
That out shines the glittering sun,
**********************************

No, 686
HEAVEN SHALL BE MY HOME
also known as
Poor Rosy
This was a dual purpose song. It was used by the slaves
of the Port Royal Islands as both a rowing, or work,
song and as r a spiritual. It was first published in 1867.
For other versions, see Allen (SSUS), 7, or 33-34 and
Scott (BA), 199-201.

MB
Song Texts
2538
Heaven Shall Be Mv Home
Poor Rosy, poor gal,
Poor Rosy, poor gal;
Rosy "broke my poor heart,
Heaven phali he my home.
Before I stay in hell one day,
Heaven shall he my home;
I’ll sing and pray my soul away,
Heaven shall he my home.
Hard trials block my way.
Hard trials block my way;
Hard trials can’t stop me,
Heaven shall he my home.
Before I heed ol’ Satan*s call,
Heaven shall he ay home;
I may stumble hut I sure won’t fall.
Heaven shall he my home.
Brother, I’m hound to go,
Brother, I’m hound to go;
Brother, come along too,
Heaven shall he our home.
We’ll leave the sinners all behind,
Heaven shall be cur home;
We’ll let the blind all lead the blind,
Heaven shall he our home.
*************************

MB
Song Texts
2539
- £©± £87
HEEL ANL TOE POLKA
i
also known as
Bounce Around Lancing the Poker
This in still a popular dance tune, and one that has "been
recovered as a Play-party song in Iowa, Missouri, Okla
homa, and Texas.
For variations, ®ee Ames (MPP), 296 and Piper (SPPG),
280..
Other versions are in Botkin (APPS), 204-205 and Ford
(TMA), 165 (with game instructions on p. 232).
Heel and Toe Polka
Lo you know the heel and toe?
Let*s do it now together.
Away we go, heel and toe,
In fair and sunny weather.
Lo the heel and toe Polka, 0!
We*ll romp and stomp together!
It*8 first the heel, then the toe,
In fair and sunny weather.
Heel and toe, away we go,
It* 8 fun to do the polka;
We remp and stomp, heel and toe,
Come on and dance the polka.
********************************

Ho . 698
HELL AMONG THE YEARLINGS
also known as
Heck Among the Yearlingp

KB
Song Texts
2540
This is a ”hoedown," played at Square dances and at
fiddlers* conventions. For other versions, see Ford
(TMA), 101 and Thede, 130.
There are no words to this, so see music under TUNES
in this Master Book.
*********** **■**•**■*-***•*■* ********* *****

No. 689
HELL AND TEXAS
also known as
Hell in Texas Song of the Border
A musical satire adapted to so many localities that the
place of original inspiration is a matter of conjecture.
According to Thorp, the original title was The Birth of
Hev; Mexico . Fife, 83-84, ha« a version called Alaska :
Hell on the Yukon . Lomax (ABFS), 401, calls it Arizona:
How It Wao and Who Made It. Also see the text given in
Mody Boatright*s Folk Laughter on the American Frontier ,
pp. 84-85, where the author claims the words were written
by E. U. Cook, a lawyer, who came to Texas from Iowa in
the 1880s. According to Lomax, however, the words were
"possibly” written by John R. Steele of the U. S. Signal
Corps, Brownsville, Texas, in early frontier days,
REFERENCES
Lomax (ABFS), 397-399
Lomax (CS-1919), 222
Lomax (CS-1938), 317
Randolph, II, 217-219
Thorp (1921), 77-79
Botkin (AFL), 334-335
Fife, 80-82
Gordon, 876
Hastings, 175-180
Lingenfelter, 12-13
Hell and Texas

MB
Song Texts
2541
01* Satan, the devil, in hell was chained,
For a thousand years he there remained;
He didn’t complain and he did not moan,
But determined to start him a hell of his own,
Where he could torment the souls of men
Without being chained in a prison pen.
So he asked the Lord if he had on a hand
Anything left when he made the land.
The lord replied, "I had plenty on hand,
But I left it down on the Rio Grande;
The truth is, ol* man, the stuff is so poor
I don’t think you could use it in Hell any more.
But the devil went down to look at the truck,
And said if it came as a gift he'd be stuck.
For after examining it carefully and well,
He concluded the place was too dry for Hell.
Then, in order to get it off his hands,
The Lord promised Satan he'd water the lands;
For he had some water, or rather the dregs,
A real cathartic that smelled just like bad eggs
So the deal was closed and deed was given,
And the Lord went back to his hone in Heaven,,
The devil then said, "I have all that is needed
To make a good Hell,” and hence he succeeded.
He began to put thorns on all of the trees,
Then mixed up the sand with millions of fleas;
He scattered tarantulas along all the roads.
Put thorns on the cactus and horns on the toads;
He lengthened the horns of the Texas steers,
And added three inches on the rabbits' ears.
He put a little devil in the broncho steed,
And poisoned the feet of the centipede.

MB
Song Texts
2542
The rattlesnake bites you, the scorpion stings,
The mosquitoes delight you with buzzing wings;
The sand-burrs prevail, and so do the ants,
And those who sit down need soles on their pants#
The devil then swore that throughout the land
He’d manage to preserve the devil’s own brand,
That all would be mavericks unless they bore
The marks and scratches and bites by the score.
The heat in the summer is a hundred and ten,
Too hot for the devil and too hot for men;
The wild boar roams thro* the wild chaparral—
One helluva place for him to have a hell!
The red pepper grows on the banks of the brook,
And Mexicans use it in all that they cook;
Just dine with one of them and you will shout:
"It’s hell on the inside as well as without!"
*♦******♦•» ************* **■*•***■*• ****

No. 690
THE HELL-BOUND TRAIN
This song, with its amusing moral tale, has been attri
buted to more than one author and composer. W. H.
Fawcett, in Smoke-House Poetry , p. 175, says the words
were written by Tom Gray. Lomax, quoting a newspaper
clipping ( Fort Gibson Post , April 8, 1909), attributes
the words to J. W. Pruitte, a cowboy preacher.
Take your pick. The song dates back to the turn of
the 20th century.
REFERENCES
Beck (LLC), 261-262
Beck (SML), 246-247
Fife, 336-337
Kennedy (AB), 93-95
Kennedy (TAB), 268-270
Finger (FB), 110-113
Lomax (CS-1919), 245
Lomax (CS-1938), 236

KB Song Texts
2543
Lomax (F3M), 402
Ohrlin, 36-37
Randolph, IV, 23-24
Shay (PF-2), 95-97
Shay (PF-3), 168-170
Silverman, II, 382
The Hell-Bound Train
A drunkard lay on a barroom floor;
He drank too much and could hold no more.
He fell asleep with a troubled brain,
And dreamed he was on the Hell—bound train.
The fireman there was a crazy tramp,
The headlight was a brimstone lamp;
The tank was full of lager beer,
And Satan himself was the engineer.
The train sped on at an awful pace,
With brimstone burning hands and face;
And worse and worse the roadbed grew,
As faster and faster the engine flew.
He blew the whistle and rang the bell,
And Satan said, "The next stop’s hell!”
Then all the passengers yelled with pain
And begged the Devil to stop the train.
The Devil laughed at their misery,
And roared and hollered loud with glee:
"You paid your fare, I’ve got my load,
I’ll take you to the end of the road,
"You robbed and cheated the weak and poor,
And turned the hungry from your door;
You stored up gold and caused a bust,
And ruined girls with your beastly lust.

MB
Song Texts
2544
■You mocked at God with your willful pride,
You murdered and you killed and lied;
You double-crossed and cussed ana stole—
And now you’re mine, both body and soul!
■You paid your fare back at Thompson’s bar,
And now you ride she Devil’s car;
You better know I’m not a liar—
I’m taking you all to the land of fire!
■"Your bones will burn and the flames will roar.
You’ll sizzle well from rind to core!"
The bar was filled by an awful scream—
The drunk awoke from his terrible dream.
Upon his knees, on the barroom floor,
The drunkard prayed as never before!
His prayers and vows were not in vain,
For he rode no more on the Hell-bound train,
******* ******* ******** ********

Ho, 691
A HELLUVA ENGINEER
also known as
A Rambling Wreck
This is a popular parody of Son of a Gambolier (see in
MB). The parody was extremely popular with soldiers
during W17I and, later, with a few word changes, it was
turned into I*n a Rambling Wreck from Georgia Tech by
college students. According to Dolph, in France "some
outfits sang it to the tune of The Wearing of the Green 0
REFERENCES
Dolph, 125-127 Lurlacher, 50 Shay (DFW), 101
A Helluva Engineer

MB
Song Texts
2545
Come, all you gallant soldiers,
And the story you shall hear
Of the trials and tribulations
Of an army engineer.
Like every honest soldier
He took his whisky clear
Till General Scott said:
"You shall not touch whisky, wine, or beer!"
Chorus
He*s a helluva, helluva, helluva,
Helluva, helluva engineer!
A rambling skate from any old state,
And nothing does her fear!
He tried to do his duty,
And he tried to do it well,
But the captain and the sergeant
And the corporal gave him hell!
They took him to the parade ground
To march, to rush, to crav/1;
The first was bad, the next was worse,
The last was worst of all.
He bruised his belly on a tack,
He tore it on a nail;
He'd have made a damned good lizard
If he'd only had a tail!
They took him to the rifle range,
To learn to fire at will,
The aiming and the trigger squeeze,
The enemy to kill.
His rifle kicked him in the jaw—
He missed the bull a mile!
The chow shack is the only place
That he ever shows some style.
*-*-*•*-**** ■***-(*•-*- * *•**•*-**

MB
Song Texts
2546

Ho. 692
HE NEVER SAID A MUMBLIN* WORD
also known as
Crucifixion Never Said a Mumblin* Word
Easily available today, this old spiritual has undergone
many modern treatments by arrangers and singing groups.
Not found-in many of the published collections of folk
material, the song is one of our more enduring and popu
lar spirituals.
REFERENCES
Botkin (SFL), 759-760
Brown, III, 626-627
Chambers (TNS), 39
Downes (1940), 172
Downes (1962), 206
Hayes, 121-122
Johnson (BANS), 174-176
Kennedy (M-l), 126-127
Lomax (ABFS), 587-583
Lomax (USA), 356-357
Parrish, 165-166
Silverman, II, 98
Work (ANSS), 103
He Never Said a Mumblin * Word
Oh, they whipped him up the hill,
Up the hill, up the hill,
Oh, they whipped him up the hill,
An* he never said a mumblin 1 word.
Oh, they whipped him up the hill
An* he never said a mumblin* wordo
He just hung down his head, an 1 he cried.
Oh, they crowned him with a thorny crown, etc .
Oh, they nailed him to the cross, etc.
Oh, they pierced him in the side, etc.
**■*•*•* •***•**»■*** -a-******

MB
Song Texts
2547

No. 693
HERE STANDS AN OLD MAID FORSAKEN
This is an old English "ring” game for children that
grew up to be a ’’Play-party" song. In America, at
some time or other, it became a ’’kissing game” song.
It is similar to several other game songs, such as
Here Stands a Young Man , or Lady , Here Stands the
Queen , Silly Old Man, and Yonder Stands a Lovely
Creature.
For an English version, see Gomme, I, 204-205. For
an American version, see Linscott, 15-16 0
Here Stands an Old Maid Forsaken
Here stands an old maid forsaken,
She*e of a contented mind;
She’s lost her own true lover,
And seeks another kind.
She seeks another kind, sir,
1*11 have you all to know,
She’s very well provided for,
With forty-five strings to her bow, '
With forty-five strings to her bow.
**************** ******** ****

No. 694
HERE WE GO UP
This unusual little song, a derivative of an old Irish
tune, was recorded by Linscott, 209-210, as a lullaby.
She thought it possible "that this tune" might be re
lated "to one very popular in 1641, called Hey , Boys ,

MB
Song Texts
2548
Up We Go , which appeared in Thomas D*Urfey*s Pills
to Purge Melancholy o w
Here We Go TTo
Here we go up, up, up, up, up!
Here we go down, down, down-y!
Here we go over and over and over,
And here we go round, round, round-y!
* ********************** ■*■*** *•*•*•** *

No, 695
HE*S GOT THE WHOLE WORLD IN HIS HANDS
This spiritual fades away into yesteryear without record
or references. It leaped to a renewed popularity in the
1950s through phonograph recordings made in England and
the United States.
For other versions, see: Grafman, 97; Leisy, 160-161;
Leisy (LAS), 138-139; and Whiteman, 203•
He*8 Got the Whole 7/orld in His Hands
He*s got the whole world in His hands, (4).
He*8 got you and me, brother, in His hands, (3)
He*s got the whole world in His hands.
He*e got you and me, sister, in His hands, (3)
He*s got the whole world in His hands.
He*e got everybody here in Hie hands, (3)
He*e got the whole world in Hie hands.
********* ************************

MB
Song Texts
2549

No. 696
HE«S THE MAN FOR ME
also known as
The Carefree Hombre
This is from the California gold-rush era. The words
are by J. A. Stone, who wrote them to match the tune
of Rosin the Bow,
For other versions, see Black, 6-7 and Dwyer, 131-132.
HeJ_s the Man for Me Tune; Rosin the Bow
I*ve traveled the mountains all over.
Now down to the valley I‘11 go;
1*11 live like a pig in the clover,
In sight of those mountains of snow.
In sight of those mountains of snow,
In sight of those mountains of snow.
I'll live like a pig in the clover,
In sight of those mountains of snow,
1*11 marry a rich senorita,
And live on her money, of course;
And if she runs out of pesos,
I'll fl ue her and get a divorce.
1*11 sue her, etc.
I*m greatly in favor of mining,
With me, though, it does not agree;
I*d rather be gently reclining
With beauty upon a sette.
With beauty upon, etc.

KB
Son4-; Texts
2550
I*n net much in favor of thieving,
At all events, just as I feel,
But I’ll never work for a living
As long as I’m able to steal!
As long as I’m able, etc,
*************************************

Ho. 697
HEY! BETTY MARTIN
also known as
Tip Toe, Betty Martin
Tip Toe, Pretty Betty Martin
Betty Martin
High, Betty Martin
This song originated in England; it was about a farmer
who resisted the temptations of London (see version B,
below). The refrain had instant appeal for people on
the American frontier, in the farming communities<> It
became a favorite of the fifers and drummers in the U,
S. army and was a popular marching tune during the War
of 1812.
During the Civil War the tune was revived with a new set
of words:
Johnny, git your gun,
And your sword and your pistol;
Johnny, git you gun
And come with me.
In the 1890s, the tune was again used for a spoof of
women with bobbed hair:
Chippy, get your hair cut,
Hair cut, hair cut.
Chippy, get your hair cut,
Hair cut short.
Later, these words were changed to make a children's song,

KB
Song Texts
2551
Johnny , Get Your Hair Cut, For the children’s adaptat
ion, see Seeger (1), 142-143*
Version A is an American version of the song and version
B is early English.
REFERENCES
Botkin (NEF), 897-893 Llyod, 44
Dolph, 437-439 Luther, 57-58
Ford (OTFM), 38 Sandburg (AS), 158
Ford (TMA), 58 Tolman & Page, 62
Linscott, 85
Hey? Betty Martin ( Version A)
Hey! Betty Martin,
Tip-toe, tip-toe,
Hey! Betty Martin,
Tip-toe fine.
Never found a man to suit her fancy,
Never found a man to suit her mind.
VERSION B
In Yorkshire I was born and bred,
I know a thing or two, sir;
And what is more, my father said,
My wit would bring me through, sir.
At single-stick or kiss the maids
I whar the boy for sartin*.
Says I, Push on! to be afraid’s
My eye and Betty Martin.
Chorus
Hey! Betty Martin, tip toe, tip toe;
Hey, Betty Martin, tip toe fine.

MB
Song Texts
2552
Hey! Betty Martin, tip toe, tip toe,
My eye, Betty Martin, tip toe fine.
At home I’d often heard folks talk
Of London’s famous city;
Of how the streets on which they walk
Wur paved with gold so pretty.
To mam and dad I gave a buss,
Saye I, I’m off for sartin’—
So about my trip to make a fuss,
Is my eye and Betty Martin.
*** ***•*•*■***• ************* ******** *

Ho. 698
HEY, BIDDLE DIDDLE
also known as
The Cat and the Piddle The Cow Jumped Over the Moon
The single stanza of this song is one of the best known
rhymes in the English language. Like most of our oldest
rhymes, this one came from England. The only change in
the text made in America was the removal of the word
"sport"—which was replaced with the word "fun".
REFERENCES
Bertail, 5 Opie, 203-204
Ives (SB), 20 Wier (SWWS), 196
Moorat, 7 Wier (YAM), I, 44
Hey , Diddle Diddle
Hey, diddle diddle, the cat and the fiddle,
The cow jumped over the moon;
The little dog laughed to see such fun,
And the dish ran away with the spoon.
*•***■ **** * **■ ******* *** *********

MB
Song Texts
2553

No. 699
HICKS* FAREWELL
also known as
The Lying Father*s Farewell
The Lying Preacher
Farewell
The Ministers Last Goodbye
A "death message" song with a religious and brotherly love
theme, Cecil Sharp evidently thought the song originated
in England, since he included it in his Southern Appalach
ian collection,
Moore (BFSS) said, " Hicks * Farewell was first published
by Harper and Brothers in The Franklin Square Song Col
lection (8 vole.), in 1881-1891*" However, the song is
in The Southern Harmony , published in 1835 and is also
in the Harp of Columbia , published in 1848.
According to a footnote in the Southern Harmony , the song
was written "by the Rev. B, Hicks, a Baptist minister of
South Carolina, and sent to his wife while he was confined
in Tennessee by a fever of which he afterwards recovered,"
Most versions are remarkably similar, except for the tune,
which varies from version to version.
REFERENCES
Jackeon (WSSU), 202-203
Moore (BFSS), 363-364
Randolph, IV, 52
Sharp, II, 142-143
Swan, 32
Arnold, 7
Backus, 288-289
Brown, III, 589; V, 334
Lavis (FSV), 299
Fuson, 73-74
Jackson (SFS), 31, 54-55 Walker (SH), 19
Hicks * Farewell
0, sweet was the time that I*ve spent with you,
But time keeps rolling by;
And now we part to meet no more,
And I feel like I could cry.

MB
Song Texts
2554
Let war and prejudice rage around,
For I no longer care;
1*11 rest in peace beneath the ground,
There is no disturbance there.
My darling children, so near ny heart,
May the future treat you kind;
It grieves my heart that I must go
And leave each of you behind.
My darling wife and loving friend,
Do not lament or cry;
Tho* death will come and take me soon,
Our love will never die.
I can never come to you in death,
But keep a faithful heart;
For you shall shortly come to me,
And then we will never part.
******************-***********

No. 700
HIGH BARBAREE
also known
Along the Coast of High
Barbary
The Coast of Barbaree, or
Barbary
The Coast of New Barbaree
The Coasts of Barbary
The Coasts of High Barbary
This song is usually presented
old Brith«h ballad, The George
as
Cruising Down the Coast of
Barbary
High Barbary
New Barbary
On the Coast of Earbary
The Queen of Russia and
the Prince of Wales
as being related to an
Aloe and the Sweepstake,

KB
Song Texts
2555
versions of which are in Child, V, No. 285..The relation
ship* if at all valid, is a distant one. The logic used
to establish a relationship is quite weak. Flanders said,
"This song traces back to a piece written for the British
Navy by Charles Dibden (1745-1814). Dibden based his con-
position on George Aloe and the Sweepstake . but retained
little of his model beyond the plot outline and the Barbary
refrain." Flanders was agreeing with Cecil Sharp, who
said: "The ballad is evidently related to an old broadside
sea-song, which Mr. Ashton reproduces in his Real Sailor
Songs: The Sailor 1 s Qnely Delight . shewing the brave
fight between George—Aloe, the Sweepstake, and certain
Frenchmen at Sea." For a version of The Sailor*s Qnely
Delight, see Ashton (CB), 205-208 or Masefield (SG), 293-
294.
REFERENCES
Baring-Gould (EFSS), 18-19
Barry (BBM), 413-418
Best, 132
Brown, IT, 352-353; IV,
203-204
Chappell (FSRA), 50-51
Colcord, 152-153
Farnsworth, 24-27
Flanders, IV, 176-187
Friedman, 407-409
Glass (SS-1), 12-13
Greig & Duncan, No. 38
Harlow, 161-163
Hugill (1), 419-421
Ives (SB), 116-117
Jour (FSS), V, 266
Karpeles (EFS), I, 209-210
leisy (LAS), 68
Lomax (OSC), 212-213
Luce, 77
Morris, 53-54
Sharp (100), 32-34
Shay (ASSC), 91-92
Shay (PF-1), 139-143
Shay (PF-3), 102-104
Silber (HSB), 30
Silverman, II, 252
Trident, 92-93
Whall (SSS), 78-79
High Barbaree

MB
Song Texts
2556
There were two lofty ships from old England came}
Blow high, blow low, and so sailed we;
One was the King of Prussia, and the other, Prince Ox
Wales,
Sailing down the coast of High Barbaree.
"Aloft there, aloft!" our bully boatswain cried.
Blow high, blow low, and so sailed we.
"Look ahead, look astern, look aweather, look alee,
Look all along the coast of High Barbaree."
"There*« naught upon the stern, and there*s naught upon
the lee!"
Blow high, blow low, and so sailed we;
"But there’s a mighty ship to windward, a-sailing fast
and free,
Sailing down the coast of High Barbaree."
"I*m not a man-o'-war, nor a privateer," said he.
Blow high, blow low, and so sailed we;
"But I am a salt-sea pirate, a-looking for my prey,
Down along the coast of Hig Earbaree."
Oh, broadside to braodside a long time we lay,
Blow high, blow low, and so sailed we;
Until the King of Prussia shot the Pirate’s masts- away,
Sailing down the coast of High Barbaree.
"Have mercy! have mercy!" we heard the pirates cry.
Blow high, blow low, and so sailed we;
No mercy did we show them—we sank them in the sea,
Sailing down the coast of High Barbaree«
Their ship became a coffin, their grave became the sea,
Blow high, blow lew, and so sailed we;
We la«hed then all together, and we sank then in the
sea,
Sailing down the coast of High Barbaree.
******************************

MB
Song Texts
2557

No. 701
HIGHWAYMAN OUTWITTED I
also known as
The Hampshire Bite
In London There Did Dwell
Jack and the Highwayman
Johnny and the Highwayman
Johnny and the Robber
John Sold the Cow Well
The Little Yorkshire Boy
The New Hampshire Bite
The Old Spotted Cow
The Oxford Merchant
Robber Song
Well Sold the Cow
The Yorkshire Bite
The Yorkshire Boy
The London Mason
This is an American form of The Yorkshire Bite , which
appears not to have been known west of the Mississippi
except for a version recovered in Utah by Hubbard. The
first version to be published with words and music, in
the United States, was printed by Barry in Jour (AFL),
XXIII (Oct.-Dec., 1910), 451. Barry presented it as a
relative of The Crafty Farmer (see Highwayman Outwitted II
in MB), a form previously printed by Child, No. 283o
In so doing, Barry set a pattern for reference that has
almost been religiously followed by other American col
lectors. Thereafter, when a version of The Yorkshire Bite
was collected and printed, and regardless of title or
differences, it was presented as "secondary” %o Child,
No. 283. Such classification is more than unnecessary,
it is misleading. The Yorkshire Bite is not "secondary"
to The Crafty Farmer , as the facts plainly show. The
Crafty Farmer did not appear in print until 1796. Since
The Yorkshire Bite appeared in British garlands between
1769 and 1788, the term "secondary” has been applied to
the wrong ballad.
Exactly what motivated Child to choose one and exclude
all other Highwayman Outwitted ballads is not known©
We only know what he wrote: "This very ordinary ballad

M3
Song Texts
2558
hae enjoyed greet popularity, and is given for that
reason and as a specimen of its claps.” This is a valid
position for a collector to take when faced with too much
material, but for others to thereafter relate every song
telling a similar story to Child*s selection is really
inexcusable.
For a variation of this ballad, see The South Carolina
Bite in Combs (FSMEU), 149o
REFERENCES
Henry (FSSH), 135-130
Hubbard, 263-264
Jour (AFL), XXIII, 451;
Barry (BBM), 406-413
Barry (FMA), 451-452
Brown, IV, 119-120
Cazden, I, 78-79
Creighton (SBNS), 29-31
Creighton (TSNS), 237-239
Bean-Smith, 55
Flanders, IV, 139-170
Flanders (BMNE), 51-53
Flanders (CSV), 26-27
Flanders (NGMS), 97-102
Flanders (VFSB), 234
Gardner (BSSM), 382-384
Greenleaf, 44-46
XXVIII, 199; XXX, 367
Jour (FSS), VIII, 180-182
Karpelee, 25
Kidson (GEFS), 14-15
Kittredge (BS), 367-369
laws (AB), L I, 165-166
Logan, 131
Peacock, I, 33-38
Roberts (IP), 87-89
Sandburg (AS), 118-119
Williams (F'SUT), 253-254
Greig & Buncan, No. 266
Highwayman Outwitted I
Near Norfolk there lived a farmer named Slade,
And he had two servants— a man and a maid;
His man was called young Johnny 0*Roy,
' And the farmer had faith and trust in the boy.
Fil-dee-fol-dol, fil-dee-aye, fol-dol-dee day!

MB
Song Texts
2559
Young Johnny was sent to town for to trade,
And told to bring back all the money he made;
He walked to town apleading the cow,
And he sold it for more than he did allow.
He went to a tavern and sat himself down,
To have him a drink before leaving town,
And to the owner Johnny did say,
"0 what «hall I do with my money, I pray?”
"Inside your coat lining I'll pew it,” said she;
"Or else on the highway it’s robbed you may be,"
A highwayman wa« sipping his wine,
And he said to himself, "That money is mine!"
When Johnny got up and started to go,
The highwayman followed, but careful and slow;
When they arrived at some lonely place,
He then held a pistol to Johnny’s young face,
"Deliver you money without fear or strife,
Or here in this place I’ll take your young life!"
John quickly pulled the money all out,
And he scattered it on the ground round about.
The highwayman got right down from his hoss,
Without once suspecting the gain would prove loss;
While gathering the money from the roadside,
Johnny leaped on his hoss and started to ride!
The maid saw Johnny as he returned home
And told the farmer, who waited alone;
Young Johnny rode right up to his bos®,
And he heard, "Has my cow turned into a hoss?"
"0, no, Mister Slade! Your cow I have sold.
But I met a robber, a highwayman bold;

MB
Song Text®
2560
While he was gathering money I throwed,
I just mounted his hogs and homeward I rode.”
The saddle-bags opened and lo, and behold!
The bags were all filled with silver and gold.
Young Johnny cried, "Well, lookee there now!
I believe, mister Slade, I well sold your cow!”
"Well, for a young man you’ve proved very rare,
And most of this money you’ll have for your share®
As doe rhw eobbwe, well, it serves him just right:
For you have put on him the New Hampshire Bite!”
********■*■*••*••***■**•*■•*•*-■** **•#■* •*■*•**
No. 702
HIGHWAYMAN OUTWITTED II
also known as
The Crafty Farmer Saddle to Rags
The Crafty Miller The Silly Old Man
The Crafty Ploughboy The Thief Outwitted
Farmer John Robbed the Robbers The Wise Farmer
John Robbed the Robbers The Yorkshire Farmer
The Lincolnshire Farmer
This form of the hick outwitting a city robber was
published in a chap-book in 1796. Although it is not
as widely known in America as Highwayman Outwitted _I t
this song has also generated many versions, Dixon,
who printed a version in 1846, used a tune called The
Rant, or The New Rant, which was previously used for
several congs.
REFERENCES
Baring-Gould (SW), I

No. 18
Barry (BBM), 477-478
Brown, II, 188-190
Child, V, 128-131
Coffin, 151-152
Comb® (FSMEU), 140-141
Combs (FSUS), 130-132

No. 702
HIGHWAYMAN OUTWITTED II
also known as
The Crafty Farmer Saddle to Rags
The Crafty Miller The Silly Old Man
The Crafty Ploughboy The Thief Outwitted
Farmer John Robbed the Robbers The Wise Farmer
John Robbed the Robbers The Yorkshire Farmer
The Lincolnshire Farmer
This form of the hick outwitting a city robber was
published in a chap-book in 1796. Although it is not
as widely known in America as Highwayman Outwitted _I t
this song has also generated many versions, Dixon,
who printed a version in 1846, used a tune called The
Rant, or The New Rant, which was previously used for
several congs.
REFERENCES
Baring-Gould (SW), I
No. 18
Barry (BBM), 477-478
Brown, II, 188-190
Child, V, 128-131
Coffin, 151-152
Comb® (FSMEU), 140-141
Combs (FSUS), 130-132

MB Song Texts
Cox (FSS), 166-168
Dean-Smith, 102
Flanders, IV, 171-175
Gainer, 94-95
Gardner (BSSM), 382-384
Greig & I ucan, No, 267
Greigh & Keith, 236-237
Hudson (SC), 5
Ingledew, 209
2561
Jour (AFL), XLV, 30-34
Jour (FSS), II, 174-176
Kidson (TT), 140-142
Laws L 1
Leach (BB), 662-664
Logan, 126
Maidment (SBS), 208
Mason (NRCS), 43
Moore (BFSS), 131-133
Notes (4th series), XI,
112
Highwayman Outwitted II
Come, listen, I’ll sing you a song,
A story too true to invent;
A tale of a silly old man
Who went to pay his rent.
Who went to pay his rent.
As he was riding on alone,
Alone down the winding highway,
He met a thief, who rode with him,
And had some words to say, (2)
"My friend, how dare you ride alone
When so many robbers there be?
If one should come upon you, sir,
He’d rob you easily." (2)
"If one should come upon me, sir,—
May God in His Heaven forbid!—
He’d never find the money, sir,
That’s in my saddle hid," (2)
Together as they rede along,
They came to a very steep hill;

KB
Song Texts
2562
And there the robber pulled a gun,
And said, "My friend, stand still!" (2)
The old man was very quick to act,
And carry out a well-laid plan;
His saddle he threw o’er a hedge,
And said, "Now get it, if you can!" (2)
The robber was so filled with greed,
He ran to find the money bags;
He whipt out a rusty old sword
And chopped the saddle to rags. (2)
The old man put his foot in the stirrup.
And presently he got astride;
The robber’s horse galloped away,
The old man's horse right beside. (2)
And so the old man rode along,
And went with a merry devotion.
"If ever I get home," he said,
"It’ll double my daughter’s portion." (2)
At last when he came riding home,
•Twas straight to the landlord he went;
Says he, "landlord, show me a room,
I’ll pay a whole year’s rent." (2)
They opened the thief’s portmanteau,
And from it they took out so bold,
Almost a hundred pounds in silver
And some two hundred in gold, (2)
********* ****************

MB
Song Texts
I
2563

No. 703
HIGHWAYMAN OUTWITTED III
also known as
The Damsel from Cheshire
The Devonshire Parmer’s
Daughter
The Parmer*8 Daughter and
the Robber
The Highway Robber
The Maid of Rygate
The Norfolk Maiden
The Rich Merchant’s
Daughter
This old broadside ballad is obviously an adaptation
of Hi ghwayman I and II. Issued by Cadman, Manchester,
and by Pitts, as The Highwayman Outwitted By The
Paraerls D aughter , it proved to be a popularTddition
to the form. It did not enjoy a wide reception in the
United States, however; a decision based on the fact
that it has been reported from only two or three areas.
The fundamental difference between this and the preced
ing two ballads is the sex of the leading character.
For a somewhat similar (though unrelated song), see
The Brave Servant Girl in this Master Book. Another
similar song is The Cra fty Maid’s Policy in Karpeles
(EPS), II, No. 210.
REFERENCES
Greenleaf, 47-48
Holloway, No. 46
Hubbard, 265-266
Jour (EPDSS), IX, 166
Jour (PSS), I, 236; II,
21-22
Karpeles (EPS), II, No. 208
Kidson (GEFS), 14-15
laws, L 2, 165-166
leigh, 267-269
logan, 133-136
MacColl & Seeger, 278-
280
Peacock, I, 226-228
Williams (PSUT), 267-268
Highwayman Outwitted III

MB
Song Texts
2564
There was a rich farmer near Raleigh,
Who’s daughter to market would go,
Thinking no one would harm or molest her
As she traveled the way to and fro.
She met with a desperate robber,
And he held a gun to her breast,
Saying, "Stand and deliver your money!
It will do you no good to protest!"
The maiden was stripped nearly naked;
He gave her his bridle to hold.
As she stood there a- 9 hiv’rin* an* shakin*,
He just sat there and counted her gold.
The girl put her foot in his stirrup,
And threw her leg o’er like a man;
Down the long road she quickly did gallop,
Crying, "Catch me, kina sir, if you can!"
All over the valley and hollows,
With great speed the maiden did ride;
Over high hills and down thro the forest,
Till she came to her dear father’s side.
The thief’s saddle-bag they cut open,
And money fell out on the floor;
There she sat counting all of that money,
Till she counted ten thousand or more,
"Oh, daughter, you’ve brought home a fortune,
And I’ll give you twice as much more;
Then you will be a wealthy young woman,
For the young men to court and adore."
************************

MB
Song Texts
2565
No. 704
Hinkie Dinkie
HINKY DINKY PARLEY-700
also known as
Mademoiselle from Armetieres
This is one of many songs sung By soldiers during World
War I. Origin of the song has been hotly debated over
the years. Some experts say it came from French or Ger
man ballads. Others say it came from an English song,
which begins:
Oh, landlord, have you a daughter fair?
Skiboo, skiboo....
It is now generally conceded that the song is of English
origin, or that it at lea^t stems from a 19th century
ditty known as Snapoo (see in MB).
REFERENCES
Adler, 119
Arnett, 152
Colcord, 110-111
Dolph, 82-86
Downes (1940), 335
Downes (1943), 390
Durlacher, 36
Emrich (FAL), 436-437
Johnson (BBLL), 72, 132
Kennedy (AB), 158-159
Kennedy (TAB), 332-334
Loesser, 181-182
Lomax (ABFS), 557-560
Lomax (USA), 122-123
Niles (SMM), 15
Sandburg (AS), 440-442
Scott (BA), 331-333
Shay (PF-1), 145-147
Shay (PF-3), 78-79
Silverman, II, 314
Whitman, 44
Hinkv Dinkv Parlev-Voo
■■ ■ ■■ ■ U ■ m mm m ■ ■ — M ■ —- jg - 1 -
Two German officers crossed the Rhine, Parley-Voo,
Two German officers crossed the Rhine, Parley-Voo,
Two German officers crossed the Rhine
To kiss the women and drink the wine,
Hinky dinky parley-voo.

MB
Song Texts
2566
Oh, farmer, have you a daughter fair? Parley-voo (2).
Oh, farmer have you a daughter fair,
Who can wash a soldier’a underwear?
Hinky dinky parley-voo <>
Madainoiselle from Armentiers, Parley-voo (2).
She could never hold the love of a man
•Cause she took her baths in a talcum can.
Hinky dinky parley-voo«
The Sergeant ought to take a bath, Parley-voo (2).
If he ever changes his underwear
The frogs will give him a Croix de Guerre ?
Hinky dinky parley-voo c
You might forget the gas and shells, parley-voo (2).
You might forget the groans and yells,
But you’ll never forget the madamoiselles!
Hinky dinky parley-voo<,
*** ****** ■*■*•*•*•■*•*■*•■*•*•**** *•*•*•***•*■*•*-*■•**•*■*■•*

No. 705
HIRED ON I
also known as
Come, All Ye Jolly Lumberman
Come, All You Jolly Bellows
Canada I 0
Canaday-I-0
This song is an adaptation that spawned several addition
al adaptations, all of which are easily traceable because
of a close similarity in the various texts<> The tunes,
on the other hand, vary considerably 0
According to Barry, the song was written in 1853 by
Ephraim Braley. According to Linscott, Braley was a
lumberman who "lived in Hudson, Maine, near Oldtown.”

MB
Song Texts
2567
One thing is certain: Braley got his idea from an old
English song, Canada-I-0 , a version of which is in
The Forget-Me-Not Songster (New York: Richard Marsh,
1847), pp. 110-111, In adapting the song to the en
vironment of the lumbercamps, Braley was merely fol
lowing the original author's action, since the English
form is merely an adaptation of an older song, Caledonia
which is in The Caledonian Garland , published prior to
1800, See Boswell Chsobooks , XXIII, 11 , Harvard Uni
versity Library,
The popularity of Braley*s adaptation was such that
many another author carried on the tradition by adapt
ing the text to conditions existing in other occupations
Thus we have Colley's Run , I, 0, , or The Jolly lumberman
(see Hired On II in MB) ; Michigan-1-0 (see Hired On III
in MB); and The Buffalo Skinners (see Hired On IV in MB)
Some versions of Hired On I are sung to the tune of
Girl I Left Behind Me, and these versions tell the same
wtory in stanzas only half as long^(see Hired On I B
under TUNES in MB).
The text below is sung to a variation of the tune of
Lord Randall,
REFERENCES
Barry (MWS), 76-77
Botkin (NEP), 879-880
Bulletin (PSSN), VI, 10
Eckstorm, 21-25
Friedman, 415-417
Gray, 38-39
Jackson (ESUS), 188
Laws (NAB), 152
Leach (BB), 774-775
Linscott, 181-183
Lomax (FSNA), 114-115
Silverman, II, 386
Thorp & Fife, 209-211
Hired On I

Song Texts
2568
ME
Come, all ye jolly lumbermen, pray listen to my song;
And do not get discouraged, I won’t detain you long.
It’s all about some lumbermen who once agreed to go
And spend one pleasant winter up in Canada 10,
It happened late one season, in the fall of fifty-three,
A preacher of the gospel one morning came to me;
Said he, "My jolly fellow, how would you like to go
And spend one pleasant winter up in Canada I 0?"
To him I quickly made reply, and unto to him did say:
"Well, going up to Canada depends upon the pay.
If you will pay good wages, and passage to and fro,
Then I will go along with you to Canada I 0,"
"Of course we’ll pay good wages, and we’ll pay your
passage out,
Provided you sign papers that you will stay the route.
But should you fail to stick it out, and home decide
to go,
We will not pay your passage back from Canada I 0,
If you become dissatisfied and do not wish to stay,
We would not want to bind you, not for a single day;
You just refund the money that we paid for you to go,
And you’ll be free to leave the place called Canada I 0."
By his great gift for flattery, he enlisted quite a train
Some twenty-five or thirty—all willing in the main.
We had a pleasant journey o’er the way we had to go,
Till we landed at Three Rivers, up in Canada I 0.
Right there our joy was ended, and our sorrow did begin;
Fields, Phillips and Norcros3, they all came marching in.
They sent us all directions—just where I do not know—
Amongst those jabbering Frenchmen up in Canada I 0 o

MB
Song Texts
2569
Well, after we had suffered there some nine or ten
long weeks,
We arrived at our headquarters among the lakes and
creeks,
We thought we*d find a paradise, at least they told
us eo—
God grant there may be no worse hell than Canada I 0!
To describe what we have suffered is past the art of man,
But, to give a fair description, I will do the be«t I can:
Our food the dogs would snarl at, our beds were on the
enow;
We suffered worse than murderers up in Canada I 0!
Our hearts were made of iron, our souls were cased in
steel;
The hardships of that winter could never make us yield.
Fields, Phillips and Norcross had found their match, I
know,
Amongst the boys that went from Maine to Canada I 0.
Now that our lumbering is over, and we*re returning home,
To greet our wives and sweethearts and never more to roam.
We*11 greet our friends and neighbors, and tell them not
to go
To that God forsaken country called Canada I 0!
******************************

No. 706
HIRED ON II
also known as
I Am a Jolly Shanty Boy The Jolly Lumberjack
Colley* s Run I. 0. The Jolly Lumberman
Coolie*s Run-I-0 The Jolly Shanty Boy
In Pennsylvania, where it was carried by migrating
lumbermen, Canaday -I-0 (see Hired te I) was quickly

KB
Song Texts
2570
adapted to serve local conditions. A glance at almost
any line of the text below will reveal that the two
songs are the seme, except for name and location changes.
It would be useless to attempt to identify versions of
this song through melodic comparison, for there are a9
many tunes as there are versions *
REFERENCES
Korson (PSL), 343-345
Shoemaker (MMP), 86-88
Shoemaker (NPM), 76-78
Beck (LLC), 24-25
Beck (SML), 14-15
Downes (1943), 282
Gray, 41-43
Hired On II
Come, all you jolly lumbermen, and listen to my song,
1*11 tell the story quickly and then I’ll move along.
I’ll tell of some eager lumbermen who once agreed to go
And spend a winter recently at Colley's Run, I. 0.
We made our way to Lock Haven the year of seventy-three,
And there did meet this preacher who chatted pleasantly.
He said, "If you are all lumbermen, how would you like
to go
And spend the winter lumbering on Colley’s Run, I, 0.? M
"For sure we’ll go to Colley's Run, to that we will agree
But there are a few conditions, oh, maybe two or three:
You will have to pay good wages, and passage to and fro,
If you want us to accompany you to Colley’s Run, I. 0."
"Of course we'll pay good wages, and pay your passage too
Provided you sign the papers to stay the winter through®
But, mind you, if you get homesick, decide to quit and go
• *
We will not pay your passage back from Colley’s Run, I. 0

MB
Song Texts
2571
•Twas by a contract written that we agreed to go—
Some five and twenty lumbermen, and not a one said no 0
The road was quite a pleasant one, the way we had to go,
Until we reached McFarlin's place some sixteen miles
below.
And there our ;joya ended, our troubles were begun;
The captain and the foreman came following up the Run.
They led us in all directions, through places we did
not know,
Among the pines which stood so tall on Colley's Run, I, 0
Our hearts were clad with iron, our souls were cased
with steel,
But against the winds of winter they scarcely made a
shield.
Our grub—unfit for dogs to eat; our beds were wet with
snow.
God grant there’s no worse hell on earth than Colley's
Rim ,1.0.
But when the spring is come again, and ice-bound s-treams
are free,
We'll float our logs to Williamsport, and friends we'll
rush to see.
Our sweethearts will all welcome us, and warn others not
to go
To that God-forsaken, unholy place called Colley's
Run, I. 0.
*************** ************ *

No. 707
HIRED ON III
also known as
Michigan I. 0.
As the lumbermen traveled from Pennsylvania to Michigan,
they took along the preceding song and once again changed

MB
Song Texts
2572
it to suit the locality, which was Michigan# ^ince tne
etory is almost the same, there is no need to give the
entire text over again. The first four stanzas are
sufficient to demonstrate that only insignificant changes
were made.
For a complete version, see Beck (LLC), 16-20} Beck
(SKI), 9-13; Gardner (BSSM), 261; or Rickaby, 41.
Hired On III
It was early in the season, in the fall of eighty-three,
A preacher of the gospel came and stepped up to ms#
He says, H My jolly good fellow, how would you like to go
And spend a winter lumbering in Michigan I 0?"
I boldly faced up to him and thus to him did sayt
"As for going to Michigan, it depends upon the pay.
Now if you pay good wage*, my passage to and fro,
1*11 gladly go along with you to Michigan I 0.”
He said he*d pay good wages and pay our passage out,
Provided we*d sign papers that we would stay the route.
n But if you get homesick, and swear that home you*11 go,
Then 1*11 not pay your passage back from Michigan I 0,”
Now with this kind of flattering he enlisted quite a
train,
Full twenty-five or thirty, both young and able men.
We had a pleasant voyage, the route we had to go,
And landed there in Saginaw, in Michigan I 0#
******#*■*■•*****-#•****•»•-***•***

MB
Song Texts
2573

No. 708
HIRED ON IV
alpo known as
The Buffalo Hunters
Buffalo Range
The Buffalo Skinners
The Buffalo Song
The Range of the Buffalo
To Hunt the Buffalo
This song represents a further variation in the adaptive
process already demonstrated by the preceding three
songs. Across the Missouri River, on the Plains, the
story fell into the hands of an occupational group who
lived and worked under circumstances quite different
from those of the forest* This was not another lumber-
camp requiring only a change of place-name* Nevertheless,
the story itself underwent very few changes*
Known as The Buffalo Hunters in many areas, the song is
not to be confused with a song using that same title (see
in Master Book), However, like the original which gave
it birth, Hired On IV generated a large number of ana
logues and parodies, several of them sharing a title in
common with this one. For examples, see The Buffalo
Hunters, In the Hills of Mexico and The Trail to Mexico
elsewhere in this Master Book . Also see Buffal7~Range .
in Fife, 340-341 and The Crooked Trail to Holbrook in
Lomax (CS-1919), 121, (CS- 1938 ), 27; Thorp (1921), 53
and Thorp & Fife, 207.
REFERENCES
Abrahams, 172-173
Allen (CL-1933), 109-111
Arkansas, 23
Beck (LLC), 21-23
Big, 66-67
Botkin (AFL), 854-855
Carmer (SRA), 172
Clark (CS), 9-10
Cowboy, 11
Davie (TTS), 38
Dobie (BHS), 5-6
Fife.(FAC), III, 157, 214
Prey, 70-71
Friedman, 429-430

MB
Song Texts
2574
Gordon (OSMS), 10/20/24
Gray, 39-40
Haley, 201-202
Hendren, 541
Larkin, 84-86, 91-94
Laws (NAB), 137-138
Leach (BB), 773-774
Lindroth, 11-12
Lingenfelter, 410-411
Lomax (ABPS), 390-392
Lomax (ABH), 54-55
Lomax (BLAF5), 174-175
Lomax (CS-1910), 158-163
Lomax (CS-1938), 335-338
Lomax (PB), 105
Lomax (USA), 174-175
Lone Ranger, 38
Moore (BESS), 289-291
Pound, 181-183
Robison (WGC), 54
Sandburg (AS), 270-272
Seeger (5), 270-272
Seeger (6), 63
Silber (HSB), 18
Silverman, I, 41
Sing, 52-53
Sires, 34-35
Thorp (1908), 31-33
Thorp & Fife, 195-214
Treasure, 36-37
Warner, 137
Webb (MTFL), 45
aired On IV
Come all you buffalo skinners and listen to my song;
You may think it’s outrageous, but it won’t take very
long.
You will hear of some young fellows who did once agree
to go
And spend a summer on the Plains, to hunt the buffalo* *
*Twas in the town of Jacksboro, the spring of seventy-
three ,
A man by the name of Crego came a-otepping up to me.
Says, "How do you do, young fellow, and how would you
like to go
And spend a summer on the Plains, to hunt the buffalo?"
"Since as of now I’m unemployed," to Crego I did say,
"A journey to the far off Plains depends upon the pay.

MB
Song Texts
2575
But If you pay me good wages, and pay my fare to go,
Perhaps I'll travel with you, sir, to hunt the buffalo."
"0 yes, I'll pay you good wages, and transportation too,
Provided you agree to go and stay the summer through.
But should you get homesick there and decide you have to go,
Your transportation I won't pay from the range of the
buffalo."
Now once we crossed the Pease River, our peaceful time
was done;
The first damn skin I tried to rip, I damn near lost my
thumb!
While skinning those damned old stinkers, our lives were
touch and go;
The Redskins watched to pick us off as we skinned the
buffalo.
The water wasn't fit to drink, and when the sun was high
The world seemed to be on fire and made you want to die!
The fleas and graybacks came at us, and, fellows, they
wasn't slow!
I'll tell you there's no worse hell on earth, than the
range of the buffalo!
The season was almost over when old Crego did say,
The hands had been extravagant and owed to him their
pay.
We coaxed him and we begged him but found it was no go;
We left his damned old bones to bleach among the buffalo!
We're back across the Pease River and homeward we are
bound;
No more in buffalo country will ever we be found!
It's home to wives and sweethearts, to warn others not
to go
To that God-forsook, desparate range, to hunt the buffalo!
**-***•****■*•*■*-•*■ *******************

KB
Song Texts
2576

No. 709
HOBO SONG I
aleo known as
The Danville Girl
The Railroad Bum
Ten Thousand Miles Away
from Home
c
Ten Thousand Miles from
Home
The Yfild and Reckless
Hobo
Hobo songs were plentiful and popular during the first
part of the 20th century, and particularly during the
years of the Great Depression, This song, usually known
as The Danville Girl , showed up in folios of songs pub
lished by commercial music firms. However, it was too
widely known to be denied its traditional place in
American folklore. Several "country-type” performers
laid claim to the song through doctored versions which
they recorded on phonograph records and then published.
One of the more popular "doctored" versions was record
ed by Jimmie Rodgers for the RCA-Victor company as
All Around a Water Tank , or Waiting For a Train (see
Hobo Song IV in MB),
According to Sandburg, the piecj "may be one of the many
Po* Boy songs, carrying its own peculiar load of grief 0 "
For other songs with similar story lines, see The Rail
road Bum in Cambiaire, 101 and Milburn, 231-232; The
Wild and Reekie so Hobo in Cambiaire, 3-4 and Randolph,
IV, 360; and The Tramo* s Lament in Dean, 71.
REFERENCES
-Fuson, 128-129
Henry (SSSA), 107-108
Beet, 28
Brown, III, 426-427;
V, 247
Hudson (FSM), 250-251
Leisy, 75
Lomax (ABFS), 29-31
Sandburg (AS), 456-457
Silverman, I, 106

MB
Song Texts
2577
Hobo Song I
I*ve been around this country,
I've been most everywhere;
I rode the rails for years and years-,
And never paid a fare*
I traveled to the city,
And tried to do what's right;
They said, "He's just a railroad bum,’
That's why he's such a sight®"
My pocket-book was empty,
My heart was full of pain—
Ten thousand miles away from home,
Just waiting for a train.
I stood upon the platform
And lit a cheap cigar,
And when a freight came rolling by,
I grabbed an empty car.
When I jumped off at Danville,
I met a pretty girl;
And she had blue and laughing eyes
And long brown hair that curled.
She took me in her kitchen,
She treated me nice and fine,
And when I held her in my arms,
She said she would be mine.
My Danville girl was honest,
My Danville girl was true,
But when I heard a freight train roll,
I told that girl adieu.
I beat my way to 'Frisco
And gave the coast a whirl,
But every time I closed my eyes,
I'd see that Danville girl.

MB
Song Texts
2578
I walked on down the track, boys,
My heart was full of pain;
Ten thousand miles away from home,
Just waiting for a train,
I only want one favor.
And that one when I die:
Just bury me near some depot,
So I can hear the trains go by,
***************************

No. 710
HOBO SONG II
also known as
By a Railroad Water-tank The Eastern Hobo
The Dying Hobo The Hobo’s Death
This song was originally a poem. It it now sung to
at least two different melodies, only one of which is
given here. The text is credited to Bob Hughes on some
copies I have seen, and it may be true that Hughes is
the author. Although the song is easily available in
print, it ha« frequently been collected from oral
sources, Cox thought it a parody of Bingen on the
Rhine (see in MB).
For an adaptation, see The Dying Hogger in Sandburg (AS),
186-187.
REFERENCES
Best, 22
Botkin (WFL), 773
Brown, III, 427; V,
247
Gox (FSS), 252
Dobie (CG), 40-41
Finger (FB), 106-107
Gray, 102-103
Hubbard, 309
Hudeon (FSM), 252
Irwin (ATUS), 222
Kennedy (AB), 17
Kennedy (TAB), 204-205
lawa (NAB), 231

MB
Song Texts
2579
Leiey (SPS), 136
Lingenfelter, 539
Milburn, 66-69
Porter, 42-43
Pub (TPLS), II, 40-41
Quarterly (CFS), II,
Spaeth (WSM), 131
Webb (MTP1), 40-41
Randolph, IY, 360-361
Roberts (IP), 59-60
Shay (PF-1), 61-62
Shay (PP-3), 30
42-43
Hobo Song II
Within an empty box-car, on a cold and dreary day,
Beside a railroad water-tank, a dying hobo lay.
His buddy sat beside him, and with low and bended head,
He listened to the last words the dying hobo said,
I’m going, said the hobo, to a place of peace and light
Where cops don’t hound a fellow and folks stay up all
night.
I’ll never have to work at all, and life will be a
breeze;
I’ll wine and dine from morn till night, and sleep just
when I please.
Tell Kansas Bill and Brooklyn Joe the words I’m telling
you:
I’ve caught a fast freight on the fly and now I’m going
through.
I’m headed for a better land where everything shines
bright,
Where wieners grow on bushes and bulldogs never bite.
Go tell that girl in Dallas I’m on my way back home;
I hear that fast freight coming—no more will I roam.
They got a place for hoboes where cold winds never blow
Where alcohol is free to all and cops can never go.

MB
Song Texts
2580
Oh, pard, I hear the whittle; she’s coming down the
track!
When I get on, you know, old friend, I won’t be coming
back.
The hobo smiled and closed his eyes, and breathed his
last refrain;
His partner swiped his shoes and socks, and hopped
the eastbound train,
********************************

No. 711
HOBO SONG III
also known as
Can, or May I Sleep in Your The Honest Tramp
Barn Tonight, Mieter?
This song has been around as long as I have, which puts
it somewhere in tradition, Carson Robison claimed to
have written the song under the pseudynym E. 7. Body,
and having been a friend of his, I think it quite possible
that he did actually write it. He and others recorded the
song for various record companies: Vernon Dalhart (Edison
51901), Charlie Poole (Columbia 150380), and Joe Reeves
(Conqueror 7254),
REFERENCES
Brown, III, 420-423
Cambiaire, 117-118
Davie (FSV), 77
Luther, 266
Milburn, 45-47
Pub (TFLS), VI, 124-125
Randolph, IV, 364-366
Roberts (I?), 195-197
Robison, 49
Hobo Song III Time: Red River Valley
May I sleep in your barn tonight, Mister?
It is cold lying out on the ground.

MB
Song Texts
2581
And the cold north wind is a-whistling,
And I have no place to lie down.
*
I have no tobacco or matches,
And I*m sure I will do you no harm©
Let me tell you my story, please, Mister,
For it strikes at my heart like a storm©
It was five years ago, just last summer—
I will never forget that sad day;
For a stranger came out from the city
And said that he wanted to stay.
Now this stranger wa« tall and quite handsome,
And he looked like a man of great wealth;
He said he had come to the country,
Where he hoped to regain his lost health.
But one night as I came from my workshop,
I was singing and whistling with joy;
I expected a warm-hearted welcome
From my dear loving wife and my boy.
But what I did find was a letter,
She had placed in our room on a stand;
And the moment my eyes fell upon it,
I picked it right up in my hand©
It told me that she loved the stranger,
And they*d run off and taken my son!
How I wonder if God up in heaven
Knows what that stranger has done!

MB
Song Texts
2582

No, 712
HOBO SONG IV
also known as
All Around a Water Tank
Around a Western Water Tank
Railroad Bum
A Thousand Miles from
Home
Waiting for a Train
This song is obviously an adaptation of Hobo Song I
(above); it has been recovered many times from tradition
al sources, and has also been published in collections
of folk songs. Its popularity, however, must be largely
credited to Jimmie Rodgers (the Singing Brakeman), who
recorded it for RCA-Victor and sang it for years,
Rodgers* version was published by Peer International
Corporation, New York, in 1929, Peer claims the song
as an original composition, written by Jimmie Rodgers^
and is given here with the company's permission,*
REFERENCES
Lomax (FSNA), 419
Ohrlin, 103-105
Stout, 113
Brown, III, 428-429
Cambiaire, 101
Laws (NAB), 221
Lomax (ABFS), 28
Hobo Song IV
All around the water tank
Waitin' for a train,
A thousand miles away from home
Sleeping in the rain,
I walked up to a brakeman,
To give him a line of talk;
He says, "If you've got money
1*11 nee that you don't walk.

MB
Song Texts
2583
I haven*t got a nickle,
Not a penny can I show—
He said, "Get off, you railroad hum!"
And slammed the box-car door 0
He put me off in Texas,
A place I surely love;
Wide open spaces ‘round me,
The moon and stars above.
Nobody seems to want me,
Or lend me a helping hand.
I*m on my way from ‘Frisco,
Going back to Dixieland.
My pocket-book is empty,
And my heart is filled with pain—
I*m a thousand miles away from home,
Just waitin’ for a train.
*********************** ***
♦Copyright 1929 by Peer International Corporation.
Copyright renewed 1956 by Peer International Corp.,
1619 Broadway, New York, N. Y. International copy
right Secured. All rights reserved.
********-********•***+•*■**** *■*■**•*■**
No
HOBSON
also
Dick Darbin the Cobbler
Dick Darlin’ the Cobbler
Dick German the Cobbler
Dick Turpin
Hewson the Cobbler
. m
THE COBBLER
known as
My Name is Old Hewson
the Cobbler
Old Hewson the Cobbler
Old Hobson
Rusty Old Rover
Here we have an ancestor of a whole family of folk songs,
with variants and versions in England, Scotland, Ireland
and North America.

MB
Song Texts
2584
The tune was * introduced in the ballad-operas, The Jovial
Crew and The Grub Street Ooera, both published in 1731o
The original text was about John Hewson, a one-eyed
English cobbler, who took up arms on the side of the
Parliament. According to Chappell (OEPM), II, 163 and
(PMOT), II, 451, Hewson "being a man of courage and
resolution, soon rose to be a colonel in their army 0
He was knighted by Cromwell, and afterwards made one
of his Lords." He was popular for a short while, but
lost public favor by forcibly suppressing a strike of
the London apprentices. After being hanged in effigy
in 1660, Hewson fled the country; he rightly suspected
that he would be put to death by Charles II for having
signed the death warrant of Charles I. He died in
Amsterdam, in exile, in 1662. In this American version
of the song, Hewson has become Hobson.
REFERENCES
Flander" (BMNE), 176-177
Flanders (NGM3), 223-224
Gardner (BSSM), 434
Gilbert (LC), 78-80
Hubbard, 325-325
Kennedy, 5C2
Pound (SFSN), XXVI, No. 1,
68
Randolph, I, 385-386
Ritchie, 103-104
Thomason (OC), I, 69-70
Wehman (ISB-2), 87
Hobson the Cobbler
My name is Bob Hobson the cobbler,
I served my time over in Kent;
They called me an old fornicator,
Before I had time to repent.
Chorus
With a twing-a-twang, twing-a-twang, tawdy,
A twing-a-twang, twing—a—twang, tawdy;
And a roobv-o, boobv-o bavdee,
Sing a twing-a-twang, twing-a-twang, tawdy.

M3
Song Texts
2585
For seven long years I was roving,
The happiest days of my life;
And many misfortunes I shared in,
I got myself hitched to a wife.
My wife was more dumpy than bumpy—
0 Lord! she was ugly as sin!
And when I’d come home for my dinner.
She’d feed me the same thing again.
But now all my troubles are over,
For I put an end to her life;
I gave her a dip in the river,
And that’s how I lost me a wife,
***************************

No, 714
HOECAKE
also known as
Bake a Hoecake Jenny, Get Your Hoecake Lone
Bring Back My Hoecake Snake Bake(d) a Hoecake
This song hap served as a nursery piece, a dance tune,
and as a Negro folk song. According to Cecil Sharp it
began as an English nursery rhyme. According to Newman
White it is a folk creation of black slaves in the South.
White offers evidence to show that the song in America
since 1810 or 1812, but his evidence doesn’t disprove
Sharp’8 claim.
The A, B, and C_ versions below are Americano
REFERENCES
Brown, I, 201; III,
223-224
Davie (FSV), 206
Ford (OTFM), 17
Fuson, 158
Richardson (AMS), 104
Seeger (3), 24
Sharp, II, 346

MB
Song Texts
2586
Tolley, 49
White, 247
Tolen, 115
Hoecake
(Version A)
Snake baked a hoecake
And set a frog to watch it;
Prog he went a-nodding
And a lizard cane and stele it.
Bring back my hoecake,
You longtailed lizard you!
Bring back my hoecake,
You longtailed lizard you!
VERSION B
If you wants to bake a hoecake,
To bake it good and done,
Jes’ slap it on a Black Man’s heel,
An* hoi* it to the sun.
VERSION C
Jenny, get your hoecake done, my love,
Jenny, get your hoecake done;
Jenny, get your hoecake done, my love,
Jenny, get your hoecake done.
*********************** **********

No. 715
HOG DROVERS
also known as
Pive Tinkers
Hog Drivers
Hog Rovers
Pig Drovers
Swine-herdere
Swine Stealers

MB
Song Texts
2587
Children’8 game song. According to Newell it is "only
a reduction of Knights A-Riding (see in MB ). Hudson
agrees. But Randolph says the song is based on The Nine
Daughters , an old Irish game formerly played at wakes
and other festive occasions. Gomme says it "points to
that period of tribal society, when the youths of one
tribe sought to obtain wives from the maidens of anoth
er tribe according to the laws of exogamy."
Derived from Hog Drovers , and perhaps, originally, a
part of it, is Galilee I & II (see in MB). There is
also a variation in Wood (ED), 5-6. Other interesting
comparisons, see The Nine Daughters in Duncan (FNCL),
190; the Three Sailora in Walter (OESG), 22-23; and
the Two Wagoners in Gardner (SPPG), 131.
A version for school children is given by Osborne
McConnally in The Music Hour International Teacher’s
Book , New York, 1931, 1938, p. 386.
REFERENCES
Ames (MPP), 195
Babcock, I, 259-260
Botkin (AFL), 810-812
Botkin (APPS), 205-208
Brown, I, 94-98; V,
Hudson (FTM), 31
Hudson (SMFL), 125-126
Jour (AFL), XIII, 104; XXXIX,
191-193; XLIX, 251;
LIX, 440
Bulletin (TFS), X, 5-6
Dudley & Payne, 15-16
Gomme, II, 282-289
Hudson (BSM), 191-193
Hudson (FSM), 296-297
Hogue (BY), 87-88
517-520
Kit, R, 8
Lomax (FSNA), 399-400
McDowell (FDT), 8-9
Newell, 232-234
Owens (TFS), 155-156
Pub (TFLS), XXYI, 165
Randolph, III, 367-368
Hog Drovers

MB
Song Texts
2588
Hog drovers, hog drovers, hog drovers we air,
A—courtin' yer daughter so sweet ana fair.
An* kin we git lodgin' here, Oh here,
And kin we git lodgin' here?
How this i p my darter that sets hy my side,
And no hog drover can have 'er for a bride.
And you cain't git lodgin' here, not here,
And you cain't git lodgin' here 0
Yer darter is pretty, yer ugly yerself,
So we'll travel on, seek better wealth;
And we don't want lodgin' here, not here,
And we don't want lodgin' here,
I have a fair daughter, she sits by my knee,
And some young man can take her from me;
And he can get lodgin' here, Oh here,
And he can get lodgin' here,
*************** *******************

No. 716
HOG-EYE I
also known as
Ox-Eyed Man
Roll the Boat Ashore
Row the Boat Ashore
Hawk's-Eye Man
Hog-Eye Man
Oh, Who's Been Here?
This song, as it is known in America, is a Negro shanty
that dates back to the California gold rush. It is, or
seems to be, of English origin, and was described on
several occasions as being "unfit to printo" According
to Terry, even the title is suspected of expressing
some hidden obscenity. Ironically, due to the changes
in the social and political life of the United States,
many of the lines today are considered at best to be

MB
Song Texts
2589
in bad taste.
In the next song, Hog-Eye II , we see what happened when
the shanty came ashore, journey in-land and became a
"landlubbers" song.
REFERENCES
Black, 32-33
Botkin (AFL), 836
Colcord, 104
Davis (SSC), 82
Harlow, 54-55
Hugill (1), 269-272
Jour (AFL), XXIV, 270
Jour (FSS), II, 248; V,
43
Sandburg (AS), 410-411
Sharp (EFC-2), 6
Whall (SSS), 86
Hog-Eye I
Oh! the Hog-eye man are all the go
When they come down to old San Francisco!
Chorus
The Hog-eye man is a down-east digger,
Row that boat to land!
The ’Frisco gals like a Yankee rigger,
And they love a Hog-eye man!
Go fetch me down my walking cane,
I’m goin ? to see my brown-eyed Jane.
Now who's been here since I been gone?
Some big buck nigger with sea-boots on!
There’s Jane in the garden pickin’ peas,
Her golden hair hangin’ to her knees.
Oh, hog’s-eye ship an* hog’s-eye crew,
A hog’s-eye mate an’ a skipper too!

MB
Song Texts
2590
The captain’s wife lives on the hill*
Some say ©he won't, some say she will!
Oh, why have you Been gone so long,
You hog-eye Jack with the sea-boots on!
******************************

No* 717
HOG-EYE II
also known as
Rodybodyshody Row the Boat Ashore
This is a land-developed version of the foregoing
shanty.
Since Sharp gives a version of this song in his famous
Appalachian collection, it may be nearer to the original
English song than the shanty.
For an interesting comparison, see Sal * a in the Garden
Sifting Sand in Brown, III, 261.
REFERENCES
Brown, III, 224-225 Sharp, II, 360
Jour (AFL), LII, 49-50 White, 246
Sandburg (AS), 380
Hog-Eye II
Hog-eye man is a devil of a man—
What on earth can ail him?
He drank a quart of whiskey down
An’ swore to God it killed him!
Chorus
Rody-body-shody hog-eye!
Rody-body-shody hog-eye!

MB
Song Texts
2591
As I was walkin’ thro the harvest field,
Black snake hit me on the heel;
I wheeled about to run my best
An* ran into a hornet's nest„
As I went runnin f down ol* possum hill,
Ran into my brother Bill;
He stood there eatin' ol* corn-pone
An* chewin' on a chicken-bone.
As I was standing shovelin* in the sand,
Saw a eight I hadn't planned:
I saw my own sweet, darlin' Jan
A-walkin' with a hog-eye man!
******************************

No. 718
HOME, DEARIE, HOME
also known as
Hame, Dearie, Eame The Oak and the Ash
Home, Dearest, Home
The authorities say this is one of a family of songs,
including Bell Bottom Trousers (see in MB) , Never Trust
a Sailor and Rosemary Lane . A parody, Home in the Old
Country is given as version B, below. Also see The Oak
and the Ash, a common title, in MB.
REFERENCES
Beck (FLM), 183-184
Colcord, 167-168
Davis (SSC), 26-27
Emrich (PAL), 520-521
Hugill (1), 498-499
Reeves (EC), 223
Sedley, 14-15
Shay (ASSC), 144-146
Home, Dearie , Home ( Version A)

MB
Song Texts
2592
Oh, Boston’s a fine town, with ships in the hay,
And I wi«h in my heart it was there I was today;
I wish in my heart I was far away from here,
A-sitting in my parlor and talking to my dear.
Chorus
Then it’s home, dearie, home, it’s home I want to be;
And it’s home, dearie, home, across the rolling sea.
Oh, the oak and the ash and the bonny ellum tree,
They’re all a-growin’ green in my own countree 0
Then it’s home, dearie, home!
In Baltimore a-walking a lady I did meet,
With her baby on her arm as she walked down the street,
And I thought how I sailed, and the cradle standing ready,
And the pretty little babe that has never seen its daddy.
And if it’s a girl, oh, she shall live with me,
And if it’s a boy, he shall sail the rolling sea;
With his tarpaulin hat and his little jacket blue,
He phall walk the quarter-deck as his daddy used to do.
VERSION B
also known as
Home, Boys, Home Home in the Old Country
Home, Daughter, Home Rosemary Lane
I am a bold sailor that sailed on the sea,
I gained the good will of my captain and crew.
I sailed into harbour one night for to lie,
And that*8 the beginning of my true love and I 0
Chorus
Then it’s home, dearest home, in my own counterie,
Home, dearest home, and it’s there let me be,

MB
Song Texts
2593
Where the oak and the ash and the bonny ellum tree
They*re all growing green in the North Amerikee.
I asked for a candle to light me to bed,
I asked for a napkin to tie round my head.
8he waited on me as a fair maid should do,
And I invited her to jump into bed too.
Now when the baby*a born you can put it out to nurse
With silver in his pocket and gold in his purse.
You shall dry off your breasts as a virgin so free
And pass for a virgin in some strange counterie 0
**********************************

No. 719
HOME IN THE ROCK
also known as
Don*t You See?
Got a Home in That Rock
I Got a Home in-a Dat Rock
I Got a Home in That Rock
I Got a Hope in That Rock
I*ve Got a Home in that Rock
Poor Lazarus
Poor Old Lazarus
3.9th century spiritual, sung by white as well as black
people in the beginning.
For another sporitual using the same tune, see Ain 1 t
It Grand in Kennedy (M-l), 86-87.
REFERENCES
Brown, III, 665; V,
389
Odum (NHS), 96-97
Roberts (SBS), 141-142
Chambers (TNS), 44-46
Johnson (BANS), 96-98
Mackenzie (SH), 115-116
Silber (HSB), 106
Silverman, II, 94
Work (ANSS), 169
Home in the Rock

MB
Song Texts
2594
I’ve got a hone in the Rock,
Don’t you see, don’t you see;
I’ve got a home in the Rock,
Don’t you see, don’t you see*
Between the earth and sky,
Thought I heard my Saviour cry:
Better get a home in the Rock,
Don’t you see.
Rich man Dives lived so well,
Don’t you see, don’t you see;
Rich man Dives lived so well,
Don’t you see, don’t you see.
When he died he went to hell!
Didn’t hear my Saviour cry:
Better get a home in the Rock,
Don’t you see,
Lazarus poorer than I,
Don’t you see, don’t you see;
Lazarus pooer than I,
Don’t you see, don’t you see.
When he died he lived on high,
Cause he heard my Saviour cry,
Better get a home in the Rock,
Don’t you see.
***************** *******************

No. 720
HOME OP THE SOUL
also known as
The Beautiful Land
This is one of those old hymns with a life among the folk
aside from churches and hymnals. Pirst published in 1866,
the words were written by Mrs. E. K. Gates and the music

MB
Song Texts
2595
was composed by Philip Phillips, I am in possession of
a copy published in Sacred Melodies , Dover, IT, H,, 1870,
by Freewill Baptist Printing Establishment, Other versions
are in McCaskey, I, 20 and Wilder, 140-141,
Home of the Soul
I will sing you a song of a far away land,
The far away home of the soul,
Where no storms ever beat on the glittering strand,
As the years of eternity roll 0
0 the great tree of love in its beauty doth grow,
Where the river of life floweth by;
And no death ever comes where the purified go,
In the home of the soul in the sky.
0 how sweet it will be in that beautiful land,
So free from all sorrow and care;
With a song on our lips, all together we*ll stand,
In that home of the soul *way up there,
*********************************

No, 721
HOME ON THE RANGE
also known as
The Arizona Home The Western Home
As a result of a law suit in New York City, where music
publishers, motion picture companies and broadcasting
net-works were sued for damages cf $500,000 by one Mary
Goodwin, in 1934, this song was declared legally to be
in the Public °Domain c Samuel Moanfeldt, a defense
attorney, established to the satisfaction of the court
that the verses were written by Dr, Brewster Higley,

MB
Song Texts
2596
Smith Center, Kansas, in 1873c The tune, in its original
form, was composed by Ban Kelley, a neighbor of Dr. Higley.
Under the title of The Western Home , the song was publish
ed in the Smith Center Pioneer .
Sigmund Spaeth, on the other hand, wrote that the song
M wae written in 1885 by C. C. Swartz, Bill McCabe, Bingham
Graves and other prospectors in a cabin near Leadville,
Colorado.'* Obviously, Spaeth was in error.
Dr. Higley called his poem The Western Home, and words
printed in 1873 are exactly the same those known today
under the title, Home on the Range«
All three versions involved in the dispute are given be
low.
Version A is the text as we know it today. Version B is
the text written by Dr. Higley. Version C is the text
written by William and Mary Goodwin in 1904®
REFERENCES
Agay (1), 52-53
Agay (2), 184-185
Allen (CL-1933), 107-108
Autry (RR), 28-29
Best, 121
Botkin (AFL), 304-306
Briegel (4), 18
Davidson (HRA), 208-221
Etude (Aug. 1944), 474
Felton, 40-44
Fife, 294-296
Frey, 22-23
Jour (AFL), XXII, 257-
Klickmann, 16-17
Koch (2), 8-9
Larkin (1931), 172-173
Larkin (1963), 166-168
258
Leisy, 164-166
Leisy (LAS), 30
Leisy (SPS), 192-193
Lingenfelter, 445-447
Lomax (CS-1919), 39-43
Lomax (CS-1938), 424-428
Lomax (USA), 212-213
Luther, 211
Lynn (CSO, 10
Malone (FB), 141-142
Mackenzie (SK), 47-48
McMullen, 82-83
Mechem, 313-339
Oberndorfer, 33
Randolph, II, 210-213
Seeger (6), 26
Shay (PF-2), 44-45
Shay (PF-3), 134-135

KB
Song Texts
2597
Silverman, I, 35
Sireo, 46-47
Siringo (SC), 32-33
White (GALD), 156-157
Whitman, 92
Will, 257-258
HOME ON THE RANGE ( Version A)
Oh, give me ahome where the buffalo roam,
Where the deer and the antelope play,
Where seldom is heard a discouraging word,
And the skies are not cloudy all day.
Chorus
Home, home on the range,
Where the deer and the antelope play,
Where seldom is heard a discouraging word,
And the skies are not cloudy all day.
Oh, give me a land where the bright diamond sand
Goes leisurely down the clear stream,
And the graceful white swan goes gliding along
Like a maid in a heavenly dream.
How often at night when the heavens are bright
With the light of the glittering stars,
Have I stood there amazed and asked as I gazed
If their glory exceeds that of ours 0
VERSION B-
also known as
Western Home
Word**: Dr. Brewster Higley. Published in Smith County
Pioneer , 1873, and in the Kansas Kirwln Chief . Saturday,
Feb. 26, 1876.

Song Texts
2593
MB
Oh! give me a home where the Buffalo roam,
Where the Beer and the Antelope play;
Where never is heard a discouraging word.
And the sky is not clouded all day.
Chorus
A home! A home!
Where the Beer and the Antelope play;
Where seldom is heard a discouraging word,
And the sky is not clouded all day.
Oh! give me a land where the "bright diamond sand
Throws its light from the glittering streams,
Where glideth along the graceful white swain,
Like the maid in her heavenly dreams.
Oh! give me a gale of the Solomon vale,
Where the life streams with "buoyancy flow;
On the banks of the Beaver, where seldom if ever
Any poisonous herbage doth grow.
How often at night, when the heavens were bright,
With the light of the twinkling stars,
Have I stood there amazed, and asked as I gazed,
If their glory exceeds that of ours,
I love the wild flowers in this bright land of ours,
I love the wild curlew’s shrill scream;
The bluffs and white rocks, and antelope flocks
That graze on the mountains so green.
The air is so pure and the breezes so fine,
The zephyrs so balmy and light,
That I would not exchange my home here to range
Forever in azures so bright.
VERSION C
also known as
Arizona Home

MB
Song Texts
2599
This is the adaptation of Version B, written by William
and Mary Goodwin in 1904, which resulted in the authors
filing a law suit. The song wag copyrighted and publish
ed by the Balmer & Webber Music Company,
Oh, give me a home where the buffalo roam,
Where the deer arid the antelope play;
Where seldom is heard a discouraging word
And the sky is not cloudy all day.
Chorus
A home, a home
Where the deer and the antelope play,
Where seldom is heard a discouraging word,
And the sky is not cloudy all day.
Yes, give me the gleam of the swift mountain stream,
And the place where no hurricane blows;
Oh, give me the park where the prairie dogs bark,
And the mountains all covered with snow.
Oh, give me the hills and the ring of the driller,
And the rich silver ore in the ground;
Yes, give me the gulch where the miner can sluice,
And the bright, yellow gold can be found.
Oh, give me the mine where the prospectors find
The gold in its own native land;
And the hot springs below where the sick people go
And camp on the banks of the Grande 0
Oh, give me the steed and the gun that I need,
To shoot game for ray own cabin home;
Then give me the camp where the fire is the lamp,
And the wild Rocky Mountains to roam.
Yes, give me the home where the prospectors roam.
Their busines« is always alive

MB
Song Texts
2600
In these wild western hills, midst the ring of
the drills,
Oh, there let me live till I die,
******* ***************************

No, 722
HOME, SWEET HOME
This was (and not so long ago) one of the most popular
and best-loved songs in the English-speaking world 0 It
is doubtful that there is a living American who has not
heard it. Not a folk song in a real sense, it is, never-
the less, traditional; and its melody had been borrowed
for several other songs now recognized as M folk"-which
is sufficient reason for its inclusion here*
The man who wrote the song is, in many ways, more
interesting than the song itself, John Howard Payne was
born June 9, 1792, in New York City, His family was large
and rather well-to-do; and he was one of many brothers
and sisters, all of whom enjoyed the advantages of
"cultured society" both at home and abroad. At least,
for a while,
V/hen the family moved to Boston, John attended Union
College in New York, His father suffered severe financial
losses, his mother died, and John quit college, sought
a theatrical career and hoped to assist his family. He
did achieve success at 17 years of age as Young Norval,
produced at the Park Theatre, New York, after which he
toured to Baltimore, Philadelphia and Boston, He was
acting in Boston when his father died. At age 22 he was
in London, England, appearing at the Drury Lane Theatre,
where critics generously praised his acting ability«>
John wrote several dramas, a few successful ones, includ
ing one written especially for Edmund Kean, The play,
Brutus, is still occasionally produced* Yet financial

MB
Song Texts
2601
security evaded him, and he sold most of his writings
for a pittance.
Charles Kemble, manager of the Covent Garden Theatre
in 1823, purchased several of John’s plays and songs,
among them a play called Clari, the Maid of Milan. At
Kemble's urging, this play was rewritten into an opera
by John Payne while he was almost starving to death in
Paris, After the opera was finished and ready for pro
duction, John added one additional song for the sum of
twenty-five pounds. That song was Home , Sweet Home ,
and it was sung by the star, a Miss Tree,
According to Helen Johnson, the song ’’won for her a
wealthy husband, and enriched all who handled it, while
the author did not receive even the twenty-five pounds”
due him for writing it. More than one hundred thousand
copies were sold in a single year, and Home , Sweet Home
earned the original publisher some ten thousand dollars
above expenses,
John Howard Payne was famous but almost penniless. He
returned to America in 1832 and eked out an existence
simply because of his song p for which he received abso
lutely .no royalties. Nine years later he somehow managed
to secure an appointment from the U, S. Government, be
coming the American Consul at Tunis. When and how he lost
that job is not known, nor could I find out from govern
ment records. It is known, however, that he died in Tunis,
April 10, 1852, The following year his remains were
brought to America, lay in Ptate in New York and, then,
removed to Washington, L. C,, where they were entombed.
With "appropriate ceremonies" of course.
For a cowboy song sung to John Payne's tune, and known
by the same title, see Lomax (CS-1938), 124-125.
For an unrelated song sometimes known by this title,
nee The Dearest Snot on Earth in Chappie (HS), 8, or
Mackenzie (SH), 75.
REFERENCES

MB
Song Texts
2602
Agay (2), 54-55
Chappie (ES), 374-575
Eleon, 32
Fillmore (PS), 125
Johnson (FS), 41-44
Kobbe, 20-21
Krythe, 61
Lair (SLL), 72
Leiey (LAS), 112-113
Lloyd, 98-99
Luther, 67
Mackenzie (SH), 64-65
Most (PCS), 95
Oberndorfer, 72
Silverman, I, 156
Songs (15), 31
Staton, 44
Whitman, 96-97
Wier (SWWS), 11-12
Wier (YAM), III, 50
Home , Sweet Home
T Mid pleasures and palaces though we may roam,
Be it ever so humble, there’s no place like home!
A charm from the skies seems to hallow us there,
Which, seek thro* the world, is ne’er met with
elsewhere.
Chorus
Home! home! sweet, sweet hone!
There’s no place like hone, there’s no place
like home.
An exile from home, splendor dazzles in vain;
Oh! give me my lowly thatch’d cottage again.
The birds singing gaily, that come at my call;
Give me them with that peace of mind, dearer
than all„
To thee I’ll return, overburden’d with care,
The heart’s dearest solace will smile on me there
No more from that cottage again will I roman,
Be it ever so humble, there’s no place like home 0
****************************

MB
Song Texts
2603

No. 723
HOMEWARD BOUND I
also known as
Goodbye, Pare Ye (You)
Well
Oh, Y/e Are Homeward Bound Today
We*re Homeward Bound
like most capstan shanties, this one is an "outward” and
"homeward" bounder, Whether it began as a shanty or as
a land-song is uncertain, but it is reasonable to assume
that it was a land-song converted by seamen,, Some versions
are quite similar to a traditional song called Outward
and Homeward Bound, and some versions are sung to a tune
very similar to that of I Dreamt 1 Dwelt in Marble Halls .
The Homeward Bound title is not exclusive. For different
songs with same title, see Chappie (HS), 11; C-ordon (OSMS),
Aug., 1924, 192; Kidson (TT), 107-108; Terry (SSB), 6; and
Whall (SSS), 6-7.
Also see Homeward Bound II in thi« Master Book,
There are many versions of this song in print, but we
give only two of them below, to represent the form.
REFERENCES
Anderson (WY), 78
Baltzer, I, 15, 84
Bone, 116-117
Boughton, 23
Bullen & Arnold, xiii, 7
Colcord, 54-55, 113-114
Creighton (SBN3), 75-76
Davis (SSC), 18-19
Doerflinger, 87-89
Dunstan (SS), 8
Emrich (FAL), 451-452
Finger (SCCS), 12-13
Greenleaf, 336
Greig & Duncan, No. 5
Hugill (2), 132-133
Jour (AFL), XIX, 18
Jour (FSS), V, 36
Xing, 14
Linscott, 140-141
Luce, 228
Mackenzie, 267
Meloney, 6, 29
Robinson, 125
Sampson, 26
Harlow, 119-121
Harlow (MS), 341
Hugill (1), 120-122, 542-
543

MB
Song Texts
2604
Shay (ASSC), 85
Shay (IMWS), 133-134
Smith (MW), 56-58, 219
Terry (SS), 5-7
Trevine, 4-5
Whall (SSS), 49
Williams (SC), 77
Williams (SFS), 8
Homeward Bound I
( Version A)
Oh, fare you well, we’re homeward hound!
Goodbye, fare you well! goodbye, fare you well!
We*re homeward bound for Hew York town,
Hurrah, my boys, we’re homeward bound!
We’re homeward bound, heave up and down, etc .
Heave on the capstan and make it spin round, etc ,
Our anchors we’ll weigh and our sails we’ll set, etc .
Our friends we leave, but with regret, etc 0
Oh, heave with a will, heave long and strong, etc .
Now one more chorus of this good song, etc .
We’re homeward bound, you’ve heard them say, etc .
Hook on the catfall and run her away, etc .
We’re homew T ard bound, the winds blow fair, etc .
And we have friends who’ll greet us there, etc.
VERSION B
( Tune: Same as A, above)
We’re homeward bound, I heard them say,
Goodbye, fare you well! goodbye, fare you well!
Our captain said we’ll sail today,
Hurrah, my lade, we’re homeward bound!
We’re homeward bound with nine months pay, etc .
Our sails are set and we’re underway, exe,

MB
Song Texts
2605
T'he girls will all come down and say, etc .
You*re welcome, Jack, with all your pay,; etc.
We’re homeward hound, to Charleston town, etc .
Then heave away, boys, spin it round, etc „
*******************************

No. 724
HOMEWARD BOUND II
also known as
Loose Every Sail to the Ye Sailors, I’m Bound to
Breeze My Love
This is another of the many homeward bound shanties; it
dates back to at least the latter decade of the 18th
century,
REFERENCES
Amer (MM), 202-204 Huntington, 52-53 Whall (SSS), 35-37
Homeward Bound II
Loose every sail to the breeze,
The course of my vessel improve,
I’ve done with the strife of the seas,
Ye sailors I’m bound to my love«
Chorus
Ye sailors, I’m bound to my love!
Ye sailors, I’m bound to my love!
I’ve done with the strife of the seas,
Ye sailors, I’m bound to my love!
Since Emma’s true as she’s fair,
My griefs I shall fling all to the wind.
’Tie a pleasing return for my care,
Where no conflict but love shall I find.

MB
Song Texts
2606
Hoist every sail to the wind,
Come, shipmates, and join in the song;
Let*s drink while our ship sails the seas,
To the gale that may drive her along,
*****************************

No, 725
HONEY, BABY KIKE I
also known as
Baby Mine
Crawdad
The Crawdad Hole
Crawdad Man
The Crawdad Song
Crawfish Gone
Honey
Honey Babe
Sweet Child
Sweet Thing
You Get a line and 1*11
Get a Pole
This song has been recovered and reported as both a "game”
and a "Negro" folk song. Long popular with country music
performers and audiences, the song has remained a staple
item of the "Blue Grass" repertoires.
See and compare the Honey Babe in Brown, V, 473* the Sugar
Babe in Lomax (USA), 108; and the Sweet Thing in Randolph,
III, 197-198.
REFERENCES
Agay (1), 34
Beet, 45
Botkin (AFL), 896
Coleman, 68
Grafman, 117
Ives (SA), 236-237
Kennedy (M-l), 42-43
Le'isy, 70
Leisy (SPS), 46
Lomax (OSC), 299
Lomax (UoA), 106-107
Roberts (IP), 273-279
Seeger (6), 86
Silber (HoB), 61
Silverman, II, 136
Thede, 72-73
Wilguo, 310
Yolen, 182-183

MB
bong Texts
2607
Honey , Baby Mine I (Version A)
You get a line and I’ll get a pole, honey!
You get a line and I’ll get a pole, babe!
You get a line and I’ll get a pole,
And we'll go down to the Crawdad hole,
Honey, sugar, baby mine.
Settin* on the ice till my feet got cold, etc .
See that Crawdad runnin* to hie hole, etc .
Get up, ol’ man, you slept too late, etc .
There ain?t no Crawdad on your plate, etc .
What you gonna do when the lake runs dry, etc .
And all the Crawdads start to die, etc .
Walkin’ down the road with a pack on my back, etc .
With all the CrawdadR I could pack, etc .
VERSION B
also known as
Sweet Child & Sweet Thing
Standin' on the corner, I meant no harm, my honey;
Standin* on the corner, I meant no harm, my sweet
child.
Standin' on the corner, I meant no harm,
A big policeman took me by the arm,
My honey, my sweet child.
Wrestled and kicked and tried to get loose, etc .
But he took me off to the calaboose, etc.
Sell ray crawdads three for a dime, etc .
Your crawdads ain't as good as mine, etc.

MB
Song Texts
2608
A little bit cloudy, but I hope it don’t rain, etc .
Gotta take a trip on the east bound train, etc .
When I die, ol’ friend, don’t bury me at all, etc .
Just soak my body in alcohol, etc.
********************************

Ko. 726
HONEY, BABY MINE II
also known as
My Honey Babe Sugar 3abe This Morning, This Evening
This is a composite song, made up of lines and stanzas'
found in many folk songs. There are many such "put to
gether" songs, and some of them are more interesting than
the songs from which they were extracted. For another
version, see Brown, III, 550-551 & V, 317-318 0
For a different song of the same type, see Honey Bee in
Brewer, 219.
Hone y, Baby Mine II
0 kill me a chicken and save me the wing,
This mornin’,
0 kill me a chicken and save me the wing,
This mornin’,
My honey babe, my little babe,
my sweet baby, so sweet.
0 kill me a chicken and save me the wing—
You may think that I work but I don’t do a thing!
This mornin’, this evenin’,
My honey babe, 0 honey baby mine!
I had an’ ol’ mule an' he wouldn't go gee, etc .
I hit him in the head with a singletree, etc .

MB
Song Texts
2609
I took my sweet gal to the crawfish stand, etc .
She fell in love with the crawfish man, etc,
0 never you mind what that woman has done, etc .
I’ll go right out and get me another one, etc.
***********************************

No. 727
HONEY IN THE ROCK
also known as
There’s Honey in that Rock
Thip is a campground , 'revival ,, hymn. It dates from the
19th century, though exact date of origin is unknown.
For a similar campmeeting song with a similar title,
see Home in the Rock in this Master Book.
The version below wa® contributed by Dickson Hall and
Gary Romero, New York City,
Honey in the Rock
My brother, do you know the Maker?
He is loving, He is kind and true,
And He’s the mighty Sock of Ages,
And there’s honey in that Rock for you!
Chorus
Yes, there’s honey in the Rock, my brother!
0, there’s honey in the Rock for you!
For your father, and your sister, and your mother
And there’s honey in the Rock for you!
My brother, do you read the Bible?
Are you living as he wants you to?
It’s written in the Holy Pages,
That there’s honey in the Rock for you!

MB
Song Texte
2610
My brother, life can be much sweeter,
And this is all you have to do:
Get acquainted with the Rock of Ages,
•Cau^e there's honey in the Rock for you!
**************** *******•*•#•

No, 728
HOP ALONG, JOHNNY
A game song for children*, Not related to the hoedown,
Hop Along , Sally in Ford (TMA), 64,
See and compare the Girl I Left Behind T in this Master
Book,
Hop Along , Johnny
Hop along, skip along, hop along, Johnny;
Treat that girl so kindly.
Turn around and swing that girl,
The one you left behind you,
******************* ****************

No, 729
THE HORNET AND THE PEACOON
also known as
The Peacock that Lived in the Land of King George
This song derives from a naval battle of the War of 1812*
The victory of the American ships, Hornet and Wasp , over
the British Peacock encouraged and cheered Americans who
were depressed and gloomy after many reverses on lando
According to Eddy, "The tune resembles that of The Laird
o* Cockoen , and may be a variant of that air*”
REFERENCES

MB
Song Texts
2611
Eddy,-244-245
Downes (1940), 77-79
Ives (SA), 286-287
Ives (SB), 122-123
The Hornet and the Peacock
Ye Demos, attend, and ye Pederals too:
1*11 sing you a song that you all know is true,
Concerning the Hornet, true stuff, I'll be bail,
That rumpled the Peacock and lowered her tail.
Chorus
The bird it was bred in the land of King George,
Her feathers were fine and her tail very large:
She spread forth her wings, like a ship in full sail
And prided herself in the size of her tail.
King George then says, “To America go;
The Hornet, the Wasp, is the British king's foe:
Pick them up, dear bird, spread your wings to the ga
"But beware of the insects!” cried old Granny Weal,
Away flew this bird at the word of command,
Her flight was directed to freedom's own land;
The Hornet discovered her wings on the sail,
And quickly determined to tickle her tail.
So at it they went, it was both pick and sting,
The Hornet still working keen under her wing;
"American insects,” quoth she, ”1*11 be bail,
Will humble the king bird and tickle her tail,"
The Peacock now mortally under her wing
Did feel the full force of the Hornet's sharp sting;
She flattened her crest like a shoal on the whale,
Sunk down by her side and lower'd her tail.

MB
Song Texts
2612
Success to brave Lawrence, who well knew the nest
Where the Hornet and Wasp with honor «till rest.
We'll send them a force, and with skill, I'll be bail,
Will humble King George and tickle his tail,
************************* *****

Ho, 730
A HORSE NAMED BILL
*>* —
Non-sense song—old, but still amusing men performed well.
I have-no reliable information regarding its origin, but it
appears in sever reputable collections,
REFERENCES
Lomax (FSNA), 135 Silverman, II, 170
Randolph, III, 203 Winn (1), 154
Sandburg (AS), 340-341 Yolen, 28-30
Sandburg (NAS), 88
A Horse Named Bill
I had me a horse and his name was Bill,
And when he ran he couldn't stand still;
He ran away one day, and also I ran with him!
He ran so fast that he could not step.
He ran into a barbershop and fell exhaustionized
With his eye-teeth in the barber's left shoulder.
I had a gal and her name was Daisy;
When she sang the horse went crazy, with diliriums,
St. Vituses, and all kinds of horse-leptics.
At shooting birds I an a Deaut,
There is no bird I cannot shoot,
Right in the eye, in the ear, in the teeth, in
the fingers!

MB
Song Texts
2613
Now what can you do in a case like that?
0, what can you do but stomp on your hat?
Or your toothbrush, or your grandmother., or
anything else that*s helpless?
********************************************

No, 731
HORSE TRADERS* SONG
also known as
The Horse Wranglers
I am satisfied that this is a version of The Horse
Wranglers , a song of the Gypsies, who were once very
active as horse traders. For another version, see
Lomax (FSNA), 323-324 and Randolph, III, 261-262,
Horse Traders’ Song
■ ■ ■ ■ ■■ ■ ■ ■ ■ ■ ■ ' ii ■■■ ■ ■
Oh, do you know those horse-wranglers?
And do you know their plan?
Oh, do you know those horse-wranglers?
And do you know their plan?
I know they plan for to ride,
Ride out and catch what ever they can,
Lord, Lord!
I was once known as a horse-wrangler,
And I*ve been all around this world.
They ride all over the Indian range,
To get whatever they can.
Oh, yonder they come, a-ridin*, boys-,
With a lasso in each hand.
Just look in frint of our horses, boys-,
And see that runnin* herd, Lord, Lord!
Oh, life is full for a horse-wrangler,
And I’ve been all around this world,
************************

MB
Song Texts
2614

Ho. 732
HOUSE OP THE RISING SUIT
also known as
The Rising Sun Blues
An old-time country blues that got itself all dressed up
and traveled to the cities* Popular and not so popular
singers have added versions to their repertoires. Its new
lease on life shows no signs of diminishing, but it re
mains what it always was—a folk blues*
REFERENCES
Seeger (6), 18
Silber (HSB), 93
Silverman, II, 51
Silverman (FB), 269
Edwards (CHSB), 201
Leisy (SPS), 16-17
Lomax (FSNA), 290
Lomax (OSC), 369
House of the Rising Sun
There is a house down in New Orleans,
They call it the Rising Sun;
It has been the ruin of many a poor girl,
And she, Oh, Lord, was one.
If she had listened to her ol* Ma,
She’d still be at home today,
But being young and foolish like, poor girl,
A gambler led her astray.
Go tell her baby sister now,
To never do the way she’s done;
To shun that house down in New Orleans
They call the Rising Sun.
I’m goin’ right down to New Orleans,
My race it is almost run;
When I get there I’m gonna take that girl
Away from the Rising Sun.

MB
Song Texts
2615

No, 735
HOW MANY MILES TO BABYLON?
also known as
How Many Miles to Babyland?
How Many Miles to Banbury?
How Many Miles to Barley Bridge
How Many Miles to Bethlehem?
How Many Miles to London Town?
King and Queen of Cantelon
London
Marlybright
Molly 3ride
Molly Bright
To Babyland
This song is part of an old chasing game; it grew out of
and derives from the ancient custom of entering a walled-
in city to sell produce. Song has been known in America
8once colonial times, and it is still in circulation.
Two versions (A and B) are given below,
REFERENCES
Bertail, 18
Billoon, 63
Brown, I, 74-78
Burne, 522
Chambers (PRS), 123-124
Collins, 49
Folk-Lore Journal, VII,
230
Gomme, I, 231-238
Halliwell (NEE), Nos. 328
& 357
Halliwell (PRNT), 118, 217
Hofer, 43
Jour (AFL), V, 120; XL,
32
Linscott, 18
McDowell, 68-69
McIntosh (FSSG), 85
Newell, 153-154
Northall, 396-398, 421-
422
Notes (4th series), VII, 141
271, 415, 506, 523
Pub (TFLS), XVII, 142
Quarterly (SFL), VI, 256
Simpson, 217
How Many Miles To Babylon? ( Version A)

MB
Song Texts
2616
How many miles to Babylon?
Four-pcore and ten!
Can I get there by candle light?
Yes, and back again.
Open the gate and let us through.
Toll first you pay!
I have no gold. What shall I do?
Go away, away!
VERSIOH B
How many miles to Barley Bridge?
Three score and ten.
Can I get there by candle light?
Yes, if your legs be long.
A courtesy to you, * c
A courtesy to you,
Xf you please, will you
Let the king's horses through?
Through and through they shall go,
For the king’s sake;
But the one that is the hindmost
Will meet with a great mistake.
************************************

No. 734
HUMBUG STEAMSHIP COMPANIES
A satirical complaint about one of the main ways of trans
portation during the California gold-rush years, this song
was written By J. A. Stone and published in The Original
California Songster*

MB
Song Texts
2617
REFERENCES
Black, 20-21
Grant (SF), 106-107
Lengyel, 70-71
lengyel (HB), 13
Put (6), 43-44
Silber (SGAW), 125-129
Turner (CS), 24
Vitus, 18
Lingenfelter, 30-31
Humbug Steamship Companies Tune: Uncle Sam*s Farm
The greatest imposition that the public ever saw
Are the California steamships that run to Panama;
They're a perfect set of robbers, and accomplish their
designs
By a general invitation of the people to the mines.
Chorus
The come along, come along, you that want to go;
The best accommodations, and the passage very low.
Our boats they are large enough, don't be afraid,
The Golden Gate is going down to beat the Yankee trade.
They have opposition on the route, with cabins very nice,
And advertise to take you for half the usual price;
They get thousands from the mountains, and then deny
their bills,
So you have to pay the prices, or go back into the hills.
When you start from San Francisco, they treat you like a dog
The victuals you're compelled to eat ain't fit to feed a hog
And a drunken mate a-cursing and damning you around,
And wishing that the boat would sink and every one be
drowned!
You are driven round the steerage like a drove of hungry
swine,
And kicked ashore at Panama by the Independent Line;

MB
Song Texts
2618
Tour baggage in thrown overboard, the like you never
saw,
A trip or two will sicken you of going to Panama.
**********************************

No. 735
HUMPTY DUMPTY
Known now as a nursery rhyme, this is, in fact, an ancient
European riddle verse. Opie, 215, says: "The earliest re
cording of the rhyme itself is in manuscript, a contemporary
addition to a copy of Mother Goose * s Melody ( circa 1803)."
In the nursery sense, the term "Humpty Dumpty" does not
appear to have been in use prior to 1785. The rhyme makes
sense only as a riddle, because eggs do not sit on walls.
If, however, the verse is view as human beings impersonating
eggs, then it makes sense.
This rhyme is also sung, sometimes, as a round.
REFERENCES
Bertail, 102 Taylor (BR), 14
Brown, I, 296 Wier (8WW8), 194
Moorat, 9 Wier (YAM), I, 51
Humpty Dumpty
Humpty Dumpty sat on a wall.
Humpty Dumpty had a great fall.
All the king's horse's and
all the king's men
Couldn't put Humpty Dumpty
together again.
*#**-*-**■** ■*#■*-*-*•-*****• **-■**-*•****•*•*

KB
Song Texts
2619

No, 736
THE HU2IGRY CRG773
also known as
Bally-W ay-Wiggle -Bus-Daw
Billie McGee McGaw
Billy I.IaGee MaGar
The Crow Song
Lover's Farewell
Poor Old Crow
The Three Blackbirds
Three Black Crows
The Three Crows
Three Old Crows
The Three Ravens
The Twa Corbies
The Two Crow 9
Two Hungry Crows
Two Old Crows
The Two Ravens
Willie McGee McGaw
Willy MaGee MaGar
The roots of this ballad extend deep into the history of
European folklore# Many variants, versions and parodies
have sprouted from it. The earliest printed version,
entitled Country Pastimes , is in Ravenscroft»s Melismata ,
dated 1611. Sir Waiter Scott published a text in which
the birds were called "Corbies”. In 1825, Allan Cunning
ham altered and expanded Scott's version, ohanging "Corbies
to "Ravens", and published it in Songa of Scotland . I, pp.
289-290. Very few versions sung today resemble the 1611
text, and none of those collected in America have anything
in common with it. Most American versions can be traced
back to tne parody, Billie McGee McGaw . which was intro
duced on vaudeville stages about the time of the Civil War.
Texts and tunes vary greatly, and there are many kinds of
versions, including a shanty and a children's game. For ex
ample, Doerflinger gives a shanty version set to the tune
Of Blew the Man Down. Davis (TBV) has two parodies, both
Civil War song* set to the tune of When Johnny Come* Merch-
in£ Home. Chase (APTS) gives a derivative of the Scottish
form se to the tune of Ye Bank* and Braes of Bonnie Boon.
Generally, the ver*ions known in America are set to a tune
which, a* Owens observe*, is "more or le®* similar to that

MB
Song Texts
2620
of When Johnny Cornea Marching Home« “
Since American collectors have lumped all versions to
gether in their reference li e ta, it seemed that the
logical thing to do here would be to present three forms
of the song—Scottish (A), English (3), and Aimerican (C).
Versions A and 3 are closer aligned than version C^ which
is, in truth, a parody of version B.
REFERENCES
Bantock^ 6—7
Barry (BBM), 435-437
Belden (BS), 31-33
Beet, 26
Botkin (APPS), 63
Brewster (BSI), 53-54
Bronson, I, 308-316
Brown, II, 46
Brown (BENC), 9
Cjampbell & Sharp, No. 10
Chamberlain, 152
Chappell (PSRA), 15-16
Chappell (OEPM), I, 75
Chappie (K3), 485
Chase (APTS), 114-116
Child, I, 253-254
Coffin, 52-54
Cole, 26-27
Cox (FSS), 31-33, 522
Cox (F3WV), 13-14
Cox (TBPb), 19
Creighton (FSNB), 5
Creighton (TSNS), 21
Cunningham, I, 289-290
Davis (MTBV), 84-83
Davis (T3V), 137-144, 562
Doerflinger, 21
Edwards, 124-125
Elson, 47
Flanders, I, 243-256
Flanders (VFSB), 129
Ford (TLIA), 449
Friedman, 23-25
Gainer, 28
Henry (FSSH), 48-53
Houseman, 105-106
Hudson (FSM), 72-73
Hudson (SMFL), No. 6
Hugill (1), 212
Jones, 301
Jour (AFL), XX, 154; XXVII,
63; XXVIII, 201; XXXI,
273; XLV, 8-12
Kidson (FSNC), 24-25
Kidson (TT), 17-18
Kinsley, 245-246
Leach (BB), 111-113
Leisy, 30-32
Leisy (SPS), 47
Linscott, 289
Moore (BESS), 34-35
Morris, 254
Most (PCS), 81
Niles (33), 102-105

MB
Song Texts
Owens (TPS), 14-15
Put (TP1S), VII, 110
Quiller-Couch, 293-294
Randolph, I, 74-76
Ravenecroft (M), No, 20
Ritson (AS), 155
Roberts (IP), 25-26
Sanders, 132
Scarborough (NFS), 149
Scarborough (SC), 193-195
Scott (MSB), III, 235, 239
Seeger (l), 121
Sharp, I, 63-64
2621
Sharp (FSEO), 22
Shekerjian, 46-^7
Shoemaker (MKP), 276
Silverman, I, 212
Songs (15), 74
Stout, 2-5
Waite, 78
Welle, 151-152
Wetmore, 10-12
Whiting (TBB), 129-130
Winn (2), 70-71
Wyman (TKMS), 1
Yolen, 140-143
The Hungry Crows ( Version A)
As I was walking all alane,
I heard twa corbies making a maen:
The tane unto the t’ither did say,
"Whaur shall we gang and dine the day?”
"0 doun beside yon auld fail dyke,
I wot there lies a new-slain knight;
And naebody kens that he lies there
But his hawk, his hound, and his lady fair,”
"His hound is to the hunting gane,
His hawk to fetch the wild-fowl hame,
His lady*s ta’en another mate,
Sae we may mak* our dinner sweet,”
”0 we*11 sit on his white hause bane,
And I»11 pyke out his bonny blue e*en;
Wi' ae lock o’ his gowden hair
We‘11 theek our nest when it blaws bare.

MB
Song Texts
2622
"Mony a ane for. him kaes maen,
But nane shall ken whaur he is gane.
Over hie banes when they are bare,
The wind shall blaw for evermair,"
VERSION B
There were three ravens sat on a tree,
Down a down, hey down, hey down,
They were as black as they might be,
With a down.
Then one of them said to his mate,
Where shall we now our breakfast take?
With a down, derry, derry down, down.
Down in yonder green field,
Down a down, hey down, hey down,
There lies a knight slain under his shield,
With a down.
His hounds lie down at his feet,
So well do their master keep,
With a down, derry, derry down, down.
His hawks they fly so eagerly,
Down a down, hey down, hey down,
There’s no fool that dare him come nigh,
With a down,
Down there comes a fallow doe,
As great with young as she might go,
With a down, derry, derry down, down.
She lifted up his bloody head,
Down a down, hey down, hey down,
And kiss’d his wounds that were so red,
With a down.

MB
Song Texts
2623
She go't him upon her back
And carried him to the earthen lake,
With a down, derry, derry down, down.
She buried him before the prime,
Down a down, hey down, hey down.
She was dead herself ere even-song time,
With a down,
God send us every gentleman
Such hawks, such hounds, and such a loved one,
With a down, derry, derry down, down.
VERSION C
Now two old crows sat on a tree,
0 Billy Magee Magaw!
Yes, two old crows sat on a tree,
0 Billy Magee Magaw!
Those two old crows sat on a tree,
And they were black as crows could be,
And they all flapped their wings and cried,
(Caw! caw! caw!) Billy Magee Magaw!
And they all flapped their wings and cried,
Billy Magee Magaw!
Then one old crow said to his mate, etc,
"What shall we do for grub to ate?" etc
There lies a horse on yonder plain, etc .
Who's by some cruel butcher slain, etc,
We’ll perch ourselves on his backbone, etc .
And pick his eyes out one by one, etc,

MB
Song Texts
2624

No. 737
THE HUNTERS OP KENTUCKY
also knov/n as
Half-Horse and Half Alligator Old Packingham
Oh, Kentucky, the Hunters of Packenham
Kentucky Packing ham
The words of this song about the Battle of New Orleans- was
written by Samuel Woodworth. It was sung with success by
comedian Arthur Keene at his theater in New Orleans,
According to Randolph, the song wa« fir^t published in
December, 1822, in The Port Polio , II, 327 - 529 .
The Packenham or Packingham referred to in the text repre
sents Major General Sir Edward Pakeham, commander of the
British forces.
The Hunters of Ken tuc?<y was issued in sheet music form by
T. Birch, N. Y. C.
REFERENCES
Agay (2), 42-43
Arnett, 34
Beet, 15
Belden (BS), 298-299
Botkin (API), 9-12
Carmer (SRA), 90-91
Dolph, 445-448
Downee (1943), 186-107
Enrich (PAL), 408-409
Henry (S3SA), 93-94
Ives (SA), 284-285
Lawrence, 212, 227
Leisy, 233
Levy, 337-338
Lloyd, 34-35
Luther, 63-64
Randolph, IV, 104-105
Sandburg (AS), 427-429
Scott (BA), 113-117
Silber (SAVB), 29
Silverman, II, 296
The Hunters of Kentucky Tune: The Unfortunate Miss Bailev
*—*“■*—' ” ' — -I—. . — .■■■■■■ — . . . . .. ■ .III ■ - . in I fa
Ye gentlemen and ladies fair, who grace this famous city,
Just listen if you've time to spare, while I rehearse a
ditty;

MB
Song Texts
2625
And for the opportunity consider yourselves lucky;
It isn’t often that you see a hunter from Kentucky,
Oh, Kentucky! the hunters of Kentucky!
Oh, Kentucky! the hunters of Kentucky!
We are a hardy, free-bron race, each man to fear a stranger;
Whate'er the game we join in chase, despoiling time and
danger.
And if a daring foe annoye, whate’er his strength and forces
We’ll show him that Kentucky boys are alligator horses!
I s*pose you’ve read it in the prints, how Pakcenham
attempted
To make old Hickory Jackson wince, but soon his scheme
repented;
For we, with rifles ready cock’d, thought such occasion
lucky,
And soon around the gen’ral flocked the hunters of Kentucky!
Uou’ve heard, I s’pose, how Hew Orleans is fam'd for wealth
and beauty?
There’s girls of ev’ry hue it seems, from snowy white to
sooty,
So Packenham he made hie brags, if he in fight was lucky,
He’d have their girls and cotton bags, in spite of old
Kentucky,
Old Jackson he was wide awake, and was not scar’d at trifles
Por well he knew what aim we take with our Kentucky rifles.
So he led us down to Cypress swamp, the ground was low and
mucky,
There stood John Bull in martial pomp and here was old
Kentucky,

MS
Song Texts
2626
A bank was raised to hide our breasts, not iihat we thought
of dying,
But that we always like to rest, unless the game is flying.
Behind it stood our little force, none wished it to be
greater,
For every man was half a horse and half an alligator!
They did not let our patience tire, before they show'd
their faces;
We did not choose to waste our fire, so snugly kept our
places.
But when so near we saw them wink, we thought it time to
stop ’em—
And 'twould have done you good, I think, to see Kentuckians
drop 'em.
They found at last twas vain to fight, where lead was all
the booty,
And so they wisely took to flight, and left us all our
beauty.
And now, if danger e’er annoys, remember what our trade is:
Just send for us Kentucky boys, and we’ll protect ye, ladiesl
**************************************

No. 738
HUNTING FOR A HOME
also known as
I'm So Glad
Pre-Civil War spiritual, and one of those featured on
stage and in concert by the original Fisk Jubilee Singers.
The title was used as an important line in a later socio
economic song, The Boll Weevil (see in M3). The version
of the song below is from Karsh (SJS), 235.

MB
Song Texts
2627
Hunting for a Home
You won’t get lost in the wilderness,
Hunting for a home,-
With the love of Jesus in your breast,
Hunting for a home.
Chorus
I*m so glad the angels
brought the tidings down,
I’m so glad, I’m hunting for a home,
Oh, hunting for a home.
Oh, sinners, you had better pray, etc .
For Satan’s round you every day, etc.
A little longer here below, etc 0
And then to Glory we will go, etc.
The angels sang in Bethlehem, etc .
Peace on earth, goodwill to men, etc.

No. 739
HURRAH! FOR SOUTHERN RIGHTS
also known as
The Bonnie (Bonny) Blue Flag War Song
This Confederate song, sung to the tune of The Irish
Jaunting Car, was almost as popular as Dixie and inspired
a whole series of «ongs, including several pro-Union ones.
According to Mildred L. Rutherford ( The South in Hietory
and Literature , Athens, Ga,, 1906), this song was first
performed in September, 1861, at the Academy of Music in
New Orleans, La, Its performance so angered commander
General Butler that he issued an order to the effect "that

KB
Song Texts
2628
any man, woman or child that sang that song, whistled
or played it, would be fined twenty-five dollars."
According to J. A. Fitzgerald ( Stories of Famous Songs ,
p. 106), the text "wan written in 1862 by Annie Chambers
Ketchum to an Irish air adapted or composed by Henry
McCarthy.’ 1 Fitzgerald is at least a year off the mark.
The song was published in sheet music form by Blackmar
A Bro., 74 Camp St,, New Orleans, shortly following its
introduction by Harry McCarthy, ”a noted comedian and
entertainer, known as The Arkansas Comedian, in the Spring
of 1861.”
Other versions crediting authorship to McCarthy are in
The Confederate Scran-Book (Richmond, 1893), pp. 192-193;
Eggleston, I, 189; and Moore, Song a and Ballads of the
Southern People , 135-137. Broadside versions were issued
by Fartridge (No. 836) and Wehman (No. 607).
For other songs sung to the tune used for this one, see
Hurrah! for the Sunny South I & II and Hurrah! for the
Union I & II in MB.
REFERENCES
:Ford (TMA), 462-463
Glase (SS-2), 12-14
Agay (2), 130-131
Enrich (FAL), 414-415
Hudson (FSM), 265-266
Ives (SA), 298-300
Belden (BS), 357-359
Brown, III, 451-453
Chappie (KS), 60-61
Dolph, 245-247
Kennedy (TAB), 170-171
Krythe, 141
Lawrence, 353-359
Leisy (LAS ), 52-53
Lloyd, 124-125
Luther, 175-177
Randolph, II, 261-263
Staton, 95
Whitman, 40-41
Hurrah! for Southern Rights Tune: The Irish Jaunting Car

MB
Song Texts
2629
We are a band of brothers,
And native to the soil;
We’re fighting for the property
We gained by honest toil!
And when our rights were threatened,
The cry rose near and far:
Hurrah for the Bonnie Blue Flag,
That bears a Single Star!
Chorus
Hurrah! Hurrah! for Southern Rights!
Hurrah! Hurrah! for the Bonnie Blue Flag,
That bears a Single Star!
As long as the old Union
Was faithful to her trust,
Like friends and like brothers,
Kind were we, and just!
But now, when Northern treachery
Attempts our rights to mar,
We hoist on high the Bonnie Blue Flag,
That bear© a Single Star!
Then here’s to our Confederacy,
Strong we are, and brave,
Like patriots of old,
We’ll fight our heritage to save!
And rather than submit to shame,
To die we would prefer,
So cheer for the Bonnie Blue Flag,
That beare a Single Star!
************--**********************

MB
bong Texts
2630

No, 740
HURRAH! BOR THE SUNNY SOUTH I
aleo known as
The Homespun Drees
The Southern Girl
Southern Girl's Song
Three Cheers for the Homespun
Dress
The tremendous success of the preceding song inspired
imitators, and this song came into being® It was al
most as popular as the song from which it took its
form and tune® Authorship is in doubt® Collector's have
credited the text to both a man and a woman, thus pro
ducing an unresolved dispute,,
Belden cites an informant who wrote that the song
"is to be found in Miss Mason's Southern Poems of the
War (Baltimore, 1867) and in the Confederate Scrap -
Book (Richmond, 1893), and...it was written by Carrie
Bell Sinclair in 1863*” In The South in History and
Literature (Athens, Ga., 1906, pp. 214-216) Mildred
Lewis Rutherford al°o attributes the text to Carrie
Bell Sinclair. Luke W. Conerly (Pike County , Mississippi
1798 - 1876 ) attributes authorship to Lieutenant Harring
ton of Alabama, on the authority of "a writer in the
Age - Herald of Birmingham/' Staton agreed, then, just
12 pages later, gives the song again and attributes
the words to Carrie Bell Sinclair®
Prank Moore ( The Civil War in Song and Story , New York,
1889), pays: "The....song was taken from a letter of
a Southern girl to her lover in Lee's army, which
letter was obtained from mail captured on Sherman's
march through northern Alabama,"
REFERENCES
Arnett, 78
Belden (BS), 360
Brown, III, 453-456
Emrich (PAL), 416-417
Glass (SS-2), 230-232
Hudeon (FSK), 265-266

MB
Song Texts
2631
Moore (CW), 179
Morris, 31-32
Queries (1-22-39), 27
Randolph, II, 262-263
Scott (BA), 229-230
Staton, 111-112, 124-125
Williams (PSCW), 281-282
Hurrah? for the Sunny South I Tune: Irish Jaunting Car
0 yes, I am a Southern girl, I glory in the name!
It*o what I prize far greater than glittering wealth and
fame,
I envy not the Northern girl her robes of beauty rare—
Tho pearls bedeck her snowy neck, and diamonds stud her
hair.
Chorus
Hurrah! Hurrah! for the Sunny South, so dear!
Three cheers for the homespun dress the Southern ladies
wear!
My homespun dress is plain, I know; my hat is palmetto
too.
But now you see what Southern girlo for Southern righto
can do.
We sent the bravest of our land to battle with the foe,
And we v/ould lend a helphing hand, to strike the ITorth
a blow.
Our Sunny South’s a glorious land, and ours a glorious
cause—
Then here’s three cheers for Southern rights, and for
our Southern boye!
We sent our sweethearts off to war, but there's no need
to mind:
The soldier boy will not forget the girl he left behind.

MB
Song Texts
2632
Now young nan I 1 Ye a word for you, if you would win
the fair:
Go to the field where jonor calls and win your lady there
Remember that our "bravest smiles are for the true and
"brave,
And that our tears are all for those who fill a soldier*s
grave,
**********************************

No. 741
HURRAH! FOR THE SUNNY SOUTH II
also known as
The Southern Girl r s Reply
When the Confederacy finally lay in ruins, Robert S. Lee
surrendered hi** army at Appomattox and the military side
of the Civil 7» r ar wa« officially at an end. Personal war
continued, however, and relationship 0 varied from hatred
to loving. It was only natural that Union soldiers would
woo Confederate women, and many did' so. Some were quite
successful in the war of love, others, as the song below
demonstrates, were not so fortunate.
For another version, see Scott (BA), 251-252.
Hurrah? for the Sunny South II Tune: Irish Jaunting Car
I will not listen to. your words,
The land*s too far and wide;
Go home and seek a Northern girl
To be your loving bride.
My "brothers all were °oldiers;
The youngest of the three
Was slain while fighting at the side
Of our great General Lee.

MB
Song Texts
2633
Chorus
So hurrah! Hurrah!
For the Sunny South, I say!
Three cheers for the Southern girl
And the hoy that wore the gray.
My lover was a soldier too—
The war wa9 not his plan;
A sabre pierced his gallant heart—
You might have bee the man!
He reeled and fell but was not dead;
A horseman rode with speed,
And trampled on his dying brain—
You might have done the deed!
They left his body on the field,
Those soldiers who had won;
A horseman spurred him with his heel—
You might have been the one!
I have no hatred in my heart,
Nor cold and righteous pride,
For many a gallant soldier fell
Who served the other side.
Still, air, I cannot take the hand
That smote my country sore;
Or love the foe that trampled down
The colors that she wore.
Betwixt my heart and yours there runs
A deep and crimson tide—
My brothers’ and my lover’s blood
Won’t let me be your bride.
******■***-*-***■*■*•*■-*■**■*■* #■**-***•***

MB
Song Texts
2634

No. 742
HURRAH! FOR TEE UNION
also known as
The Bonnie Blue Flag with
the Stripes- and Stare
The Northern Bonnie Blue
Flag
The popularity of the Confederate Hurrah! for Southern
Rights (see in MB) resulted in this parody* Here, too,
authorship is in doubt. According to Glass (SS-2), 15»
the words were written by Col. J, L. Geddes, while he
was a prisoner of war in Selma, Alabama. According to
Scott (BA), 218-220, the words were written by Isaac Ball.
Hurrah! for the Union Tune: Iri«h Jaunting Car
We are a band of patriots,
Who now leave home and friend
Our noble Constitution
And banner to defend.
Our Capitol was threatened,
And the cry rose near and far,
To protect our country’s glorious flag,
That glitters with many a star.
Chorus
Hurrah! Hurrah! for the Union, boys!
Hurrah! Hurrah! for our country’s good
old flag,
That glitters with many a star!
Much patience and forbearance
The North has always shone,
Toward her Southern brethren,
Who had each way their own.

MB
Song Texte
2635
But when we made our president,
A man whom we desired,
Their wrath was roused; they mounted guns
And on Port Sumter fired.
They forced the war upon us.
For peaceful men are we;
They steal our money, seize our forts,
And then as cowards flee.
False to their vows, and to the flag
That once protected them,
They sought the Union to dissolve—
Earth’s noblest, brightest gem!
We’re fighting for our Union,
In which we’ve placed our trust;
We’re fighting for our native land
That they would grind to dust!
It mu'st not be diesevered,
Though it cost us bloody wars—
We never will give up this land
Where floats the Stripes and Stars.
We do not need their cotton,
And care not for their slaves,
But rather than divide the land,
We’ll fill their Southern graves.
With Lincoln as our Chieftain,
We'll bear the country’s scars;
We'll rally round the brave old flag,
That bears the Stripes and Stars.
********* ************* ****

KB
Song Texts
2636
' No. 743
HUSBAND'S COMPLAINT I
also known as
A Bachelor Bold and Young
Bachelor Boy
A Bachelor Young and Bold
Blue Bottle
The Brisk Young Bachelor
The Holly Twig
I Married Me a Wife
Monday Morning I Sot Me a.
Wife
The Old Bachelor
A Week’s ?/ork
When I Was a Bachelor
When I Was a Roustabout
dates back to at least 1760, for that year it
Garlands , a collection of Eng-
a children's song, is a close
Another form is Young Man
REFERENCES
This song
appeared in West Country
li«h stall ballads.
The English Robln-A-Thrush ,
form of the song given below
With a Lazy Wife (see in MB)
Baring-Gould (SW), No. 117
Brown, II, 454-455; IV,
243
Campbell & Sharp, No, 43
Chappell (FoRA), 77-78
Davie (FSV), 161
Halliweil (NRE), 29-30
Henry (FSSH), 154-155
Hudson (FSM), 174-175
Hudson (SMFL), No. 39
Jour (AFL), XXXIX, 155
Jour (FSS), III, 315-316
Karpeles (FSE), II, No. 201
Laws, Q 6, 276
Lomax (OSC), 134-135
Peacock, I, 322-323
Quarterly (SFL), V, 183-184
Randolph, III, 71-72
Roberts (S3S), 104-105
Sharp, I, 341-343
Shellano, 16-17
Talley, 145-146
Husband' s Complaint _!
As bachelor bold and young,
Loved a girl with a flatterin’ tongue;

MB
Song Texts
2637
She said she loved me worse than sin!
I promised I would marry her,
But I forgot to tell her when!
Monday she Became my wife—
Thought I’d have me a better life.
To my purpir^e it wasn’t so.
Before the day was halfway gone,
My happiness had turned to woe.
Tuesday, as the sun did rise,
Cot myself a big surprise!
She nagged at me and cuased me more,
Than ever in my whole life
I was nagged and cussed before!
TTednesday I was in the wood
Cutting twigs to make her good!
And from a holly tree so green,
I cut the longest, toughest switch—
The like of which you’ve never seen!
Thursday, boys, I laid them by.
Thinking I’d give her one more try,
To see if we could happy be;
But if she started in again,
I meant to turn her on my knee!
Friday, boys, I lammed her well,
Lammed her ’til she screamed like hell!
I swore upon my mother’s name,
If e’er again she should complain
I’d take a stick and do the same!
************************

MB
Song Texts
2638

go, 744
HUSBAND’S COMPLAINT II
also known as
The Brisk Young Bachelor The Poor Man's Labor’s Never
The Old Bachelor Done
A Stern Old Bachelor
This appears to be an Irish form of the preceding English
song, and it, too, has survived in several widely varying
versions. For two other versions, see The Songs of Ireland,
Dublin, 1845, p. 99 and O’Conor, p. 31.
REFERENCES;
Barry (Si), 99 Randolph, III, 246
Karpeleo (FSE), II, No. 203 Reeves, 88-89
Lomax (A3FS), 354-355 Sharp (EFS), II, 60-61
Lomax (OSC), 119 Sharp (FSFS), No. 101
Mackenzie, 345-346 Sharp (100), 156-157
Morris, 159
Husband’e Complaint II
Once I was a stern young bachelor,
Then I took a handsome wife;
I needed some one to be near me,
Help me lead a sober life.
Chorus
Wick a whack dweller,
0 didle de di di doe,
Whack willity, didle-de doe!
First dang year that we were married,
She didn’t do a stroke of work;
She always grumbled, always scolded,
Made me savage as a Turk?

MB
Song Texts
2639
Second year that we were married
A baby came, and we were three;
She sat me down beside the cradle,
Not a bit of help wgs she!
Home I come all tired and weary,
No food to eat and nothing done,
But right upstairs, then to the celler,
With the kettle I must run.
If I dare to criticize her,
She replies, 0 come, come, come!
A woman must receive some pleasure—
Poor man’s work is never done*
My old mother comes to see me,
Shakes her head and says, ”0 son,
This world is filled with many women—
Why should you be tied to one?
"Leave this one and try another;
And if you find she will not do,
Then take a third, a fourth, a fifth one,
Let your sorrows all renew!"
Listen, all you free young bachelors,
If you intend to happy be,
When you consider getting married,
Think of what has come to me,
*************************

No. 745
HUSH-A-BYE
also known as
All the Pretty Little Horses
All the Pretty Little Ponies
Go to Sleepy, Little Baby
Horsey Song
The Little Ponies
Mammy Loves
Pretty Little Horses
A Schoharie Lullaby

MB
Song Texts
2640
This lullaby originated in the Southern states and is
a genuine American classic<> Yet Cecil Sharp printed
a version, indicating that it was originally an English
pong. He did not give a single reference to support such
an inference, I have not seen it in any English collection
of folk 8ongs 0
REFERENCES
Agay (1), 22
Arnold, 101
Bikel (FF), 111-112
Brown, III, 150; V, 82
Davis (FSV), 182-183
Downes, 197, 231
Gardner (FSH), 227
Jour (AF1), XLIV, 419;
XLVII, 334
Lloyd, 68
Lomax (ABFS), 304-305
Lomax (PB), 59
Lomax (USA), 14-15
Owens (TFS), 181
Ritchie (SFC), 233, 244
Sandburg (AS), 454-455
Scarborough (NFS), 145-147
Scott (BA), 204-205
Seeger (1), 198
Sharp, II, 341
Silber (HSB), 58
Silverman, I, 312
Warner, 23
Winn (1), 22
Hu3h-A-Bye ( Version A)
Hueh-a-bye, don't you cry;
Go to sleepy, little baby.
When you wake, you shall have cake,
And pretty little horses.
Blacks and bays, dapples and grays,
With a saddle for the horses,
Hush-a-bye, don't you cry;
Go to sleepy, little baby.
VERSION B

MB
Song Texts
2641
Manny loves and Pappy loves,
And Mammy loves her baby.
Go to sleepy, go to sleep,
Go to sleep, sweet little baby.
When you wake you shall eat cake
And ride the pretty little pony.
Go to sleepy, go to sleep,
Go to sleep, sweet little baby.
*** ************ ****** ***•#•■* *

No. 746
HUSH-A-BYE, BABY
also known as
Hush, Little Baby
Mamma, Have You Heard?
The Mockingbird
Momma, Momma, Have You Heard?
Papa’s Gonna Buy Me a
Mockingbird
Sister, Sister Have You .
Heard?
You Shall Have a Horse to
Ride
This is one of the most popular lullabies in the United
States. Generation® of babies have been lullabied by
thiR Rong, and it is «till widely known and sung.
See and compare the Baby Bear piece in Seeger (1), 144.
REFERENCES
Agay (1), 31
Agay (2), 88
Arnett, 61
Botkin (SFL), 704
Brown, II, 474; III,
McIntosh (FSSG), 100
Randolph, III, 50-51
Ritchie (S3B), 84-85
Leisy, 169-170
Leisy (SPS), 14
Lomax (08C), 96
Lomax (PB), 59
629; V, 82
Ives (SA), 148-149

MB
Song Texts
Scott (BA), 164
Seeger (1), 147
Sharp, II, 342
2642
Silber (HSB), 52
Winn (1), 12
Winn (2), 35
Hueh-a-bye, Baby
Hush-a-bye, baby, don’t you cry,
You shall have a Mockingbird, bye ’n’ bye.
If that Mockingbird don’t sing,
Baddy’s gonna buy you a golden ring.
If that ring should turn to brass,
Baddy’s gonna buy you a looking-glass.
If that lcoking-glass should break,
Baddy’s gcnna buy you a chocolate cake.
If that chocolate cake ain’t sweet,
Baddy’s gonna buy you a drum to beat.
If that drum’s too loud, of course,
Baddy’s gonna buy you a rocking-horse.
If that rocking-horse don’t rock,
Baddy’s gonna buy you a coo-coo clock 0
If that coo-coo flys away,
Mamma*8 gonna hold you close and say:
Hush-a-bye, baby, don’t you cry;
You shall have a Mockingbird, bye *n’ bye.
*************************

MB
Song Texts
2643

No, 747
HUSH-A-BYE, 3ABY, ON THE THEE TOP
also known as
Rock-a-bye, Eaby When the 7/ind Blows
This is an English lullaby-nursery song; it wap widely
known in early America and is still popular in amny
areas, particularly the Southern states* Availability
in print has probably kept the song out of most American
folk collections,
REFERENCES
Bertail, 68
Creighton (FSN3), 180-182
Davie (FS7), 182
Halliwell (NR3), 102, 157
Jour (AFL), XLI, 500
Moorat, 33
Northall, 425-426
Pound (SF5N), XXXI, 76
Rimbault (NR), 17
Wier (SWWo), 182
Wier (YAM), I, 25, 38, 41
Winn (1), 20-21
Hush-a-bye , Baby , On the Tree Top
Hush-a-bye, baby, on the tree top,
When the wind blows, the cradle will rock;
When the bough breaks the cradle will fall—
Down will come baby, cradle and all,
*********************************

No. 748
HUSH, MY BABE
A religious-type lullaby, or cradle song, written by
Isaac Watts and J. J. Rousseau.
For other versions, see Thomas (ED), 79 and Wier (YAM), I,
16 .

MB
Song Texts
2644
Hush, M£ Babe
Kush, my babe, lie still and slumber.
Holy angels guard thy bed,
Heav’nly blessings without number
Gently falling on thy head.
How much better thou’rt attended
Than the Son of God could be,
When from heaven He descended,
And became a child like thee.
*************************
*********************
*****************
*************
*********
*****

2645
MB

No, 749
I AIN'T GOT TIME TO MARRY
also known as
Ain't I Goin*
Colored Gal From the South
The Gal Prom the South
Hop Along, Peter
Marsa's Yaller Gal
Marster Had a Yaller Gal
Massa Bought a Yaller Gal
Massa Had a little Yaller
Gal
Oh, Ain't I Sweet
Oh, Hop Along, Peter Boy-
Old Marse Had a Pretty
Yaller Gal
Old Massa Had a Yaller Gal
She's My Yaller Gal
Yaller Gal
This eong ip in the form of the nid-19th century song,
The Gal From the South , and ia obviously a derivative
of it. The song begins:
Ole Massa owned a colored girl—
He bought her at the South;
Her hair it curled so very tight,
She could not shut her mouth.
Her eyes they were so very small,
•They both ran into one,
And when a fly lit in her eye,
'Twas like a June-bug in the sun.
Chorus
Ha, ha, ha, ha, ha, ha,
The gal from the South—
Her hair it curl'd so very tight,
She could not shut her mouth!
There are hundreds of songs in the same form, but form
does not indicate a relationship. The song below, both
versions, are compounded of lines and stanza® found in
Other songs. ?or example®, see: Ain' t I Goin ' in Piper
(SPPG), 271; Going Down to T own in this Ma° ter Book ;
Hump-Back Mule in Odum (NWS), 179; Oh, Ain't I Gone in

KB
Song Text®
2646
Ames (MPP), 299; Oh, Susan , Quit Your Pooling in Dobie
(BSFF), 134; Shoo Fly in Roberts (IP), 281; When de
Band Begins to Play in Odum (XTHS), 235; and I^m Going
Home to Pixie in this Master Book,
The A and B versions below are set to the same tune 0
REFERENCES
Botkin (AFL), 903-904
Botkin (APPS), 256-258
Brown, III, 487; V, 270
Creighton (SBN8), 243-244
Ethiopian (2), 147
Henry (FSSH), 436
Henry (SMBFS), 170-171
Scarborough (NFS), 66-68
White, 152-156, 450-451
I Ain f t Got Time To Karry (Version A)
Maesa had a yaller girl,
He brought her from the South;
Her hair curl T d so doggone tight
She couldn’t shut her mouth!
Chorus
Oh, I ain’t got time to marry!
Oh, I ain't got time to marry!
No, I ain't got time to marry, boys,
For I am goin' away.
I went to see her the other night,
She met me at the door,
Shoes and stockings in her hand,
Feet all over the floor 0
Her eyes are so dark and small
They both run into one;
But Massa seemed to liZte that gal,
And they had lots of fun.
Took her to the blacksmith shop,
To have her mouth made email;

MB
Song Texts
2647
She ev/allowed up the whole dang place,
Including shoes and all!
MasRa had no hooks or nails,
Or other things like-that;
So on this-nose you see me wear,
He hung his coat and hat!
VERSION B
Maesa had a yaller cow,
She had a hollow horn;
Ev'ry tooth in that cow’s head
Would hold a ton of cornj
Chorus
Oh, hop along, Peter hoy,
’Cause there ain't no need to tarry;
Oh, hop along, Peter hoy,
I ain’t got time to marry.
Her head is like a coffee pot,
Her nose is like a spout;
Mouth is like a fireplace
With ashes taken out!
I wish I had a nickle,
I wish I had a dime,
I wish I had a dollar hill
To show that gal of mine.
He took her to the tailor shop,
To have her mouth sewed small;
She opened up hig and wide,
Swallo7/ed shop and all!
************************

MB
Song Texts
2648

No. 750
I AIN’T GOT WEARY YET
Pre-Civil War spiritual popularized by the original Fisk
Jubilee Singers. The spiritual wa« parodied by songwriter®
Howard John®on and Percy Wenrich and published by Leo
Feist, Inc., New York, N. Y. According to Nilee (SUM),
215, the parody, known under the identical title, was
a favorite of American soldiers during World 7/ar I.
REFERENCES
Brewer, 165 Marsh (SJS), 187 rike, 269
I Ain’t Got Weary Yet
Been praying for the sinner so long,
And I ain't got weary yet;
Been praying for the sinner so long,
And I ain't got weary yet.
Chorus
And I ain’t got weary yet!
And I ain't got weary yet!
Been down in the valley so long,
And I ain’t got weary yet.
Been praying for the mourner so long, etc .
Been going to the fountain so long, etc.
Been walking with my Saviour so long, etc
Been waiting to see heaven so long, etc.
************************

MB
Song Texts
2649

No, 751
IDA RED
also known as
Ida Red, Ida Red Idy Red Oh, Ida Red!
Originally this was probably a "roustabout work song,"
as 7ftieeler claimed. Now, however, it is a song of enter
tainment and a country dance tune. It is probably known
to every fiddler and country-western performer in the
nation. Ida Red ha® been recovered and recorded with
and without a text, Mu°ic publishers have claimed it
as a copyright, but their copyrights never prove to be
older than traditional versions,
REFERENCES
Lomax (ABFS), 110-111 Roberts (SBS), 169-170
Randolph, III, 197 Thede, 60-61
Roberts (IP), 279-281 Wheeler (SB), 14
Ida Red ( Version A)
Hats on the mantle, pictures on the wall;
There’s a pretty soldier, and that’s not all 0
I’m mistaken, I’m not right,
Somebody else giv’n a party tonighto
Chorus
Oh, Ida Red! Pretty Ida Red!
Never loved nobody like my Ida Red!
Wish I had a dollar bill—
Never did have, but one day soon I will!
Cross the holler, mile and a half,
Can’t eee-Ida, but I hear her laugh.
Ida Red, she ain’t no fool—
Looks like an angel, brays like a mule!

MB
Song Texts
2650
VERSION B
Ida Red, Ida Red,
I*m gittin* tired of eatin' shortin' bread.
Evuh since the meat's been layin* on the shelf,
I»ve been sleepin' here by myself.
Ida Red, Ida Red, etc .
Sho* as the green grass grows in the fiel',
Got to cook ole John a solid meal.
Ida Red, Ida Red, etc.
Dropped by jus* to take you to town,
So put on your bonnet and gown,
Ida Red, Ida Red, etc .
Reckon how the time for lovin's cornin' on,
Look for Ida but Ida's gone!
Ida Red, Ida Red, etc.
*****************************************

No. 752
I DIDN'T HEAR NOBODY PRAY
also known as
Couldn't Hear Nobody Pray I Couldn't Hear Nobody Pray
This spiritual is from the last half of the 19th century,
proably dating back to the Civil War,? It has been ar
ranged, rewritten, published and recorded so many times
that one could almost call it a modern commercial song.
REFERENCES
Chambers (TNS), 43-43
Dett, 202-203; Appendix
X-XI
Johnson (BANS), 89-91
Leisy (LAS), 134-135
Lomax (FSNA), 473-474

MB
Song Texts
2651
Work (ANSS), 72-73 Work (FSAN), 24, 51
I Didn't Hear ITobodv Pray
In the valley on my kness,
Didn't hear nobody pray;
With my burden and my Saviour,
0 lord! I didn't hear nobody pray.
Chorus
And I didn't hear nobody pray!
0 Lord! didn't hear nobody pray!
0 way down yonder by myself,
And I didn't hear nobody pray!
Chilly waters in the Jordan!, etc .
Crossing over into Canaan, etc ,
Hallelujah! troubles over!, etc .
In the Kingdom with my Jesus, etc .
****************************

Ho. 753
I DON'T EXPECT TO STAY MUCH LONGER HERE
also known as
Done With the World Run to Jesus
There are two well-known versions of this song, and
both are given below. Version A is a campground revival
spiritual credited to B. P. White, and version B is a
slave spiritual adapted from the former. Version A i«
also an adaptation; it has a text lifted from River of
Jordan , or Happy in the Lord , according to Jack«on (SFS)
197. The first stanza was borrowed from an older hymn,
Jesus , My All To Heaven Is Gone, which may be seen in
the Original Sacred Haro, Slaves borrowed it, in turn,

MB
Song Texts
2652
and made a spiritual called Hun To Jesus (see version B
below). j
The first stanza was also borrowed for use in dozens
of campground revival hymns, including the following:
Carter , or Never Turn Bach in Jackson (SPS), 232 &
McCurry, 52; Derret , or It Won*t Be Long in McCurry, 108;
I Love Jesus in Hillman, 254 & Jackson (SPS), 222; I Want
a Seat in Paradise , or North Port in Jackson (SPS), 233 &
James, 324; I Want To Go To Glory in Jackson (SPS), 239 &
Walker (5WPH), 168; River of Jordan , or Happy in the Lord
in Jackson (SPS), 197 & James, 493; Save Mighty Lord in
Jackson (SPS), 217 & James, 73; Substantial Joys , @r I
Want To Go There To in Jackson (SPS), 228 & McCurry, 28;
and With Tjs To the End , or Promise in Jackson (SPS), 217
& McCurry, 73.
REFERENCES _ _
Dett, 15 McCurry, 79
Greenway, 89-90 Pike, 270
Jackson (SPS), 211 White & King, 88
I Bon*t Expect to Stay Much Longer Here ( Version A)
Jesus, my all, to heaven is gone,
. And I don’t expect to stay much longer here.
He whom I fix my hopes upon,
And I don’t expect to stay much longer here.
Chorus
I am done with the world,
And I want to serve the Lord,
And I don’t expecx to stay much longer here.
The way the holy prophets went, etc .
The road that leads from banishment, etc,
VERSION B

MB
Song Texts
2653
Chorus
Run to Jesus, shun the danger!
I don't expect to stay much longer here.
Run to Jesus, He's no stranger!
I don't expect to stay much longer here.
He will he our dearest friend,
And he will help us in the end,
I don't expect to stay much longer here.
0, I thought I heard them say,
There were lions in the way,, etc,
Many mansions there will be,
One for you and one for me., etc.
*********************************
• No^ 754
I DON'T PEEL AT HOME IN THIS WORLD ANY MORE
also known as
I Can’t Peel at Home
A favorite religious song of country music performers,
some of whom have claimed it as their own original
composition. The first °uch to publicly claim the song
was the late A. P. Carter (The Carter Family), who had
his version published by Peer International Music Corp.,
New York, N. Y. Nevertheless , the song i« traditional.
For another version, see Silverman, II, 114.
i Do 11 * t Feel at Home in This World Any More
This world is not my home,
I'm only passing through;
If heaven's not ny home,
0 Lord, what will I do?

MB
Song Texts
2654
I hear the angels singing
Through heaven's open door,
And I don’t feel at home
In this world any more.
Chorus
I don't feel at home,
I don’t feel at home,
No, I don't feel at home
In this world any more.
0 Lord, you surely know
. I have no friend like you.
If heaven's not my home,
0 Lord, what will I do?
I hear the angels calling
Prom heaven's golden shore,
And I don't feel at home
In this world any more.
*************************************

No. 755
I DON'T WANT TO GET ADJUSTED
A traditional Protestant hymn with words and music by
Sanford J. Massengale; it was popular with rivivalists
of the 19th century. For other versions, see: Benziger,
120-121 and Silverman, II, 118.
I Don't Want To Get Adjusted
In this world we have our troubles,
Sometimes lonesome, sometimes blue;
But the hope of life eternal
Brightens all our hopes anew.

MB
Song Texts
2655
Chorus
I don’t want (I don't want)
To get adjusted (to get adjusted)
To this world (to this world),
To this world (to this world).
I got a home that's so much better,
I want to go to, sooner or later,
I don’t want to get adjusted to this world.
******************-***-***********

No. 756
THE IDYL OP THE PLAINS
also known as
The Cowboy
I obtained this song from Tex Fletcher in the Black
Hills of South Dakota. It dates back to at least 1884,
because a text of it appeared on June 28 of that year
in the Kansas Cowboy , Dodge City. A modern version,
arranged by Hugo Prey, is in Prey's American Cowboy
Songs folio, published by Robbins Music Corporation,
New York, 1936.
The original author, whoever he or °he was, gave a
complete history in a very few words.
REFERENCES
Fife, 85 Ohrlin, 158
Lomax (CS-1938), 139 Silverman, I, 51
The Idyl of the Plains
Oh, a man there liveB on the western plain
With a ton of fight and an ounce of brain;
He herds the cows and robs the train,
And goes by the name of cowboy.

MB
Song Texts
2656
He laughs at death and scoffs at life,
And feels unwell unless iir some strife;
He fights with a pistol, a rifle or a knife,
And goes by the name of cowboy.
He shoots out the lights in a gambling hall,
Or gets shot up in a drunken brawl;
Some coroner’s jury then ends it all—
And that’s the last of the cowboy.
*****************************

No. 757
IF? DON’T SEE YOU ANY MORE
also known as
Goodbye, Brother(s) If I Don’t See You No More
A slave spiritual from the repertoire of the original
Fisk Jubilee Singers. It is also used as a ’’farewell”
or "parting" song.
REFERENCES
Allen (SSUS), 47, 92 Sandburg (AS), 477
Marsh (SJS), 215 Whitman, 98
If I Don’t See You Any More
Goodbye, brothers, goodbye, sisters,
If I don't see you any more,
1*11 meet you in heaven, in the blessed kingdom,
If I don’t see you any more.
We’ll part in body, and meet in the Spirit,
If I don't see you any more;
And may the Lord bless you, keep you and bless you,
If I don’t see you any more.
**#-**•* ***** ♦ *******-*--*-*-** ******

KB
Song Texts
2657

No. 758
I FIGHT MIT SEGAL
also known as
I Goes to Fight Mit Seigel I»m Going to Fight Mit Sigel
This is one of those songs that depended upon dialect
for its humor and effectiveness. German-Dutch dialect
songs were popular with soldiers of both armies during
the Civil War. The "Segal" referred to in song is
General Franz Sigel, a former German soldier, who com
manded the "2nd Missouri Brigade"; he fought at the
battle of Pea Ridge and was with Pope in Virginia.
For additional information, see The 31ue and the Gray ,
Vol. 1, 2 * 385 (by H. S. Commager).
REFERENCES
Randolph, II, 266-267
Stout, 100
Williams (FSCW), 271
Allaopp, II, 222
Glass (SS-2), 108-109
I Fight Mit Segal Tune; The Girl I Left Behind I A
I*ve come shust now to tell you how
I goes mit regimentals,
To schlauch dem voes of Liberty,
Like dem old Continentals
Yot fights mit England long ago.
To save the Yankee Eagle;
Un now I gets my sojer clothes—
I*m going to fight mit Segal.
Yen I comes from der Deutsche Countree,
I vorks oomedimes at baking;
Den I keeps a lager beer saloon,
Und den I goes shoe-making.

KB Song Texts 2658
But now I was a sojer been
To save der Yankee Eagle,
To schlaugh dem tarn secession volke—
I*m going to fight mit Segal.
I gets ein tarn big rifle guns,
Und puts him to mine shoulder,
Ben march so bold like a big jackhorse
Und may been someding bolder,
I goes off mit de volunteers
To save der Yankee Eagle,
To give dem Rebel vellers fits—
I'm going to fight mit Segal.
***************** ********** ******* **

No. 759
IP I GO AND FIND HIM
also known as
He'll Come Back and Be My Love Sat Down in a Sad
My Beau Condition
Jim Lane Sad Condition
Game song. Not much is known about song's origin, but
versions have been collected which indicate that it
was once something more than a game piece. For comparable
game songs, see The Boatman excerpt in Shearin (SKFS),
36; I'll Come Back and Be Your Beau in Botkin (APPS),
209; and Old General Lane in P.andolph, III, 372.
REFERENCES
Botkin (APPS), 216-218 Quarterly (SFL), VI, 247
Kittredge (BRK), 276 Sharp, II, 372
If I Go and Find Him

MB
Song Texts
2659
She eat down in her sad station
Mourning the loss of her own true love;
Someone told her he was slain
In the war with General Lee.
Chorus
Now I know it is not so,
He’ll come hack and he my beau,
If I go and find him.
*•**■*•*•**•**■** ****** *•*•**•*•**■***

No. 760
IP YOU DON’T LIKE MY PEACHES
An old blues song from the Deep South. I have known
the version below all my life, but I haven’t seen a
version in any of the published folk collections. It
i« included here as a sample of the kind of country
blues that is constantly re-arranged and re-written
by singers and musicians.
If You Don’t Like My Peaches
If you don’t like my peaches
Don’t you shake my tree;
Now if you don’t like my peaches,
Don’t you shake my tree—
Get out of my orchard
And leave my peaches be!
My love is so good lookin’,
He’s easy on the eye;
That man is so good lookin’,
He’s so easy on the eye—
When he walks down the street with me
The gals just look and sigh.
*********************

MB
Song Texts
2660

No. 761
1 HAD A LITTLE NUT TREE
a}.so known as
The Little Nut Tree
My Little Nut Tree
This children’s song dates hack to at least the 18th
century, for it is in The Newest Christmas Box , with
tune by Reginald Spofforth, published in 1797. Other
version 0 are in Baby’s Onera, by Walter Crane, 1877
and Notes and Queries , 1849. According to Linscott,
the story "is founded on the visit of Joanne Castile
to the court of Henry VII in 1506.”
REFERENCES
Moorat, 19
Opie, 330-331
Wier (YAM), I, 127
Winn (1), 108
Bertail, 145
Halliwell (NRNT), 10
Linscott, 210-211
Moffat (LSLA), 57
I Had A Little Nut Tree
I had a little nut tree,
Nothing would it bear,
Except a silver nutmeg
And a golden pear.
The king of Spain's daughter
Came to vi9it me,
And all for the sake of
My little nut tree.
She wore a dress of crimson,
Beautiful and fair,
She asked me for my nutmeg
And- my golden pear.
0 such a lovely princess
Never did I see,
And I gave her the fruit of
Ky little nut tree.
**■*•**•*■*■*• •»■**.*** **■*

MB
Song Texts
2661

Ho. 762
I HAD BUT FIFTY CENTS
also known as
My GalThi
This song began as a Music Hall comic piece in the
19th century. Popular between the late 1870s and
through the 1880s, the song was revived through several
phonograph recordings in the 1930s, Largely ignored
by folk song collectors, the song has survived via
oral transmission anyhow. Versions are in Partridge's
National Songster , p, 31 and Barlow Wilson's Waltz Me
Again Songster , p. 43. A broadside version was issued
by Wehman (No, 422).
REFERENCES
Delaney No. 8, 24 Shay (PF-1), 75-77
Gilbert (LC), 121 Shay (PF-3), 38-39
Randolph, III, 250 Wehman (GOTS), 31
White, 212-213
I Had.But Fifty Cents
I took my girl to a dance last night,
•Twas such a fancy hop,
We stayed until the folks went home—
The music it did stop.
Then to a restuarant we went,
The one that's open late;
She said she wasn't hungry,
But this is what she ate:
A dozen raw, a plate of slaw,
A chicken and a roast;
Some Spanish rice and shrimps on ice,
And soft-shell crabs on toast,

MB
Song Texts
2662
An Irish stew and crackers, too—
Her appetite was intense!
When she ordered pie, I thought I’d die,
For I had hut fifty cents!
0 no, she wasn’t hungry,
She didn’t care to eat.
Well, I’ll just bet everything
That woman can't be beat!
She took it all eo easy,
She had an awful tank;
She said she wasn't thirsty,
But this is what she drank:
A whiskey in a glass of gin,
It made me shake with fear;
Some ginger pop with rum on top,
A schooner full of beer;
A glass of ale, a big cocktail—
She should have had more sense!
When she ordered more, I fell on the floor,
For I had but fifty cents!
You bet I wasn’t hungry,
I didn’t dare to eat,
Expecting every minute
To be thrown out in the *>treet.
She said she'd bring her fam’ly round
And we'd have some fun;
I gave the man my fifty cents,
And this is what he done:
He tore my clothes, he smashed my nose,
He hit me on the jaw;
He gave me a prize—a pair of black eyes,
And with me swept the floor!

KB
Song Texts
2663
He grabbed me where my clothes were loose
And threw me over the fence—
Take my advice, and don’t be nice
When you have but fifty cents l
**********************************

Ho. 763
I HEARD PROM HEAVEN TODAY
also known as
Go, Ring Them Bells Peter, Go Ring Dem Bells
0 Peter, Go Ring Dem Beils Ring Dem Bells
A pre-Civil War spiritual from the repertoire of the
original Pink Jubilee Singers. See and compare 1 Hear
Prom Heaven Today in Allen (SSUS), 2, 22 and Good News,
Member in this Master Book.
REFERENCES
Chambers (TNS), 68-69 Marsh (SJS), 236
Dett, 204-205 Work (FSAN), 46
Johnson (BANS), 137-139
I Heard Prom Heaven Today
Oh, Peter, go ring them bells!
Peter, go ring them bells!
Peter, go ring them bells!
I heard from heaven today,
I wonder where my mother is gone? (3)
I heard from heaven today.
Chorus
I heard from heaven today (2)
I thank God, and I thank you, too,
I heard from heaven today.

MB
Song Texts
2664
I wonder where sister Mary's gone?
I heard from heaven today,
I wonder where sister Martha's gone?
I heard from heaven today.
It*s good news, and I thank God
I heard from heaven today.
Oh, Peter, go ring dem hells,
I heard from heaven today.
*****************************

Ho. 764
I HEAR MY TRUE LOVE CRY
also known as
Way Down in Cairo
This song was written in or about 1850 by Stephen Poster.
It was a popular piece on minstrel circuits for years.
Pinally, with several other Poster songs, it was taken
over by the folk, who subjected it to much variation of
text. The tune, however, remained more or less constant.
For another version, see Carmer (SRA), 105.
I Hear My True Love Cry
Now ladies, don't you blush,
I just came here to play.
I only mean to please you all,
And then be on my way.
Chorus
I hear my true love call,
I hear my true love sigh;
Way down in Cairo,
I hear my true love cry.
Sometimes I feel that life is sad,
Sometimes I think it's gay;

MB Song Texts 2665
Sometimes it ain't no good at all.
And then I drink all day.
Sometimes we get the fat.
Sometimes we get the lean;
Unless I get enough to drink,
I go 'round feelin' mean.
**************************

Ho. 765
I KNOW THAT MY REDEEMER LIVES
A slave spiritual from the repertoire of the original
Fisk Jubilee Singers as set down in Marsh (SJS), 242.
The text was obviously adapted from the revivalist
hymn, Antioch , or Shout On , Pray On , a version of which
is in both McCurry, 158 and White & King, 277. A version
is also in this Master Book as Glc ry Haliexu.*! ah.
Antioch was al 90 an adaptation, being a rewrite of the
folk hymn, Columbus , which is in White & King, 67.
For.additional information and references, see head-
notes to Glory Halleluiah! in MB. Also see and compare
the spiritual, Sinner , Please Don * t Let This Harvest
Pass , in Johnson (SENS), 50; Sandburg (NAS), 48; Work
(ANSS), 191.
1^ Know That My Redeemer lives
Just stand right still and steady yourself,
I know that my Redeemer lives!
Oh, jus' let me tell you *bout the Lord Himself,
I know that my Redeemer lives!
Chorus
Oh! I know, I know, my Lord, I know,
Yes, I know that my Redeemer lives!

MB
Song Texts
2666
Oh, Daniel in the lion's den, etc .
And none but Lord Jesus is his friend, etc .
Just watch ol* Time, and see it run, etc .
And don’t let it catch you with work undone, etc .
*****■»**#•»**•»***■»**********•»

No. 766
I KNOW WHERE I'M GOING
An old Irish love song from county Antrim. Herbert
Hughes wrote special stanzas to it and had the song
copyrighted through the music publishing firm of
Boosey & Company, in 1909 and 1915. Versions heard in
the United States stem from the Hughes treatment, not
the original.
REFERENCES
Agay (1), 49 Hughes, I, 22-24
Best, 33 Ives (SA), 46-47
eolum, 596 Leiey, 173-174
Silverman, I, 112
I Know Where I'm Going
I know where I'm going,
And I know who'e going with me;
I know who I love,
And with her I’ll always tarry.
She’ll have stockings of silk.
And shoes of finest leather,
Combs to buckle her hair,
And a ring for every finger.
Some may say she is bad,
That all she wants is money;
I know who I love,
And she's sweeter far than honey.

Song Texts
2667
M3
I know where I'm going,
And I know who's going with me;
I know who I love,
And she knows just who I'll marry.
************ *********** ************

Ho. 767
IL ETAIT UNE BERGERE
also known as
The Shepherdess
J
French nursery song; it was popular wherever French
families settled, including Canada, Louisiana, Indi
ana and Missouri. The version below was recovered in
Vincennes, Indiana and is from Berry, 46-47.
II Etait Pne Bergere
II etait une bergere,
La ra bi, la ra bon, la ra bi bon bon,
II etait une bergere
Qui gardait see moutons,
Qui gardait ses moutons.
Elle fit un bon fromage, (2)
Du lait de ses moutons (2).
Son chat qui la regards, (2)
D*un petit air fripon, (2).
—"Si tu y mets la patte:, (2)
Tu auras du biton, (2).
Le chat n'y mit pas la patte, (2)
II y mit le menton, (2).

M2
Song Texts
2668
La berg'er' en colere, (2)
Tua son p’tit chaton, (2).
Ell* s’em va a confesse, (2)
Ell’ pleur* en s’en allant, (2).
—"Mon p*ere, je me confesse, (2)
D’avoir tue mon chaton," (2),
—"Ma fille, comm' penitence, (2)
Nous nous embrasserons," (2).
—"Je n’embrasse pas lea pretres, (2)
Seul’ment les jolis garcons," (2).
English Text
There wa° a sweet little shepherdess,
La ran be, la ra bon, la ra bi, bon bon,
There was a sweet little shepherdess
Who tended well her sheep,
Who tended well her sheep.
She made a most delicious cheese, (2)
Prom milk of her own aheep, (2).
A kitten watched her intently, (2)
With a roguish feline air, (2).
"Now if you put your paw there, (2)
You*11 taste of my own crook," (2)
The puss obeyed exactly, (2)
And put its chin therein, (2).
The maiden in her fury, (2)
Lid slay the little kit, (2).
She then went to confession, (2)
A-crying as she walked, (2).

KB
Song Texts
2669
"0 father, I confess it, (2)
I slew ay little kit,” (2).
■My daughter, as a penance, (2)
We’ll now embrace and kiss,” (2).
■I ne’er embrace a pastor, (2)
I save that for the youths,” (2).
#*♦**•*•*** ***♦•»****■»*****■» *****■»*■»**

No. 768
I’LL BE ALL SMILES TONIGHT
aleo known as
All Smiles Tonight I’ll Be All Smiles Tonight, Love
Obviously a professionally created song, and It probably
dates from the last quarter of the 19th century. It is
in many published folk collections, but without factual
information concerning its origin.
REFERENCES
Brown, V, 429
Ford (TMA), 137, 414
Jour (AFL), LIX, 442
McDowell (MM), 117
Pound (SFSN), XIY, No. 14
Pub (TFLS), XIII, 333
Randolph, IV, 334-336
Shearin (SKFS), 29
I’ll Be All Smiles Tonight
I’ll deck my brow with roses,
The loved one may be there.
The gems that others gave me,
Will shine within my hair.
And even them that know me
Will think my heart is light,
Tho’ my heart will break tomorrow,
I'll be all smiles tonight.

MB
Song Tezts
2670
Chorus
1*11 Be all smiles tonight, love,
I'll be all smiles tonight,
Though my heart may break tomorrow,
I'll be all smiles tonight.
And when the room he enters,
The bride upon his arm,
I'll stand and gaze upon her
As though she were a charm.
So when he smiles upon her,
As once he smiled on me.
They'll not know what I suffer—
They'll see no change in me.
And when the dance commences,
Oh! how I will rejoice!
I'll sing the songs he taught me
Without a faltering voice.
When flatterers gather round me,
They'll think my heart is light—
Though my heart may break tomorrow,
I'll be all smiles tonight.
And when the dance is over,
And all have gone to rest,
I'll weep for him, dear mother,
The one I love the best.
He once did love, believe me,
But now he's cold and «trange;
He sought not to deceive me,
False friends have wrought thi® change.
****** *****••» ****•*••***•*•*
/

MB Song Texts
2671

Ho. 769
I*II BE LIKE MY BROTHER
also known as
Down by Those Green Bushes
Green Bushes
This is an old English-Irish song. Age and origin of
the song is in doubt. We know some things about it,
but there is much disagreement among scholars regard
ing its origin.
Two stanzas were sung in J. B. Buckstone's play, The
Green Bushes , in 1845. As a result, the song enjoyed
sufficient popularity to create public demand and the
complete song was published soon thereafter as "A
Popular Iri^h ballad sung by Mrs. Fitzwilliams."
Both Baring-Gould and Sharp said the words were "sub
stantially old." Baring-Gould relates it to an older
Scottish ballad, but does not not name that ballad.
There is a large supply of tunes, as one may verify
by examining the variety given in Ireland by Petrie.
Also see and compare Sir Arthur and Charming Kollie
in Bell (APBS), 236.
REFERENCES
Baring-Gould (Sw), No. 43
Broadwood (ECS), 170-171
Cole, 42-43
Creighton (SBNS), 38-39
Davidson (UM), I, 25
De Marsan (SJ), I, 228
Ditson (100SI), 39
Flanders (VFSB), 246-247
Greenleaf, 67-68
Henry, No. 143
Jour (FSS), I, 66; V, 177;
Jour (IFSS), I, 65
Joyce (AIM), 23-26
Karpeles, 244
Karpeles (EFS), I, 593-
VIII, 112, 209
596
Kennedy, 356
Kidson (FSNC), 120-121
Kidson (GEFS), 40-41
Kidson (TT), 47-48
Laws P2, 249
Lloyd (SB), 19
Ord, 147

MB
Song Texts
2672
Petrie, Hoe. 369, 370
Reeves (EC), 133
Sharp, IT, 155
Sharp (EPS), I, 58
Sharp (PSFS), Ho, 34
Sharp (100), 92-93
Songs (12), 22
Songster (131), 108
1*11 Be Mice My Brother
A young man stood lamenting.
His love proved untrue;
She left him for another
And he swore that he was through,
"I'll he like my brother,
I will spend my time at play;
1*11 love the girls and leave them.
As she left me today,"
A stranger was out walking,
And on that very day,
He saw the maiden waiting
And he could not turn away,
"Why are you here waiting?"
And politely as could be,
She answered, "I am waiting
My lover for to see."
"I'll buy you fine beavers,
Also a silken gown
And robes of scarlet splendor
That drag upon the ground.
All this I will buy you.
With a castle by the sea.
If you'll forsake your true love
And come along with me."
"0 come, let us be going,
Kind sir, come if you please;

MB Song Texts
2673
I can no longer tarry
With you beneath the trees.
For yonder he*s coming,
My own true love I see,
Down by the green bushes
Where he waits for me 0 "
Her lover came a-looking,
And finding she was gone,
He sat him down a-thinking
And a-looking so forlorn.
"She*s gone with some other,
And she has forsaken me;
It's farewell to green bushes
Forevermore," said he.
"I am all done with trusting,
All done with being true;
How when it comes to women,
I know just what 1*11 do—
1*11 be like my brother,
I will spend my time at play;
1*11 love the girls and leave them.
As she left me today,"
*******************************
. Ho. 770
I*LL BE THERE
also known as
The General Roll
General Roll Call
J*ll Be There in the
Roll Call
When the General Roll is
Called W*e*ll Ba There
Morning
When the Heavenly Roll is
Called
A slave spiritual preserved through the performances

KB
Song Texts
2674
given by the original Fisk Jubilee Singers. It is
obviously adapted from the older revival hymn. The
General Roll Call , which may be seen in Hillman, 356;
Jackson (SFS), 236; and White, 439.
Aleo see and compare When the Roll is Called in Heaven ,
X<11 Be There in Courlander (NSA), 62.
REFERENCES
Pike, 212, 254
White, 439
Work (ANSS), 57
Lett, 121
Hillman, 356
Jackson (SJS), 172
1*11 Be There
0 hallelujah to the Iamb,
The general roll is called;
1*11 be there; the lord is on the giving hand,
The general roll is called, 1*11 be there.
Chorus
1*11 be there, 1*11 be there,
When the general roll is called, 1*11 be there.
Old Satan told me not to pray!
The general roll is called. I'll be there.
He wants my soul at Judgment Day!
The general roll is called, I'll be there.
**.*.*.****.*.**.* ******************

No. 771
I*LL BRINK UNTIL I BIE
also known as
-The Good Fellow
Hy Father Gave Me a
Lump of Gold
Prentice*s Drinking Song
Seven Long Years
There's No One Cares For Me

MB
Song Texts
2675
Since a version, or forerunner, of this song called
The Good Fellow is in the Roxburghe Ballads, VI, 245,
we know it dates back to at least the 18th century.
The ballad is known in North America under several
different titles and in varying versions. Many stanzas
are floaters, moving in and out of this and other songs,
and not all versions come with a repetitive chorus.
For similar songs, see Beautiful Light O’er the Sea ,
The Drunkard IX, and Unmarried Bliss II elsewhere in
this Master Book,
'' ' / •*
REFERENCES
Belden (BS), 259-260 Randolph, IV, 355-356
Lomax (OSC), 307-308 Sharp, II, 79
1*11 Drink Until I Die
For eeven long years I’ve been in jail.
One more and 1*11 be free;
And just as soon as I get out,
I*m going on a spree.
Chorus
1*11 ramble and gamble and chase pretty girls,
And let the world go by;
1*11 be my own man for as long as I can,
And 1*11 drink until I die.
I have a good old father at home,
But he don’t understand;
He thinks all I ever want from life
Is just a helping hand.
I have a good old mother at home,
But she don’t comprehend;
She thinks I should take myself a wife.
And all my wavs amend.

MB
Song Texts
2676
I have a fair young slater at home,
But she don’t really care;
She thinks I should do just as I please,
As long as I’m not there.
I have a good sweetheart at home,
I know she loves me well;
She thinks that I need to settle down.
But she can go to hell!
******************************

No. 772
I*LL NEVER GET DRUNK ANYMORE I
also known as
Oh, Once I Had a Fortune
This song has a strictly American sound to it. Versions
exist with stanzas borrowed from other songs, such as
Eliza Jane in Henry (FSSH), 431 and Raneolph, II, 75.
Also see I Was Drunk L3.ot Night in Randolph, III, 140-
141.
This piece is not related to the song of like title
which follows it in this Master Book.
REFERENCES
Brown, III, 65-67; V, 35-36 Jour (AFL), XXVIII, 151
Davis (FSV), 308 Randolph, II, 413-414
I»ll Never Get Drunk Anymore I
As I go out on Sunday,
What pleasure do I see?
The one I loved so dearly
Has gone square back on me.
Chorus

Song Texts
2677
MB
1*11 never get drunk anymore!
I'll never get drunk anymore!
I'll hang my head in the "barroom door,
And never get drunk any more!
Oh, once I had a fortune,
All locked up in a trunk;
I lost it all at gambling
One night when I got drunk.
Oh, when I had my money,
My friends did stoutly stand;
But now with empty pockets,
Ho friend in all the land.
How when I go home at night,
I stare at my bare wall;
I have no wife to holler,
Ho kids to yell and squall.
Some say that love's pleasure—
What pleasure do I see?
The girl I loved so dearly
Has turned her back on me.
*************************************

No* 773
I'LL HEYER GET DRUNK ANYMORE II
This is not related to the preceding song, but has the
same title. This was a comic stage piece featured by
Harrigan and Hart, two famous comedians. The words are
by Ned Harrigan, the tune by Dave Braham. The song was
published in sheet music form by White, Smith & Company,
Boston, and may be seen in Levy, 277.
I'll Never Get Drunk Anymore II

MB
Song Texts
2678
I remember when a bit of a boy,
The lesson they taught me at home:
If I wanted to be a great man,
I must leave all the liquor alone.
My father was a great drinker,
He never was sober a day;
And when he’d roll in, in the morning,
Oh, these are the words he would say:
Chorus
1*11 never get drunk anymore!
1*11 never get drunk anymore!
The pledge I will take,
The whiskey I’ll shake,
Oh, I'll never get drunk anymore!
Well, of course, you know I took after my dad,
And I got so I’d take a wee drop.
But a little it goes a long way;
It's the devil's own job for to stop*
When I married my wife I was sober,
I drank nothing but coffee all day;
I was drunk the night of the wedding,
So to her these words I did say:
******************************
; 774
I«IL REMEMBER YOU, LOVE, IN MY PRAYERS
also known as
The Curtains of Night When the Curtains of Night
are Pinned Back
For some reason this once popular love song of the
1870s has survived in tradition as a cowboy song.
The earliest version I have seen is in the Family
Guide Songster , II, p. 8 (c. 1875).
REFERENCES

MB
Song Texts
2679
Fife, 244-245
Leisy (LA8), 124-125
Sandburg (AS), 259
Sandburg (NAS), 95
I *11 Remember You , Love , In Prayers
When the curtains of night are pinned back by the stars,
And the beautiful moon sweeps the skies,
And dew-drops of heaven are kissing the rose,
1% is then that my memory flies
As if-on the wings of-some beautiful dove,
In haste with the-message it bears,
To bring you a kiss of affection and say:
"1*11 remember you, love, in my prayers.”
Chorus
Go where you will, on land or at sea,
1*11 share all your sorrows and cares;
And at night when I kneel by my bedside and pray,
1*11 remember you, love,- in my prayers.
When heavenly angels are guarding the good,
As God has ordained them to do,
In answer to prayers I have offered to Him,
I know there is one watching you.
And may its bright spirit be with you through life,
To guide you up heaven’s bright stairs,
And meet with one who has loved you so true,
And remembers you, love, in her prayers.
Chorus
Go where you will, and do as-you must,
Be wary and careful of snares.
And at night when I kneel by my bedside to pray,
1*11 remember you, love, in my prayers.
*******■*■*•*■*•***•**-*-**■»•***

MB
Song Texts
2680

No. 775
I*11 SAIL THE SEA
also known as
The Ocean is Wide
This is a compounded song sung to widely differing airs
Several stanzas are sometimes found together, as in
Botkin (APPS), 255-256, and usually without a tune. But
all stanzas are found in other songs. Perrow, XXVIII,
187-gives lines similar to stanz 1 of our piece, but
uses ”the road is wide” instead of ”the ocean is wide.”
See and compare Randolph, III, 390.
I’ll Sail the Sea
The ocean is wide and you can’t step it,
I love you and you can’t he’p it.
Chorus
You may laugh, you may cry,
•You may laugh, you may cry,
You may laugh, you may cry,
1*11 sail the sea till the day I die.
The mountain is high and you can’t jump it,
Tell your sweetheart he can lump it.
They say absence makes the heart grow fonder—
I’ll write you from way off yonder!

No. 776
I’LL TELL YOU WHERE THEY ARE
also known as
If You Want to Know Where
the Privates Are
I Know Where They Are
Where They Were

MB
Song Texts
2681
World War I infantry song.-Many versions are unsuit
able for publication. The song permitted soldiers to
say in verse what they~dared not say about officers
in face to face conversation.
REFERENCES
Dolph, 87-89
loesser, 177-179
Lomax (ABES), 554-556
Riles (SMM), 59
Sandburg (AS), 442-443
Shay (PF-1), 83
Shay (PF-3), 41
Trident, 150-151
Whitman, 50
1*11 Tell You Where They Were
If you want to know where the privates were,
1*11 tell you where they were.
Tes, 1*11 tell you where they were.
Oh, 1*11 tell you where they were.
If you want to know where the generals were,
1*11 tell you where they were:
Baek in gay Paree! How do you know?
I saw them! I saw them! Back in gay Paree!
I saw them, back in gay Paree.
If you want to know where the colonels were, etc
Way behind the lines, etc.
If you want to know where the majors were, etc«
Playing with the mademoiselles, etc.
If you want to know where the captains were, etc
Down in the deep dugout, etc.
If you want to know where the privates were, etc
Up to their necks in mud!, etc«
*****************************

Song Texts
2682
KB

No. 777
I LOVE HANDSOME BILLY
also known as
Billy Boy
He Wears a White Hat
I Have a Fellow
I Love Little Willie, I
Do, Mamma
Billy Boy
Don't Tell, Pa (Papa)
He Wears a White Hat
I Have a Fellow
I Love Little Willie, I Do,
Mamma
I've Got a New Sweetheart
Sweet,Willie
There is a similarity between the words of this song and
X,ove Somebody , Yes, I Do (see in MB). The song seems to
have been more popular in the South and the West than
elsewhere, probably due to repeated performance by so-
called "country-western” entertainers,
REFERENCES
Brown, III, 361-363;
V, 217-219
Cambiaire, 38-39
Davis (FSV), 196-197
Henry (FSSH), 281-283
Henry (SSSA), 23
Hubbard, 163
Jour (AFL), XLV, 43, 113
Kincaid No, 2, 28
Leiey (LAS), 57-58
Lomax (ABFS), 327
Niles ( SHF), 10-11
Pound (SFSN), XXVI, No. 3
Pub (TFLS), VI, 227
Randolph, III, 98-100
Sizemore (1), 17
I Love Handeome Bi lly

2683
ME Song Texts
I love handsome Billy, ..1^*9 true! it*s true!
I love handsome Billy, I really do, Ma!
I love handsome Billy, tho' you think I*" silly,
I love handsome Billy, hut don't you tell Pa,
He wrote me a letter, so sweet, so sweet;
He wrote me a letter all nice and neat, Ma.
I love handsome Billy, tho* you think I'm silly,
I love handsome Billy, hut don't you tell Pa.
He came for a visit today, today!
He came for a visit from far away, Ma.
I love handsome Billy, tho* you think I*m silly,
I love handsome Billy, hut don't you tell Pa.
He asked me to wed him last night, last night;
He asked me-to wed him, and held me tight, Ma!
I love handsome Billy, tho* you think I'm silly,
I love handsome Billy, hut don't you tell Pa.
0 now we are married, it's true! it's true!
0 now we are married, and fighting too, Ma!
I hate handsome Billy, tho' you think I*m silly,
I hate handsome Billy, hut don't you tell Pa,
*********************************

No. 778
I'M A GOOD OLD REBEL
also known as
The Good Old Rebel Oh, I'm a Good Old Rebel
I'm a Good Rebel Ole Marse Robert
The Unreconstructed Rebel
This song, expressing the sentiments of an unrepentent
Southerner, was written by Innes Randolph (1837-1887),

MB
Song Texts
2684
Virginian, shortly after the Civil War ended* The
original text was published in Poems by Innss Randolph ,
compiled by his son, Harold (Williams & Wilkin,
Baltimore, 1898, pp. 30-31). According to my late friend
Elliot Shapiro (Early American Sheet Music, 1941, p.
123), the song was-published in sheet music form in
1886 at New Orleans, According to Dolph, it was first
"sung by Harry Allen of the Washington Light Artillery,
of New Orleans*" -The tune, of course, was borrowed
from Joe Bowers (see in MB) .
The text is in The Oxford Book of Light Verse , pp. 436-
437; Ellinger’s The Southern War Poetry of the Civil
War, p. 139; and Pagan's Southern War Songs, p. 360.
When the song drifted into the Southwest, among the
cowboys, it began to take on other forms. Sandburg,
for example, found a variation called Rabble Soldier
(Bee Unhappy Lover VI in MB).
REFERENCES
Botkin (SPL), 716-717
Brown, III, 464-466;
V, 259-260
Coffin & Cohen, 87
Cox (PSS), 281-282
Dolph, 361-363
Edwards (CHSB), 210
Emrich (PAL), 419-420
Glass (SS-2), 87-88
Hudson (PSM), 259-260
Jour (APL), XXVIII, 11;
X3&IX, 172
Lawrence, 437
levy, 383
Lomax (ABFS), 535-540
Lomax (CS-1919), 94-95
Lomax (FSNA),256
Lomax (STAF), 11
Pound (POB), 228-229
Randolph, II, 291-295
Silverman, II, 322
Smith (SCB), 45-47
Staton, 73
Whitman, 186
I*m a Good Old Rebel
Tune: Joe Bowers

MB
Song Texts
2685
Oh, I’m a good old Rebel. Now that’s just what I am.
For this "fair land of Freedom" I do not care a damn!
I’m glad I fit against it—I only wish we’d won!—
And I don’t want no pardon for anything I'^e done,
I hate the Constitution, this great Republic, too!
I hate the Freedman's Buro in uniforms of blue,
I hate the nasty eagle, with all his brag and fuss—
The lyin’, thievin’ Yankees, I hate ’em wuss and wuss!
I hate the Yankee Nation and everything they do!
I hate the Declaration of Independence, too!
I hate the glorious Union, *tis dripping with our blood;
I hate the striped banner—I fit it all I could,
I followed old Marse Robert for four years, near about,
Got wounded in three places, and starved at Point Lookout
I cotch the roomatism a-campin'-in the snow,
But I killed a chance of Yankees—I’d like to kill
, some mo'J
V. ..•" •
Three hundred thousand Yankees is stiff in Southern
dust;
We got three hundred thousand before they conquered us!
They died of Southern fever and Southern steel and shot;
I wish it was three millions instead of what we got!
I can’t take up my musket and fight ’em now no more,
But I ain’t a-goin* to love ’em, an’ that is sartin
sure.
And I don’t want no pardon for what I was and am—
I won't be reconstructed, and I don’t care a damn!
****************************

KB Song Texts

Ko. 779
I*M ALONE, A LI ALONE
also known as
Par Back in My Childhood Shivering
This song originated in the 19th century Temperance
Movement and, later, struck out on its own. In the
version "below there is no mention of "temperance" or
"prohibition" or "the evil of alcoholic beverages."
The song now stands on its own, as a sort of lament*
For 68.rli.6r vGrsicns show "th.6 ‘t6mp6r8nc6 con—
nection, see the 3 version in Brown, which begins:
Can I break the bondage?
Can I break the awful chain?
Can I escape the shackle?
Can I be free again?
Friends of temperance, help me!
Friends, my bondage is untold,
And now I know it‘s all from drinking
That I wandered all alone.
The-same piece is given by Randolph, and, again, as a
version of the song below.
Henry (FSSH), 372, has a different song with a similar
refrain. McCaskey, VII, 86 gives a similar piece under
the title: Song of Temperance» Eor clearer demonstrations
of relationship, see the versions of I t m Alone , A l l Alone _
in Brown, III, 60-61, V 32 and Randolph, II, 424-425.
2686
in the Cold
I»m Alone , All Alone
I*m alone, all alone,
And I feel I*m growing old;
Yet I wandered, Oh! how lonely!
I am shiv*ring in the cold*

MB
Song Texts
.2687
In the night, late at night,
When I cannot go to sleep,
I remember, in my childhood,
How I used to run and leap.
I would pray, kneel and pray,
And the world belonged to me;
Tet I wandered, Oh! how lonely!
Nothing’s like it ought to be.
I’m alone, all alone,
And I feel I'm growing old;
And I never, no, I never
Pound the rainbow or the gold,
****** **********-********

No. 780
I’M PAR TOO YOUNG TO MARRY YET
also known as
I'm My Mammy’s Youngest Son I'm O’er Young to Marry Yet
This is an American version of the Scottish song, I»m
Owre Young to Marry Yet, which was written by Robert
Burns and set to an ancient air..(see Knight, 216).
The tune is very close to that of Loch Erroch Side , a
ancient Scottish song.
For a Scottish version of this song, see Macfarren,
152-153.
Versions A and B (below) are both Americanised treat
ments.
I’m Par Too Young to Marry Yet ( Version A)
I'm far too young, I’m far too young,
I’m far too young to marry yet.
I’m far too young, ’Twould be a sin
To take me from my Mammy yet.

MB
Song Texts
2688
I am her one and only,
Nor of my home am weary yet;
And I would have you learn, lads,
That for me you must tarry yet.
I have had my own way, eir;
None dare to contradict me yet.
I cannot say I would obey—
In truth, I dare not venture yet.
VERSION B
I*m my mammy’s youngest son,
And you must not forget,
I*m my mammy*s youngest son,
And far too young to marry yet.
I*m too young, you know, far too young,
And I*m my mammy's pet;
It wouldn’t do for me and you,
For I*m too young to marry yet.
I love somebody, yes, I do.
But much to my regret
I*m my mammy’s youngest son,
And far too young to marry yet.
******************** ■***•*■**•** ******

No. 781
I’M GOING ACROSS THE SEA
aleo known as
The Bold Privateer Fare You Well, My Polly Bear
The Captain Calls All I’m Going to Cross the Sea
Hands Our Captain Cried All Hands
Thin old English song dates back to at least the War of

MB
Song Texts
2609
1812. It did not become as popular in America as in
England, probably because we were enemies at the time
and no one thought of a suitable adaptation. However,
the song was adapted during the Civil War, and without
much change: see The Union Volunteer in Randolph, II,
296-297. Also see and compare the untitled song in
Thomas (BMMK), 40-43.
This song has survived in American tradition as a
love song and as a play-party piece, with all reference
to the War of 1812 eliminated.
Version B (below) is an English version and version A
is American.
I’m Going Across the Sea ( Version A)
0 come, my darling Molly, for you and I must part;
I go across the sea, my love, and it’s breaking my
heart.
0 won’t you go with me? So happy I would be!
0 won’t you go with me, my love? I’m going across
the sea.
She said, "My darling Johnny, you know how much I care,
But I can’t make the journey, love—it’s more than I
could bear,"
0 won’t you go with me?, etc.
"You’d better stay at home, love, and settle down with me;
me;
You know I’ll have a broken heart, if you sail o’er
the sea."
0 won’t you go with me?, etc.
VERSION B

MB
Song Texts
#
Oh, fare you well, ay Polly de”",
Since you and I must part;
In crossing of the seas, my love,
1*11 pledge to you my heart.
Chorus
0 our ship she now lies waiting,
80 fare you well, my dear,
For I just now am going aboard
Of a bold privateer.
She said, "My dearest Jemmy,
I hope you will forbear.
And do not leave your Polly
In grief and in despair.
•You better stay at home
With the girl you love so dear,
Than venture on the seas your life
In a bold privateer."
•You know, my dearest Polly,
Your friends they do me slight.
Besides you have two brothers
Who’d take away my life.
•From them I then must wander,
Myself to get me clear,
So I'm just now a-going aboard
Of a bold privateer."
2690
**********************

MB
Song Texts
2691

Ho. 782
I'M GOING DOWN THE RIVER I
Roustabout song. Such songs were sung by dock-workers
on both inland and river-south ports. Sever of these
songs have identical titles. I obtained this version
from Jim Valpey, who said he learned it in New Orleans.
For a dialect version, see Wheeler (SD), 50-51.
I'm Going Down the River I
I*m going down the river in the morning, baby,
Going down the river, baby mine;
Yes, I'm going down the river one more time.
Oh, you are gonna miss me when I am gone, baby,
Gonna miss your daddy every night;
Yes, you're gonna miss me when I'm out of sight.
You're gonna miss me rolling in your arms, baby,
Gonna miss me rolling in your arms;
Yes, you're gonna miss me rolling in your arms.
You done me wrong a hundred times or more, baby,
Done me wrong a hundred times.or more;
Yes, you done me wrong just like you did before.
I'm going down the river for to leave you, baby,
Going down the river in a bind;
Yes, I'm going down the river to unwind.
************* ******************---

No. 785
I'M GOING DOWN THE RIVER II
Roustabout song. This one is from the Mississippi River

MB
Song Texts
2{>921
country, and was recovered and printed by Wheeler
(SB), 114-115.
I’m Going Down the River II
I*m going down the river, baby.
Wish I could carry you;
I’m going down the river, baby,
Wish I could carry you.
Ain’t nothing down the river
For a good-lookin’ woman to do.
Wow when you see me leaving,
Hang black crepe over your door, etc.
I’m leaving here this evening,
And I ain’t coming back here no more.
I’m going down the river, baby,
I’d take you if I could, etc .
But even if I took you,
I couldn’t do you any good.
*********************************
No. "7§4
I’M GOING DOWN THE RIVER III
also known as
I’m Going Down the Rivah Befo* Long
Roustabout song. Some of the lines and at least one of
the stanzas are found in other songs. For example, see
Ain’t Gonna Be Treated This-a Way in this Master Book .
For a dialect version* see Wheeler (SD), 29.
I’m Going Down the River III

MB
Song Texts
2693
I'm going down the river before long,
Sweet mama,
Going down the river before long,
I'm going 'down the river before long.
Ain't coning back till some time next fall.
Sweet mama,
Ain't coming back till some time next fall,
Ain't coming back till some time next fall.
I'm going where the chilly wind9 don't blow,
Sweet mama.
Going where the chilly winds don't blow,
I'm going where the chilly winds don't blow.
Oh, if I had a nickle or a dime.
Sweet mama.
If I had a nickle or a dime,
I'd take you out to dinner all the time.
*****************************

Ho. 785
I'M GOING HOME TO DIXIE
This is a 19th century minstrel song credited to Dan
Emmett, the composer of Dixie . According to Nathan (DE),
351 t the tune was composed in 1858 but not published
until 1861.
Eor another folk song set to the same tune, see 1^ Ain't
Got Time to Marry in this Master Book .
I*m Going Home to Dixie
There is a land where cotton grows,
A land where milk and honey flows.
I'm going home to Dixie!
Tea, I am going home.

2694
MB Song Texts
Chorus
I've got no time to tarry,
I've got no time to stay;
'Tis a rocky road to travel.
To Dixie far away*
I will climb up the highest hill,
And sing your praise with right good will
I'm going home to Dixie!
Yes, I am going home.
I've wandered far, both to and fro,
But Dixie's heaven here below!
I'm going home to Dixie,
Yes, I am going home.
I will proclaim it loud and long:
I love old Dixie, right or wrong!
I'm going home to Dixie,
Yes, I am going home*
*****************************************

No* 786
I'M GONNA LEAVE OLD TEXAS
also known as
Going to Leave Old Texas Old Texas
I'm Going to Leave Old Texas Now The Texas Song
This is a cowboy song with an authentic ring to it,
but I don't know when or where it originated. The
tune is quite similar to that of Bury Me Not on the
Lone Prairie (see in MB) * That, in itself, doesn't
tell us very much since the song is sometimes sung
to one of the airs used for The Trail to Mexico (see
in MB).
REFERENCES

MB
Song 'Texts
Beet, 118
Fife, 182
2695
Leiey (LAS), 33-34
Lomax (CS-1938), 57
Warner, 35
I'm Gonna Leave Old Texas
I'm gonna leave old Texas now,
They've got no use for the longhorn cow;
They've plowed and fenced my cattle range.
And the people there are all so strange.
I'll take my horse, I'll take my rope,
And I'll hit the trail and ride with hope.
I'll say goodbye to the Alamo,
And I'll ride my hosa to Mexico.
I'll make my home on the wide, wide range,
For people out there are not so strange.
The hard, hard ground will be my bed,
And my saddle-seat will pillow my head.
And when my job on earth is done,
I'll take my chance with the Holy One.
I'll tell Saint Peter just how I know
A cowboy's soul ain't white as snow.
I'm sure the Lord will understand
What life is like in the cattle-land,
I'm gonna leave old Texas now,
Find me a home with the longhorn cow,
********************************

Ho. 787
I'M GONNA SING ALL THE WAY
also known as
Gwineter Sing All Along the Way
I'm Going to Sing

MB
Song Texts
2696
Pre-Civil War spiritual from the repertoire of the
original Fisk Jubilee Singers. Version below is one
of several now in circulation.
See and compare I*15 Gonna Sing in Leisy (LAS), 146
or Work (ANSS), 226.
REFERENCES
Johnson (BANS), 128-129 Marsh (SJS), 244-245
I’m Gonna Sing All the Wa£
We raise the Christian banner high,
The motto’s new and old:
Repentence and salvation
Are burnished there in gold.
Chorus
Oh, I'm gonna sing, gonna sing,
Gonna sing all along the way!
Oh, I’m gonna sing, gonna sing,
Gonna sing all along the way.
( repeat chorus again )
We want no cowards in our band,
That from the colors fly;
We call for valiant hearted men,
That are not afraid to die.
1
We soon shall reach the golden shore,
And how we then shall sing!
With all the heav’nly chorus
We’ll make the arches ring!
We’ll shout o’er all our sorrows,
And sing forevermore
With Christ and all his army
On that celestial shore.
***** ** ********* ******

MB
Song Texts
2697

Ho, 788
I’M GWINE TO ALABAMY
also known a?
I'm Going to Alabamy
Genuine slave song. According to Allen (SSUS), 89* or
14-5, this is "A very good specimen, so far as notes
can give one, of the strange barbaric songs that one
hears upon the Western Steamboats."
REFERENCES
Botkin (AFL), 904 Downes (1943), 172 Krehbiel, 53
I'm Gwine to Alabamy
I'm gwine to Alabamy, Oh!
For to see my mammy, Oh!
She went from ol' Virginny, Oh!
And I'm her pickaninny, Oh!
She lives on the Tombigbee, Oh!
I wish I had her wid me, Oh!
Now I'm a good big nigger, Oh!
I reckon I won't git bigger, Oh!
****************************************

Wo. 789
I'M JUST HERE TO GET MY BABY OUT OF JAIL
I learned this song in the late 1930s from the country-
music team, Karl Davis and Harty Taylor (Earl and Harty),
who recorded it for Okeh Records (Now Columbia Records).
I'm Just Here to Get My Baby Out of Jail

MB
Song Texts
2698
I*m not in your town to stay.
Said a Lady old and gray
To the warden of the penitentiary;
I'm not in your town to stay,
And 1*11 soon he on my way,
I*m just here to get my baby out of jail.
Oh, warden,
I'm just here to get my baby out of jail.
I have searched both far and wide,
And I heard that he had died,
But at last I found my baby here in jail.
•Twas then I pawned my wedding ring,
His father's watch and chain.
And came here to get my baby out of jail.
Oh, warden,
I have come to get my baby out of jail.
Then I heard the warden say,
To that lady old and gray,
I will bring your darling boy to your side.
Two iron gates swung wide apart.
She held her darling to her heart—
She kissed her baby boy and then she died.
But smiling!
She kissed her baby boy and then she died.
******************************

Ho. 79 O
I'M SAD AND I'M LONELY
also known as
I'm Sad and Lonely Sad and Lonely
Traditional "lonesome* song from the Southern mountains
Sandburg gives a version from the Blue Ridge, but says
nothing definite concerning its origin.

MB
Song Texts
2699
The song enjoyed a renewed spurt of popularity in the
1940s and 1950s due to the singing of Burl Ives, who
also included it in several folios and songbooks.
REFERENCES
Agay (1), 4 Ives (SB), 212-213
Cambiaire, 84 Sandburg (AS), 243-245
Downes (1940), 190 Silverman, I, 170
Downes (1968), 224
I’m Sad and 1*111 Lonely
I*m sad and I'm lonely,
My heart it will break;
For my sweetheart loves another—
Oh! I wish I was dead!
Tea, I wish I was dead!
I’m sad and I’m lonely,
0 Lord, I could die!
It*s er shameful way to treat me—
And she didn’t tell me why!
Ho, she didn’t tell me why!
I*m sad and I'm lonely,
For love's all in vain.
If I ever get over her,
I will not love again,
I will not love again.
*******************************

Ho, 791
I’M TROUBLED IN MIND
Slave spiritual from the repertoire of the original Fisk
Jubilee Singers. They obtained it from a former slave,
Mrs. Brown, of Nashville, Tennessee, She said she had

MB
Song Texts
2700
learned it as a child from her father.
This is not related to the country blues piece,
Troubled in Mind, which is published by Leeds Music
Corporation, now MCA Music, Inc», New York, N. Y. Nor
is it related to the Troubled in Mind in Erown, III,
334 and 7, 209.
Lomax (FSNA), 208 has a song entitled I^m Troubled
which contains lines from this and other spirituals,
but seems to be a compounded or deliberately rewritten
piece.
REFERENCES
Arnold, 171 Johnson (BANS), 120-121
Greenway, 98-99 Marsh (SJS), 173
Hayes, 68-69 Pike, 213, 255
Work (FSAN), 51
I*m Troubled in Mind •
0 Jesus, My Saviour, on Thee 1*11 depend;
When troubles are near me, you’ll be my true friend.
Chorus
I»m troubled, I*m troubled,
I*m troubled in mind.
If Jesus don*t help me,
I surely will die.
When ladened with trouble and burdened with grief.
To Jesus, in secret, I go for relief.
In dark days of bondage, to Jesus I prayed,
.To help me to bear it. And He gave His aid.
************** *•*■■*■*•»****

MB
Song Texts

Ho. 192
IH ARKANSAS
also known as
2701
In Kansas
Kansas
This is an adaptation of an old Irish song, Over Here ,
which was changed in England and America to Over There
(aee in MB). For yet another adaptation, see Zaaboango
in this Master Book, The tunes are different from the
original, so that relationship is through texts only.
In Arkansas was also adapted; it was turned into a
popular novelty called Way Out West in Kansas by Carson
J. Robison.
For additional information, see headnotes and references
to Over There (in MB).
REFERENCES
Belden (BS), 428-429
Botkin (AFL), 336
Botkin (WFI), 741
Fife, 96-97
Greenway, 212-213
Kennedy (TAB), 362-363
Lingenfelter, 454
Lomax (FSNA), 395-396
Nebraska (3), 3-4; (7), 11-12
Randolph, III, 17-19
Silverman, I, 19
United States IV, 11-12
In Arkansas Tune? Over There
0 the girls grow tall in Arkansas!
0 the girls grow tall in Arkansas!
The girls all grow tall.
And the boys chase ’em all.
And catch ’em when they fall
In Arkansas.
0 there’s plenty of room in Arkansas (2),
There’s plenty of room
Por joy and gloom
Por wedded bliss and for doom in Arkansas.

BB
Song Texts
2702
How the people never wed in Arkansas, (2)
Ho, the people never wed,
Or so I've heard it said—
They just tumble into bed in Arkansas,
0, they say to drink’s a sin in Arkansas, (2)
They say to drink's a sin,
But they guzzle all they kin
And vote prohibition in in Arkansas.
The roosters all lay eggs in Arkansas, (2)
The roosters all lay eggs
As big as whisky kegs,
And there's whiskers on their legs
in Arkansas.
**********************************

Ho. 795
IH BRIGHT MARS I CHS ABOVE
Pre-Civil War slave spiritual from the repertoire of
the original Fisk Jubille Singers.
REFERENCES
Bett, 42-43 Marsh (SJS), 198 Work (FSAN), 62
In Bright Mansion** Above
My father's gone to glory,
I want to live there too, lord;
I want to live up yonder,
In bright mansions above.
Chorus
In bright mansions above, (2)
lord, I want to live up yonder
In bright mansions above.

MB
Song Texts
2703
My brother's gone to glory,
I want to live there too, L< * *d;
I want to live up yonder
In bright mansions above.
My mother's gone to glory, etc.
My sister's gone to glory, etc.
My friends have gone to glory, etc»
************************
> NOi 794
IHCHIN* ALONG
also known as
Keep A-Inchin' Along Poor Inch Worm
Slave spiritual with text that is similar in several
ways to an old revival hymn, Burges , or We * 11 All Shout
Together in That Morning . For com parison, see Jackson
(WSSU), 240, 260.
REFERENCES
Dett, 10-11
Johnson (BANS), 134-135
Lomax (FSNA), 456
Marsh (SJS), 186
Odum (NHS), 89
Pike, 268
Work (ANSS), 125
Work (FSAN), 66-67
Inchin [ Along
*Twas inch by inch I sought the Lord,
Jesus will come by’n bye;
And inch by inch He blessed my soul—
Jesus will come by'n bye.
Chorus

MB
Song Texts
2704
Keep inchin 1 along, keep inchin' along,
Jesus will come by'n bye;
Keep inchin' along like a poor inch worm,
Jesus will come by'n bye.
The Lord is cornin' to take us home, etc .
And then we never more will roam, etc.
We'll inch and inch and inch along, etc.
And inch by inch He'll make us strong, etc.
*****************************

No. 795
THE INDEPENDENT LOVER
also known as
Go Tell His Mother
He Comes in Like Cold Weather
The Independent Girl
Let Him Sink or Let Him Swim
My Love is Like a Dewdrop
My Love is On the Ocean
My Old Beau
They Say He Courts Another
The Ugly Son
Adieu to Cold Weather
Adieu to Dark Weather
The Deserted Lover
The False Young Man
Farewell He
A Forsaken Lover
Goodbye to Old Winter and
Adieu to its Frost.
Here we give three Americanized versions (A, B & C) of
an old English song called Farewell He. According to
Baring-Gould, there is a stall print by Catnach. In
America, the song is, in Belden's words, "a kaleido
scopic folk-lyric that exists in many forms and under
many titles, one sliding imperceptibly into another."
For songs with texts in which similarities are obvious,
see: Jimmy and I Will Get Married in Creighton (MFS),
45; The Lover's Return in Fuson, 111; and Betty Brown
in Fuson, 148.

MB
Song Texts
2705
The story is usually told from the female's point of
view, but version A (below) is told from the male's
view,
REFERENCES
Jfering-Gould (GCS), 96
Belden (BS), 491-493
Cazden, I, 84-85
Gardner (B3SM), 130-131
Hubbard, 123
Pound (SPSN), XXII, No. 4
Randolph, IV, 236-241
Reevee (EC), 108-109
The Independent Lover ( Version A)
My sweetheart was courted by a young wealthy man;
He owned a thriving business as well as lots of land.
It seems now they'll be married, which is alright
with me.
I don't care who she marries, and gladly set her free.
Adieu to dark weather and farewell to white frost;
No one will catch me showing my grief because I lost.
Even though others wonder, I'll not let any know;
My heart it may be broken but it will never show.
While she'8 out social climbing I will not sit and pin
I'll go and find another, since she's no longer mine,
Tho' she thought to deceive me, as she's done two or
three,
I never did believe her and now I'll let her be.
She's welcome to her lover, and I want her to know
That I no longer miss her. God bless her, let her go!
If by chance she should stumble, and somehow lose
her way.
She'll know she has it coming, for even she must pay.

MB
Song Texts
2706
VERSION B
Farewell to cold weather, adieu to white frost;
I'm not the kind to cry for a false love that's lost.
I will sing, and I'll he happy, let the chips fall
where they may!
I can live without him—"good riddance," is what I say!
Chorus
If he's gone, let him go! Let him sink or let him swim!
If he doesn't care for me, I sure don't care for him!
If he's gone, let him go! I'm still healthy, young and
gay.
And I can find another man far better any day!
That he has found another is easy to believe,
But what a fool he is to think I'll ever greive.
His new love is welcome to take on the misery,
For I can do without him, and most happily.
He's handsome and he's witty, he dresses very neat,
And sometimes—tho' not often—he is very sweet;
But he is so deceitful! as false as false can be!
And I want the fool to know he can't cone back to me.
His love is in his pocket and never in his heart;
He can afford to roam and play the lover's part.
I hope he gives her more than he ever gave to me,
And I hope she breaks his heart before she sets him
free!
VERSION C
My love is on the ocean, let him sink or let him swim!
'I know, deep in my heart, it's either me or him.
He thought he could deceive me as he did the other
three,
And that I'd wait in sorrow when he sailed across the
sea

MB
Song Texts
2707
He comes in like cold weather and goes away like frost.
But there will be no weeping over nothing lost,
I #11 sing and be merry, for it’s all over with and done
And I told his mother I don’t want her ugly son!
His mother never liked me, and she tried to turn his
head;
The thought that we might marry filled her heart with
dread.
I»m better off without him, and I told her so.
She’s most welcome to him and I’m glad to see him go.
So tell his jealous mother she can set her mind at
ease,
I would not have him if he begged me on his knees!
He’s not the only man, and I’ll find another one,
And gladly give her back her great big ugly son!
************************************

Ho. 196
THE INDIAN LASS
also known as
Little Mawhee, or Mohea
Little Hohee, or Momee
Maumee, or Mawhee
The Miami Lass
One Morning in May
Pretty Mahee
Pretty Mauhee, or Mawhee
Pretty Mohea, or Mohee
Young Indian Lass
Coconut Grove
Pair Indian Lass
The Indian Mohee
Island Mohee
Lass of Mohay
Lass of Mohea, or Mohee
The Little Maumee
The Little Maunihee
According to some collectors, this song is American in
origin. Others claim it is English. Barry, for example
said the English stall ballad was a seaman’s remake of
an American inland song. Belden said, "The song as we

STB
Song Texts
2706
have it In American tradition is a song of sailors...
the ‘Indian lass* is a denizen not of America "but of
the South Seas.” According to Fife, the song’s
heroine was "an Indian maiden, wooed, won, and aband
oned by sailors, adventurers, trappers, soldiers, cow
boys, and sundry other virile types since the early
decades of European men*s ventures into the New «o^ld.
Flanders aaid, -The best evidence ie that -The little
Mohea- ie purely an American hallad.- Kittredge,
the other hand, believed that the Sngliah .all,
ie the original, that the Amerioan vereion ie • iMflJ
_ ♦ r *v«et«ned‘ reworking of it.
Englieh broadsides were issued by; Bebbington, Manchester
f 0)i Forth, Pocklington (No. 146); John Gilbert,
56). A broadside version was issued in America y
De Karsan, New York, li»t 14, No. 40. ^
Place names used in various versions te.l 7
eons was known in and adapted to those areas, .he song ..
too old and too widely diffused for place names to mean
very much. Bradley, Song^Ballets end DevilJL
V 7 . moyf i Q15 P. 906, suggests the song
Harper’s Magazine, May, 191b, p. ? ♦ 66 * Va umee"
may have been written in colonial times and that
, fvrr«c!^ 147-148 or elsewhere in this
•train in Flanders (NGMS), 14/ 140
Master Boo*. American and B is English.
Of the two versions below, A is _
REFERENCES
Arnold, 72-73
Barry (MWS), 86-87
Belden (BS), 143-145
Botkin (AFL), 824-825
Botsford, II, 24-25
Brewster (BSI), 175-180
Brown, II♦ 340-342; IV,
195-199
Bulletin (FSSN), VI, 15
18
Cambiaire, 62-63
Chase (AFTS), 128-129

MB
Song Texts
Colcord, 107, 199-200
Combs (FSKH), 22-23
Combs (FSMEU), 98
Cox (FSS), 372-374
Cox (TBPS), 147-149
Creighton (SENS), 103-104
Davis (PSY), 41-43
Dean, 17-18
Eckstorm, 230-233
Emrich (CBF), 24
Fife, 134-135
Flanders (NGUS), 144-146
Fueon, 84
Gainer, 124-125
Halpert (SBFS), 65-66
Henry (BMPS), 30-31
Henry (FSSH), 284-290
Hubbard, 96-97o
Hudson (PSM), 162-164
Ives (SB), 8-9
Jour (API), XXV, 16; XXXY,
408; XXXIX, 131J XIII,
282; XLV, 96; XLVII,
351
Jour (PSS), II, 262
Kids on (FSNC), 86-87
2709
Xidson (TT), 109-111
Kincaid No. 1, 38
Leach (BB), 725-726
Lomax (ABFS), 163-165
Lomax (?B), 27
Mackenzie, 154-156
McIntosh (PSSG), 37-38
Memoirs (APLS), XXIX, 33-37
Moore (BBSS), 192-194
Morris, 356-358
Heely, 173-175
Niles (SEP), 2-3
Oberndorfer, 88
Owens (TPS), 71-72
Pound, 197-198
Pound (SFSN), XXIV, No. 3
Pub (TPLS), XXIII, 102-104
Randolph, I, 280-282
Scarborough (SC), 336-345,
448-449
Scott (SA), 45
Shay (ASSC), 195-197
Silverman, I, 172
Stout, 33-37
Thomas (DD), 98-99
Wyman (LT), 52-54
The Indian Lass ( Version A)
As I was ^walking down by the sea-shore,
The wind it did whistle and the water did roar.
As I sat amusing myself on the grans,
Oh, *tvas then I did spy a young Indian Lass.
She came and sat by me, took hold of my hand,
And said, “You are a stranger and in a strange land;

MB
Song Texts
2710
But it you Trill follow, you’re welcome to come
And dwell in the cottage that I call my home.”
The sun was fast sinking far over the sea,
As I wandered Along with my pretty Mohea.
Together we rambled beside the sea’s foam,
And came to the cottage that she called her home.
She wanted to marry and offered her hand,
•My father is chief,” said she, M of all of this land
My father’s the chieftain, a great man is he,
I’m his only daughter, his little Mohea,*
•I can not dear maiden, now marry with thee,
For I've a dear sweetheart who’s waiting for me,
I can not forsake her and unworthy be,—
Her heart is as true as yours, sweet Mohea,*
•Twas early one morning, one morning in May,
I broke her poor heart when these words I did say:
•I’m going to leave you; it’s farewell, my dear,
.My ship is now ready to take me from here.”
The last time I saw her was there on the strand,
With tears in her brown eyes she reached for my hand
And said, ”When you’re home with your loved one so
true.
Remember the Mohea who’ll always love you,”
Oh, when I had landed with my sweetheart on shore,
My friends and relations came to greet me once more,
I gazed upon them, but not one did I see
That ever compared with my darling Mohea 0
The girl that I loved had proved untrue to me,
And so I said to her, ”0ur marriage can’t be,
I bid you adieu, and backward I’ll flee,
And never again leave my little Mohea.”

H3
Song Texts
2711
VERSION B
As I was a-walking on a far distant shore,
I went into an ale-house as often Before;
And as I sat smoking and sipping my glass,
By chance there came in a fine young Indian lass.
This lovely young Indian, on the place where she stood
I viewed her sweet features and found they were good.
She was neat, tall, and handsome, her age was sixteen,
And was born and brought up in a place near Orleans.
I sat down beside her and lifted her hand:
"I am a poor sailor, not one of this land,
But I will prove constant if you’ll wed with me,
So let u» be married ere I go to sea."
"Kind'sir," said the maiden, "I pray you to stay.
You shall have my portion without more delay.
0 , do not go leave me to cross the wide sea—
Por I have enough wealth for you and for me."
The day was appointed that we were to sail,
To cross the wide ocean and leave her awhile«>
She says, "When you’re over in your own native land,
Remember the young Indian that gave you her hand."
So early next morning we were going to sail,
And this young Indian maid on the beach did bewail;
I took off my handkerchief and wiped her eyes—-
"0, do not go leave me, my sailor!" she cries.
We weighed our anchor and eway then we flew;
A sweet, pleasant breeze parted me from her view.
But now I am over and taking my glass,
Here is a good health to the young Indian lass.
*************************

MB
Song Texts
2712

Ho. 797
I NEVER PELT SUCH LOVE IN MY SOUL BEPORE
also known as
I Never Heard a Man Speak Like My Jesus
This is a compounded spiritual. It may very well be a
constructed imitation. Por another version, see Work
(ANSS), 150.
_I Never Pelt Such Love in My Soul Before
I never heard a man speak like my Jesus!
I never heard a man speak like my Jesus!
I have heard wise men teach,
I had heard the preachers preach,
But I never heard a man speak like my Jesus!
Chorus
I never felt such love in my soul before!
I never felt such love in my soul before!
Prom the time I was born,
Till this bright and happy morn,
Oh! I never felt such love in my soul before!
I never read a book like the gospel book!
I never read a book like the gospel book!
Por the truth and the light.
Let religion set you right—
Oh! I never read a book like the gospel book!
I never knew a faith like the Christian faith!
I never knew a faith like the Christian faith!
Prom the time of my youth,
When I found the Saving truth—
Oh! I never knew a faith like the Christian faith!
** * ************* *******

MB
Song Texts
2713
Ko^ 198
THE INFANTRY I
The author of this poem, Barnard E. Bee, resigned from
the U. S. Army, Tenth Infantry, to Become a Brigadier-
general in the Confederate Army. He was killed at Bull
Bun.
For other versions, see Dolph, 325-327 and Niles (SMM),
29.
The Infantry I Tune: Maryland , My Maryland
Our Army is a motley crew
In dress and armor-duties, too;
And each and all I love to see.
Though mostly prize the Infantry.
In tented field, in ladies’ Bower,
Alike they shine—all fear their power.
Though other,Corps are dear to me,
Yet most I love the Infantry.
Chorus
The Infantry! The Infantry!
Who would not love the Infantry?
Though other Corps are dear to me,
Yet most I love the Infantry.
*************************

No. 799
THE INFANTRY II
also known as
The Infantry Song
■This," according to Dolph, p. 30, *is the doughboys’
parody on* 1 The Cavalry Song (see in MB). Text is from

Song Texts
MB
2714
Dolph’s Sound Off?
The Infantry II Time: The Cavalry Song
Bow listen unto this, my song: I*m a warrior bold
you see,
I«m a fighter and a hiker in the U. S. Infantry.
I »^tand erect with heels in line (I’m used to war's
alarm)
¥lth gun and belt and haversack; 'Tis the pose of the
fighting arm.
Chorus
So fill your glasses with cold beer,
And brace your courage with good cheer,
I tell you all it's soldiering
To serve in the Infantry.
The cavalryman may be fierce and bold and a soldier
through and through,
But he leaves his horse when off to war; 'tis what
he hates to do.
He lays aside his boots and spurs, but never can he be
A fighting, hiking army man, like the soldier of the
Infantry.
The cavalry is the showy branch that people like to see,
But in the field the campaign fails without the Infantry.
In China and the Philippines the doughboys fought quite
well,
And they were "Johnnies on the spot” when Santiago fell.
The red-stripe soldier makes me smile, he really makes
me laugh,
To listen to extravagance of praise on his behalf.

MB
Song Texts
2715
He makes a noise when he fires his gun from his
fortress by the sea;
He’ll never know what soldiering is till he joins
the Infantry,
********* **********************

Ho, 800
IN MINDANAO
Soldier eong from the Philippine Insurrection, recovered
by Dolph, pp, 194-196, who says it "commemorates the
building of the road from Iligan, on the north coast
of Mindanao, up to Camp Marahui (now Keithley), on the
shores of Lake Lanao, in the heart of the Moro country."
In Mindanao Tune: Girl I Left Behind I
We said goodby to the brown babaye
In Naic and Santa Cruz,
And for Mindanao we took our vow
In a glass of foaming booze.
We’re camped in the sand of a foreign land
By the mighty Agus' River;
With the brush at ycurtoes
And the skeeters at your nose,
And a kris, perhaps, in your liver.
We’ve the dhobee-itch , the hamstring hitch.
The jimjams and the fever;
The ping-pong wrist and the bolo fist,
And a bumpus on the liver.
We’re going up to Lake Lanao,
The town they call Marahui;
When the road is built
And the Moros "kilt,"
There’ll be none of us to worry.

MB
Song Texts
2716
We're blasting stumps and grading bumps,
Our hands and backs are sore, oh!
We work all day just dreaming of our pay.
And damn the husky Mores!
When you're pulled from bed
With a great big head,
And a weakness o'er you stealing:
The sick report is a fine resort
To cure that tired feeling.
*************************

No, 801
IN MY HEART
also known as
I Want to Be a Christian in
My Heart
Little Wheel A-Turnin' in
My Heart
Lord, I Want to Be a
Christian in My Heart
There'8 a Little Wheel A
turnin' in My Heart
Two major versions of this song exist; one is a re
vivalist hymn, the other is a spiritual. In our version
the two major versions are combined.
See and compare Fenner (RFSN), 168.
REFERENCES
Benziger, 88
Brown, III, 675; V, 398
Chambers (TNS), 49
Dett, 50-51, 168
Fisher (SNS), 104-107
Gainer, 218-219
Johnson (SBNS), 72-73
Lloyd, 146
Mackenzie (SH), 113
Wier (SSS), 93
Wier (YAM), III, 75
Work (FSAN), 131
In Mv Heart

MB
Song Texts
2717
There’s a little wheel a-turning in my heart,
There’s a little wheel a-turning in my heart,
In my heart, in ay heart,
There’s a little wheel a-turning in ay heart.
Oh, I feel so very happy in my heart, etc .
lord, I want to he a Christian in my heart, etc.
I*ve a double •'determination in my heart, etc .
Lord,*I.want to he more loving in my heart, etc .
*****************************

Ho. 802
IH OLD POD-AUGER TIMES
also known as
Old Pod-Auger Times Pod-Auger Tines
This song presents a word-picture of a kind of social
life no longer with us. The "pod-auger" was a hit
need to hore wooden piping. Our version is from
Linscott, 251, who said she obtained it "from the
hook of Comical Brown’s Songs
For a similar titled hut different song, see Old Pod
Auger Days in Ives (LG), 116-118.
In Old Pod-Auger Times
I'll sing you a song of the good old times,
When people were honest and true;
Before their brains were addled or crazed
By everything strange and new;
When every man va9 a working-man
And earned his livelihood,
And the women were smart and industrious,

MB
Song Texts
2718
And lived for their family*s good;
Of the days of Andrew Jackson
And of old granfather Grimes,
When a man wasn’t judged by the clothes
he wore—
In old pod-auger times.
Our young men loaf about the streets
And struggle with bad cigars,
They stay out nights when they should stay home,
With their daddies and their ma*s;
They wear tight trousers, likewise tight boots
And guzzle lager beer.
And when their daddies foot the bills,
They find ’em pesky dear.
But when we old men were farmers* boys
We*d neither dollars nor dimes,
And we worked from daylight till candle light
In old pod-auger times.
The old men didn't drive fast horses,
Nor gamble with cards and dice,
And they didn't run church lotteries,
For it wasn't considered nice.
But now they'll gamble and drink mean rum,
And lead hypocritical lives,
And wives run away with each other's husbands,
And husbands with other men's wives;
And folks didn’t have delirious trimmin's,
Nor perpetuate horrible crimes,
For the cider was good and the rum was pure
In old pod-auger times.
**************************

MB
Song Texts
2719
No^ 803
IH THAT MORNING I
also known as
The Morning Trumpet To Hear the Trumpet Sound
Shout 0 Glory! When I hear the Trumpet
Sound
Campground epiritual that inspired the slave spiritual
( In That Morning II), which is now "better known. The
first four lines of version A ("below) are found in
many other hymns and spirituals, including Autauga in
White & King, 322; Bound for Canaan in McCurry, 204;
Mercer's Cluster, 356; White & King, 82; Ecstasy in
McCurry, 112; Griffin in White & King, 323; The lost
City in White & King, 320; Religion is a Fortune in
McCurry, 42 and White & King, 319.
Version B (below) is the slave adaptation made popular
hy the original Fisk Jubilee Singers.
REFERENCES
Cobb (SH), 210 Jackson (WSSU), 254
Hillman, 158 James, 85
Jackson (SFS), 197, 234 McCurry, 111
In That Morning I ( Version A)
0 when phall I see Jesus
And reign with Him above,
And from the flowing fountain
Drink everlasting love?
When I hear
¥
The trumpet sound in that morning!
Chorus
Shout 0 glory!
For I shall mount above the skies
When I hear
The trunper sound in that morning!

MB
Song Texts
2720
VERSION B
0 brother, in that day
We’ll take wings and fly away,
And we’ll hear the trumpet sound
In that morning!
0 glory! how I want to go
To hear the trumpet sound
In that morning!
0 sister, in that day, etc.
0 converts, in that day, etc.
0 father, in that day, etc,
********************************

No. 804
IN THAT MORNING II
also known as
1*11 Hear the Trumpet Sound
In-a-dat Morning
Tou May Bury Me in the East
Hear de Trumpet Sound in
dat Mornin'
How I long to Go
This spiritual is another slave-time treatment of In
That Morning I (above). As Jackson obserbed, the black
singers made very few changes in the tune, but they
did add their own words.
See and compare the Job , Job in Courlander (NSA), 24.
REFERENCES
Hayes, 63
Jackson (WSSTJ), 254-255
Johnson (BANS), 181-182
Jubilee (PS), 10
Krehbiel, 31
Mackenzie (SH), 118
Marsh (SJS), 136
Pike, 176, 218
Waite, 73
Work (ANSS), 56

Song Texts
2721
KB
In That Morning II
You may bury me in the East,
You may bury me in the West,
But I’ll hear the trumpet sound
In that morning.
Chorus
In that morning, 0 Lord!
How I long to Go
For to hear that trumpet sound
In that morning.
Father Gabriel in that day
Will take wings and fly away,
For to hear that trumpet sound
In that morning.
You may bury him in the South,
You may bury him in the North,
But he’ll hear the trumpet sound
In that morning.
All good Christians in that day
Will take wings and fly away,
For to hear the trumpet sound
In that morning.
********** ************* ********

Ho, 805
IN THAT MORNING III
also known as
In-a That Morning I’ve Bone What You Told Me To Bo
Not very much is known about the origin of this spirit
ual, except that it was obviously created by Southern

MB
Song Text3
2722
blacks. How far back in time this spiritual goes was
not reported in Work (AHSS), 198, the only other col
lection containing a version of it. For a spiritual
that has something in common with this one, see the
1 Bone Bone What You Told Me To Bo in Fisher, 130;
Hallowell, 21; Johnson (BANS), 180; White, 122; and
Work (ANSS), 160.
In That Morning III
0 Lord, I*ve done what you told me to do,
0 Lord, I’ve done what you told me to do,
0 Lord, I»ve done what you told me to do,
In that morning, 0 my Lord, in that morning, 0 Lord,
In that morning when the Lord says "Hurry!"
0 Gabriel, come on down the line, etc.
0 gambler, you can*t get on this train, etc .
0 brother, have you got your ticket signed?, etc.
0 sinner, don't let Satan hold you back, etc.
0 Jesu9, Jesus, He*s the engineer, etc.
********** ***•**#*•***■»•***•*■** *•**

No, 806
IN THE ARMY OF THE LOFJD I
also known as
Farewell, Vain World, I*ra In the Service of the Lord
Going Home Maxwell
I f m Bound to Bie in the Army Service of the Lord
This campground spiritual was very popular at one time,
but is not as well-known today.

MB
Song Texts
2723
The first stanza is a real floater, appearing in at
least six other revival hymns. See: I’m Going Home
in McCurry, 214 ana White & King, 282; Memphis , or
Sweet , Sweet Home in McCurry, 107; The Promise in
McCurry, 136; Travelling Pilgrim in White & King,
278; Benton , or I’m a Stranger , I’m a Pilgrim in
McCurry, 152; I Belong to This Band in Jackson (S?3),
191, 219 & (WSSTJ), 236, 247 and White (SH), 176, 531.
Both melody and words of this hymn are related tc
several old religious pieces, including Glory Hallelujah?
given elsewhere in this Master Book,
Taken over by blacks, this campground "white” spiritual
was made over into In the Army of the Lord II (below).
As Jackson has noted, the original tune seems to be a
reworking of the English-Scottish ballad, Little Musgrave
and Lady Barnard ( see Little Marty Gray in MB)*
REFERENCES
Jackeon (SFS), 216 McCurry, 62
Jackson (WSSU), 221, 266 White & King, 80
In the Army of the Lord J
Farewell, vain world, I’m going home,
I am bound to die in the army;
My Jesus smiles and bids me come,
I am bound to die in the army.
Chorus
I am bound to live in the service of
my Lord,
I am bound to die in the Army.
Sweet angels beckon me away, etc .
To sing God’s praise in endless day, etc.
****** **************** *

MB
Song Texts
2724

Bo, 807
IB THE ARMY OP THE LORD II
also known as
I*m a Soldier of the Cross
I*m Bound To Be a Soldier
In the Kingdom With
My Redeemer
This is a "make-over* by black people of the preceding
spiritual. For another spiritual containing some simi
larities, see Heavenly Choir in this Master Book,
REFERENCES
Jackson (WSSU), 267.
Kennedy (M-l), 146-147
Dett, 120
Grissom, 60
In the Army of the Lord II
I started out for heaven in the army of Lord,
I started out for heaven in the army;
And I’m bound to be a soldier in the army of the Lord,
0 I’m bound to be a soldier in the army.
Chorus
In the kingdom with my Redeemer,
Got salvation to bring me over.
I»m a soldier of the cross in the army of the Lord,
I*m a soldier of the cross in the army;
0 I’m bound to be a soldier in the army of the Lord,
0 I’m bound to be a soldier in the army,
I*m fighting for my Saviour in the army of the Lord,
I*m fighting for my Saviour in the army;
0 I'm bound to be a soldier in the army of the Lord,
0 I’m bound to be a soldier in the army.
***********************

MB
Song Texts
2725

Ho. 806
IN THE HILLS OP ARKANSAS
also known as
Arkansas Way Out in Idaho (Idyho)
Eureka! Way Out West in Arkansas
Hurrah for Arkansas We're Coining Arkansaw
Idaho We're Coming Idaho
The original version, Way Out West in Idyho , written
by Prank French and published in 1864, is not as well-
known today as in this adaptation, In the Hills of
Arkansan , Lynn Riggs used a rewritten version of Idaho
in his play Green Grow the Lilacs , but he left the re
frain more or less as it was.
Similar "place" songs exist in American tradition, and
one of the more popular is Away Down East (see in MB).
Most such songs undergo adaptation in time, with one
place—town, area, state—being substituted for another*
In this instance, the original Idaho was replaced by
Arkansas,
For a version of the original, see version B below.
REFERENCES
Botkin (RPL), 440-441
Botkin (WPL), 745
Brunvand (FSSI), 247-248
Fife, 304-305
Glass (8W), 16-17
Jordan, 298-300
Larkin, 77, 86
Lingenfelter, 120-121
Lomax (CS-1938), 265-266
Lomax (PSNA), 309-310
Lomax (OSC), 269-270
Owens (TPS), 129-130
Randolph, III, 14-17
Silverman, I, 18
In the Hills of Arkansas (Version A)

MB
Song Texts
2726
There is a stream, they say, where crystal waters
flow,
Will care any man whether sick or well, if he will
only go.
Chorus
We’re coining, Arkansas! We're coming, Arkansas!
Our four-horse team will soon be seen in the hills
of Arkansas.
The roads are rough down there, and you will find
It so;
There's rocks and rill and rocks and stumps in the
hills of Arkansas.
The girls are strong down there, so healthy, clean,
and gay;
They card and spin from morn till night and dance
from night to day.
Remember what I said as we sat side by side?
I said that I would come for you, and you would be
my bride.
The fields are rough down there; they got holes
ev’ry where.
Although the country isn't much, the girls are plenty
fair.
YBRSION B
They say there is a land where crystal waters flow
O’er beds of quarts and purest gold, way out in Idaho
Chorus
0! wait, Idaho! We're coming, Idaho.
Our four hoss team will soon be seen way out in Idaho

KB
Song Texts
2727
We*re bound to cross the plains, and up the mountains
«o;
We*re bound to see our fortunes there, way out in Idaho.
We*ll need no pick or spade, no shovel, pan, or hoe;
The largest chunks are top of ground, way out in Idaho.
We’ll see hard times no more, and want we’ll never Know,
When once we've filled our sacks with gold, way out in
Idaho.
urn-******* * *
NO. § 2 !
IN THE HILLS OP MEXICO
also known as
Boggus, or Boggy Creek THe Hills of Mexico
This is a parody of The Buffalo Skinners (see Hired
On IV in MB}., which is a derivative of the lumbermen’s
song, Canaday-I-0.
According to Fife, this song "was known everywhere in
the West."
REFERENCES
Dobie (CG), 45
Fife, 89-90
Fife (FAC), III, 157, 172
Haley, 201-202
Lingenfelter, 372-373
Lomax (CS-1938), 41-42
McConathy, 80-81
Pub (TFLS), II, 45
Thorp & Fife, 196, 206, 217
Webb (MTFL), 45
In the Hille of Mexico
Gather round me you old time cowpokes
And I will sing you a song;
No need for you to worry,
It will not take me long.

MB Song Texts 2728
It*s all about some punchers
Who did agree to go
And spend the summer punchin*
In the hills of Mexico.
I was stranded out in Santa Pe
The year of Eighty-three;
A cattleman named Johnson
Stepped up and said to me:
•How do you do, young fellow,
How would you like to go
And spend the summer punchin*
In the hills of Mexico?"
Well, now I was broke and out of work,
So to Johnson I did say:
•Where your question is concerned,
The answer is the pay;
If you put out good wages,
Give horse and saddle, too,
I*d be willing to go
And stay the summer through."
With a line as smooth as ever heard,
01* Johnson was bound to win;
About twenty he signed on—
All able-bodied men.
The trip was not unpleasant
The way we had to go.
Until we crossed the Rio Grande
In the hills of Mexico.
There the water tasted just like brine,
All filled with alkali too;
01* Johnson rode before us,
And led us safely through.

MB
Song Texts
2729
Attacked by big mosquitos,
We had to travel slow—
There’s no worse hell on this earth
Than the hills of Mexico.
At last our journey it did end.
We reached ol* Johnson’s farm;
The first bronc I tried to break,
He damn near broke my arm!
While punchin* them damn longhorns
Our trials were never alow—
And that ain’t countin’ Injuns
In the hills of Mexico!
When the rounding-up was fin’lly done,
01* Johnson held back our pay;
He eaid we'd been extravagant,
Increasing debts each day 0
But we didn’t buy his story,
Or bankrupt tale of woe—
His bones are out there bleaching
In the hills of Mexico!
******************************************

Ho. 810
IN THE PINES
aleo known as
The Longest Train Where the Sun Never Shinee
This song is still performed by various "country" art
ists, and it is widely known. Since Cecil Sharp in
cluded a version in his Appalachian collection, the
song may have originated in England. However, Sharp’s
Black Girl merely has similar lines (Sharp, II, 278)
and ia not, in my opinion, a candidate for English
origin for that reason alone© It ia possible that this

HB
Song Texts
2750
song is nothing more than a "put-together M piece.
Not only did it take on lines from several other songs
over the years, "but lines identified with it drifted
into other songs. For examples, see Haid Freed Proa
the Gallows in Fuson, 113; Mobilene and Pretty Little
Girl in Brown, III, 334, V, 202 D; and Sweet Thing ,
Sweet Thing in this Haster Book.
REFERENCES
Brown, III, 332-334;
V, 201-203
Gordon (FSA), 83-84
Jonr (AFL), XLIX, 224
leiBy, 180-183
Lomax (FSNA), 541-542
Roberts (IP), 235-236
Roberts (SBS), 156-157
Silverman, II, 70
Silverman (FB), 216, 217-218
In the Pines
The longest train I ever saw
Ran through the mountain pines;
The engine passed at six o'clock,
The cab rolled by at nine.
Chorus
In the pines, in the pines,
Where the sun never shines,
I shiver when the cold winds blow 0
The longest train I ever saw
Ran through the mountain pines.
The whistle of that lonesome train
Can turn my heart to stone;
It took the one I love away
And left me here alone.
The prettiest girl in this whole world
Lived down that railroad track,

MB
Song Texts
.2731
Had clear blue eyes and golden hair
In curls all down her back#
The night wind whispers thro* the trees,
And gives a mournful sigh;
It seems to say, “forget, forget!”
As it goes drifting by.
************************************
Ho# 811
IK THE STATE OP EL-A-NOY
also known as
El-a-noy The State of El-a-noy
The tune of this “place” song from American frontier
days is an old Irish air: The Bo£ Beal Board. Por a
version obviously rewritten, see The Plains of Illinois
In Cazden, I, 62-63.
REFERENCES
Agay (1), 38-39
Arnold, 162
Botkin (MRF), 561
Carmer (SRA), 189-190
Downes (1943), 110
Glass (SW), 14-15
Lomax (P5NA), 87
Sandburg (AS), 162-163
Silverman, I, 17
In the State of El-a-noy
•Way down upon the Wabash sich land was never known;
If Adam had passed over it, the soil he surely known.
He*d think it was the garden he'd play'd in when a
t>oy.
And straight pronounce it Eden, in the etate of
El-a-noy.
Chorus

KB Song Texts 2732
Then move your fam'ly westward, good health you will
enjoy,
Ant rise to wealth and honor in the state of El-a-noy.
'Twas here the Queen of Sheba came, with Solomon of
old,
With an ass load of spices, pomegranates and fine gold;
And when she saw this lovely land, her heart was filled
with joy.
Straightway she said "I'd like to be a Queen in
El-a-noy."
She's bounded by the Wabash, the Ohio and the lares,
She's crawfish in the swampv lands, the mi Ik-sick and
the shakes;
But these are slight diversions and take not from the
ioj
Of living in this garden land, the state of El-a-noy.
************************************

No. 812
THE INTOXICATED RAT
also known as
The Cat and the Mouse
This song, in the form of the English-Scottieh ballad,
Our Goodman , was popularized during the late 1930s and
early 1940s by Art Dixon, a "country" music entertainer.
Other performers recorded the song, including Cisco
Houston on the Folkways label, but collectors have ig
nored it. For other versions, see Leisy (SPS), 109
and Silverman, II, 169.
The Intoxicated Rat

MB Song Texts 2733
The other night when I came home,
So drunk I could not see,
I got tangled up in the old door mat.
Pell flat as flat could he.
Had me a little bottle of rum
And I didn't have any more;
The cap broke off when I went down,
And it spilled out on the floor.
A rat came out of his little hole,
He caught the whiskey scent;
He scooted up and he lapped a little bit.
And back to his hole he went.
Back to his hole he went,
Right back to his hole he went;
He scooted up and he lapped a little bit,
And back to his hole he wento
But pretty soon he was back again,
Sidled up to the rum on the floor;
He was a little bit shy, but he winked
one eye,
And he lapped up a little bit more.
He didn't run back to his hole that time,
But he stayed by the puddle of gin,
And he said, "Dadgua my pop-eyed soul,
I*m gonna git drunk again."
He washed his face with his two front feet,
And on his hind legs sat;
Then with a twisted smile and a half-closed
eye,
8aid, "Where's that dadgum cat?"
And he didn’t go back to his hole.
He said, "dadgiun my soul,
I*m only a rat but there ain’t no cat
Can force me back to my hole."

KB
Song Texts
2734
Then his little eyes began to shine,
And he lapped up more and more;
And it made me glad that I had stumbled
And spilled it on the floor.
But soon the puddle of rum was gone,
And I didn’t have any more gin.
And the little old rat was a-having a time
When the old tom-cat walked in.
The cat made a pass, the rat made a dash,
His boldness faded thin;
The cat jumped over and the rat got sober
And ran back to his hole again.
R a n back to his hole again,
Ran back to his hole again,
The cat jumped over and the rat got sober
And ran back to his hole again!
#*********■****•»-*■•*•* a-**** *

Ho. 813
INVITATION TO ADVENTURE I
also known as
A—lumbering We’ll Go Once More A-Lumbering Go
A-Lumbering We Will Go On the Tittabawaseee
The Logger’s Boast We'll Roam the Forest.Over
This is one in a series of songs that I have grouped
together for convenience. All are related, at least
by story theme, and several are adaptations or deriva
tives of the others.
Of the two versions given below, we know that A dates
back to at least mid-19th century because a text of it
is in John S. Springer’s Forest Life and Forest Trees .
Hew York, 1851, pp. 132-133. Version B came later, but
exactly how much later is not known.

MB
Song Texts
2735
For variations, see the Ex-Ranger*a Song in Shoemaker
(MKP), 83. 91, and Invitation to Adventure III in this
Master Book.
REFERENCES
Barry (MWS), 14-15
Beck (LLC, 29-32
Beck (SML), 18-21
Carmer (SRA), 59-60
Eckstorm, 41-43
Gray, 18-21
Lomax (USA), 166-167
Shoemaker (NPM), 70-71
Warner, 73
Invitation to Adventure I ( Version A)
Come, all ye sons of freedom through out the State of Maine,
Come, all ye gallant lumbermen and listen to my strain.
On the banks of the Penobscot, where the rapid waters flow,
0 we*11 range the wild woods over and a-lumbering we’ll go.
Chorus
When the white frost gilds the valleys, the cold congeals
the flood;
When many men have naught to do to earn their families
bread•
When swollen streams are frozen, and the hills are clad
with snow,
0, we*11 range the wild woods over, and a-lumbering we’ll
go.
When you pass thro the dense city, and pity all you meet,
To hear their teeth chattering as they hurry down the street;
In the red frost-proof flannel we’re encased from top to toe.
While we range the wild woods over, and a-lumbering we*11 go.
Tou may boast of your gay parties, your pleasures and your
plays.
And pity us poor lumbermen while dashing in your sleighs;

BTB
Song Texts
2736
We want no 'better pasttime than to chase the buck and
doe—
0! we*11 range the wild woods over, and a-lumbering we* 11
The music of our burnished axe shall make the woods resound,
~V
And many a lofty ancient Pine will tumble to the ground 0
At night, ho! round our good campfire we will sing while
rude winds blow,
And we*11 range the wild woods over while a-lumbering we gOo
When winter’s snows are melted, and the ice-bound streams
are free,
We*11 run our logs to market, then haste our friends to see.
Hew kindly true hearts will welcome us, our wives and child
ren too;
We will spend with them the summer, and once more a-lumber-
ing we’ll go.
And when upon the long-hid soil the white Pines disappear.
We will cut the other forest trees, and sow whereon we clear.
Our grain shall wave o’er valleys rich, our herds bedot the
hills,
When our feet no more are hurried on to tend the driving
mills.
Then no more a-lumbering go, then no more a-lumbering-go,
When our feet no more are hurried on to tend the driving
mills.
When our youthful days are ended, we will cease from winter
toil.
And each one thro the summer war will tend to virgin soil.
We’ve enough to eat, to drink, to wear, content thro life
to go.
Then we’ll tell our wild adventures o’er, and no more a-
1umbering go.

MB
Song Texts
2737
And no more a-lumbering go, and no core a-lumbering go,
0, we’ll tell our wild adventures o’er and no more a-
lumbering go!
VERSION B
Come, all you sons of pleasure, and listen while I sing;
Come on, and go along with me and meet the timber king.
We will call upon Paul Bunyan while the winds of winter
blow.
And we’ll roam the forest over and a-lumbering we’ll go.
Chorus
We will roam the forest over and a-lumbering we’ll go,
0! we’ll roam the forest over and a-lumbering we’ll go«
When the frost is in the valley, and the trees begin to
shed,
When cutters go into the woods to earn their daily bread,
When the streams are nearly frozen, and the hills are
'•dressed in snow,
We will roam the forest over and a-lumbering we’ll go.
You may talk about your parties and good times all you
please.
And you may pity us poor souls who cannot share your ease;
But we envy not your pleasure in the cities down below,
For we roam the forest over and a-lumbering we go.
When all the snows are melting, and the streams are flowing
free.
We'll float our logs to market and have ourselves a spree.
We will frolic through the summer, till the winds of winter
blow.
Then we’ll roam the forest ever and a-lumbering we’ll go.
**************************

KB
Song Texts
2738

Bo. 814
IHVITATION TO ADVENTURE II
also known as
Banks of the Ohio
Chase the Buffalo
The Hunting of the Buffalo
Hunt the Buffalo
The Lovely Ohio
The Pleasant Ohio
tfe'll Chase the Buffalo
We'll Hunt the Buffalo
During Colonial times, and for two or three decades follow
ing the Revolution, the "American West" wa* the area along
and Beyond the Ohio River, This song is among the es-liest
about "life along the hanks of the Ohi,"
There are two versions (A and B) given below, but I am
unable to say with certainty which version is older.
For a shanty version, see The Buffalo in Whall (SSS), 92,
REFERENCES
Carmer (SRA), 170-171
Downes, 107, 131
Jackson (ESUS), 32
Jordan, 305-307
Lomax (FSNA), 85
Lomax (USA), 103-104
Reevee (EC), 67
Scott (SA), 74-75
Silverman, I, 18
Songster (60), 174-175
Invitation to Adventure II ( Version A)
Come, all you brisk young fellows, who have a mind to roam
Unto some foreign country a long way from home;
Unto some foreign country along with me go,
And we'll settle on the banks of the lovely Ohio,
Chorus
Sweet and shady groves! Thro the wild woods we'll wander.
And we'll hunt the buffalo, and we'll hunt the buffalo,
Through the wild woods we'll wander, and we’ll hunt the
buffalo.

KB
Song Texts
2739
Come, all you pretty fair maids, and spin us some yarn,
To make us some nice clothing, to keep ourselves warm;
for you can knit and sew, oy loves, while we do reap
and mow,
When we nettle on the banks of the lovely Ohio.
There are fishes in the river Just fitted for our use,
There*s tall and lofty sugar cane that yields us none
Juice;
There is all kind of game, my boys, beside the buck and
doe,
When we settle on the banks of the lovely Ohio.
If ever those wild Indians do unto us come nigh,
We will all unite together, lads, to conquer or die;
We will march into their tents, boys, and strike the
deadly blow,
When we settle on the banks of the lovely Ohio.
VERSION B_
Come, all ye young men, who have a mind to range
In to the Western country, your station for to change;
For seeking some new pleasure we’ll all together go,
And we*11 settle on the banks of the pleasant Ohio.
Chorus Tag
(Repeat the final two lines of each stanza).
The land is good, boys, and you need not fear,
•Tis a garden of Eden in North America,
Come along, my lively lads, and we'll all together go,
And we*11 settle on the banks of the pleasant Ohio.
Those blood-thirsty Indians you need not to fear,
We will all united be, and we'll be free from care;
We*11 march into their towns, and we'll give a deadly blow,
And we*11 fold you in our arms on the pleasant Ohio,

MB
Song Texts
2740
Come, all ye fair maidens, wherever you may be,
Come, join in with us, and rewarded you shall be;
Girls, if you*11 card, knit and spin, we'll plough,
reap and sow,
And we*11 settle on the banks of the pleasant Ohio.
w***********************************

Ko. 815
INVITATION TO ADVENTURE III
also known as
Break and Shoot the Buffalo
Chase the Buffalo
Rally Round the Cranebrake
Rise You Up
Shoot the Buffalo
Up Jumped the Crow
We'll Chase the Buffalo
We'll Hunt the Buffalo
We'll Rally Round the Crane
brake
We'll Shoot the Buffalo
Invitation to Adventure I and II journeyed westward to
gether, or quickly followed one another, and they s^red
offspring all the way. As the American frontier extended
and expanded, versions of the two related pieces were
adapted to satisfy the tastes and needs of the people in
the various communities•
The only entertainment available, for social purposes,
were singing games for children and play-party-dance songs
for young adults a Popular songs were changed to serve
these purposes, and the preceding two songs were not ex
ceptions. So many versions and variants resulted that
all of them, together, would fill a book. The versions
below, therefore, are merely representative of the group
and the form,
Por variations containing floaters, or lines taken from
other songs, see: Douthitt, 34; Eckstorm, 243; Odum (NWS),
123; and Wilson (BA), 81.

MB
Song Texts
2741
REFERENCES
Amee (MPP), 301
Arnett, 96
Atkins, 99-100
Ball, 16
Belden (BM), 16
Botkin (APPS), 308-309
Botkin (FDG), 21
Botkin (MRF), 563
Brown, III, 109-110
Cambiaire, 143
Collins, 34
Cox (SG), 249-251
Downes (1940), 106-107
Downes (1943), 130-131
Dudley & Payne, 30-31
Duncan (PPHC), 13
Fife, 273
Fuson, 165
Hamilton, 33
Hudson (FSM), 297-298
Hudson (SMFL), 126-127
Lair, 20
Lomax (ABFS), 296-297
Lomax (USA), 103
McDowell (FDT), 24-27
Owens (TFS), 149-150
Perrow, XXVI, 137
Randolph, III, 306-309
Randolph (OPP), 212
Randolph (Ozarks), 153-154
Sharp, II, 372
Shearin (SKFS), 38
Wolford, 29-30
Invitation to Adventure III ( Version a)
Rise you up, my dearest dear,
And present to me your hand.
And we*11 all run away
To some fair and distant land.
Where the ladies knit and sew
And the men they plough and hoe,
We*ll ramble in the cranebrake
And shoot the buffalo.
All the way from Alabam*
Out to Texas I must go,
With a wave of my hand
And a splinter in my toe.

MB
Song Texts
2742
Where the buzzard killed the crow,
And the prairie winds they blow,
We*11 ramble in the cranebrake
And shoot the buffalo.
Rise you up, my dearest dear,
And we’ll leave your ma and pa;
If you chew tobacco,
I will give you a chaw.
Where the ladies knit and sew,
And the men they plough and hoe,
We’ll ramble in the cranebrake
And shoot the buffalo.
YERSION B
Up jumped the crow,
And the hunter stubbed his toe.
As he rambled through the bush
For to shoot the buffalo.
Chorus
For to shoot the buffalo,
For to shoot the buffalo,
As he rambled through the bush
For to shoot the buffalo.
Where the women sew and patch,
And the men just itch and scratch,
They will all meet tonight
While the chickens sit and hatch.
Come along, my sweet and go
Where the prairie waters flow,
And we’ll both sing this song
As we dance "Up Jumped the Crow,"

MB
Song Texts
2743
As we dance "Up Jumped the Crow,”
As we dance M Up Jumped the Crow,**
And we’ll both sing thin song
As we dance "Up Jumped the Crow,”
VERSION C_
Right hand across*t and you won’t get lost,
Rally round the cranebrake and shoot the buffalo!
Left hand far back and you won't get sacked,
Rally round the cranebrake and shoot the buffalo1
Chorus
And shoot the buffalo! And shoot the buffalo!
Rally round the cranebrake and shoot the buffalo!
Boys cuss and swear and girls curl their hair.
Rally round the cranebrake and shoot the buffalo!
No tadpole pie when the creek goes dry.
Rally round the cranebrake and shoot the buffalo.
Buffalo is dead ’cause I shot him in the head,
Rally round the cranebrake and shoot the buffalo!
I’ll take the hide for prove that he died,
Rally round the cranebrake and shoot the buffalo!
VERSION B
Break and shoot the buffalo!
Break and shoot the buffalo!
0 we’ll rally round the cane-brake
And shoot the buffalo!
0 the buffalo is dead,
For I’ve shot him in the head!
0 we’ll rally round the cane-brake
And shoot the buffalo!

MS
Song Texts
2744
0 the girls go off to school,
And the boys they love to fool!
0 we’ll rally round the cane-brake
And shoot the buffalo.
Break and shoot the buffalo!, etc
***********************************

Ho. 816
INVITATION TO ADVENTURE IV
also known as
, We*11 Hunt the Buffalo
This is an adaptation of Invitation to Adventure _I & II ,
and it could ea«ily have passed as version E of III , but
the changes were sufficient to warrant its standing alone.
In Ford (TMA), 244-245, the only collection containing a
rersion of this that I have seen, the song is classified
as a dance piece.
Invitation to Adventure IV
We'll load the covered wagons,
And we'll hit the Indian trail;
We'll camp along the rivers
When the moon shines pale.
We'll dance around the camp fire.
Where the shadows come and go,
And when our Indian guide comes along
We'll hunt the buffalo.
Chorus
We'll shoot the buffalo!
We'll shoot the buffalo!
We'll rally round the cranebrake
And shoot the buffalo!

MB
Song Texts
2745
Chief Oronoco’s daughter,
One we*11 honor with greet pride—
1*11 forfeit forty ponies.
If she’ll be my bride.
But if she dare to spurn me,
I will take my goods and go—
Till another Indian maid comes along,
We’ll hunt the buffalo.
******************************

Ho. 817
INVITATION TO ADVENTURE V
also known as
Hunt the Buffalo
Shoot the Buffalo
We’ll Hunt the Buffalo
We’ll Roam Across the Prairie
We’ll Roam the Prairies Over
We’ll Shoot the Buffalo
I obtained this song from Orth Bell, Dodge City, Kansas,
in the 1940s. That it is a close relative of Invitation
to Adventure ^ & IT is quite obvious.
Invitation to Adventure V
When the prairie grass turns green,
I will polish up my gun.
And I’ll leave home forever
And have myself some fun.
When the summer breezes blow,
I will saddle up and go;
I will ride across the prairie
And shoot the buffalo.
When the birds start flying south,
I will take myself to town,
Where I’ll spend all my money
Before I settle down.

KB
Song Texts
2746
While the women knit and »ew,
And their husbands plow and hoe,
I will ride across the prairie
And shoot the buffalo*
If adventure you do crave,
Come along and go with me;
Across the plains we'll ramble,
Where the winds are blowing free.
Near the rugged Rocky Mountains,
Where the Injuns come and go,
We will camp beside the river
And shoot the buffalo.
***** *********************** ******

No. 818
THE IRISH GIRL I
also known as
As I Walked Out One Morning
Black-eyed Mary
Charming Molly
Bark-eyed Molly
Farewell Ballymonny
The Forsaken Lovers
Going to Church Last Sunday
Handsome Molly
I Chanced When I Was Walk
ing
In Courtship There Lies
Pleasure
Irish Mary
The Irish Wash-Woman
I Rode to Chruch Last Sunday
It Chanced When I Was Walk
ing
I Went to Mass Last Sunday
I Wish I Was in London
Little Molly
The Lovely Irish Maid
Lovely Mary
The Lover's Lament
Lovin' Hannah
Meeting Is a Pleasure
My Irish Polly
The Neat Irish Girl
The New Irish Girl
Pretty Polly
Ruby Were Her Lips
Sail Around the Ocean
Stinging Bee
Sweet Bann Water
With Feeling

MB
Song Texts
2747
The Irish Girl is a common title in folk-song tradition
and, generally, it represents a group of songs rather
than an individual selection. Irish Girl songs are
bound together by similar stories and floating lines,
though some of them are different enough to exist as
independent pieces. In the group that follows, The Irish
Girl I, Ilf HI & IV, the first three are related: for
there are more similarities than differences in the various
texts. But IV is not related.
For songs similar in theme and form, see Courting is a
Pleasure in Creighton (MFS), 71; Little Sweetheart in
Henry (FSSH), 237; That Irish Girl in Morris, 439; and
Yankee Shore in Peacock, I, 233.
There are three versions (A, B & C) below, and C contri
buted one of the tunes to which it is sung to the very
popular Tom Dooley .
REFERENCES
Barry (MWS), 22-23
Brown, II, 279-283, 367-
Joyce (OIFMS), No. 382
Karpeles (EFS), 254
Kennedy, 355
Lomax (FSNA), 209
MacColl & Seeger, 216-217
McGill, 87-89
O’Conor, 15
Okun, 169-170
Owens (TFS), 57-58
Peacock, II, 465-466
Randolph, IV, 232-234
Reeves, 130-131
Sedley, 116-117
Sharp, II, 254-255
Shearin (SKFS), 14
Sherman & Henry, 149-150
Silverman, I, 178
368; IV, 156, 210
Creighton (MFS), 46
Creighton (SBNS), 175-177
Davis (FSV), 90
Davis (TBV), 274-275
Dean, 111-112
Delaney (ISB) No. 1, 24
Gardiner, 6-8
Henry, Nos. 615 & 625
Henry (FSSH), 255-256
Jour (AFL), XLV, 103;
XLVI, 33-34
Jour (EFDSS), I, 25, 190
Jour (FSS), VIII, 16-17
Joyce (AIM), 2

KB
Song Texts
2748
The Irish Girl I ( Version A)
A* I left church last Sunday my true love passed me hy;
I could tell she was changing "by the rolling of her eye.
By the rolling of her eye, hy the rolling of her eye,
I could tell she was changing by the rolling of her eye.
0, remember, sweet Mary, when first I held your hand?
You said if you should marry that I would be your man.
That I would be your man, etc.
You have broken your promise, and it’s breaking my heart;
So it * a farewell, dear Mary, it’s forever we must past.
If you should wed another, I pray that he will please;
I will sail on the ocean hoping to give my heart ease.
While I am on the ocean, upon the waters deep,
1*11 think of you, dear Mary, and the mem’ries I will keep
While this old world is turning, it’s lonesome I will be,
For I can’t stop a-wondering why you couldn’t fancy me.
VERSION B
I wish I was in Dublin, or some old seaport town;
I’d get myself aboard some ship, and I’d sail the ocean
round.
And I’d «ail the ocean round, and I’d sail the ocean round
I’d get myself aboard ®cme ship, and I’d sail the ocean
round.
I rode to church on Sunday, and Molly passed me by;
’Twas plain her mind was altered by the look in her dark
eye. , etc .
0 Molly, charming Molly, with form so fair and small,
I swear by every star above that I love you best of all.

MB
Song Texts
2749
Her hair was dark and curly, her eyes were black as
crow,
Her cheeks were pink like roses in the early morning
glow.
0 once we were true lovers, as lovers ought to be,
Until she started changing in her heart towards me.
1*11 SO by yonder river when everyone*s asleep;
1*11 think of charming Molly, and set me down and weep.
And set me down and weep, etc.
VERSION C
Wish I was in New York,
Or some old seaport town,
I*d sign myself on some old ship
And sail the ocean round.
Chorus
Sail around the ocean.
All across the sea.
And think of handsome Molly,
Wherever she may be.
I love blended whiskey,
But now it*s time to go;
I will sail the deepest ocean,
Tho* tides rim high or low.
Remember, dear Molly,
You gave me your right hand,
And said if you ever married
That I would be the man.

MB
Song Texts
2750
You’ve broken your promise,
So go with whom you please 0
I will pray to God in heaven
To let my heart find ease#
The bells they are ringing,
The birds are singing too,
And perhaps one day, sweet Molly,
I’ll sail back home to you#
*********************************

Ho, 819
THE IRISH GIRL II
This is another form of the preceding song. For information
see headnotes to The Irish Girl 1,
The Irish Girl II
As I walked out one morning, down by the river side,
I stood and looked around me and an Irish girl I spied.
So red and rosy were her cheeks, so curly was her hair,
And costly was the jewelry that Irish girl did wear 0
Her shoes of Spanish leather were bound with spangles gay;
To hold her in my loving arms, most any price I’d pay.
The tears did glisten on her cheeks as she began to cry;
I heard her say, "My love is gone! forsaken here am I."
0, if I were a butterfly, I’d light upon her breast;
And if I were a bird with wings, I*d sing my love to
rest.
I wish I was in Ireland, or almost anywhere,
And in my hand a glass of wine to wash away ail care.

MB
Song Texts
2751
I*d call for Irish whiskey, and pay "before I*d go;
I*d roll sweet Polly in my arms and let the whiskey flow#
Por love is such a killing thing! 0 have you felt the
pain?
How hard it is to love someone, and love that one in vain!
My only love is fairer than lilies as they grow;
Her voice is far clearer than any winds that blow#
Her ruby lips and sparkling eyes have so bewitched me,
That were I king of Ireland, the Queen of it she*d be!
#****************************.*
Ho# 820
THE IRISH GIRL III
also known as
It Chanced When' I Was Walking
This is the Irish gorm of the preceding song that is a
derivative of a 1780s broadside. Moffat (MI) prints
an adaptation of his own (admittedly a rewrite of the
broadside), and says the tune was taken from Petrie*s
Collection, where it was entitled: This Time Twelve Months
I Married# Barry (MWS), reprinted a text from Billy
Holmes * Comic Local Lyrics . 1886, and says the tune is
that of The Maid of Timahoe#
Por references, see list under headnotes to The Irish
Girl I.
The Irish Girl III
One morning as I strayed down by the river side,
A-looking all around me, an Irish girl I spied.
0, red and rosy were her cheeks, and golden was her hair,
And costly was the robe of green that Irish girl did wear.

MB
Song Texts
2752
Chorus
let the winds "blow high or low, my boys,
let seas run mountains high,
It is the seaman*s duty, boys, the helium to stand by!
Her boots were Spanish leather, and neatly they did tie;
Her hair hung down in ringlets, and she began to sigh:
"0 Jamie, dearest Jamie, by the marks of evergreen,
0 will you now forsake me here and never more be seen?"
My love will not come nigh me, for all the moan I make,
Hor would she even pity me if my poor heart should break*
But were X of some noble blood and she of low degree,
I know she»d hear my lonely cry and come and pity me.
But be it so or not, on her I take my chance—
The first time that I saw her, she struck me in a trance;
Her ruby lips and sparkling eyes they have so bewitched me,
That were I king of Ireland now, the Queen of it she*d be!
Were I a butterfly, I f d light upon her breast;
And if I were a linnet, I*d sing my love to rest;
And if I were a nightingale, I*d sing the morning clear—
I*d sing to her my lonely song, for once I loved her dear*
0, were my love a rose-bud that in the garden grew,
And I the happy gardner, to her I would be true;
0 every day, throughout the year, my love I would renew;
With flowers I would garnish her, sweet William, thyme
and rue.
I wish I were in Ireland a-sitting on the grass,
And in my hand a bottle, and on my knee a lass;
I»d call for liquors of the best and, then, before I go,
I*d roll you in my arms, love, though winds blow high or
low!
*********•**■******.*.** **-*•***-****

MB
Song Texts
2753

No, 821
THE IRISH GIRL IT
also known as
The Neat Irish Girl
This song is entirely different from the preceding three,
but fits the subject and shares the title. For the source
see Creighton (MFS), 87,
The Irish Girl IV
Come all you good people out there.
And a warning take by me:
It«s never leave your home,
Stay on your native shore;
For to go to far-off lands
Won*t set you free.
Now once I was lost, surely lost!
•Twas the twentieth day of May,
When I was pressed aboard
A naval battle ship
For to fight in the wars
Far, far away,
• On the fourteenth of July it was,
When the captain aft did spy
Full several sails aloft
A French man o* war,
With its big guns a-flashing
•Neath the sky!
We came bearing down upon them,
Our colors flying high;
Our captain cried, "Each man stand
True to his guns.
For the Lord knows
That some of ue must die!”

MB
Song Texts
2754
Our captain he was wounded full sore,
And eighteen other men;
And when our standing rigging
Fas so dreadful tore,
It was time for us
To surrender then.
If I had the wings of a bird,
The wings of a snow-white dove,
I*d fly straight to the arms
Of my neat Irish girl,
To the arms
Of the only girl I love<>
******************************

No. 822
THE IRISH JAUNTING CAR
SOURCE SONG. The tune of this old Irish song was used
for several other songs, many of them now established as
folk pieces. Eor songs in this Master Book that are set
to this tune, see: Hurrah? for Southern Rights ; Hurrah !
for the Sur.ny South I & II and Hurrah! for the Union I.
An earlier version is in Ditson (1C0SI), 25. A fragment
of the text, recovered in Ohio, is in Eddy, 318.
The Irish Jaunting Car
Bo you want a car, your honor?
Och! sure that’s the one for you.
It’s an outside Irish jaunting car.
Just painted green and blue.
It belongs to Larry Doolan,
And you’ll have to travel far.
To find a better driver
Of an Irish jaunting car.

MB
Song Texts
2755
The fare is fifteen pence,
But as the distance isn’t far,
1*11 jus-t say one and three pence, ma’am,
So jump upon the car.
If you want to drive ’round Dublin,
Sure you’ll find me on the stand;
I’ll take you to Raheny .
To pick cockles on the strand.
To the Phoenix Park, to Nancy Hands,
The Monument, and then
I’ll take you to the Strawberry Beds,
And back to town again.
Get some bread and beef and porter,
And some whiskey in a jar—
That’s the way to take your pleasure.
On an Irish jaunting car,
***********************************

No, 823
IRISH MOLLY 0
SOURCE song , The tune of this Irish piece has been used
for other songs, Por an American song using the time, see
Gold Seeker XII in this Master Book 0
Irish Molly 0 was popular in America during the 1850s
and 60s, Today, only a fragmented text remains (version
A below). Version B is from Ireland,
Por a different Mollie-0 . see Morris, 440-441,
REFERENCES
Gardner (FSH), 213-214 O’Conor, 52
Joyce (OIFMS), 213-214 Shearin (SKFS), 13
Universal (ISB), 148
Irish Molly 0!
(Version A)

MB
Song Texts
2756
0 come along, you pretty girls,
A warning take from me;
Don’t ever build your nest
In the top of a tree.
The green leaves with wither.
Their beauty will decay,
And the beauty of a fair young maid
Will also fade away.
Chorus
For she is young and beautiful,
The fairest one I know,
The Primrose of Ireland
Before my Guineas go—
The only one enticing me
Is Irish Molly 0!
TEESION B*
(♦According to Breatnac, 56-57, this version was written
Prank Fahy.)
Oh! fairer than the lily tall, and sweeter than the rose,
As modest as the violet in dewy dell that blows;
With heart as warm as summer noon, and pure as winter enow,
The rpide of Erin’s isle is she, dear Irish Molly 0!
But fever’s breath struck down in death her father strong
and brave,
And who should now his little ones from want and sorrow
save?
"Oh! never fear, my mother dea r, across the seas 1*11 go,
And win for you a new home there," said Irish Molly 0<>
And far away 'mid strangers cold she toiled for many a
year,
And no one heard the heart-wrung sigh or saw the silent
tear;

K3
Song Texts
2757
But letters fond the seas beyond would kind and
constant go.
With gold won dear, and words of cheer, from Irish
.Molly 0.
And one by one she sent for all the loved ones o # er
the foam,
And one by one she welcomed them to her fond heart and
home;
And last and be«t her arms caressed the aged head of snow—
"Oh, mother, we»ll be happy now!" said Irish Molly 0,
****************************

Ho, 824
THE IRISH WASHERWOMAN
also known as
Irish Washwoman
An old Irish reel that is widely known in the United States
as a square-dance fiddle tune 0 It was published in England,
in 1688, under the title: The Country CourtshiPo An ameri-
ean song sung to this tune, see Government Claim in this
Master Book,
REFERENCES
Ford (OTFM), 35 Ryan, 174
Ford (TMA), 43 Shaw, 378
Thede, 118-119
The Irish Washerwoman *
♦No words available. See under TUNES, No. 825.
*********************************

S3
Song Texts
2758

Ho. 825
ISABEAU S»Y PROM'SNE
also known as
Carried Off to Sea
Pair Isabeau Was Walking
Pair Isabel Went Walking
Isabeau Se Promene
Isabeau Went A-Strolling
L*Enlevement en mer
French folk song that came to North America with early
Prench settlers and explorers. According to Berry, it
■originiated along the Breton sea-coasto* Two varients,
Joli Fleur de Rosier and Mon Joli Coeur de Rosier are in
Berry, 72 & 79#
The version below is from Gagnon, 57-39.
REFERENCES
Scott (BA), 297-300
Tiersot (SP), 34-37
Berry, 20-23
Botsford, I, 68
Isabeau s*y Promene
Le long de son jardin,
Le long de son jardin
Sur le bord de l’$le,
Le long de son jardin
Sur le bord de l*eau,
Sur le bora du vaisseau.
Elle fit un* rencontre
De trente matelote.
De trente matelots
A
Sur le bord de l*ile, etc.
Le plus jenne des trente,
II se mit \ chanter,

KB
Song Texts
2759.
II se mit a chanter,
Sur le bord de I’lie, etc .
-La chanson que tu chantes,
Je voudrais la savior, etc .
-Embarque dans ma barque,
Je te la chanterair, etc.
Quand ell* fut dane la barque,
Ell* se mit \ pleurer, etc.
-Qu*avez-vous done la belle,
Qu*a-vous a tant pleurer?, etc .
-Je pleur* mon anneau d*ere,
Dans l’eau-z-il est tombe", etc .
-Ne pleurez point la belle,
Je vous le piongerai, etc.
De la premiere plonge
II n*a rien ramene", etc .
De la troisieme plonge
Le galant s’ est noye'*.
Sur le bord de l’ile,
Le galant s’est noye'
Sur le bord de l’eau,
Sur le bord du vaiseeau.
English Translation
Pair Isabel went walking, strolling in her garden,
Strolling in her garden on the shore of an island,
8trolling in her garden near the ocean blue,
On a ship so true.

KB
Song Texts
2760
Along the shore she counted thirty sailing men,
Thirty sailing men came upon the island,
Thirty sailing men from the ocean blue,
On a ship so true.
The youngest of the thirty merrily sang a song,
Merrily sang a song on the island shore,
Merrily sang a song from the ocean blue,
On a ship so true a
■Now I wish that I could learn to sing a song as fine,
To sing a song as fine on the island shore,
To sing a song as fine from the oee§n blue,
On a ship so true.”
•Then board with me yon vessel, let me teach it to you,
let me teach it to you on the island shore,
let me teach it to you on the ocean blue,
On a ship so true."
She came aboard the vessel and started to cry,
And started to cry on the island shore,
And started to cry on the ocean blue.
On a ship so true,
■What ails you, lovely maiden? What makes you weep
so sore?, etc, "
■My lovely golden bracelet dropped into the sea, etc ,"
•Then dry your tears, fair maiden, 1*11 bring it back
to you, etc. "
He dived beneath the waters, nothing did he find, etc .
Dive he down the second time, no bracelet could he
find, etc.
When he dived the third time, he himself was drowned,
etc,
****«•**•******•**•*■***-**********

MB
Song Texts
2761

No. 826
I SHAH NOT BE MOVED
also known as
Just like a Tree Standing by the Water
An old spiritual that has retained its popularity. Por
reasons I cannot explain, this song has been largely ig
nored by folk-song collectors. The tune of the song has
been used for other pieces. Por example, the farm workers*
union used both title and tune for a song: see Powke (SWP)
38; Scott (BA), 344; Seeger (6), 38; and Whitman, 72-73.
Por another rewrite, see I Shall Not Be Blue in Erown, III
639 .
I Shall Not Be Moved
Standing with the faithful, I shall not be moved!
Standing with the faithful, I shall not be moved!
Just like a tree that’s planted by the water.
Lord, I shall not be moved!
. Chorus
I shall not be, I shall not be moved!
I shall not be, I shall not be moved!
Just like a tree that’s planted by the water,
Lord, I shall not be moved!
Walking with my Savour, I shall not be moved!, etc .
On my way to heaven, I shall not be moved!, etc.
Take my hand and follow, I shall not be moved!, etc.
. Jesus is my leader, I shall not be moved!, etc.
*************************

MB
Song Texts
2762

No. 827
' • ISN’T IT GRAND, BOYS
This song originated in England. It was evidently known
on the college circuit in America, for there is a version
in Best, 74. The version below came from Nancy Whiskey,
an English ’’skiffle** performer, in the 1950s.
Ian*t It Grand , Boys
look at poor grandpa, lying in his coffin!
Isn’t it grand, boys, to be bloody well dead?
Chorus
Let’s not have a sniffle,
0, let’s have a bloody good cry!
And always remember, the longer you live
The sooner you’re going to die!
Look at the preacher: bloody well sanctified!
Isn’t it grand, boys, etc. ?
Look at the choir: bloody big tonsils!
Isn’t it grand, boys, etc . ?
look at the coffin: bloody expensive!
Isn’t it grand, boys, etc. ?
Look at the flowers: see how they’re wilted!
Isn’t it grand, boys, etc . ?
Look at the mourners: bloody big hypocrites!
Isn’t it grand, boys, etc . ?
Look at the relatives: counting their money!
Isn’t it grand, boys, etc . ?
Look at the tombstone: bloody big boulder!
Isn’t it grand, boys, etc. ?
**************************

KB
Song Texts
2763

go, 828
ITISKIT, ITASKIT
also known as
Cry, Baby, Cry Hunt the Squirrel
Drop the letter I Sent a letter to My Love
frreen and Yellow Banket The Lost Letter
Children’s game song, and one of many related pieces
derived from the ancient English game, Drop the Glove
or Prop the Handkerchief. For another derivative, see
Chase the Souirrel in this Master Book.
A rewritten version by A1 Feldman and Ella Fitzgerald
(Robbins Music Corp,, c, 1938) became a national hit via
the recording of Ella Fitzgerald.
REFERENCES
Acker, 23
Halliwell (PENT), 130
Bancroft, 88, 350
Hornby, 116
Bertail, 106
Hudson (SMFL), 118
Bett, 16, 29
Jour (AFL), XXXI, 57;
Botkin (AFL), 806
33; LX, 24
Brown, I, 80-82
Maclagan, 213-214
Brown (OEAG), 32
McIntosh (FSSG), 107
Burne, 512
Newell, 168-169
Downes ( 1940 ), 199
Northall, 364-365
Downes (1943), 232
Owens (ST), 7
Folklore Journal, 71, 212
Scott (FSS), 10
Forbush, 41-42, 53-56
Silverman, I, 348
Gardner (FSH), 233-234
Whitney & Bullock, 146
Gardner (SPPG), 96-97
Wier (YAM), I, 134
Gomme, I, 109-112, 305-310
Winn (1), 176-177
Gutch (7), 250
Wolford, 59
Halliwell (NRNT), 165
Itiekit. Itaskit

KB
Song Texts
2764
Itiskit, Itaskit,
A green and yellow basket;
I sent a letter to ay love.
And on the way I dropped it.
I dropped it, I dropped it,
Tee, on the way I dropped it;
And one of you has picked it up
And put it in your pocket.
Itiskit, Itaskit,
Tou know I hate to ask it;
But one of you has picked it up—
And one of you is guilty.
I need it, I need it,
And I intend to have it;
I lost the letter to my love,
And now he*ll never read it.
****************•****+***

Ko. 829
IT'S SINFUL TO FLIRT
also known as
Flirting
Poor Willie Dead and Gone
She Said She Was Only
Flirting
She Was Only Flirting
Sinful Flirting
Sinful to Flirt
Sweet Willie
They Say It's Sinful to
Flirt
Willie
Willie Down by the Pond
This is one of those sentimental "parlor" songs so popular
in.19th century America, Song has survived through oral
circulation, particularly in the Southern states.
REFERENCES

MB > Song Texts
#
Brown, II, 638-639; IV,
309-311
Bulletin (TFLS), III, 93
Cambiaire, 90-91
Davis (FSV), 94-95
Henry (FSSH), 238-242
Jour (AFL), XXXIX, 164;
XIII, 278; XLV, 89
It»s Sinful to Flirt
They say that it*s sinful to flirt,
They tell me my heart*s made of stone;
They tell me to either be kind,
Or else leave the poor boy alone.
One evening they stood on the beach,
And they were the only ones there;
A youth in the pride of manhood,
A young girl with dark brown hair.
His face was all pale with anguish,
All flushed with the sunset’s glow;
With bowed head he listened to her,
And her voice was soft and low,
I never dreamed that you loved me,
Or knew that you could really care.
And sadly then she bowed her head
•Heath its crown of dark brown hair,
I am to be married next winter,
And she kindly offered her hand,
Then gathered her cloak around her
And left him alone on the sand.
2765
♦
Kincaid Ho, 3, 36
Laws (AB), G 19
Owens (TFS), 94
Randolph, IV, 272-273
Richardson (AMS), 57-58
Roberts (IP), 149-151
Shellans, 41

MB
Song Texts
2766
8he looks from her carriage window,
A haughty and beautiful face;
A lovely and stately woman,
All covered with satin and lace*
He moves with the crowd of strangers.
And his look is bitter and cold;
A young man too soon grown weary,
And too soon grown worn and old.
*****************************

No. 830
IT’S THE SAME THE WHOLE WORLD OVER
This old English ’’music hall” song has been circulating
in America since World War I, when it became a favorite
with soldiers over-seas. Song dates back to the 19th
century in England, but, unfortunately, authors and col
lectors of works in which versions appear gave little or
no information concerning its origin*
REFERENCES
Dolph, 138-139
Downes (1940), 288-289
Downes (1943), 334-335
Leisy (SPS), 94-95
Loeeser, 280
Sandburg (AS), 200
Shay (PF-1), 108-110
Shay (PF-3), 56-57
Silverman, II, 204
Whitman, 166
It*e the Same the Whole World Over
She wae just a parson's daughter,
Pure and unstain’d as they came;
First he had her, then he left her,
And the poor girl lost her name.
Chorus

MB
Song Texts
2767
It*s the same the whole world over,
It * 8 the poor who gets the blame;
It * 8 the rich who gets the pleasure—
Ain't it all a bleedin» shane?
Then she went to London city,
Por to hide her horrid shame;
There she met another fellow—
Once again she lost her name#
Look at him with all hie horses,
Gulping chanpaigne in his club.
While the victim of his passions
Gulps her beer down in a pub.
See her in her horse and carriage,
Driving daily through the park;
Tho* she's made a wealthy marriage,
Still she hides a broken heart.
In their poor and humble dwelling,
Where her grieving parents live,
Drinking chanpaigne she has sent them,
But they never can forgive.
In a rose surrounded cottage,
There was born a child in sin;
But the baby had no father—
So she gently did him in.
*********************.*

No. 831
IT'S TIME FOR MOVING ON
also known as
Done Laid Around Tonder Comes the High Sheriff
The tune to this song is older than the words, and it is

KB
Song Texts
2768
used Yor other songs, including one called I Saw The
light. According to Carl Sandburg, "Convicts of the
Kentucky penitentiary at Frankfort.made this song#* *
Arthur Kyle Davis obtained several versions from blakcs
in Virginia, plus a version in a small booklet that was
published by a deceased French professor at the Universe
ity of Virginia.
This song was real popular during the "folk craze" of
the 1950s and 1960s, and it was recorded many tines. The
version below is from John Love, Charlotte, N. C., 1934.
For other versions, see Sandburg (AS), 213 and Silverman,
I, 77.
It *b Time For Moving On
I've hung around and sung around
This Southern town too long;
Now all my money's gone,
Teah, all my money's gone!
I've hung around and sung around
This Southern town too long,
• And it's time for moving on.
I had a pal who stole my gal,
And now I have no friends;
And that's the way it ends,
Yeah, that's the way it ends!
I had a pal who stole my gal,
And it's time for moving on.
I'll take the freight that leaves at eight,
And I'll be on my way.
I'm leaving here today.
Yeah, I'm leaving here today!
I'll take the freight that leaves at eight,
'Cause it's time for moving on.
******* ***** ** * * ■*•* *******

MB
Song Texts
2769
• 2L®± §21
I*YE BEEN REDEEMED
also known as
Been Washed in the Blood of the Lamb
A slave spiritual that was rescued and given a new lease
on life by the original Fisk Jubilee Singers. For other
versions, see Chappell (PSRA), 150 and Marsh (SJS), 192 0
I , ve Been Redeemed
I , ve been redeemed! I’ve been redeemed!
I’ve been redeemed! I’ve been redeemed!
I*ve been redeemed! I’ve been redeemed!
Been washed in the blood of the Lamb! (4)
That flows from Calvary!
There is a fountain filled with blood,
Drawn from my Saviour’s veins;
And sinners plunged beneath that flood
Lose all their guilty stains.
***********************

No. 833
I«VE BEEN WORKING ON THE RAILROAD
also known as
The Levee Song Working on the Railroad
An old and widely-known song that is a favorite of non
professional harmonizers and singing groups. Insofar as
I could determine, the song appeared in print for the
first time in 1894, in Carmina Princetonia (8th edition),
p. 24# The same tune is used for The Eyes of Texas Are
Upon You (see Whitman, 194)#
REFERENCES

Song Texts
2770
MB
Bent, 28
Brewer, 190
Brown, III, 262-263; 7
146-148
Chamberlain, 108-109
Henry (SSSA), 81
Kennedy (AB), 55
Leiey (LAS), 32-33
Leisy (SPS), 74-75
Luther, 252
Oberndorfer, 30
Shay (PP-1), 79
Shay (PF-3), 39
Silverman, I, 367
White, 274
Whitman, 65
I*ve Been Working on the Railroad
I»ve been working on the railroad
All the live-long day;
I've been working on the railroad
Juet to pass the time away.
Don't you hear the whistle blowing,
Rise up so early in the morn?
Don't you hear the captain shouting,
Dinah, blow your horn?
0, I was born in Mobile town,
A-workin» on the Levee;
All day I roll the cotton down,
A-workin* on the Levee.
I used to have a dog named Bill,
A-workin* on the Levee;
He ran away but I'm here still
A-workin* on the Levee,
*******************************

Ho. 834
I WANT TO BE, or I WISH I WAS
also known as
Cowboy Wishes
Granger Boy
I'd Love to be a Granger
I Long to be a Cowboy

KB
Song Texts
2771
I Long to be a Granger
I Long to be a Something
I Want to be a Cowboy
I Want to be a. Granger
I Want to be a Mormon
I Want to be an Angel
I Want to be a Something
I Wish I Was a Cowboy
I Wish I Was a Granger
I Wish I Was a Mormonite
Here we have a series of songs, six in all, that came
from a single source: the hymn, I Want To Be An Angel
(version A, below). The original hymn was written by
Urania Locke Bailey (1820-1882) under the alias Sidney
P®ul Gill, and it was so popular that special purpose
parodies quickly followed, I Want to be a Cowboy (version
B) is attributed to B, J. 0*Malley, the cowboy poet, I
Want to be a Granger (version C) was used by rebel farmers
•s political propaganda. I. Want to be a Mormon (version
D) is one of many songs about Mormons and their way of
life. I Want to be a Something (version E) i 9 a Play-
party song and 1^ Wi^h ^ was a Mormonite is another anti-
Mormon song.
All versions are sung to the same tune.
REFERENCES
Botkin (APPS), 199-202
fife (SSS), 125
Hubbard, 406 _
Johnson (NCS), 30-31
Jour (SG), Apr. 7, 1894
Lingenfelter, 209, 331
Piper (SPPG), 283
Pound, 173
Pound (SFSN), VII, No. 1,
22; XVIII, No, 7, 54
White (CP), 14
White (GALD), 91-92
I Want To Be, or I Wish I Was ( Version A)
I want to be an angel,
And with the angels stand,
A crown upon my foreheard,
A harp within my hand.
VERSION B

MB
Song Texts
2772
I want to be a cowboy,
And with the cowboys stand,
Big spurs upon my bootheels
And a lasso in my hand.
My hat broad-brimmed and belted
Upon my head I»ll place,
And wear my chaparajos
With elegance and grace.
And when my work is over,
To Cheyenne I will head,
Pill up on beer and wlskey,
And paint the damn town red!
1*11 gallop thro the front streets
With many a frightful yell;
1*11 rope the slant-eyed heathen
And yank them straight to hell!
VERSION C
I want to be a granger
And with the grangers stand.
With a haystack on my shoulder
And a pitchfork in my hand,.
VERSION D
I want to be a Mormon
And live the Mormon shine,
In the shade of a big cactus
And drink sweet Dixie wine.
The Mormons they are happy
And contented all their lives,

MB
Song Texts
2773
With a little patch of carrots
And their houses full of wives 0
VERSION B
I want to he a something
And with the somethings stand,
With something on my shoulder
And something in my hand.
Chorus
It*s honor to your right hand,
It*s honor to your left.
So swing your right hand partner
And promenade your left,
And promenade your left,
And promenade your left.
Swing your right hand partner
And promenade your left*
I want to he a hoho
And with the hoboes stand,
With a knapsack on my shoulder
And a bundle in my hand*
I want to he a Christian
And with the Christians stand.
With a church around the corner
And a hihle in my hand*
VERSION ?
I wish I was a Mormonite,
And lived in Utah State,
In the shadow of the Temple,
Close beside its M holy gate,"

MB
Song Texts
2774
That I might see the Prophet pass,
That good and gracious man.
More wondrous than false Mohomet,
Or even Ghengis Khan.
I*d like to be a Deacon bold—
They lead such pious lives—
With lots of "tin" and real estate.
And half a hundred wives.
I don’t know how they manage it,
But I’d like to see the man
Who*d bring another woman home
To my wife, Sarah Anne!
****************************************

Ho. 835
I WANT TO GO TO HEAVEN WHEN I DIE I
also known as
Good Lord, When I Die Want to Go to Heaven When
I Die
The title is a floating line in spirituals. For examples,
see the following (No. 837) and Roll . Jordan . Roll I & II .
For other versions, see Dett, 53; Wier (SSS), 99; Work
(ANSS), 140 & (FSAN), 63.
_I Want To Go To Heaven When _I Die
I want to go to heaven when I die,
Want to go to heaven when I die,
Want to go to heaven when I die,
Good Lord, when I die.
Good Lord, when I die! Good Lord, when I die!
Good Lord, when I die! Good Lord, when I die!

MB
Song Texts
2775
I want to see my father when I die, etc .
I want to see my mother when I die, etc.
I want to see my Jesus when I die, etc.
**********************************

Ho. 836
I WANT TO GO TO HEAVEN WHEN I DIE II
also known as
Listen to the Lambs Want to Go to Heaven When I Die
Spiritual with common title, common theme, and common
form. For spirituals related by title and other lines,
see I , ve Got a Brother in the Snow-White Fields in
Brown, III, 593-594; Praying All Night Long in White,
119; and To See God [ 9 Bleedin* Lam * 1 in Johnson (SENS),
152.
For other versions of the song below, see Chambers (TNS)
55-57; Dett, 136-137; Johnson (BANS), 78-79; Work (ANSS)
111 .
_I Want to Go to Heaven When I Die II
Come on, sinner, and walk with the cross,
I want to go to heaven when I die;
Foot might slip and your soul get lost,
I want to go to heaven when I die.
Chorus
Listen to the lambs, listen to the lambs,
Listen to the lambs crying,
I want to go to heaven when I die.

KB
Song Texts
2776
Come on, brother, it isn’t a game, etc .
Angels waiting for to write your name, etc .
Come on, sister, with your ups and downs, etc.
Angels waiting for to give you a crown, etc„
******************************

Ho. 837
I KILL BOW AND BEND
also known as
Who Will Bow and Bend Like a Willow?
This is a hymn of a religious group called Shakers .
Self-styled The United Society of Believers in Christ *s
Second Coning , the sect originated in England, in the
18th century. They were known as Shaking Quakers because
of their tremblings during periods of worship.
In 1774 a woman named Ann Lee arrived in the United
States with eight followers. Two years later, this
group settled in New York state and slowly increased
in number until communities of Shakers were a9 far west
as Indiana. The sect began to decline at the time of
the Civil War and, today, except for a dozen or so, the
Shakers have disappeared.
This song dates from around 1843.
I Will Bow and Bend
Who will bow and bend like a willow?
Who will turn and twist and reel
In the gale of simple freedom.
From the bow’r of Union flowing?
Who will drink the wine of power,
Dropping down like a shower,
Pride and bondage all forgetting?
Now the wine is freely working.

MB
Song Texts
2777
Chorus
0 ho! I will have it!
I will how and bend to get it!
1*11 he reeling, turning, twisting.
Shaking out the starch and stiff’ning!
*****************************

No. 838
I WONDER WHEN I SHALL BE MARRIED
American version of an old Scottish song, hut with limited
popularity in the United States. For a similar and perhaps
related song, see When Shall We Get Married in Reeves, 221.
REFERENCES
Cazden, II, 22-23 Morris, 153-154
Lloyd, 66 Ritchie, 77
Wheeler (KMFS), 21-25
I Wonder When I Shall Be Married
I wonder when I shall he married,
Oh! Be married!
I wonder when I shall he married.
For my beauty** beginning to fade.
My mother she is so willing,
Oh! So willing!, etc .
For she*8 four daughters besides.
My father has forty good shillings.
Oh! good shillings, etc .
And they*11 he mine when he dies.

MB
Song Texts
2778
My shoes have gone to be mended,
Oh! be mended!, etc .
v And my petticoat dyed green.
And they will be ready by Sunday,
Oh! by Sunday!, etc.
Oh, »ay, won’t I look like a queen?
************************
No. §39
I WOULDN’T MARRY...I
also known a9
I Would Not Marry an Old Man Shabby De-Rue
I Wouldn’t Have an Old Man Shab-I-Da Ru-Dy
This is one of a group of songs that share a common
form, theme, and, in many instances, titles and lines.
Both form and theme are widespread in folk-song tradition
As Belden pointed out, the theme comes in three forms:
"(1) that in which the woman speaks, (2) that in which
the man speaks, and (3) that in which both a man and
woman speak, addressing and answering one another."
In the numbered versions which follow all three forms
are represented.
There are dozens of variations of each form, and it is
not to be believed that all of them came down to us from
a single source. Songs of this type are found everywhere
in the English-speaking world. Many dissimilar songs
also contain the I_ Wouldn’t Marry theme and some of them
have stanzas belonging to one or another of the songs in
this series. Examples are: Oh, Ain’t I Gone in Ames
(MPP), 300; Guerilla 3cy in Belden (BS), 377; Paper of
Pins in Thomas (DD), 160; and the Play-party song in
PUB (TFLS), I, 33. Similar eongs are: A Single Life
in Brown, II, 36-37 and Jinny Go Round and Around in
Randolph, II, 351-352.

KB
Song Texts
2779
Several collectors have uncovered versions of I Wouldn’t
Marry songs containing «tanzas found in old gane songs,
Por example. Sharp, II, 381-382, has a version of _I
Wouldn’t Marry as version B of Green Grass. Brown, III,
30-31, has a composite song, Laurie Lee, which begins
with a stanza of I Wouldn’ t ifarry.
Two Scottish songs on the same subject in Christie, I,
141—142 and 182—183, to which some collectors refer, are
not related to any of the American versions I have seen
of I Wouldn’t Marry,
In the version below it is the female who speaks: she
is- not opposed to marriage, but informs us whom she will
not marry, and why.
According to Belden, a text of this song appeared in
the Hews and Leader , Springfield, Mo,, Sept, 11, 1938.
, REFERENCES
Belden (BS), 262
Brown, III, 34-35; Y, 17
Brown (BLNC), 11
Bulletin (TPS), Y, 38
Eddy, 186-187
Puson, 91-92
Henry (PSSH), 309-310
Henry (SSSA), 26
Jour (APL), XXYIII, 175
Morris, 156-157
I Wouldn*t Marry ,. ,1
Shu-bee-du-roo-dy,
Pol—la-ka-doo-dy-eye-aye!
Shu-bee-du-roo-dee-row!
They say I’m too choosy.
That 1*11 die an old maid—
Shu-bee-du-roo-dee-row!
So 1*11 take my chair
And I’ll sit in the shade—
Shu-bee-du-roo-dee-row!

KB
Song Texts
2780
Shu-bee-du-roo-dy,
Fol-la-ka~doo-dy~eye-aye,
Shu-bee-du-roo-dee-row!
Oh, I wouldn’t marry a man who is rich,
For he’d get drunk and call me a witch.
Oh, I wouldn’t marry a man who is poor,
For he’d go begging from door to door.
Oh, I wouldn’t marry a big farmer's son,
For all he'd want is his dog and gun.
Oh, I wouldn't marry a man who is fat,
For he might stumble and mash me flat.
********** ****************** ****
Ho. M2
I WOULDN'T MARRY...II
also known as
Farmer Boy
A Farmer Boy for Me
A Farmer's Wife I'll Be
If Ever I Get Married
Railroader
A Railroader for Me
A Railraod Man for Me
A Sailor Boy for Me
A Sailor's Wife I'll Be
A Soldier Boy for Me
Song of the Southern
Volunteers
Same form and theme as the preceding song, but the two
stories are different. In this version the woman ex
presses her dislikes also, but she tells us the kind
of man she will not marry and the kind of man she will
marry.
There are many versions of this particular form because
it lends itself readily to adaptation. The man "preferred
the woman may be a farmer, a railroader, a sailor, a

MB
Song Texts
2781
soldier, etc.
During the Civil War the "farmer" was replaced hy a
"soldier" by the Confederates (see version B below).
REFERENCES
Botkin (RFI), 463-465
Brown, III, 31, 33, 35;
V, 17-20
Langstaff (1), 96-98
Lomax (FSNA) , 414-415
Pound (POB), 225
Randolph, III, 259-260
Scott (BA), 221-223
Sharp, II, 381
Silverman, I, 113
Wilder, 119-120
I Wouldn*t Marry . ..II ( Version A)
I wouldn’t marry a lawyer,
He’s always quoting books;
I’d rather marry a farmer boy,
Regardless of his looks.
Chorus
Farmer boy, farmer boy,
A farmer boy for me;
If ever I get married,
A farmer’s wife I’ll be,
I love to wash the dishes,
I love to sweep the floor,
I love to kiss that farmer boy
Behind the parlor door,
I wouldn’t marry a preacher,
And here’s the reason why:
He’s always talking sin and such,
And eating apple pie.

MB
Song Texts
I love to feed the chickens,
I love to milk the cow,
I love to hear my farmer boy
Go whistling to the plow.
I wouldn't marry a doctor,
And here's the reason why:
He goes about the country-side
And makes the people die.
VERSION 3
I wouldn't marry a conscript
A-hiding in the wood,
I’d rather marry a volunteer
Who’s doing what he should.
Chorus
Soldier boy, soldier boy,
A soldier boy for me;
If ever I get married,
A soldier’s wife I'll be.
I wouldn’t marry a doctor
Who tries to heal the sick,
I’d rather marry a soldier boy
Who marches double quick.
I wouldn’t marry a lawyer
Who’s pleading at the bar;
I’d rather marry a soldier boy
Who wears a Southern star.
2782
**■**■**■*■****■#••*■**#*-»•-*•■*•****■#•*

MB
Song Texts
2783

Ho. 841
I W0TJ1DN*T MARRY...Ill
also known as
I Wouldn't Marry an Old Maid I Wouldn't Marry a Yellow
Gal
This is the fore in which the male speaks, telling us
the kind of woman he wouldn't marry. It is obviously
adapted from the preceding song.
REFERENCES
Brown, III, 30-31 Perrow, XXVIII, 136-137
Bulletin (TPS), II, 4 Talley, 56
Jour (AFL), XXXVI, 379; White, 323-324
III, 20
I Wouldn't Marry ... Ill Tune: I Wouldn't Marry ...II
I wouldn't have an old maid,
1*11 tell you the reason why:
Her neck's so long and stringy,
I’m afriad she'd never die!
Chorus
let's go walking by the ocean,
,And let's dance upon the shore.
Farewell, farewell, you girls,
You'll see me here no more.
I wouldn't have a widow,
And on that you can depend!
She's had too much experience
For to compromise or bend.
I wouldn't have a fat gal,
I'll tell you the reason why:

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Song Texts
#
She's always in the kitchen
Eating chocolate cake and pie,
I wouldn't have a rich gal,
And I'll tell you why I won't:
She always holds the money,
While a-making sure you don't!
2784
1*11 Never Marry a Man
at All
1*11 Not Marry at All
I'm an Old Livelong Maid

No, 842
I WOULDN'T MARRY...IT
also known as
I'm Determined to be an Old
Maid
I Won't Marry at All
I Would Not Marry A-tall
The Old Maid
The Old Maid's Song
This form of the song has the woman rejecting all marital
possibilities and, finally, rejecting marriage itself*
REFERENCES
Brown, III, 32 H, 33 I
Bulletin (TFS), 7, 38
Cox (FSV), 174-175
Harbison, 213-214
Henry (FSSH), 310-312
Linscott, 211-212
Pound, 208-209
Pound (SFSN), XXII, No. 1
Randolph, III, 64-65
Tolman, 188
I Wouldn't Marry ... 17
I wouldn't marry a man who's young.
Listen to his flatt'rin tongue;
All the sdngs have been sung, and so
I'll not marry at all.

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Song Texts
2785
I wouldn't marry a man's who's old,
Even tho' he offers gold;
He'll not have me to scold, 0 no!
1*11 not marry at all.
I wouldn't marry a man who's poor,
Even tho* true love he swore;
X don't like being poor, and so
I # ll not marry at all.
X wouldn't marry a man who's rich,
Tho* I'd neither sew nor stitch;
He shant have me to ditch, 0 no!
\
I*11 not marry at all.
I wouldn't marry a man at all—
Pat or slim or short or tall—
Even tho’ one may call, 0 no!
1*11 not marry at all.
A very happy old maid I'll be,
Tho* young men keep courting me,
1*11 not marry at all, at all,
1*11 not marry at all.
*****************************
No. Ml
I WOULDN'T MARRY...V
also known as
Get Away, Old Man, Get Away
Go Away, Old Man
I Wouldn't Have an Old Man
I Wouldn’t Marry an Old Maid
I Wouldn't Marry an Old Man
The Old Man
The Old Man and the Young
Woman
Stand Back, Old Man, Get
Away
A Young Man He is Young
In this form of the wouldn't marry theme both the man
and the woman speak, addressing each other. He proposes,
she rejects hire—again and again.

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Song Texts
2786
'REFERENCES
Henry (FSSH), 309
Hubbard, 134-155
Belden (BS), 263
Brown, III, 34-35
Eddy, 298-299
Emrich (PAL), 559-560
Gardner (BSSM), 420-421
Jour (APL), XXVIII, 175;
XLIV, 428
Lomax (SBS), 32-33
Randolph, III, 127-128
Shay (PP-2), 132 & (PP-3)
199
Shellans, 8-9
Williams (FSUT), 305
I Wouldn't Marry ...V
Oh, will you marry me, sweet girl?
If only you*11 agree
1*11 give you ev'rything I own.
Oh, say you*11 marry me!
I'd rather have a poor young man
With nothing to his name,
Than give myself to you, old man,
And live in wealth in fame.
For a young man he is young,
A young man he is gay;
A Young Man's heart is full of love—
Get away, old man, get av/ay!
1*11 give you silver, give you gold,
And I'll build a mansion grand;
I'll give you pearls and diamonds too,
If you'll give me your hand.
I'll never marry you, dear sir,
Por you are far too old;

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Song Texts
2787
1*11 wait and have a fine young man,
And you may keep your gold*
Por a young man he is young,
A young man he is gay;
A young man’s heart is full of love,
Get away, old man, get awayI
The ripest apple soon will sour,
And the warmest love turns cold,
A young man’s vow is soon forgot—
Be wise and take the gold.
I will not marry you, old man!
On that you can rely.
1*11 marry me a fine young man,
Or know the reason why!
Por a young man he is young,
A young man he is gay;
A young man’s heart is full of love,
Get away, old man, get awayl
**********************
******************
**************
**********
******
****
»*

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Song Texts
2788
Ho. ' 844
JACK AND JILL
In its earliest versions, this English nursery rhyme con
sisted of only one stanza. Like many another nursery
rhyme. Jack and Jill is responsible for much speculation
among scholars regarding its antiquity. We find the verse
in many old English collections, such as Mother Goose *s
Melody , or Sonnets for the Cradle , 1765, and Gammer
Curt on*s Garland , or The Nursery Parnassus , 1784. A
sheet music version, with music composed by H. L. Handy,
was issued by Bland and Weller in 1795, entitled: Jack
and Gill. Piece is also sung as a round.
REFERENCES
Bertail, 83 Taylor (BR), 15
Hoorat, 8 Wier (YAM), I, 106
Opie, 224-226 Winn (1), 88
Jack and Jill
Jack and Jill went up the hill
To fetch a pail of water,
Jack fell down and broke his crown,
And Jill came tumbling after.
Little Jane ran up the lane,
To hang her clothes for drying;
She called for Nell to ring the bell.
For Jack and Jill were dying.
Himble Dick ran up so quick
He tumbled o'er a timber;
He bent his bow to shoot a crow,
But killed a cat in the window.
*****-*■*-*■•*•*•******-**•**-»*

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Song Texts
2789

Ho. 845
JACK AND JOE
also known as
Give My Love to Nell Give My Love to Nellie,
Give My Love to Nell, 0 Jack
Jack Jack, Joe and Nell
A popular music-hall song that dates hack to about 1900.
It was a traditional favorite with "country" singers
through the 1940s. Versions have appeared in dozens of
song folios, but without certified author and/or composer*
REFERENCES
Arnold, 76
Brown, II, 635-638;
IV, 307-309
Henry (FSSH), 173-175
Henry (SSSA), 135
Hubbard, 100-101
Hudson (BSM) , 160-161
Jour (AFL), XLIV, 110
Kincaid No. 2, 12
Lair (100), 64
Morris, 64-65
Neely, 244-245
Owens (TFS) , 102
Pub (TFLS), XXIII, 199
Randolph, IV, 336
Roberts (IP), 206-207
Shearin (SKFS), 24
Jack and Joe
Some years ago both Jack and Joe
Set sail across the foam;
Each vowed a fortune he would gain
Before returning home.
In one short year Jack gained his wealth,
And he set sail away;
And when the boys shook hands to part,
Poor Joe could only say:
CHORUS

MB Song Texts
2790
Give ay love to Nellie, Jack,
And kis3 her once for me?
She’s the fairest girl in all this world.
As you will plainly see.
Treat her kindly, Jack old boy.
And tell her I am well,
And when you meet, oh, don’t forget
To give my love to Nell.
Two years had passed when Joe, at last,
Had wealth enough for life;
And he set sail across the foam,
To make sweet Nell his wife.
But on the way he heard them say
That Jack and Nell had wed;
And so he cried, and then he sighed
And wished he'd never said:
They chanced to meet upon the street—
Says Joe, "You selfish elf!
The next girl that I learn to love,
.I’ll kiss her for myself!
But all is fair in love they say,
And since you're gone and wed,
I'll not be angry with you, Jack,"
And once again he said:
*********** ************** ********

No. 846
JACKET SO BLUE
also known as
A Company of Boatmen
A Company of Wagoners
His Jacket Was Blue
The Wagoners
This is an American adaptation of the old English street
ballad, The Bonny Scotch Lad , the tune of which remains

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Song Texts
2791
more or less the same. The first to adapt the song to
their environments were American soldiers. Then came
the Lumberjacks and rivermen, and, finally, the frontier
freight haulers.
For comparison, see The Bonny Scotch Lad in this Master
Book.
REFERENCES
Beck (FLM), 217-218 Creighton (FSNB), 97, 99
Belden (BS), 301 Gray, 111-114
Cazden, 76, 114 Moore (BFSS), 252-253
Jacket So Blue Tune: The Bonny Scotch Lad
A company of boatmen 1*11 have you all know,
Set out from Ox County for Vicksburg to go.
There's one in that company with whom I am through;
He is a jolly, jolly boatman with jacket so blue.
•0, you handsome boatman, I'll buy your discharge;
1*11 free you from boating and set you at large.
If only you'll love me and always prove true,
I'll never put a stain on your jacket so blue."
•You say, noble lady, you'll buy my discharge,
And free me from boating and set me at large,
If only I'll love you and always prove true,
You'll never put a stain on my jacket so blue.
"There is a fair maid back in old Tennessee,
And I know how long she has waited for me;
And she has long loved me much more than you do,—
She'll never put a stain on my jacket so blue."
********** *******■*.#.•#■*****.***.*

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Song Texts
2792

No. 847
JACKSON VS ADAMS I
also known as
The Man We Love So Dearly
Andrew Jackson and John Quincy Adams were Presidential
candidates for the first time in 1824. There was not too
much musical activity in that campaign, hut there was
one or two songs with staying power. Campaign songs, as
we know them, did not arrive in large number until the
heated Presidential campaign of 1828. To understand the
▼lciousness of the 1828 campaign, however, one must be
acquainted with the bitterness created during the cam
paign of 1824.
We tend to forget that in those days there was only one
political party. The Democratic-Re publican , and Presi
dential candidates were not nominated by votes at a
National Convention—for party conventions on a national
scale were yet unknown. A Congressional caucus chose the
candidate in 1824, and the man they chose was William H.
Crawford of Georgia, then Secretary of the Treasury. It
proved to be an unpopular choice and soon others had
joined the race. One of these, John C. Calhoun, withdrew
to become a candidate for Vice-President. Voters could
choose between the following candidates: John Quincy
Adams, Secretary of State; Henry Clay, U. S. Senator
from Kentucky; William H. Crawford, Secretary of the
Treasury; and Andrew Jackson, U. S. Senator from Tennes
see.
When the votes were counted, Jackson was in the lead,
Adams was second, Crawford, despite the fact that he suf
fered a paralytic stroke during the campain, was third,
and Clay was last. Jackson garnered over forty thousand
more popular votes than Adams, which clearly made him the
peoples' choice, but the electoral count was 99 to 84.

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Song Texts
2793
The election was thrown into the House of Representatives.
Henry Clay immediately urged his small but loyal fol
lowing in the House to support John Quincy Adams. Pro-
Jackson members charged that Clay also exacted a promise
from Adams to make him Secretary of State in exchange for
support in the House. Both Adams and Clay deneied the
charge. When the dust settled, the House elected John
Quincy Adams and he, in turn, appointed Clay as Secre
tary of State.
The Jacksonians were infuriated and broke completely
with the established part. As a result, the two-party
system returned to American politics. The Jacksonians
called themselves Democrats and their opponents became
known as National Republicans. Prom that moment the elite
ruling class was in deep trouble; and the way of doing
things in Washington, at the Federal level, began to
undergo serious changes. John Quincy Adams was harassed
at every turn. No matter what he recommended, the Con
gress voted against it. As Adams grew more and more in
effectual, the Democrats grew more and more powerful.
Andrew Jackson was at the head of the first nationwide
party machine ever established in the United States, and
when the campaign of 1828 began the result was predeterm
ined. Jackson won by a landslide.
One thing is unquestioned: the Democrats had the best
song-writing talent. They also had a leader and a candi
date who was generally adored; he was the most beloved
military hero since George Washington. Unlike Washington,
however, Jackson was a man of and from the common people.
In fact, he was the first man from the common ranks to be
come President of the United States.
This first song is a paean of love from the Philadelphia
Mercury . April 26, 1828.
Jackson vs Adams I
Tune: Wha*11 Be King But Charlie

Song Texts
2794
MB
Come lads and lassies, let us hie
With dresses neat and gaily,
And watch the time when he’ll pass by—
The man we all love dearly.
Chorus
Come thro the heather, around him
gather,
You’re all the welcomer early.
Round Jackson cling with all your kin,
The man v/e love so dearly.
There's not a lass in all the land
Who's heard of the brave action,
Who’d give her love, her heart and hand
To him who ain’t for Jackson.
And here's success to Jackson's cause,
We're for him late and early:
For freedom and our country's laws,
And him we all love dearly.
****** ******* ****** ********

No. 848
JACKSON VS ADAMS II
also known as
John Adams’ Son, My Jo, John
Political balladeers recovered their voices in 1828 and
John Quincy Adams was their special target. The follow-
in song is one of their more scurrilous musical attacks.
Jackson vs Adams II
Tune: John Anderson, My Jo

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Song Texts
2795
John Adams* son, my jo, John!
When life ye first began,
_ Amang the fed'ral crew, John,
T« were a leading man.
■fr-- They did their best to lay, John,
Our Constitution low—
And ye aboon them a* were seen,
John Adams r son, my jo!
John Adams' son, my jo, John!
Ye prais'd the British then;
To build up aristocrcy,
Ye plied both tongue and pen.
Ye libell'd Thomas Jefferson,
As "dusky" Sal will show,
Wi* with lascivious an' profane,
John Adams' son, my jo!
John Adams' son, my jo, John!
Your time is almost spent!
The people won't be governed
By intrigue and management.
Ere one short year goes by, John,
To Quincy ye shall go
And build light houses in the sky,
John Adams' son, my jo!
************************

No. 849
: . JACKSON VS ADAMS III
also known as
Johnny Q, My Jo, John Johnny the Broker
Southerners preferred anybody to John Quincy Adams.
The major issue in 1828 was States ' Rights. Other issues

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Song Texts
2796
were Civil Rights , Tariffs , Education , Bureaucratic
growth, etc. As always, Politicians appealed to
passions rather than intellect. Consider the follow
ing anti-Adams piece which appeared in the Richmond,
Va. Enquirer, Sept . 30 , 1828.
Jackson vs Adams III Tune: John Anderson , My Jo
0, Johnny Q, my jo, John,
Tour father sought a crown,
To deck his broY/, and you would now
Pull freedom's temple down.
Could you but one obtain, John,
You ne'er would stand for wo;
You'd seize with joy, the glittering toy,
0, Johnny Q, my jo.
0, Johnny Q, my jo, John,
The Monticellian sage
You did oppose, in verse and prose,
When party strife did rage.
You then was with the Feds, John,
Who fain would overthrow
What had been done by Washington,
0, Johnny Q, my jo.
0, Johnny Q, my jo, John,
Your honor's deeply stain'd;
The gem that now hangs on your brow
By bargain was obtained.
A bargain made with Clay, John,
As all the world do know!
And Webster too, was bought by you,
0, Johnny Q, my jo.

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Song Texts
2797
0, Johnny Q, my jo, John,
Tour race will soon be run!
Nor regal gem, nor diadem,
Descend upon your son.
You, to your country seat, John,
Reluctant then must go,
Where time mis-epent you will lament,
0, Johnny Q, my jo.
************ ■#•***■*** ** *******

No. 850
' JACKSON VS ADAMS IV
also known as
Jackson is Coming Our Jackson is Coming
When the vicious, putrid 1828 campaign came to a close,
the votes were counted. Prom the muck and mire of the
election rose an extremely popular, recently widowed and
deeply embittered President, Andrew Jackson. He blamed
his wife's death on her villifiers and warned them to
"look to God for Mercy."
John Quincy Adams was also bitter, for his wife too had
undergone political torment by having her reputation
trampled in the mud. Adams waited out his term of office
without a word for or to his successor. Like his father
before him (see Jefferson vs Adams .1), John Quincy did
not attend his successor's inaugaration but departed
Washington the night before.
As soon as Jackson's victory was known, the Democrats
celebrated by singing the following song.
Jackson vs Adams IV Tune: The Campbell * s Are Coming
Chorus

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Song Texts
2798
Our Jackson is coming, Oh, ho! Oh, ho!
Our Jackson is coming, Oh, ho! Oh, ho!
Our Jackson is coming!
The far echoes swelling
Resound that he's coming, Oh, ho! Oh, ho!
Columbia's shout of ecstacy!
The glorious sounds ring far and free,
Thundering abroad, sublime if rude,
A nation's noble gratitude!
Yet hark! shrill rising on the air—
What dirge funereal mingles there?
Sad Triumph droops, her tears are shed
Above the fair, the good, the dead!
But tho' the husband's heart be rent,
The Sage and Chieftain is unbent;
He comes to right the helm of state,
And the republic renovate!
***************************
I
Ho. ' 851
JACKSON VS ADAMS V
also known as
A New Jackson Song
One of many songs praising General Andrew Jackson's
1828 victory. Text is from Songster (10), 108-109.
Jackson vs Adams V Tune: Auld Lang Syne
Should auld acquaintance be forgot,
And never brought to mind,
For Jackson he is President,
And Adams left behind.
For J.ack3on he is President,
And Adams left behind.

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Song Texts
2799
Let’s drink to General Jackson's health,
Who fought for New Orleans,
And he is now our President,
But not by traitorous means.
And he is now, etc.
He drove the British from our shores,
In spite of old king George;
For in his hopes of conquering us,
We oonquered all his lords!
For in his hopes, etc*
And to the great, the just, the good,
We’ll ever bring to mind,
And ne’er shall Hickory be forgot,
In the days of auld lang syne.
And ne'er shall, etc.
*********************************
Ko. §52
JACKSON VS CLAY I
also known as
Henry Clay’s Remonstrance
In 1828 Henry Clay was still Secretary of State, the
office given him by John Quincy Adams in 1824. The
Jacksonians hated him almost as much as they hate John
Quincy. Naturally, when Jackson became President in
1828, Clay was out as Secretary of State. The song
below was published July 2, 1828, in the S_. Telegraph ,
a pro-Jackson newspaper.
Jackson vs Clay I Tune: I Won't Be a Nun
Now is it not a pity
Such a cunning dog as I

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Song Texts
2800
Should he turned out of office,
To pay my debts or fly?
But I won't be turned out—
No! I won't be turned out!
I'm so fond of money
That I cannot be turned out!
I love to eat good dinners,
And to make a dinner speech,
And when I've got a skinful
I sometimes love to preach.
So I won't be turned out—
Bo! I won't be turned out!
I love my place so dearly
I cannot be turned out!
*******************************

Bo. 853
JACKSON VS CLAY II
also known as
King Andrew
The political rift caused by the results of the 1824
Presidential campaign widened into a gulf by 1828. With
Jackson's victory came a new kind of President and a new
approach to the Presidency. Old enemies regrouped, and
several political parties came into existence. One of
the most notable was the Anti-Masonic Party, organized in
1826 to deny support to any Mason running for public
office. Thi3 party held the first nominating convention
at Baltimore, in 1831, and it was the first of any Ameri
can political party that year. The Anti-Masonics also
issued the first written party platform.
A coalition group calling themselves Whigs were also
being heard from in 1834, but did not nominate a candi
date for President.

Song Texts
2801
MB
A group calling themselves Nullifiers was gaining more
than a little strength in the South, largely due to
the activities of Vice-President John C. Calhoun. And
there was the National Republican Party that had become
independent as the result of Jackson's 1828 victory.
These and other groups, some smaller, and individuals
all had one theme in common: Get rid of Andrew Jackson!
When the 1832 campaign began, the opposing parties had
three candidates in the Presidential race:
National Republican: Henry Clay, U. S. Senator
from Kentucky.
Nullifier: John Floyd, Governor of Virginia.
Anti-Masonic: William Vfirt, ex-Attorney General.
Andrew Jackson's personal popularity and the strength of
hi8 Democratic political machine proved to be an unbeat
able combination. Clay, the leading contender, won only
49 electoral votes. Jackson won a whopping 219.
The opposition did not surrender, however; they banded
together to do battle with Old Hickory in the 1834 Con
gressional campaign. A coalition of National Republicans,
disgruntled Democrats, Anti-Masons, Whigs, and other
anti~Jackson individuals and groups organized a political
army and declared war. The song below was their battle
anthem.
Identity of individuals named in the song are as follows:
Lou , or Lewis: Lewis Cass, Secretary of War,
or Louis McLane, Sectretary of State.
Ben: Attorney General Benjamin Franklin Butler.
Bill: Postmaster General William Taylor Barry.
Roger of Tawne?/' hue: Roger B. Taney, who assisted
with the U. S. Bank withdrawals.
Blair the book: Francis P. Blair, published of the
Globe , pro-Jackson newspaper.
Kendall , chief cook: Amos Kendall, journalist and
major power behind King Andrew’s throne.

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Song Texts
2802
Isaac surnamed the True; Isaac "Ike" Hill,
U. S. Senator and alumnus of the Kitchen
Cabinet.
Levi: Levi Woodbury, Secretary of the
Navy.
Jackson vs Clay II
King Andrew had five trusty Squires
Whom he held his bid to do;
He also had three pilot fish,
To give to the Sharks their cue.
Chorus
There was Lou, and Ben, and Bill,
And Roger of Tawney hue,
And Blair, the book, Kendall, chief cook,
And Isaac surnamed the True.
And Blair push'd Lewis, and Ben touch'd
Billy,
And Ike jogged Levi, and Cass touch'd Amos
And Roger of Tawney hue.
Now was not this a medley crew
As ever mortal knew?
Now was not this a medley crew
As mortal ever knew?
King Andrew had an itching palm
To finger the nation's cash.
Most of 'em thought 'twas just the thing,
Though.some they thought it rash.
Chorus
He'd asked Lou, and Ben, and Bill,
And Roger of Tawney hue,

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Song Texts
2803
And Blair the hook, Kendall, chief cook,
And Isaac suraamed the True.
The general took his cook's advice
And hurried away the Rhino;
But where it went—aye, there's the rub!—
I'm sure neither you nor I know.
For there's Lou, and Ben, and Bill, etc.
***************** •**#** *■*■******#•»**

Ho, 854
JACK THE JOLLY SAILOR I
also known as
Come, My Own Love
Come, My Own One
Dirty Jack
Poor Jack
Sailor's Song
The Saucy Jack Tar
The Saucy Sailor
The Saucy Sailor Boy
The Tarry Sailor
'The Dirty Sailor
Jack of Tar
Jack Tar
This is one in a series of similarly titled and themed
hut independent songs, all of which originated in Eng
land. The principal character in each song is called
Jack, Jack Tar, or Jack the Sailor, and each deals in
his own way with deception and seduction.
Many versions of these songs have merged in American
versions, making it difficult to separate them. Por
that reason they are herein lumped together under a
common title and separated by Roman numerals.
The "dialogue courting" form below has much in common
with Paper of Pins (see Courting Case I), but is far
•less bawdy than several of its English ancestors.
REFERENCES

KB
Song Texts
Ashton (RSS), 47
Baring-Gould (EFS5), 76
Baring-Gould (SW), No. 21
Barrett, No. 32
Brown, II, 339-340; 17,
194-195
Butterworth, 10-11
Cox (PSS), 389
Creighton (TSNS), 202
Davis (SSC), 72-73
Doerflinger, 294-295
Flanders (VFSB), 151-152
Fowke (TSSO), No. 8
2804
Greig & Duncan, No. 49
Hugill (1), 461-462
Jour (AFL), XXXV, 373
Jour (FSS), V, 342-345
Karpeles, 201-202
Karpeles (EFS), II, No. 299
laws K 38, 160
Morris, 373-375
Reeves (EC), 228
Sharp, II, 235
Sharp (EFS), I, 68
Sharp (FSFS), 42-43
Sharp (100), 102-103
Jack the Jolly Sailor I
Pretty maiden, lovely maiden,
Oh, what joy to me you bring!
If you'll come with me, sweet maiden,
I'll give you this golden ring.
Go away, you dirty sailor!
Do I look as if I'm mad?
Why should I marry a sailor
When there's others to be had?
I have money in my pocket,
I have silver, I have gold;
I will gladly give it to you,
If you won't treat me so cold.
Go away, you dirty sailor!
You're the one who's really mad!
Go and find another maiden—
There are plenty to be had.

2805
MB
Song Texts
It may be that I'm dirty, love,
But with water I'll be clean;
And I'll gladly take a bath, love,
If you won't treat me so mean.
Go away, you dirty sailor!
Keep your silver, keep your gold;
I will never wed a sailor,
Por I love a soldier bold.
***************************

Ho. 855
JACK THE JOLLY SAILOR II
also known as
Boo Me Ama
Jack of Tar
The Esquire and the Maiden Jack the Jolly Tar
Esquire, Maiden and Sailor The Jolly Tar
Jack in London City
Pooly Ooly
The Tarry Sailor
The story in which one man takes the place of another, to
sleep with and make love to an unsuspecting woman, is told
by at least a dozen songs. The song below is representat
ive of the type.
Some authorties have suggested that this song is a deriva
tive of Glasgerion . Several of the earlier collectors pub
lished versions as "secondary" versions of Child Ho. 67,
but if true I have never been able to recognize the re
lationship. Glasgerion (Child No. 67) is not part of
U. S. tradition and the story it tells, although of the
"night visit" variety, is far removed from the story
told by Jack the Jolly Sailor II. This is not to imply
that a study of Glasgerion and other "night visit" ballads
is inappropriate. Indeed, such a study is always helpful
to the folklore student and ballad collector. It is the

MB
Song Texts
2806
artificial association of one song with another and the
use of the word "secondary” that I find objectionable.
Aside from an apparent desire to associate one's col
lection with the Child canon, the term "secondary" has
no meaning and no merit.
See and compare: Jolly Roving; Tar in Creighton (FSNB),
37 & (TSNS), 178.
REFERENCES
Bulletin (FSSN), III, 10
Finger (FB), 16-17
Flanders, II, 82-86
Greenleaf, 106-107
Hubbard , 117
Jour (FSS), I, 239; II,
38-39
Karpeies, 149-150
Karpeles (EFS), I, 694-697
Laws K 40, 171
Leach (BB), 228-229
Peacock, I, 288-290
Pub (MLA), XXXVI, 565ff
Sedley, 10-11
Shay (IMWS), 36-38
Sharp (ECFS), 174
Whall (SSS), 16-17
Williams (EFS), 54
Jack the Jolly Sailor II
As Jack was strolling through the park,
He saw a girl and fellow in the dark;
He stopped and heard the young man say:
"With you this night I mean to lay!"
Pooly ooly . polly oily , pooly ooly aye .
"1*11 tie a string around my finger.
And dangle it out my bedroom window;
You tug the string tonight at ten,
And I’ll come down and let you in."
The girl then hurried from the park,
And Jack the sailor followed in the dark.
All in his mind he formed a plan
To take the place of her young man.

MB
Song Texts
2807
The string she tied around her finger
And let it drop out her bedroom window;
Jack tugged the string at nine, not ten,
And she came down and let him in.
She slipped the string from off her finger,
But let it dangle from her window;
Her lover tugged and tugged at ten,
But no one came to let him in.
He walked away with heavy heart,
And thought she'd made him play a foolish part.
How could he know that in her bed,
By then she'd lost her maidenhead?
She woke quite early in the morning,
To wake and give her lover warning;
And there was Jack in pants and shirt.
His face and hands all streaked with dirt.
"How come you're here, you dirty sailor?
Tou broke and robbed me of my treasure!”
"I pulled the string at nine, not ten.
And you came down and let me in."
"Well, since it f s true, the deed I'll weather,
But you and I must stay together."
She loved the sailor, loved him well,
And told the other to go to hell!
***************************

go. 856
JACK THE JOLLY SAILOR III
also known as
The Brisk Young Sailor Lad The Feather Beds
East Tennessee Girl The Green Bed, or Beds
The Esquire and the Maiden I’ll Tell You Of a Story

MB
Song Texts
2308
Jackson
Jack the Jolly Tar
Johnnie and the landlady
Johnny the Sailor
The Liverpool Landlady
The Sailor and the Landlady
The Sea Captain
What Luck, Young Johnny?
Young Johnie
Young Johnny
In this song a mother is involved, which is not always the
case in "testing" type songs. The form has the sailor com
ing home almost in rags, pretending to he penniless, to
find out whether or not his sweetheart loves him enough to
accept him as a poor sailor. Once he is rejected, the
truth is revealed: he is very wealthy and will now have
nothing more to do with his sweetheart.
All "testing* songs do not end the same, however. For one
in which the "testing" of the sweetheart is only a prelude
to murder, see the following examples: The Little Lowland
Maid, or The Pretty Sailor , or The Lowland Maid in Broad-
wood (ETSC), 66-67 and Jour (FSS), I, 188-189*
Another form comes with a happy ending. For an example of
the form, see It 1 s Of A Sailor Bold in Hammond, 22-23.
Finally, there is a European form called The Shipwrecked
Sailor that has Jack coming ashore in tattered garments
and with pockets lined with gold. He goes to visit several
false lovers, all of whom turn him away. The he visits
Haney, a girl he had once deserted for the faithless
women, and she receives him with love and sympathy.
The form given below involves Jack, the sweetheart, her
mother and the boarding house. An American adaptation
known as Jackson was written to suit the conditions and
circximstances of the War with Mexico, but it tells the
same story. For versions of the Jackson piece, see Luther,
135-136 and Sandburg (AS), 430-431.
Some versions of the song below share a title in common
with other songs. For a different Liverpool Landlady ,
see Jour (FSS), VIII, 16 and Karpeles (EFS), I, No. 188.
For another song known also as The Sea Captain , see

MB
Song Texts
2809
Maid on the Shore in this Master Book.
REFERENCES
Baring-Gould (SW), IV,
18-19
Belden (BS), 160-162
Brewster (BSI), 188-192
Brown, II, 334-339; IV,
191-192
Campbell & Sharp, No. 48
Christie, I, 250-251
Cox (FSS), 390-391
Davis (FSV), 159-160
Eddy, 95-97
Flanders, II, 82-86
Gardner (BSSM), 91-93
Greig, II, art . 115
Greig & Duncan, No. 48
Henry (FSSH), 168-172
Hudson (FSM), 156-158
Jour (AFL), XXV, 6-7; XXXV,
373; XLII, 290
Jour (FSS), I, 48; III,
281; V, 68
Karpeles (EFS), II, No. 300
Laws K 36, 159
Leach (BB), 640-641
Luther, 135-136
Mackenzie, 245-250, 400
Mackenzie (QB), 193-194
Moore (BFSS), 205-206
Owens (TFS), 62-64
Perrow, XXVIII, 156
Pub (TFLS), XXIII, 84-86
Randolph, I, 250-253
Randolph (Ozarks), 189-191
Sandburg (AS), 430-431
Sharp, I, 365-368
Shearin (SKFS), 14
Treat, 45-46
Williams (EFS), 48
Jack the Jolly Sailor III
There was a young sailor who lately came ashore,
So ragged in apparel ’twas thought that he was poor.
The boarding house he went to was modest, neat and trim;
He went to see the owner, and she remembered him.
"0 welcome home, dear Johnny; you're welcome as can be.
Last night my daughter Molly she mentioned you to me.
"What news, what news, dear Johnny, have you brought
from the sea?"
"My news is bad," he answered, "For all is gone from me.

M3
Song Texts
2810
"My ship it started leaking, and soon was sinking
free;
The last of all my money went down into the sea.
"Call down your daughter Molly, go call her down to me;
We’ll drink and drown our sorrow, then married we shall
be*"
"My daughter she is busy, she cannot come to you;
And neither will I trust you for drinks of one or two."
When Johnny heard her say this, he shook his weary head
And asked her for a candle to light his way to bed.
"The feather beds are full, John, and have been for a
week;
It'8 for some other lodgings you must go out and seek."
When she had finished speaking, with nothing more to say,
Young Johnny asked a reckoning, which he had to pay.
"You ewe me thirty shillings, but this includes the old."
•Twas then young Johnny pulled out his hands all filled
with gold.
The gold was quite surprising, and she began to rue,
Saying, "For the future, Johnny, the joke is all on
you.
"I only meant to tease you, and have a little fun;
You know my daughter Molly thinks you’re the only one.
"The feather beds are empty, and they have been all
week;
It's time for you and Molly to take a pleasant sleep."
"I will not sleep in your beds, I’d rather walk the
street;
For when I had no money, your words were not so sweet.
"But now that I've got plenty, I’ll live my life alone,
And neither you nor Molly shall share in what I own."
**************♦***•#**-*****

MB
Song Texts
2011
JACK THE JOLLY SAILOR IV
also known as
Some Other Girl Shall Wear The TSpry Sailor
This Ring The Wstohet Sailer
This is another form of the foregoing three songs, hut
here we have no mother to contend with; the action arid
the dialogue is between the sailor arid his sweetheart*
REFERENCES
Creighton (TSNS), 167 Peaoook, 1, 311-317
Laws, P 4, 250 Sharp (El’S), II, No. 21
Wehman (CS), No. 10, 3
Jack the Jolly Sailor IV
When Jack the Sailor returned to shore,
0 lucky was his po'tion;
For he had plenty of gold in store,
All gained beyond the ocean.
To his sweetheart's house he straight did go,
To seek out her devotion;
"0, Nancy, is it yes or no?
For I have quit the ocean.”
Then Nancy spoke all with a frown,
"I'd rather v/ed a tailor!
I can have a man of high renown,
And I'll never wed a sailor.”
Young Jack held up his purse to show,
And Nancy saw it full of gold;
He said, "Now, Nancy, yes or no- 1 — 1
Will you wed with a tarry sailor?”

MB
Song Texts
2812
This time she spoke all with a smile,
To tell of her devotion:
"0, I was joking all the while!
Tou know that I love my sailor."
"If you were joking I did hut jest,
But that's another question.
I see it's money you love the best,
So you won't get your sailor."
*******************************

Ho. 858
JACOB'S LADDER I
also known as
Climbing Jacob's Ladder
Soldiers of the Cross
We Are Climbing Jacob's
Ladder
Originally a campground revival song, this piece is now
recognized as a 19th century spiritual. Phrases and
lines such as "climbing Jacob's ladder" and "soldier
of the cross" are not exclusive to any one song. For
examples, see Don't You Grieve After Me and Way in the
Kingdom in this Master Book. Also see Sinner Man 3 in
Sharp, II, 291 and The 7/elcome Table in Creighton (MFS),
173 & (TSNS), 280.
"Jacob's ladder" is from Jacob's dream (described in
Genesis 28:12 ); and that event has inspired many re
ligious songs. The song below and the one following it
(Jacob's ladder II ) are representative of the type.
REFERENCES
Best, 147
Brown, III, 595; V, 336
Cohen (LS), 101-102
Combs (FSMEU), 224
Combs (FSUS), 190
Dearmer (OEC), 120-121
Dett, 118
Diton, 4
Fisher (NSS), 117
Halloweil, 33

MB
Song Texts
2813
Jackson (ASWS), 7
Odum (MS), 111
Sharp, II, 295
Silber (HSB), 71
Silverman, II, 96
White, 59-60
Whitman, 201
Work (ANSS), 220
Johnson (BANS), 59-61
leisy, 185
Leisy (LAS), 14-0
Leisy (SPS), 199
Lomax (PSNA), 453-454
Jacob’s Ladder 1^
We are climbing Jacob's ladder,
We are climbing Jacob's ladder,
We are climbing Jacob's ladder,
Soldiers of the Cross.
We are climbing ever higher, (3)
Soldiers of the Cross.
We are climbing up to heaven, (3)
Soldiers of the Cross.
*******************************

No. 859
JACOB'S LADDER II
also known as
I Want to Clumb Up Jacob's Ladder
This is one of the Slave Spirituals recovered by Allen
(SSUS), 96, or 151. For a Creole version, see Cohen (LS)
no.
Jacob's Ladder II

MB
Song Texts
2814
I want to climb up Jacob’s ladder,
Jacob’s ladder, 0, Jacob’s ladder;
I want to climb up Jacob’s ladder,
But I can't climb it
Till I make my peace with the Lord.
0» praise ye the Lord!
I'll praise Him till I die,
I’ll praise Him till I die,
And sing Jerusalem.
************************

Ho. 860
JAIL KEYS
This is an old American ’’kissing" game-song. According
to Newell, 237, "there is no British equivalent."
Nevertheless, one could compare the English games, Bull
in the Park and Garden Gate , in Gomme, I, 50-51 & 146-
147.
Jail Keys
Jail keys all rattling around you,
Jail keys all rattling around you,
Jail keys all rattling around you,
Jailor, come open the door.
**************************************

No. 861
J’AI TANT DANSE
also known as
Come and Dance, Pair Maiden Gay I’ve Danced So Much
An old French song that crossed the Atlantic and managed

MB
Song Texta
2815
“to survive in most of the French-speaking communities
in Canada and the United States. For an Indiana version,
•ee Berry, 56-57. For version recovered in Quebec, see
Gagnon, 48-49.
J*al tant danse** *
J’ai tant danse, j’ai tant saute*,
Dansons ma bergere, Oh! gai,
J*en ai decousu mon soulier.
A 1*ombre,
Dansons ma berger* joliment,
Que le plancher en rompe!
J*en ai decousu mon soulier,
Dansons ma bergere, Oh! gai,
J*ai *te trouver ie cordonnier.
£ 1'ombre, etc.
J'ai ' te trouver le cordonnier,
Dansons ma bergere. Oh! gai,
*Beau cordonnier, beau cordonnier,
A 1*ombre, etc.
Beau cordonnier, beau cordonnier,
Dansons ma bergere, Oh! gai,
Veux-tu racc’moder mon soulier?
A 1*ombre, etc.
Yeux-tu racc'moder mon soulier?
Dansons ma bergere, Oh! gai,
Je te donn’rai un sou marque".
X 1*ombre, etc.
Je te donn’rai un sou marque**,
Dansons ma bergere, Oh! gai,
-De sous marque's j * en ai-z-assez,
A 1*ombre, etc.

Song Texts
2816
De sous marques j'en ai-z-assez,
Dansons ma bergere, Oh! gai,
Paut aller trouver le cur/,
A l* 0 ]nbre, etc.
Paut aller trouver le cure,
Dansons ma bergere, Oh! gai,
Pour dans un mois nous marier.
X 1*ombre, etc.
Pour dans un mois nous marier,
Dansons ma bergere, Oh! gai,
-Nenni, un mois n’est pas assez,
X 1*ombre, etc.
Nenni, un mois n'est pas assez,
Dansons ma bergere. Oh! gai,
Paut m r attendre encore une annee.
v
A 1*ombre, etc.
ENGLISH TEXT
I'm here to dance, none have I skipped,
Come and dance, fair maiden gay!
The soles on both my shoes are ripped,
Hey didle day!
Chorus
Come and dance, fair maiden so gay,
Let’s wear the floor away!
My foot is showing through my shoe, etc.
We’ll find a cobbler here for you, etc.

MB
Song Texts
2817
ire’ll find a cobbler here for you, etc.
And he’ll repair your worn-out shoe, etc.
And he’ll repair your worn-out shoe, etc.
I’ll gladly pay the fee for you, etc.
I'll gladly pay the fee for you, etc.
So we can dance the whole night through, etc.
The work you do is very rough, etc.
Without my shoes it sure is tough, etc.
Without my shoes I'll rest at least, etc.
Let’s go right now and see the priest, etc.
The priest must be asleep in bed, etc.
Let's wait a month before we wed, etc.
In one more month we shall be wed, etc.
A month is time enough, I said, etc.
A month is time enough, I fear, etc.
So let us wait another year, etc.
****************************

No. 862
J'AI TANT D'ENFANTS A MARIER!
also known as
I Have So Many Maids to There Are So Many Pretty
Wed Girls to Marry
In France, where it originated, and in America, where
it circulated from settlement to settlement, this song
was once associated with a round dance.
For an English relative, see Widow of the Land in M3 .
For other versions of this song, see Berry, 44-45 and
Gagnon, 149-150.

MB
Song Texts
2818
J’ai tant d * enfants 5 marier!
J'ai tant d*enfants 'Sl marier!
J’ai tant d’enfants a marier!
Grand Dieu! je n'sais commet
Pouvoir en marier taut.
Mademoiselle, on parle a vous;
On dit que vous aimez beaucoup.
Si c'est vrai que vous aimez,
Entrez dans la danse, entrez!
Paites le pot a deux anses;
Regardez comme l'on danse;
Fermez la bouche; cuvrez les yeux;
Saluez qui vous plaira mieux.
ENGLISH TEXT
There are so many girls to marry!
There are so many girls to marry!
Lord! I know not how nor when
1*11 find time to marry them.
0 fair young maid they say of you.
That you know love and know it true.
If it's true, the things they say,
Join in our dance today.
If it be false by any chance,
Nevertheless, I wish you'd dance.
Close your mouth, open your eyes,
Bow to him whom you most prize.
***************************

MB
Song Texts
2819

Ho. 865
JAMES BIRD
also known as
The Ballad of James Bird
This song, written and composed by Charles Miner and
published in his paper, The Gleaner . Wilkesbarre, Pa.,
1814 , tells of a real war hero and describes an histori
cal event. James Bird, recognized as a hero of the War
of 1812, was fighting beside Perry at a battle on lake
Erie in 1813. For some reason he left the ship without
permission. Legend has it that he went ashore to visit
a young lady. Whatever the reason, he was arrested as
a deserter, court-martialed and sentenced to death. His
sentence aroused so much public protest that the Presi
dent sent a pardon. Unfortunately, the pardon arrived
after the execution had taken place.
The words of this song are sometimes sung to the old
religiou melody, Come Thou Fount of Every Blessing.
REFERENCES
Belden (BS), 296-297
Brown, II, 525-528
Burt, 183-184
Cox (FSS), 261-262
Eddy, 265-267
Flanders (BMNE), 18-21
Hubbard, 287-288
Jour (AFL), XXX7, 379-383
Moore (BFSS), 271-273
Pound, 93-97
Rickaby, 139
Shoemaker (MMP), 164-166
Shoemaker (NPM), 159
Silber (SI), 200-202
Thompson (BBB), 344-348
James Bird
Sons of freedom, listen to me,
And ye daughters, too, give ear,
To a sad and lonesome story,
As sad as ever you shall hear.

Song Texts
2820
Hull, you know, his troops surrendered,
And defenseless left the west;
Then our forces quick assembled,
The invaders to resist.
There was one among the number,
Tall and graceful in his mein,
Firm his steps, his look undoubted,
Ne’er a nobler youth was seen.
One sweet kiss he snatched from Mary,
Craved his mother's prayers once more,
Pressed his father's hands and left him
For Lake Erie’s distant shore.
Mary tried to say, "Farewell, James,"
Waved her hand and nothing spoke;
"Farewell, Bird, may heaven protect you,"
From the rest a parting broke.
Where is Bird? the battle rages;
He is in the strife, I know;
How the cannons roar tremendous,—
Dare he nobly meet the foe?
Ah, behold him, see with Perry,
In the selfsame ship they fight;
Altho' his messmates fall around him,
Nothing can his soul affright.
But alas! a ball has struck him,
See the crimson current flow!
■Leave the deck," exclaims brave Perry.
"No," cried Bird, "I will not go,"
Then did Bird receive his pension?
Was he to his friends restored?
Did he ever to his bosom
Clasp the maid his heart adored?

MB
2821
s ong Texts
But 'there came such dismal tidings
Prom Lake Erie's distant shore;
Better if Poor Bird had perished
Amid the cannon's opening roar.
Tho' he fought so brave at Erie,
Freely bled and nobly dared,
Let his courage plead for mercy;
Let his precious life be spared!
See him kneel upon his coffin;
Can his death do any good?
Spare him! Hark, oh God, they've shot him!
See his bosom stained with blood.
Farewell, Bird, farewell forever,
Home and friends shall see no more;
But his gallant form lies buried
On Lake Erie's farthest shore.
#**#*•***•*#*■*** *■***•»■** **•*.*.*.*

No. 864
JAMIE CAMPBELL
also known as
Bonnie, or Bonny George
Campbell
Bonnie, or Bonny James
Campbell
James Campbell
Jamie
Sir James Campbell
Willie Campbell
This old English—Scottish ballad was never widely known
in American tradition, but fragmented versions have been
recovered here and there. Background data associated with
this song contains a lot of theory and very few facts.
According to Motherwell, the ballad i 3 "probably a lament
for one of the adherents of the house of Argyle (see
Argyle and Airlie in MB) who fell in the battle of Glen-
livet, stricken on Thursday, the third day of October,
1594." Two or three collectors claim that the ballad

MB
Song Texts
2822
refers to the murder of Sir John Campbell in 1591.
Professor Child was of the opinion that far too many
Campbells were killed in battles and feuds "before
and after 1590" to allow one to "guess as to an in
dividual referred to" in the text.
An American variation of this ballad is in Combs (FSMEU),
144 - 145 .
REFERENCES
Barry (BBM), 279-291
Child, IV, 142-144
Coffin, 128
Combs (FSUS), 126-127
Cunningham, III, 2
Davis (MTBV), 267-269
Edwards (CHSB), 158
Flanders, III, 237-238
Herd MSS, I, 40; II, 184
Houseman, 220
Jour (AFL), XVIII, 294
Kinsley, 341
leach (BB), 560
Moore (BFSS), 102-104
Motherwell (1827), 44
Quiller-Couch, 423-424
Smith (SM), V, 42
Thomas (BMMK), 25-26
Whiting (TBB), 59-61
Jamie Campbell
Oh, it’s up in the highlands, one early bright day,
Young Bonnie James Campbell went riding away.
Where is young Jamie? Oh, where can he be?
Home came his saddle, home came his horse, but
never home came he.
Oh, it’s down came his mother, to stand and to stare;
And down came his widow a-tearing her haie.
Weeping and moaning, together they learn
Jamie the husband, Jamie the son, would not
to them return.
Oh, it f s handsome and happy, with courage rode he,
A plume in his helmet, a sword at his knee.

MB
Song Texts
2823
Jamie, young Jamie, too bloody to see;
Home came his saddle, home came his horse.
But never home came he.
*************************************

Ho. 865
THE JAM ON GERRY
also known
The Break at Jerry’s Rock
The Canadian Shanty Boys
The Death of Young Monroe
Foreman Monroe
Foreman Young Monroe
Geary’s Rocks
S ROCKS
as
Gerry's Rocks
Jack Monroe, ojc Munro
Jam at Gerry's Rock
The Jam on Jerry's Rock
Shanty-Boy3
Young Monroe, or Munroe
Occupational song with a tragic theme, log-driving
was probably the most difficult and dangerous work
connected with the lumbering industry. The drive begem
in the Spring, and for two or three weeks men walked
the logs as they were carried down stream by fast mov
ing waters, swollen by melting snows. At almost any
narrow or rocky place along the way, it was likely that
several logs would catch and hold. When this happened,
thousands more would pile up and the men were faced with
a log Jam. To break a log Jam was no simple thing. The
problem was in finding the "key log", prying it free,
and get safely out of the way as the logs began moving.
Miscalculation means death.
According to Cox (FSS), 236, this "song originated in
Maine and is founded on fact* Gerry's Rock, since blown
up, was on the West Branch of the Penobscot River."
According to Flanders and Eckstorm, the text of this
song was first printed in the Maine Sportsman , Jan.,
1904, XI, p. 125. For an extensive history of the
song, see Eckstorm, 176-178.

MB
Song Texts
2324
Opening lines of some versions are from the Irish
■treet "ballad, Pat 0 [ Brien. A variation of the tune
of Pat 0*Brien is also used for some versions of this
song. Other tunes used, though usually at variance
with the originals, are Loss of the Albion , The Maid
of Timahoe and The Western Rangers,
REFERENCES
Arnett, 122
Barry (FMA), 93-94
Barry (MWS), 52-53
Beck (FLM), 260-262
Beck (LLC), 194-197
Beck (SML), 134-136
Botkin (AFL), 847-949
Brown, II, 501-505
Bulletin (FSSN), X, 18-20;
III, 21-23
Cazden, I, 6-7
Cox (FSS), 256-238
Cox (TBFS), 137
Creighton (TSNS), 267-268
Dean, 25-26
Doerflinger, 238-240
Eckstorm, 82-90
Flanders (NGMS), 44-46
Focus, IV, 428
Friedman, 418-421
Gardner (ESSM), 270-273
Gordon (FSA), 58
Gray, 3-9
Greenleaf, 331-333
Greig & Duncan, No. 230
Holbrook, 131
Jones, 4
Kennedy (TAB), 215-217
Laws (NAB), 63, 65, 143
Leach (BB), 771-773
Linscott, 217-220
Lomax (ABFS), 448-450
Lomax (CS-1919), 174-176
Lomax (PB), 30
Lomax (USA), 170-171
Mackenzie, 367-370
Moore (BFSS), 341-343
Morris, 107-109
Peacock, III, 752-753
Rickaby, 11-19
Roberts (IP), 124-126
Sandburg (AS), 394-395
Scott (BA), 175-178
Shay (ASSC), 111-113
Shay (PF-2), 108-111
Shay (PF-3), 180-182
Shoemaker (MMP), 86
Shoemaker (NPM), 72, 74
Silverman, II, 418
Thompson (BBB), 259

MB
Song Texts
2825
Oh, come ye jolly shanty hoys, wherever you may he,
And give me your attention, and hear a tale from me.
1*11 tell you of six hrave shanty hoys with courage
strong and hrave,
Who broke the jam on Gerry’s Rocks, and went to a
wat’ry grave.
It was a Sunday morning, hoys, as you will quickly hear.
The logs were rolling mountain high— we couldn’t keep
’em clear.
The foreman said, ’’Prepare, my hoys, this is no time
for fear;
It’s break the jam on Gerry's Rocks, so all the logs
will clear.”
It being Sunday morning, hoys, they did not think it
right;
While some of them were idling, the others hid from
sight•
Six young and daring shanty hoys then volunteered to go
And break the jam on Gerry's Rocks, along with Jack
Monroe.
Before they'd rolled too many logs, they heard the
foreman say:
"How, hoys, you'd best he on your guard; that jam will
soon give way.”
He had no sooner spoke the words, the jam did break
said go;
It took away those six hrave hoys, along with young
Monroe.
When comrades in the camp that night this sadness came
to hear,
They rushed down to the river hank, their hearts all
filled with fear.

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Unto their sad misfortune, boys, their sorrow, grief
and woe.
All bruised and mangled on the shore, and dead, lay
Jack Monroe.
We lifted him most carefully, and gently combed his
hair.
There was one fair form amongst us whose cries did
rent the air;
There was one fair form amongst us, a maid from
Rivertown;
Her moans and cries were for young Jack, her lover who
had drowned.
We buried him quite decently all on the tenth of May,
So come, you jolly shanty boys, and for your comrade
pray.
Engraved upon a Hemlock tree, that on the bank does grow,
You'll find the name and drowning date of young and brave
Monroe.
***************************************

Ho. 866
JAYBIRD
also known as
The Jaybird Died Jaybird Sittin' on a Hickory
Jaybird Died with the Limb
Whoopingcough Lord Have Mercy On My Soul
Way Down Yonder a Long Way Off
The Jaybird caught the folk fancy, and especially the
black man's. Several versions of this song, as well as
one or two others, present the Jaybird as an impudent
character. Lines and stanzas associated with the song

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below are also found in other songs, including a
version of The Blue Tail Ply in Scarborough (UPS),
191.
Three versions are given below but they are merely
representative of the variety in circulation.
REFERENCES
Brown, III, 201-202
Bulletin (TPS), II, 30
Davis (FSV), 201
Ford (TKA), 96
Jour (APL), XXVI, 131;
XLIV , 170, 425
Owens (TPS), 145-146
Richardson (AMS), 99
Scarborough (SC), 11,
385
Talley, 14-15, 36
White, 243
The Jaybird ( Version A)
The Jaybird jumped from limb to limb,
And he told Brer Rabbit to do like him;
Brer Rabbit said, "You cunning elf,
You just want me to fall and kill myself!”
Chorus
I love long-legged gals!
I love long-legged gals!
Lord, have mercy on my soul!
The Jaybird sat upon that limb;
He winked at me and I winked at him.
He laughed at me! my gun went "crack”
And kicked me down on the flat of my back.
He looked at me, I looked at him;
I picked up a rock and hit him on the shin.
He hopped around and said with a grin,
"Little man, don’t you ever do that again!"

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The Jaybird died with the whooping-cough,
The Bluebird he died with the measles;
'Long came a Crow his fiddle to play,
Saying, "Let’s all dance Pop! goes the
Weasels!"
They hopped it low, they hopped it high,
They hopped it to, and they hopped it by;
They hopped it far, and they hopped it nigh—
That fiddle ’n' bow sure made 'em fly!
(VERSION B)
Jaybird pulling a two-mule plow.
Sparrow, why not you?
"My legs so long and slimber, Lord,
I'm scared it'll break 'em in two."
Jaybird died with the whooping-cough.
Sparrow with the flue;
A Redbird came and skipped around,
And said, "This ain't nothing new."
( VERSION C)
A Fiddle-Dance Form
Jaybird, Jaybird, sittin' on a limb,
He winked at me and I winked at him;
I picked up a rock and I hit his shin,
Sez he, "You better not do that again."
**************************

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g£jL 867
THE JEALOUS LOYER
also known as
Abble Summers
Alice Summer
Annie, My Darling
Blue-Eyed Ella, or Ellen
Down By the Drooping Willow
Down By the Weeping Willows
Down in a Lone Valley
Edward
Emma
Pair Ella (Ellen or Emily)
Pair Young Ellen
Flo-ella
Plo-ella's Death
Florella
Plorilla
Jealous Lover of Lone
Green Valley
The Jewish Lover
Lemo
Little Alice Summers
The Lone Green Valley
The Lone, Lone Valley
Lonely Valley
Lorilla
The Murder of Florella
My Ella
Sweet Fair Ella
Sweet Larilla
Under the Weeping Willow
Way Down in Lone Green
Valley
The Weeping Willow
"Murdered girl” song, and one that is widely known in
America. Versions and variants are available by the
dozen, and all of them tell essentially the same story.
For that reason, it was decided to give only two versions
here (A & B) and refer to others. The "jealous lover"
theme is not exclusive to any one song or form and its
song of origin is, therefore, difficult to identify.
According to Phillips Barry, this song is a derivative
of the early 19th century English street ballad, The
Murder of Betsy Smith. It is an opinion shared by Ran
dolph and several other recognized collectors. On the
other hand, Malcolm Laws said, no "demonstrable process
of oral tradition could within a few decades transform

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2830
eo poor a ballad ( Betsy Smith) into one of such rela
tively high quality.” Without a deep desire to take
sides, I feel obligated to point out that Laws, in my
opinion, allowed a narrow scholastic view to interfer
with his insight. It should be obvious that all the
time required to lift a ballad from a low to a higher
state of quality is the time it takes one talented
author to sit down and rewrite it.
I do not know if this song is or isn't a derivative of
Betsy Smith , but I do know that in its present form and
in all the versions I have seen of it, The Jealous
Lover is strictly American. I also know that it has
been adapted to fit real crimes, such as The Murder of
Mary Phagan and The Murder of Pearl Bryan (see version
of each in this Master Book).
There are other songs known as The Jealous Lover which
are not related to this one or to each other. For such
songs, see: Creighton (PSNB), 121 & (KFS), 103; Kar-
peles (EPS), I, 310; and Laws (AB), 21, 263. Also see
the untitled piece in Hudson (FSM), 233-234.
REFERENCES
Allsopp, II, 204
Amer (10), III, 441-447
Belden (BS), 324-330
Brewster (3SI), 248-252
Brown, II, 578-588; IV,
Flanders (NGMS), 77-79
Flanders (VFSB), 59-60
Friedman, 203-205
Eddy, 236-238, 240-241
Emrich (FAL), 582-583
Finger (FB), 80-81
289-293
Combs (FSKH), 38-40
Combs (FSMEU), 203-204
Cox (FSS), 197-202
Cox (FSWV), 18-19
Cox (TBFS), 130-131
Creighton (SBNS), 320-321
Doerflinger, 287-288
Hudson (FSM), 185-187
Henry (FSSH), 211-214
Henry (SSSA) 51-52
Henry (BMFS), 26-27
Gardner (BSSM), 83-85
Greenleaf, 365-366
Fuson, 65-66

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Jour (API), XX, 264; XXII,
370; XXVIII, 168;
XXX, 344; XXXIX, 116;
XLII, 280; XLV, 131;
XLVI, 38
Jones, 299
Laws (AB), P 1, 65-70
Leach (BB), 787-789
Leisy, 102-103
Lomax (PSNA), 93
Manny, 235-236
Memoirs (APL), XXIX, 50
Morris, 76-80
Neely, 158-160
Owens (TPS), 72-73
Peacock, III, 632-633
Pound, 102-103
Pound (SPSN), V, 1
Quarterly (SPL), III, 19
Randolph, II, 44-53
Randolph (Ozarks), 173
Richardson (A1IS), 30-31
Ritchie (SPG), 150-151
Roberts (IP), 131-133
Shellans, 68-69
Shoemaker (MMP), 206-207
Shoemaker (NPM), 57-58
Spaeth (WSM), 121-122
Stout, 50
Wheeler (KMFS), 49-55
Wilgus, 288-290
■■I... K—acasaai ■ ■ ssa. ■— act
The Jealous Lover ( Version A)
Down in the Lone Green Valley,
Where flowers bloom and fade.
There lived a jealous lover
Who loved a fair young maid.
The moon was shining brightly,
The stars blinked in the aky,
And no one dreamed that Ella
That night was doomed to die.
The evening sun was sinking,
The evening shadows grew,
As near young Ella's cottage
The jealous lover drew.
"Come, Ella, let us wander,
Por I have things to say;

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Come, walk with me off yonder,
And plan our wedding day.*’
"0 Edward, I’m so weary.
And don't know what to say;
But since you are determined,
I'll walk a little way."
Beneath the stars they wandered,
But seemed so far apart
He felt the sting of anger
Arise within his heart.
Upon her knees before him
Young Ella begged for life,
But deep into her bosom
He drove the fatal knife.
"0 Edward, I forgive you,
With this, my final breath;
I never did deceive you—
And now you've caused my death!"
"0 God in heaven, pity,"
The jealous lover cried;
"I love my darling Ella,
And by my hand she died."
Now all you girls take warning,
And listen unto me;
If you have a loving sweetheart,
Beware of jealousy.
( VERSION B)
Down by the weeping willow,
Where the violets gently bloom,

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There sleeps our sweet Florella,
So silent in the tomb.
She died not broken hearted,
Tho* with loving heart she fell;
The hand of him who killed her
Was one she loved so well.
"Come, love,” said he, "let's wander,
Yonder through the meadow gay;
And there we'll talk in private
About our wedding day."
"The meadow's dark and dreary,
And I do not care to roam;
I * in feeling tired and weary,
So let us go back home."
"Florella, I must tell you,
I have made a solemn vow:
No power on earth can save you——
I mean to kill you now!"
Down on her knees before him,
She pleaded for her life;
But deep into her bosom
He plunged that fatal knife!
"0 darling, I forgive you
With my last dying breath;
I never have deceived you—"
She closed her eyes in death.
************************

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Bo. 868
THE JEALOUS SISTER
also known
The Barkshire Tragedy
The Berkshire Tragedy
Binnorie
The Bonnie Mill-Daia o'
Binnorie
The Bonny Busk of London
Bowee Down
Bowie, Bowerie
Bow Te Down
Bow Your Bend to Me
The Cruel Sister
The Drowned Lady
The Pair Sisters
The Little Drowned Girl
The Miller and the King's
Daughter
The Miller's Daughters
The Miller's Two Daughters
My Sister Kate
The Old Parmer in the
Countree
The Old Parmer in the North
Countree
as
The Old Lord By the North
ern Sea
Old Man Prom (In) the North
Countree
The Old Man in the Old
Countree (Country)
The Old Woman By the Sea
shore
Sister, Dear Sister
The Sister's Murder
The Swim Sworn Bonny
There Was an Old Jaynor
There Was an Old Woman
Lived in the West
The Three Sisters
The Twa Sisters
The Twin Sisters
The Two Pair Sisters
The Two Little Sisters
The Two Sisters
The Two Young Daughters
The Wed Lady
The West Countree
The Youngest Daughter
This Ballad has been reported under a multitude of
titles in both Europe and America. The story is an
ancient one, of course, and is not exclusive to any
particular country's folklore. Versions and variants
are plentiful on both sides of the Atlantic, but most
American texts are rerived from English versions,
Scottish versions stem from the Swedish form known as
De Tva Systrarna , which, in turn, is similar to the

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Song Texts
2835
Polish Trzy Sio3try .
Barry, Child and Brewster each made a study and gave
an analysis of the spread and affiliations of The
Jealous Sister. In America, the supernatural ele
ments of the European versions were eliminated or
considerably reduced. American variations go far
afield in many instances, with one of the better known
examples being Three Old Maids on a Saucer Brim .
The difficulty in tracing, relating and, sometimes, in
identifying versions of The Jealous Sister lies in the
high number of plot variations and confusions which,
as Helen Flanders pointed out, are more numerable "than
in those of any other Child ballad."
The version below is merely one of many, as a glance
at the number of works containing versions will indi
cate. Bronson alone has 97 times and texts.
REFERENCES
Aarne, 780
Anderson (AESB), 71
Bantock, 63-64
Barry (ABB), No. 3
Barry (BBM), 40-46
Belden (BS), 16-24
Belden (OCBM), 233
Belden (PLSB), No. 2
Botkin (APPS), 337-339
Brewster (BSI), 42-50
Broadwood (ECS), 118
Bronson, I, 143-184
Brown, II, 32-35; IV,
Bulletin (FSSN), III, 11,
21; VI, 5-6; VII, 14;
IX, 4, 22; X, 2, 10;
XI, 2, 16; XII, 10-11;
XVIII, 130; XIX, 233;
XXX, 286
Bulletin (VFS), VIII, 12
Campbell & Sharp, No. 4
Chappell (FSRA), 13
Child, I, 118-141; V, 411-
412
Brown (BLNC), 9
Bruce, 61
Buchan (ABS), II, 128
13-18
Christie, I, 40, 42
Coffin, 38-42
Coffin & Cohen, 49-50
Cox (FSS), 20-21, 521
Cox (TBFS), 12, 14
Cox (TBWV), 6, 8

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Song Texts
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Cunningham, II, 109
Davis (MTBV), 35-50
Davis (TBV), 93-104, 522,
555
Dean-Smith, 113
Dobie (TBE), 141-143
Eddy, 17-18
Flanders, I, 150-170
Flanders (BMNE), 209-210
Flanders (NGMS), 3-4
Folklore (FC), 1953, No.
147
Friedman, 161-167
Gainer, 10-12
Gardner (BSSM), 32-34
Gray, 75-77
Greenleaf, 9
Greig & Duncan, No. 213
Greig & Keith, 9-13
Henry (FSSH), 38-44
Houseman, 96-97
Hubbard, 5
Hudson (FSM), 68
Hudson (FSW), 524
Hudson (SMFL), 4-5
Jamieson, I, 48, 315
Jour (AFL), XVIII, 130;
XIX, 233; XXVII, 57;
XXX, 286, 387; XLIV,
295, 347; XLV, 1-8;
XLVIII, 306-307
Jour (FSS), I, 253; II,
282; VIII, 242
Kinloch MSS, II, 49; V,
425; VI, 89
Kinsley, 69-72
Leach (BB), 74-78
Leisy, 330-332
Lomax (FSNA), 184-185
MacColl & Seeger, 51-53
Moore (BFSS), 18-21
Moore (ECC), No. 3
Morris, 243-247
Motherwell, I, 274-275
Motherwell MS, 104, 147,
245, 383
Neal, No. 37
Niles (BB), 47-53
Niles (MSHF), No. 4
Notes (1st series), VI,
102; (4th), V, 23
Ord, 430-432
Peacock, I, 179-180
Petrie, 688
Pinkerton (STB), 72
Pound, 11-13
Pound (POB), 53-54
Pound (SFSN), I, 12
Prior, I, 381
Pub (TFLS), X, 141-143
Quarterly (SFL), VIII, 138
Quiller-Couch, 104-106
Raine, 118
Randolph, I, 50-63
Randolph (OMF), 211-213
Richardson (AMS), 27
Ritchie (FS), 63
Roberts (IP), 16-19
Sanders, 25-29
Scarborough (SC), 164-165

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Song Texts
2837
Scott (MSB), II, 143;
(1902), III, 352
Sharp, I, 26-35
Sharp (FSEO), 18-21
Sharpe (BB), 30
Shearin (BBCM), 4
Shearin (SKPS), 7
Smith (AA), 2
Smith (SM), VI, 72
Stokoe, 8-9
Stout, 1-2
Taylor, 238-246
Thomas (DD), 70-73
Thomas (SG), 76-78
Thompson (BBB), 393
Wells, 149-150
Whiting (TBB), 32-34
The Jealous Sister
A farmer lived in the North Country,
0 bow down to me;
A farmer lived in the North Country,
And his two daughters were quite lovely*
Chorus
True I'll be to my love,
For my love is true to me.
A young man came a-courting there,
0 bow down to me;
A young man came a-courting there,
And thought the youngest girl most fair.
He gave to her a beaver hat, etc.
Her sister didn't much like that.
0 sister, sister, let's walk out, etc.
And watch the ships all sail about.
As they walked near the salty brim, etc.
The oldest pushed the youngest in.
0 sister, sister, give me your hand, etc.
And I'll give you my house and land.

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2838
I'll give you neither hand nor glove, etc.
But I will have your own true love.
The miller’s son sat on the bank, etc.
And saw her body as it sank#
0 father, father, come here and see, etc.
A woman drowned in front of me.
The miller fetched a big long hook, etc.
And fished her body from the brook.
The miller stole the girl’s diamond ring, etc.
Then threw her body in again.
They took the miller and hanged him high, etc.
And said her sister, too, must die.
******************************

No. 869
JEANIE AND JAMIE
also known as
When Ye Gang Awa, Jamie
When Ye Gang Awa, Jemmy
When You Go Away, Jamie
The Duke of Athol
Huntingtower
Jamie
American versions of this ballad, except for one in
Child, bear little or no resemblance to the original
ballad with which collectors tend to associate them.
Child IV, 299* in an appendix dealing with Richie
Story , quotes Aytoun, II, 239* saying: "The words, re
cast in a romantic form and applied to a more interest
ing subject have been set to music by a noble lady, and
are now very popular under the title of ’Huntingtower. *"

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2839
The version below—an American one—is far removed from
English-Scottish versions and has no recognizable con
nection whatsoever with the Richie Story ballad.
REFERENCES
Child, IV, 299-300
Creighton (TSNS), 217
Cunningham,1,5
Flanders, III, 273-277
Jour (AFL), XLIX, 216
Kinloch (ASB-1827), 170
Korson (PSL), 42-43
Laws (AB), 236
Macfarren, 68-69
Rogers, 62
Jeanie and Jamie
0 when you go away, Jamie,
Far across the sea, laddie,
When you go to Germany,
What will you send to me, laddie?
1*11 send you a brand new gown, Jeanie
Finest in the town, lassie;
It shall be of silk and gold.
With valenciennes set round, lassie.
****************************************

Ho. 870
JEANNETTE AND JEANNOT
SOURCE SONG. This song of English origin was written
by Charles Jefferys and Charles W. Glover; it became
popular in America during the mid-19th century. Since
then the melody has been used for several songs, some
of which deal with specific situations in the United
States. For examples, see Gold Seeker VI & XXI in
-this Master Book and California As It Is in Silber
(SGAW), 114-116

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Song Texts
2840
For other versions of this song, see Greig & Duncan,
No. 102; Johnson (PS), 338-340; and Songster (10),
121 .
Jeannette and Jeannot
You are going far away,
Far away from poor Jeannette,
There is no one left to love me now,
And you too may forget.
But my heart will be with you,
Wherever you may go—
Can you look me in the face.
And say the same Jeannot?
When you wear the jacket red,
And the beautiful cockade,
Oh, I fear you will forget
All the promises you made.
With the gun upon your shoulder,
And the bay*net by your side,
You'll be taking some proud lady,
And be making her your bride.
***************************************

No. 871
JEFFERSON DAVIS I
also known as
Jeff Davis Is A Gentleman Jeff Davis Rode A White
Horse
Jefferson Davis (1808-1889) is remembered as President
of the Confederate States of America, but he was much
more than that. He was a U. S. Senator from Mississippi
(1847-1851), Secretary of War (1853-1857), and, after
that, he returned tc the Senate (1857-1861).

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Song Texts
2841
When Mississippi seceded, he resigned from the U. S.
Senate and became provisional President of the Con
federacy. later that year, 1861, he was elected to
a full six year term. Almost immediately the song-
makers got busy, some to build him up and some to tear
him down. The song below was a musical dart aimed at
Abraham Lincoln while praising Davis. For other
versions, see Brown, III, 461 and Scarborough (SC),
74 .
Jefferson Davis I
Jeff Davis is a gentleman,
Abe Lincoln is a fool;
Jeff Davis rides a milk-white steed,
Abe Lincoln rides a mule.
It* s whiskey by the gallon,
And sugar by the pound;
A great big bowl to put it in.
And spoon to stir it ’round.
Jeff Davis is our President,
Abe Lincoln is a Yank,
And when the Yankees lose this war,
They’ll have old Abe to thank.
*********************************

No. 872
JEFFERSON DAVIS II
also known as
Old Abe Is Sick Up! Up! With Jeff
I have seen this particularly piece of Confederate
musicana in only one collection, Brown, III, 462.

M3
Song Texts
2842
Brown gives only the first three stanzas, which he
obtained in 1928, The la3t two stanzas are from my
grandfather who sang them with stanza one.
Jefferson Davis II
Old Abe is sick, old Abe is sick,
Old Abe is sick in bed;
He*s a lying dog, a lying dog,
With meanness in his head.
He wants our cotton, he wants our cotton,
He wants our cotton too;
He shall have it, he shall have it—
Some tar and feathers too.
Down with old Abe, down with old Abe,
And all his Yankee crew!
Up! Up! with Jeff! Hurrah for Jeff,
A Southern man so true.
Old Abe's a liar, old abe's a liar,
Old Abe's a demon too;
Up! Up! with Jeff! Our own good Jeff,
For he will see us through.
So up with Jeff and down with Abe,
And flinch not at the foe;
We'll raise the flag, the rebel flag,
And lay the Yankees low!
*****************************

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2843

Bo, 873
JEFFERSON DAVIS III
also known as
Jeff in Petticoats Oh! Jeffy D!
Northern songwriters also gave their attention to the
Confederate President, and Union soldiers lustily sang
the following lines as they marched:
Hang Jeff Davis on a sour apple tree,
Hang Jeff Davis on a sour apple tree,
Hang Jeff Davis on a sour apple tree
As we go marching on!
When Union victories became "numerous and devastating,"
Amos Patton (Boston, 1864), penned the following musical
taunt:
Oh, how do you like it as far as you’ve got?
Jefferson D! Jefferson D!
Are you glad you began it, or d'ye wish you
had not?
Jefferson D! Jefferson D!
For full text , see Lawrence , p, 430.
Kennedy (TAB), 140-141 has another musical taunt by
Henry Sylvester Cornwell, which begins:
You're a traitor convicted, you know very well,
Jefferson D! Jefferson D!
You thought it a capital thing to rebel,
Jefferson D!
But there's one thing I'll say:
You'll discover some day,
When you see a stout cotton cord hang from
a tree,
There's an accident happened you didn't foresee,
Jefferson D!
After Lee's surrender, which happened despite objections
to it by Davis, the Northern songwriters had a field

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Song Texts
2844
day ridiculing the deposed Confederate President.
The song below is one of those political satires
founded upon rumor rather than fact. In 1865* folloe-
ing Lee’s surrender and the capture of Davis, the
Northern press encouraged people to believe that Davis,
upon being pursued by the Union Army, attempted to
escape by disguising himself as a woman, in his wife's
clothing. The sttory was based solely on the fact that
when Davis came out of his tent to face his captors,
his wife had placed a shawl over his shoulders to pro
tect him from the chilly weather.
Henry Tucker wrote the words and George Cooper composed
the music to this song. For other versions, see Levy
(GN), 376 and Loessor, 256.
Jefferson Davis III
Jeff Davis was a hero bold,
You've heard of him, I know;
He tried to make himself a king
Where Southern breezes blow.
But Uncle Sam, he laid the youth
Across his mighty knee,
And spanked him well,
And that's the end of brave old Jeffy D.
Chorus
Oh! Jeffy D! You "flcw'r of chivalree,”
Oh, royal Jeffy D!
Your empire's but a tinclad skirt.
Oh, charming Jeffy D.
This Davis, he was always full
Of bluster and of brag,
He swore, on all our Northern walls
He'd plant the rebel flag.

Song Texts
2845
But when to battle he did go,
He said, "I’m not so green,
To dodge the bullets I will wear
My tin-clad crinoline."
How when he saw the game was up,
He started for the woods,
His hand-box hung upon his arm
Quite full of fancy goods.
Said Jeff, "They'll never take me now,
I'm sure I'll not be seen;
They'd never think to look for me
Beneath my crinoline*"
Our Union boys were on his track
For many nights and days;
His palpitating heart it beat
Enough to burst his stays.
0! what a dash he must have cut
With form so tall and lean!
Just fancy now the "what is it,"
Dressed up in Crinoline!
The ditch that Jeff was hunting for,
He found was very near;
He tried to shift his base again.
His neck felt rather queer.
Just on the out-"skirts" of a wood
His dainty shape was seen;
His boots stuck out, and now they'll hang
Old Jeff in Crinoline.
***********************

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Song Texts
2846

go. 874
JEFFERSON DAVIS IV
also known as
Jeff Davis’ last Ditch The Sour Apple Tree
Written by J. W. Turner and published at Boston by the
Oliver Ditson Co., this song also satirizes "Jeff in
female attire” theme. Also Bee Lawrence, 430.
Jefferson Pavia IV
The Yankee boys have caught him—
The traitor, Old Jeff D! —
I wonder if they'll hang him
To the Sour Apple Tree!
Don’t you think it will be right?
And justice, I declare!
To hang him up ”to dry,” my boys,
And dangle in the air.
0 when our soldiers found him,
I'll bet he did look rich
With his petticoats around him
As he stood in the ”last ditch!”
Old Jeff, he wasn't wise
With boots on, don't you see!
It was a splendid sight, I'm sure,
Such "Southern Chivalry!”
Now if they hang him, it will be
A moral lesson taught
To those who might in future times
Like him be evil fraught.
Some think it will be right—
Whatever it may bej
I really think they'll hang him
To the "Sour Apple Tree!"

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Ho. 875
JEFFERSON VS ADAMS I
also known as
Jefferson and Liberty
The Presidential election held Nov. 4, 1800, had two
political firsts: the first one-term President and the
first electoral tie vote, which meant that the decision
as to the winner would be made by the House of Repre
sentatives. Balloting to decide the tie took place
Peb. 11, 1801. The 36th ballot was taken on Peb. 17th.
Ten states voted for Jefferson, four for Burr. Thomas
Jefferson became the first President elect to be inau-
garated in Washington, C. C.
There was no radio, no television, no motion pictures
and only a few newspapers to spread the news and adver
tise about the candidates. But there were songs, and
they were beginning to be used for political purposes
more and more.
The song given below was pro-Jefferson and probably helped
defat John Adams, because it exploited the public detest
ation of the alien and sedition laws. It is to Jeffer
son* s credit that he swept these laws aside as soon as he
took office.
The tune to the song is Irish, and was called The Gobb?/-0,
or . Willy Was A Wanton Wag♦ The earliest printed version
of which I am aware is in The American Songster (Provi
dence, R. I., 1807), pp. 253-255. According to Silber
(8AVB), however, the song was first published in the
Aurora , Jan. 29, 1801, under the title: A Patriotic Song ,
for the Glorious Fourth of March, 1801.
REFERENCES
Arnett, 42
Downes, 72-73, 80-81
Flanders (NGMS), 207-209
Lawrence, 165
Scott (BA), 100-101
Silber (SAVB), 26
Silverman, II, 282
Whitman, 113

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Jefferson vs Adams I
The gloomy night before us lies,
The reign of terror now is o*er;
Its gags, inquisitors and spies,
Its hordes of harpies are no more.
Chorus
Rejoice, Columbia's sons, rejoice!
To tyrants never bend the knee;
But join with heart, and soul and voice.
For Jefferson and Liberty.
No lordling here with gorging jaws,
Shall wring from industry its food;
No fiery bigot's holy laws,
Lay waste our fields and streets in blood.
Here strangers from a thousand shores,
Compell'd by tyranny to roam,
Shall find, amidst abundant stores,
A nobler and a happier home.
Prom Europe's wants and woes remote,
A dreary waste of waves between;
Here plenty cheers the humble cot,
And smiles on every village green.
What heart bux hails a scene so bright,
What soul but inspiration draws;
Who would not guard so dear a right,
Or die in such a glorious cause?
Let foes to freedom dread the name,
But should they touch the sacred tree,
Twice fifty thousand swords would flame,
Por Jefferson and Liberty!
*************************

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No. 876
JEFFERSON VS ADAMS II
also known as
Jefferson and Liberty
This song is a parody of Adams vs Jefferson (see in this
Master Book) , a song used by supporters of John Adams in
the 1796 campaign. The text is from Lawrence, 163, who
got it, in turn, from the American Patriotic Songbook ,
published in 1813, pp. 64-65.
Jefferson vs Adams II Tune: Star-Spangled Banner
Te Sons of Columbia, who cherish the prize,
The arms of your fathers so -valiantly gain'd,
Like the sun unobscur'd may your glory arise,
And your liberties flourish forever unstain'd,
While Mars clad in gore, bids the far thunders roar,
May freedom and peace bless our dear native shore,
And ne'er may the Son3 of Columbia be slaves,
While the earth bears a plant or the sea rolls in waves.
By art more than arms our foes have long try'd,
To lead the brave Sons of Columbia in slav'ry;
Their force we've withstood, and their power defy'd,
And repuls'd each attack with Republican brav'ry.
Though our internal foes may our freedom oppose,
Our firmness and zeal, to the universe shows
That ne'er will the Sons of Columbia be slaves,
While the earth bears a plant or the sea rolls in waves.
Remember election is liberty's base,
By which noble charter our freedom we cherish:
At the helm of our nation than Jefferson place,
That our free Constitution and rights ne'er may perish

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Still America's pride in her cause has been try'd,
And he in her councils was born to preside,
That ne'er may the Sons of Columbia be slaves,
While the earth bears a plant or the sea rolls in waves.
****** *************** ************

No. 877
JEFFERSON VS ADAMS III
also known as
Federalists! Be On Your Guard! Yankee Doodle-Federalist
Republicans! Be On Your Guard! Yankee Doodle-Republican
During the summer of 1800 a full-fledge bi-partisan battle
for the Presidency came into being for the first time. In
those days presidential candidates did not electioneer,
for electioneering was considered bad taste; so the con
test was waged by supporters through the press and with
songs. The opposing ideologies of Jefferson and Adams
were expressed in the two songs given here, both sung to
the same tune: Yankee Doodle.
The Federalist song (Version A) was published in the
Gazette of the United States and the Philadelphia Daily
Advertiser , May 28, 1800. The Republican reply (Version
B) appeared in the Centinel of Freedom , July 15, 1800.
Jefferson vs Adams III ( Version A) Tune; Yankee Doodle
Federalists! be on your guard!
Look sharp to what is doing:
Your foes, you see, are working hard,
To bring about your ruin.
Chorus
Yankee Doodle, look about,
Yankee Doodle Dandy!

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V
Look about and keep 'em out,
And with your vote be handy!
There’s not a man among you all
But what sincerely glories,
To help effect the destin'd fall
Of Democrats and Tories.
Then rally strong, and you'll defeat
Their schemes of wicked action,
And trample down beneath your feet
The Jeffersonian faction.
Be staunch and true on freedom's side,
And keep a firm connexion;
Don't let the Democrats divide
Your votes at next election.
VERSION B Time: Yankee Doodle
Republicans! ne on your guard!
Look sharp to what is doing!
The Feds, you see, are working hard
To bring about your ruin.
Chorus
Yankee Doodle, here's a cup,
Take a little brandy!
Twill serve to keep your spirits up—
Drinking is the dandy.
There's not a man among us all
But tells his vaunting story
Of Johnny Quincy '3 destin'd fall—
That cursed British Tory!

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Chorus
Yankee Doodle, push the glass;
Send about the brandy.
He that flinches is an ass!
Jefferson’s the Dandy.
Then rally strong, and you’ll defeat
Ti • ir schemes of wicked action,
Ard trample underneath your feet
The Royal British faction.
Chorus
Yankee Doodle, keep it up,
Push about the brandy;
John Quincy’s out of luck,
Jefferson’s the Dandy.
The cry for war has no release,
But hot and hotter waxes!
Then vote him in, he’ll give us peace
And pay off all our taxes.
Chorus
Yankee Doodle Jefferaco,
Son-y, doodle dandy,
Son-y, doodle, Jeffer do
Sink the price of brandy!
*****************************************

Ho. 878
JEFFERSON VS ADAMS IV
also known as
The Duke’s Retreat to Braintree
The election over, the country waited for its third
inaugaration ceremony, which, for the first time, would
take place in the Capitol. The outgoing President, John

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Adams, did not attend the ceremonies; he would not have
any contact with Jefferson at all. He spent the last
night of his Presidency making appointments, to leave
Jefferson with a Federalist judiciary, and departed Wash
ington at Four O'clock in the morning. His sudden de
parture for Braintree (now Quincy, Mass.), in anger and
disappointment, inspired the following political satire
which appeared in The American Republican Harmonist in
1803 .
The words can be sung to Yankee Doodle , but the 1803
version gives the name of the tune as I Followed Him To
Glasgow Town.
The version below is from Lawrence, 167.
Jefferson vs Adams TV
John Adams was a President,
And fain he would again be;
But Jefferson we chose instead,
And sent the Duke to Braintree.
The fourth of March, *twas early morn,
As in the story you may plain see,
He rose dejected and forlorn,
And scurried away to Braintree.
While cypress did his brow adorn,
Pale envy did contain he;
'Twas in his breast a rankling thorn,
And he took it on to Braintree.
When he to Philadelphia came,
The Tories did him again see;
With wine and beer they did him cheer,
And wished him safe to Braintree.
At Hartford, in Connecticut,
Was his Highness complimented;

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Yet their address he open'd not,
But returned it as presented*
And when to Quicny he was come,
The Yankees did him again see;
And tho' with grief they all were dumb,
They welcomed him to Braintree.
God prosper long this land of fame,
And long may we remain free;
And God prevent as President
The Duke’s return from Braintree!
*******************************
Jennie Jenkins
Jenny Jane
Jenny Lane

No. 879
JENNY JENKINS
also known as
Julie Jenkins
Tooley Wooley Iser
Will You Wear Red?
This is an American game song, widely distributed and
still played and sung. It appears to be a derivative of
the old English game song, Jenny Jones (see Virginia
Jones in this Master Book). Also see and compare:
Mary Wore Her Red Dress in Seeger (1), 130-131.
REFERENCES
Arnold, 85
Arnett, 11
Brown, III, 102-103;
V, 51-53
Emrich (CBF), 34
Flanders (VFSB), 164-165
Hubbard, 150-151
Ives (SA), 135-137
Linscott, 299-300
Lomax (OSC), 129-130
Lomax (PB), 47
Lomax (USA), 54-55
Owens (TFS), 118-119
Randolph, III, 208
Scott (BA), 48-49
Sharp, II, 371
Silber (KSB), 74
Silverman, I, 307

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Song Texts
2855
Jenny Jenkins
Will you wear red, Jenny dear, Jenny dear?
0 will you wear red, Jenny Jenkins?
I won't wear red,
It's a color that I dread!
Chorus
I'll wear me a fol-di-rol-dy,
Tit-tle-dy-ol-dy,
With a double fil-li-ty tol-d.y toll!
Roll, roll, roll, Jenny Jenkins, roll!
Will you wear blue, etc ?
I won't wear blue
For the color pleases you!
Will you wear green, etc ?
I won't wear green—
It's a shame to be seen!
Will you wear white, etc ?
I won't wear white
For the color is too light!
Will you wear yellow, etc ?
I won't wear yellow
And be chased by a fellow!
What will you wear, • etc ?
What do you care.
As long as I'm not bare?
*****************************

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No. 880
JERRY, GO AND ILE THAT CAR!
also known as
The Old Section Bess
This is an occupational-type song; it was sung by rail
way workers. According to Sandburg, "In 1884 Charles
Lummis heard Gunnysack Riley sing this at Albuquerque,
New Mexico. Later, as an editor (in Los Angeles), he
wanted the verses and put the natter up tc Santa Fe
railroad officials, who sent out a general order cover
ing the whole system...A lost song was dug up..." The
text was printed in The Railroad Man♦s Magazine , Vol,
IV» NOjl I* Peb * 1931, pp. 478-479.
REFERENCES
Belden (BS), 445-446
Botkin (RPL), 441-442
Dean, 26-27
Jour (APL), XXV, 137
Lomax (ABFS), 128-131
Lomax (CS-1919), 112-113
Lomax (PSNA), 415-416
Pound (SPSN), XXII, No.
Sandburg (AS), 360-361
Jerry , Go and lie That Car!
•Come all you railroad section men
An* listen to my song;
It is of Larry O’Sullivan,
Who now is dead and gone.
For twenty years a section boss,
Ke niver hired a tar—
Oh, it’s "joint ahead" and "cinter tack,"
An’ "Jerry, go an' ile that car!"
' Por twenty years a section boss
He worked upon the track,
And be it to his credit now,
He niver had a wrack.

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Song Texts
2857
He kept every joint right up to the point
With the tap of the tamping-bar;
And while the boys was a-shimmin’ up the ties,
It's "Jerry, go an' ile that car!"
• Twas in November, in the winter time,
And the ground was covered with snow,
"Come, put the handcar on the track,
And over the section go!"
With his big soldier coat buttoned up to his
throat,
All weathers he would dare—
And it's "Paddy Mack, will ye walk the track,"
And "Jerry, go an' ile that car!"
"Give my respects to the Roadmaster,"
Poor larry he did cry,
"And lave me up, that I may see
The old handcar before I die.
Then lay the spike-maul upon his chest,
The gauge and the old claw-bar,
And while the boys are filling up the grave,
Oh, Jerry, go an* ile that car!"
********************************

No. 881
JESSE JAMES I
also known as
Ballad of Jesse James Jessey, or Jessie James
There are several songs dealing with the career and ex
ploits of Jesse James. Of the lesser known pieces, there
is Jesse James and His Boys in the Woody Guthrie Manu
scripts (library of Congress), p. 200, which begins:
Jesse James and his boys rode the Dodge
City trail,
They held up the midnight southern mail...

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Song Texts
2858
Another is the Jes_se James piece collected by Edith
Fowke and reprinted in Fife, 257 and Lomax (ABFS), 131 ,
which begins:
Living in Missouri was a bad bold nan,
He was known from Seattle down to Brimingham,
From Boston, Massachusetts, right across the
States,
Hevada, Colorado, and the Golden Gates.
Another is The Death of Jesse James in Fife, 258 (once
recorded by The Vagabonds on Montgomery-Ward Records,
Ho. 4443), which begins:
'Twas way down in Missouri,
there lived a shootin' man,
Tall and dark and slender,
he‘d ride out with his band.
Another is Frank Luther’s Jesse James , reprinted in Fife,
260, which begins:
You've heard of heroes brave in all their glory,
In history you have often read their names,
But lend an ear and you will hear the story
About that famous bandit Jesse James.
Yet another, J Went Down to the Depot , is in Emrich (FAL),
303 and Sandburg (AS), 374, begins:
I went down to the depot, not many nights ago,
And there I done something I never done before.
>
I got down on my knees and delivered up the keys
To Frank and his brother Jesse James.
For a treatment sung by blacks, see Belden (BS), 403 and
Friedman, 479B.
Jesse James began his career in service with Quantrell
during the Civil 7/ar. In the 15 years following that up
heaval, Jesse and his brother, Frank, became the most
notorious and sought-after criminals in America. Jesse's
career ended on April 4, 1882, when he was shot down by
Robert Ford, a member of his own gang, in a house on
Lafayette street in St. Joseph, Missouri. The name

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Song lexts
2859
"Thomas Howard” was an alias used by Jesse at the time
of his death, which accounts for the reference to "Mis
ter Howard" in the song below.
REFERENCES
Allen (CL), 4
Autry (RR), 18
Belden (BS), 401-404
Best, 12-13
Botkin (AFL), 107-108
Brown, II, 557-562; IV,
282-284
Bulletin (TFS), II, 28
Burt, 191-193
Cambiaire, 17-18
Chappell (FSRA), 192
Combs (FSMEU), 182-185
Cox (FSS), 216
Davis (FSV), 283
Downes (1940), 267-269
Downes (1943), 320-321
Felton, 94-99
Fife, 253-260
Finger (FB), 57-59
Finger (SCCS), 18
Friedman, 377-379
Gardner (BSSM), 339-340
Henry (FSSH), 320-323
Hudson (FSM), 235-237
Hudson (SMFL), No. 77
Ives (SA), 198-200
Jour (AFL), XXII, 246;
XXIV, 387; XXV, 17;
XXIX, 178; XXXIV, 124;
XLIV,.87; XLV, 150
Kennedy (AB), 231-232
Kennedy (TAB), 217-218
Larkin, 155-159, 154-157
Laws (NAB), 170
Leach (B3), 753-755
Leisy, 186-187
Lloyd, 158-159
Lomax (ABFS), 128-130
Lomax (CS), 27-31, 152-158
Lomax (FSNA), 351-352
Lomax (PR), 103
Lomax (USA), 296-297
Milburn, 191
Moore (BFSS), 347-349
Morris, 99
Odum (NHS), 209-210
Owens (TFS), 78-80
Pound, 145-146
Pound (SFSN), VIII, No. 2
Pub (TFLS), XXIII, 112
Randolph, II, 17-24
Randolph (Ozarks), 194-195
Sandburg (AS), 420-421
Seeger (6), 36
Shearin (SKFS), 16
Shay (PF-1), 84-85
Shay (PF-3), 42-43
Shekerjian, 33-35
Silber (HSB), 40
Silverman, I, 66-67
Stout, 109-110
Tolman, 178

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Song Texts
2860
Jesse James I
Jesse James was a lad who killed many a man,
He robbed the Glendale train;
He stole from the rich, and he gave to the poor,
Had a hand, and a heart, and a brain.
Chorus
Poor Jesse had a wife who mourned for his life,
Three children who were brave;
But that dirty little coward that shot Mister Howard
Has laid poor Jesse in his grave
It was Robert Pord, that dirty little cowardJ
I wonder how he did feel?
He ate Jesse’s bread, and he slept in Jesse's bed,
Then laid poor Jesse in his grave.
Now Jesse was § man, a friend to the poor,
He’d never see a man suffer paid;
And with brother Prank he robbed the Chicago bank,
And then they robbed th Glendale train.
It was brother Prank who robbed the Gallatin bank,
And took the money out of town;
It was in this, very place that they had a little race
Por they shot Captain Skeets to the ground.
They went to the crossing not very far from there,
And there they did the same;
The agent on his knees he delivered up the keys
To the outlaws, Prank and Jesse James.
It was on a Saturday night, Jesse was at home
A-talking to his family brave,
When that thief and coward he shot Mister Howard,
And laid Jesse James in his grave.

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2861
Poor Jesse went to rest, his hand on his breast,
The devil upon his knee;
He was born one bright day in the county of Clay,
And he came from a solitary race.
** *•»**■** ****** ****** ****** ********

No. 882
JESSE JAMES II
also known as
Jesse, Jesse
This is a more recent song about Jesse James, and it is
from Dickson Hall’s Outlaws of the Old West (MGM LP AJL-
BUM E3263). Used with author’s permission.
The tune is a variation of Peter Gray .
Jesse James II
Once on a time there lived a man
Who rode the western plains,
And he was best in all the West
At robbing banks and trains.
Jesse! Jesse! Jesse James,
His mother's fav'rite son;
But he was wild, and as a child
He learned to use a gune.
His brother was an outlaw too,
But wasn't quite as bad;
Tho' he was rough and he was tough,
He gave it all he had.
Jesse! Jesse! Jesse James,
The leader of the gang;
He led them all until his fall,
And did not live to hang.

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2862
He married him a pretty girl,
She tried to change his ?/ays;
He changed his name but just the same
He lived on borrowed days.
Jesse! Jesse! Jesse James—
A price was on his head!
He met a friend who took him in,
And shared his wine and bread.
•Twas Robert Ford, a trusted friend,
Caught Jesse by surprise;
He shot him down and fled from town,
A Judas in disguise.
Jesse! Jesse! Jesse James,
Shot in the back one day;
But later on, when he was gone,
His killer died that way.
*********************************

Ho. 883
JESUS GONNA MAKE-UP Iff DYIN* BED
Old Negro spiritual that is still popular in several of
the Southern states. There are several varying versions,
hut none are so different that they cannot be immediately
identified.
REFERENCES
Arnold, 170
Coleman, 80
Courlander (NSA), 49
Dobie (TBE), 56, 60
Kennedy (M-2), 105-109
Parrish, 178-179
Work (ANSS), 112-113
Jesus Gonna Make-Up My Dyin* Bed

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Song Texts
2863
When you hear that I’m a-dyin',
Do no cryin' before I'm dead.
All I want my friends to do
Is take that old pillow from under my head.
Chorus
Well, well, well, I mean to die easy!
Well, well, well, you heard wnat I said!
Well, well, well, I mean to die easy!
Jesus gonna make-up my dyin' bed!
Mary was a grievin' woman,
Martha told her He wasn’t dead;
Jesus slept for three whole days,
To show us why dyin' ain't nothin' to dread.
**«#•**•** ******** ******* ***********

No. 884
JESUS, WON'T YOU COME BY-AND-BY?
Slave spiritual. First collected and published in 1867.
See Allen (SSUS), 60, 110 and Sandburg (AS), 469.
Jesus , Won't You Come By-and-By?
You ride that horse, you call him Macadoni-j—
Jesus, won't you come by and by?
You ride him in the morning and you ride him
in the evenin',—
Jesus, won't you come by and by?
The Lord knows the world's gwine to end up,—
Jesus, won't you come by and by?

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Song Texts
2864
You trudge the road, you hear the 3 inner cryin',—
Jesus, won't you come by and by?
You trudge it in the morn* and you trudge it in the
evenin',—
Jesus, won't you come by and by?
The Lord knows the world's gwine to end up,—
Jesus, won't you cone by and by?
***********************.*.*.***#..*

No. 885
TEE JEW'S LAUGHTER
also known as
The Luke's Laughter
Fair Scotland
Earry Hughes
Hugh of Lincoln
It Rained a Mist
It Rained, It Mist
The Jewish Lady
The Jew Lady
The Jew's Garden
The Jew's Lady
Little Boy and the Ball
A Little Boy Lost His Ball
A Little Boy Threw His Ball
Little Harry Hughes and the
Luke's Laughter
Little Harr Huston
Little Saloo
The Little School Boy
Little Sir Hugh
The Queen's Gardeen
Sir Hugh, or The Jew's Laughter
Water Birch
The events described in this ballad supposedly occurred
in tne 13th century. In the Annals of Waverlv , written in
the year 1255, we read: "Little Sir Hugh was crucified by
the Jews in contempt of Christ with various preliminary
tortures..." Then the body was thrown into a well. "The
body was seen floating on the water and, upon its recovery,
it was found that the hands and feet were pierced with
wounds..." The writer tells us that the Jews were suspected
and adds: "The king ordered an inquiry. Eighteen Jews con
fessed, were convicted, and eventually hanged." The ballad
was based upon that story. But as Percy said, the belief

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Song Texts
2865
that Jev/s crucified Christian children "has been always
alleged in excuse for the cruelties exercised upon that
wretched people, but which probably never happened in a
single instance."
Halliwell prints an Anglo-French version of 92 stanzas
which is thought to have been written at the time of, or
soon after, the event. On the other hand, no English
version has been recovered earlier than the middle of
the 18th century. Probably the story came into existence
as the result of a documented piece of history, and the
evidence leads directly to the Throne of England. Henry
III, who took advantage of every opportunity to exploit
the Jews, was king in 1255.
Henry needed to replenish his treasury due to the arrival
of his son, Edward, who had come home with his newly
acquired bride, Eleanor of Castile* At that time a young
boy was murdered in Lincoln and the crime was charged to
the Jews. Henry was delighted. 91 Jews were arrested,
charged with being accomplices and sent from Lincoln to
London. 18 of the wealthiest Jews were hanged, 20 others
were locked up in the Tower of London, and Henry confi
scated their money and property. This is not a speculative
statement. Henry's commission for the trial, and the
warrant to sell the goods of the Jews who were found
guilty, are still in existence.
Chaucer shifted the locale of the story to Asia and used
it in his Canterbury Tales.
Strange as it may seem now, in our time, the ballad was
extremely popular in early America. Many variants have
been collected, with at least 14 in West Virginia alone.
The version below is merely representative of the large
number available.
REFERENCES
Anderson (AESB), 77
Arnold, 42-43
Baring-G-ould (BNSR), 92-94
Barry (BBM), 461-462

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Song Texts
2866
Belden (BS), 69-73
Brewster (BSI), 128-133
Broadwood (ECS), 86
Brown, II, 155-160; IV,
82-83
Bulletin (FSSN), V, 6-7
Bulletin (VPS), VII, 6;
IX, 7; XI, 5
Burne, 539
Campbell & Sharp, No. 26
Child, III, 233-254
Coffin, 110-112
Cox (PSS), 120-127
Creighton (SBNS), 16-17
Davis (TBV), 400-415,
587-590
Dean-Smith, 85
Eddy, 66-67
Planders , III, 119-126
Flanders (BMNE), 30-32
Flanders (NGMS), 254-256
Friedman, 62-67
Gainer, 68-69
Henry (BMPS), No. 11
Henry (FSSH), 102-105
Hubbard, 24
Hudson (FSM), 116-117
Jamieson, I, 140, 151
Johnson (SMM), VI, No. 582
Jour (AFL), XV, 195; XIX,
293; XXIX, 108; XLIV,
64; XLVII, 358? LXXI,
12
Jour (FSS), I, 264
Kinsley, 317-320
Korson (PSL), 36-38
Leach (BB), 425-431
Lomax (FSNA), 511
UacColl & Seeger, 86-88
Mason, 46-47
Morris, 302-303
Motherwell, I, 202-206; II,
266
Newell, 75-78
Percy (RAEP), I, 54-60
Pound, 13-15
Quiller-Couch, 353-355
Randolph, I, 148-151
Reeves (EC), 244-245
Rimbault (MIPR), 46
Roberts (IP), 67-69
Scarborough (SC), 171, 403
Scarborough (NFS), 53-55
Seeger (1), 68
Sharp, I, 222-229
Sharp (100), 22-23
Smith (SCB), 148-150
Tolman, 164-165
Tolman & Eddy, 344
Treat, 43
The Jew’s Daughter

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Song Texts
2867
It rained, it mist, it rained, it mist,
It rained throughout the town;
The boys and girls went out to play,
To toss the ball around, round,
To toss the ball around.
At first they tossed the ball too high,
And then again too low;
Then o'er the Jew's garden wall it fell,
Where no one dared to go, go,
Where no one dared to go.
Out came the Jew's old daughter, all dressed,
All dressed in spangles of gold;
"Come in, come in, my lad," she said,
"And you shall have your ball, ball,
And you shall have your ball.”
She took him by his little white hand.
She led him through the hall,
She sat him down on a winding chair
Where none could hear his call, call,
Where none could hear his call.
She lay him down upon a table top,
She pierced his heart within;
And then she took a deep silver bowl,
His heart blood to catch in, in,
His heart blood to catch in.
She took him to the garden again.
The Jews were fast asleep;
She threw his body into a well,
A well so dark and deep, deep,
A well so dark and deep.

MB
Song Texts
2868
The da^r had passed, the evening had come,
The parents sought their son;
And every parent received their child,
But Huey*s they had none, none,
But Huey’s they had none.
********************************

No, 886
JIM ALONG JOE
also known as
Get Along, Josie Jim Along Josey
Hey, Jim Along, Jim Along Joe Jim Along Josie
This song was introduced on the minstrel-show stages and
published in sheet music form by Firth & Hall in 1840.
From the 1840s through the Civil War era Jim Along Joe
spawned many offspring. There are game and play-party
versions plus other adaptations. For example, see Lucks
in the Millpond in Randolph, III, 386 and Seeger (1),
122-123. For songs similar in form but not necessarily
related, see The Courting Boy in Talley, 141 and Hogs
in the Cornfield in Ames (MPP), 318 and Botkin (APPS),
209.
For a dance and play-party version, see version B below.
Version A is almost identical to the 1840 original.
REFERENCES
Ames (MPP), 385-386
Botkin (APPS), 214-216
Bulletin (TFS), V, 33
Ford (TMA), 239-240
Gardner (SPPG), 105-106
Hamilton, 290
Jour (AFL), XXIV, 295;
XXVII, 290; XXVIII,
266; XXXII, 493;
XXXIII, 105
Keach, 29
Lair (SLL), 43
Luther, 104
Nathan, 435-438
Piper (SPPG), 268
Randolph, III, 385-386
Scarborough (NFS), 105
Seeger (1), 72-75
Shay (LFW), 105-106
Spaeth (WSM), 103-104

ME
Song Texts
2869
Van Doren, 493
White, 242-243
Jim Along Joe
(Version A)
Oh, I'm from Louisana, a s you all know;
Down where Jim-A-Long Josey's all the go.
The niggers all rise when de bell do ring.
An' this is de song dat they all sing.
Chorus
Oh! Jim-along, Jim-a-long, Josey!
Jim along, Jim along Joe!
Oh! Jim-along, Jim-a-long, Josey!
Jim along, Jim along Joe!
Oh! when I gets dat new coat, an' I'll have
it soon,
Wid a new pair o' tight-kneed traousaloon,
Dey'll see me walkin' wid my Susanna,
An' white folks will think I'm Santa Anna.
The New York niggers all think they're fine,
All because dey drink de genuine;
The Southern niggers dey live on mush,
An' when dey laugh, white folks say "hush!"
A big bullfrog he jumped in my water-trough,
Rooster fell-a-dead with the whooping cough;
Across the river, as I'm sure you know,
Is where I’m called Jim-a-long Joe.
I went to sleep an' I had a bad dream,
Dreamed I was a-drowing in a stream;
But when I woke up, I was high and dry,
The white cat scratched out de black cat's eye!

MB
Song Texts
2870
Oh! I'm de kind o' nigger dat don't mind
troubles,
Dey jus' float away like dey was bubbles;
De ambition dat this nigger feels
Is showin' de science of his heels!
VERSION B
One foot up ana one foot down,
Honor your partners and swing them
'round.
Chorus
Hey, Jim along, hey, a-Jim along,
my Josey!
Hey, Jim along, hey, a-Jim along,
Joe!
Cornstalk fiddle and a shoe-string bow,
If this ain't dancing I don't know.
Hear the music, hear the beat,
And see that girl with dancing feet!
Mama said, and Papa too,
I must not kiss a boy like you!
lift that pretty girl, put her down,
Take her hand and spin her around!
Have some cake and have some pie.
We will say goodnight but not goodbye!
***********************

MB
Song Texts
2871

No. 887
JOAQUIN MURIETA I
also known as
Joaquin the Horse
Thief
The Song of Joaquin
Wakken
California outlaw song. Text by J. A. ’’Old Put" Stone,
who wrote the words to the tune of Now I Warn All You
Darkies Not To Love Her , a popular minstrel-show song
of the 1840s. Stone's text was published in his Original
California Songster , 1855.
Joaquin Murieta 7/as a Mexican bandit in and around the
California gold camps, but his career is mostly myth. He
operated from the Spring of 1850 to July, 1853, when
Captain Harry Love, accompanied by 20 men, captured and
killed Murieta and his men. Love beheaded Murieta's body
and carried the head to Sacramento. The outlaw's head
was preserved in alcohol and placed on public display,
to prove that Murieta was really dead.
REFERENCES
Jour (AFL), XXYII, 93
Lengyel, 43
Lengyel (HB), 34
Lingenfelter, 318
Songster (144), 26-27
Burt, 194-196
Dwyer, 147
Gardner (BSSM), 332
Grant (SF), 146-147
Joaquin Murieta I
I suppose you have heard all the talkin'
Of the very noted horse-thief, Joaquin;
He was caught in Calaveras,
But he couldn't stand the joke,
So the Rangers cut his head off
And have got it now in soak.

MB
Song Texts
2872
Chords
Now I warn everybody not to ramble,
Never drink, never fight, never gamble!
For you’ll never have a cent,
All your money will be spent,
And you to Sacramento
To the prison brig be sent.
They took Three-Finger Jack and cut his hand off
Then the Rangers drove the rest of the band off;
Then they took the head and hand
And had it will preserved,
And the Rangers got the credit
Which they very much deserved.
Joaquin to the mountains was advancing,
When he saw Lola Montez a-dancing;
When she danced the spider-dance,
He was bound to run her off,
And he'd feed her eggs and chicken,
Make her cackle, crow and cough.
Joaquin, just before he was taken,
Killed a Chinaman and then stole his bacon;
Then he went to Sonora,
Where he killed eleven more,
And the big Digger Indian,
Which made the twenty-four.
You have heard of the steel he wore around him,
I will tell you what it was when they found him,
’Twas a long-tom iron
To protect him in his crimes,
And they swore by the holes
He’d been shot a thousand times.

MB
Song Texts
2873
Now the head, it can he seen at Sacramento,
But to have it there they never did into to;
Por he fought like the devil,
While they had half a show.
But the Rangers put an end
To the terror of Mexico.
******************************

No. 888
JOAQUIN MURIETA II
This is a more recent song than the preceding one, and
it is from Dickson Hall's MOM Albu m Outlaws of the Old
West. Song is used here by permission of the author.
Joaquin Murieta II
When Mexico lost California,
Joaquin Murieta rode to fame;
Americanoes learned to hate him,
And trembled just to hear his name.
He robbed and pillage California,
His deeds spread terror thro' the land;
Joaquin Murieta was a bandit,
And had three hundred in his band.
At first he was a peaceful rancher,
Who loved his country and his home,
And then Americanoes robbed him
Of everything he called his own.
He lost his ranch, and then his brothers—
Americanoes were to blame;
But when they took his sweetheart from him,
He set the countryside aflame.

MB
Song Texts
2874
He blazed a trail of tears and sorrow,
Until the Rangers came that day;
They shot him down beside the river,
Just as he tried to get away.
Joaquin Murieta was an outlaw,
But some say he was not to blame;
And Californians still remember—
They’ve made a legend of his name.
*******************************

No. 889
JOE BOWERS
This is a mid-19th century song of adventure and lost love
in the American ?fest. Authorship has been attributed to
various individuals, one of whom was Mark Twain, but no
claim has been clearly authenticated.
According to W. E. Connelly ( Doniphan’s Expedition, topeka,
Kansas, pp. 5, 10-11), the song was ''probably'* written by
John Woodward, a man associated with Johnson's Minstrels
in the years 1849-150s. Connelly "probably" obtained his
"probability" from Johnson's Original Comic Songs, San
Francisco, 1860), wherein Joe Bowers is credited to J. E.
Johnson and John Woodward.
The claim that Joe Bowers was a real person was based upon
information in H. C. Merwin's Life of Bret Harte, 1911» P*
59. There is no hard evidence to support such a claim.
The song, however, was one of the more popular of the
gold rush era. Broadside versions were issued by A. W*
Auner, Philadelphia; De Marsan, New York, List II, No. 48;
Partridge, No. 178; and Wehman, New York, No. 455. Versions
were also published many songbooks and folios, including:
Carncross & Sharpley * s Minstrel , 1860, p. 38; Gus Williams'
Old - Fashioned G. A. R. Camp-Fire Songster , p. 9; J. S.

MB
Song Texts
2875
Berry*s Conic Song Book , 1863, p. 60; the Missouri
Historical Review 36 , Jan. 1942, pp, 204-208; and Tony
Pastor's Conic and Eccentric Songster , New York, 1862,
p. 28.
Both text and tune of Joe Bowers were frequently adapted.
Cowboys adapted the words for Lackey Bill —see Lomax (CS-
1919), 83 or (CS-1938), 187—and The Girl I Left Behind
VI (see in this Master Book ). Innes Randolph borrowed
the tune for his I'm A Good Old Rebel (see in this Master
Book ). For an adaptation by lumbermen, see Shoemaker
(NPM), 146.
REFERENCES
Allan (LSB), 36-37
Belden (BS), 341-343
Black, 22-23
Botkin (WFL), 736-737
Brown, II, 607-608; IV,
295-296
Cox (FSS), 234-235
Cox (TBFS), 186-187
Dean, 98-99
De Marsan (SJ), I, 143
Dolph, 314-316
Downes (1940), 130-131
Downes (1943), 158-159
Dwyer, 56-57
Fife, 33-34
Friedman, 431-432
Grant (SF), 34-36
Hubbard, 302-303
Hudson (FSM), 197-198
Ives (SA), 176-177
Ives (SB), 262, 238
Jour (AFL), XXV, 16;
XXVIII, 5-7
Laws (NAB), 139-140
Leach (BB), 751-752
Leisy, 187-189
Lengyel, 37-38
Lengyel (HB), 23-25
Lingenfelter, 96-97
Lomax (ABFS), 421-423
Lomax (CS-1919), 15-17
Lomax (CS-1938), 375-377
Lomax (FSNA), 336-338
Luther, 125
McMullen, 140
Moore (BFSS), 323-325
Neely, 185-187
Owens (TFS), 132-133
Pound, 186-188
Pound (SFSN), VII, No. 16
Quarterly (SFL), I, 13-15;
II, 131-133
Quarterly (WFL), XVI, 111-
120
Queries (8/29/37), 27
Randolph, II, 191-195

MB
Song Texts
2876
Ritchie (PS), 69
Scott (FSS), 47
Seeger (6), 47
Shay (DF’ff), 138-139
Shearin (SKFS), 39
Shellans, 23
Shoemaker (NPM), 39
Silher (SGAW), 18-22
Silverman, II, 210
Songster (29)» 39
Songster (86), 98
Vitus, 12
Joe Bowers
My name it is Joe Bowers, I’ve got a brother Ike;
I come from old Missouri, yes, all the way from Pike.
I'll tell you why I left there, and how I came to roam,
And leave my poor old mammy, so far away from home*
I used to love a girl there, they called her Sally Black;
I asked her for to marry me, she said it with a whack.
Says she to me,” Joe Bowers, before we hitch for life,
You orter have a little home in which to keep your wife.”
Says I, "My dearest Sally, oh Sally, for your sake.
I'll go to Californy and try to raise a stake.”
Says she to me, "Joe Bowers, oh you're the man to win!
Give me a kiss to seal the bargain,” and she threw a
dozen ini
I shall ne'er forget my feelings when I bid adieu to all;
Sally cotched me round the neck, then I began to bawl.
When I sot in, they ail commenced—you ne'er did hear
the like—
Now they all took on and cried, the day I left old Pike.
When I got to this 'ere country, I hadn't nary a red,
I had such wolfish feelings I wish'd myself most dead.
But the thoughts of my dear Sally soon made them feelings
git,
And whispered hopes to Bowers—Lord, I wish I had 'em
yit!”

MB
Song Texts
2877
At length I went to mining, put in my biggest licks,
Come down upon the boulders jus’ like a ton o' bricks;
I worked both late and early, in rain, and sun, and
enow.
But I was working for my Sally, so 'twas all the same
to Joe.
I made a very lucky strike, as the gold itself did tell,
And saved it for my Sally, the gal I loved so well;
I saved it for my Sally, that I might put it at her
feet,
That she night kiss and hug me, and call me something
sweet.
But one day I got a letter from dear, kind brother Ike—
It came from old Missouri, sent all the way from Pike;
It brought me the goldarn'dest news as ever you did hear—
My heart is almost bustin’, so please excuse this tear.
It said my Sal was fickle, that her love for me had fled;
That she'd married with a butcher, who's hair was orful
red!
It told me more than that—oh! it's enough to make one
swear;
It said Sally had a baby, and the baby had red hair!
*****************************

No. 890
JOE FOWLER BLUES
The Joe Fowler of this song was a boat, not a person; it
was, according to Wheeler (SD), 49-50, who found and
printed the version below, "one of the most popular pack
ets on the river. She was named for a member of a family
vividly identified with historical events on the Western
waters—the Mississippi River and its tributaries."

MB
Song Texts
2878
When the packet "boat trade became unprofitable, the
joe Fowler was turned into an excursion boat and re
named the Crescent. She was destroyed by fire in 1920.
Joe Fowler Blues
Lawd, Lawd, seems lak I heerd
The Joe Fowler blow,
Lawd, Lawd, Lawd,
Seems lak I heerd the Joe Fowler blow
Blowed me lak she nevuh did befo',
Lawd, Lawd, Lawd,
Blowed me lak she nevuh did befo’.
Lawd, Lawd, blowed lak she had
My baby on bo'd,
Lawd, Lawd, Lawd,
Blowed lak she had my baby on bo'd.
Know you goin' to miss me when I'm gone,
Lawd, Lawd, Lawd,
Know you goin' to miss me when I'm gone.
Lawd, Lawd, miss me
From rollin' in yo' arms,
Lawd, Lawd, Lawd,
Miss me from rollin' in yc' arms.
Fare thee well, honey, fare thee well,
Lawd, Lawd, Lawd,
Fare thee well, my honey, fare thee well.
*****************************

No. 891 -
JOE TURNER BLUES
This song was made nationally popular by W. C. Handy,
who called it "the grandaddy cf blues." Handy took the
traditional theme and wrote himself a song. This, however,

M3
Song Texts
2879
is a version of the original song as it was sung in
the South. The real name was Turney, not Turner, but
the occupation was correctly stated. Pete Turney was
Governor of Tennessee. When his term began in 1892,
Pete appointed his brother Joe the "long-chain man." It
was Joe's job to transport convicts from Memphis to
the penitentiary at Nashville. In the mouths of black
singers, the name Turney gradually became Turner and,
as the song spread from place to place, lines were re
placed. The song contained different words in various
areas of the South. For examples, in Georgia it was
known as Gwine Down That Long , Lonesome Road; in and
around Henderson, Kentucky, it knownas Gwine Down The
River Fo' Long ; and in Texas, it became Michigan Water
Tastes Like Cherry Wine.
REFERENCES
Sandburg (AS), 241
Scarborough (NFS), 265-266
Silverman, II, 24
Silverman (FB), 29-30
Downes (1940), 318-319
Downes (1943), 374-375
Odum (NHS), 206-207
Joe Turner Blues
I heard Joe Turner done come back,
But he ain't come back to stay;
I heard tell Joe Turner done come back today,
And he found my man, took his away.
Come like he never come before,
But still had his big pistol on;
I heard tell Joe Turner didn't stay too long,
That he took my man and now he's gone!
I'm goin' down river awhile,
But I don't intend for to stay;
That mean old Joe Turner took my man away,
But they gonna turn him loose someday.

MB
Song Texts
2880
They say Joe Turner’s come to town,
And he brought a long, long chain;
He shackled my man and put him on a train,
And my tears are falling down like rain.
*********************************

No. 892
JOHN ANDERSON, MY JO
SOURCE SONG-. The tune of this song was written down in
Queen Elisabeth's Virginal Book in 1578. The words to
the version given below were written by Robert Burns, and
it was very popular in 19th century America. Dozens of
songs use the melody, and some of these are among our
finest folk songs. For examples, see Jackson vs Adams II
& III and John Chinaman , My Jo in this Master Book ; John
ny Bull , My Jo , John in Scott (BA), 118; and When Old
Mauch Chunk \!as Ycnrg in Korson (MMP), 35-36.
- • REFERENCES
Chappie (HS), 370-371
Elson, 81
Hopekirk, 71-72
Knight, 218
Macfarren, 8-9
MacKay, 72
McCaskey, I, 154
Rogers, 48
Sedley, 249-250
Songs (15), 143
Wier (LS), 69
John Anderson , My Jo
John Anderson, My Jo, John,
When we were first sequent,
Your locks were like the Raven,
Your bonnie brow was brent;
But now your brow is bald, John,
Your looks are like the snow,
Yet blessings on your frosty pow,
John Anderson, my Jo.

MB
Song Tests
2881
John Anderson, my Jo, John,
We climb’d the hill together,
And many a canty day, John,
We've had wi' one another*
Now we must totter down, John,
But hand in hand we'll go;
And we'll sleep together at the foot,
John Anderson, my Jo.
John Anderson, my Jo, John,
When nature first began
To try her canny hand, John,
Her master-work was man;
And you amang the lave, John,
Sae trig frae tap to toe—
She proved herself nae journey-wark,
John Anderson, my Jo.
a******************* **•***■#•■*•**

No. 893
JOHN BROWN'S BABY
A game - song sung to the air of John Brown 1 s Body (see
immediately following this song). Also see Ten Little
Indians in this Master Book. This parody may also be
seen in Forbush, 58-59 and Winn (1), 114.
John Brown's Baby Tune: John Brown * s Body
John Brown's baby had a cold upon his chest,
John Brown's baby had a cold upon his chest,
John Brown's baby had a cold upon his chest,
So they rubbed it with camphorated oil.
Chorus
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! They all went marching on!
**********************************

MB
Song Texts
2882

No. 894
JOHN BROWN’S BODY
also known as
John Brown’s Body Lies A-Moldering in the Grave
John Brown was hanged December 2, 1859. This song about
him was used as a marching piece during the Civil War and
as a spiritual thereafter. The tune is used for several
songs, the most famous being Battle Hymn of the Republic
(see elsewhere in this Master Book) . Authorship of the
words is attributed to various persons. According to
Staton, p. 50, the words were ’’written by Prank S. Jerome,”
who became a resident of Russell, Kansas where he was
employed by the Russell Record, According to others, the
words were written by an unknown soldier of the 12th Massa
chusetts regiment, stationed at Port Warren, Boston. When
the 12th Massachusetts regiment was on its way to the front,
the soldiers sang the song as they marched through Boston
and New York. Almost instantly it became a popular success.
For additional information on the tune, see headnotes to
Battle Hymn of the Republic .
REFERENCES
Adler, 98
Arnett, 84
Best, 117
Botkin (APPS), 221
Chappie (KS), 313
Doerflinger, 72-73
Dolph, 248-250
Downes (1943), 178
Gardner (PSH), 237
Glass (SS-2), 6
Hugill (1), 442-444
Ives (SA), 289-291
Johnson (PS), 476-478
Kennedy (TAB), 172
Kobbe, 158-159
Lomax (ABPS), 528-529
Lomax (USA), 120-121
Luther, 172, 209
Mackenzie (SH), 88
Marsh (SJS), 223-224
Okun, 32-33
Piper (SPPG), 270

Song Texts
2883
Seeger (6), 62
Silverman, II, 323
Smith (MV/), 40
Terry, II, 18
Whitman, 35-36
Songs (15), 61
Staton, 50
John Brown 1 s Body
John Brown's body lies a-mould 1 ring in the grave,
John Brown’s body lies a-mould'ring in the grave,
John Brown's body lies a-mould'ring in the grave,
But his soul goes marching on!
Chorus
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! His soul is marching on!
He captured Harper’s Perry with his nineteen men
so true,
And he frightened old Virginia till she trembled
throiigh and through;
They hung him for a traitor, themselves the traitor
crew
But his soul goes marching on.
John Brown, he died that the Slave might be free (3)
But his soul is marching onI
How has come the great and glorious jubilee, (3)
When mankind will all walk free.
****"** *■*■*******■*■*•»*•*•*■*■ **************

Ho. 895
JOHN CHINAMAN, MY JO
This blatantly racist song was issued as gold rush humor
by its author, J. W. Conner, in Conner's Irish Song Book.

MB
Song Texts
2884
San Francisco, D. 1. Appleton & Company, 1868. The
song is given here "because it is one of the very few
dealing with the Oriental population in America.
REFERENCES
Conner, 30 Dwyer, 119 Lingenfelter, 301
John Chinaman , My Jo Tune; John Anderson , ?»!y Jo
John Chinaman, my Jo, John, you’re coming precious fast;
Each ship that sails from Shanghai brings an increase on
the last.
And when you’ll stop invading us, I'm blest, now, if
I know;
You'll outnumber us poor Yankees, John Chinaman, my Jo.
John Chinaman, my Jo, John, you not only come in shoals,
But you often shake the washing stuff, and spoil the
water holes.
And, of course, that riles the miners, John, and enrages
them, you know;
For they drive you frequently away, John Chinaman, my Jo.
John Chinaman, my Jo, John, you used to live on rice,
But now you purchase flour, plums, and other things that's
nice.
And I see a butcher's shop, John, at your Chinese place
below;
And you like your mutton now and then, John Chiniman, my
Jo.
John Chinaman, my Jo, John, tho folks at you may rail,
Here's blessings on your head, John, and more power to
your tail.
But a bit of good advice, John, I'll give you, ere I go—
Don't abuse the freedom you enjoy, John Chinaman, my Jo.
**********■*•*-***-*■*-*-*■•**-*-*■*•**

MB
Song Texts
2885

No. 896
JOHN HARDY
also known as
John Harty
This is a "badman song" based upon an actual crime.
John Hardy worked for the Shawnee Coal Company and
had a reputation for being a roughneck. He got into
an argument during a crap game and killed a man. He
was caught, tried, convicted and sentenced to death.
He was hanged in Welch, West Virginia, January 19,
1894. Cox (FSS), who says the song originated in
West Virginia, gives excellent notes of the song,
including testimony of several persons who knew Hardy.
REFERENCES
Brown, II, 563-566; IV,
284-285
Cox (FSS), 175-178
Downes, 216-217, 318-319
Friedman, 392-396
Gainer, 114-115
Gainer (100), No. 14
Gordon (FSA), June 5,
1927
Jour (AFL), XXII, 247;
XXVI, 163; XXVIII,
14; XXIX, 400; XXXII
505-520
Laws (AB), I 2
Leach (BB), 759-761
Lomax (ABFS), 124-126
Lomax (FSNA), 271-273
Lomax (PB), 119
Lomax (USA), 306-307
Morris, 93-94
Okun, 160-161
Pub (TFLS), VII, 115-116
Randolph, II, 144-147
Rpberts (IP), 163-165
Roberts (SBS), 122-123
Roberts (TSCF), No. 30
Sharp, II, 35-36
Shearin (SKFS), 19
Silverman, I, 65
Talley, 105
White* 189
John Hardy

Song Texts
2886
John Hardy was a de3p’rate little man,
Carried two guns every day;
He shot a man on that West Virginia line—
You oughta seen Joh Hardy get away,
Lord, Lord,
You oughta seen John Hardy get away.
He went to the end of the East Stone bridge,
Where he thought he would be free;
But stepped a man and took him by the arm,
Saying, Johnny, come and walk with me.
Lord, Lord, etc .
They took John Hardy down to the town,
They looked him up in jail;
He asked for his mama and his papa
To come and go his bail.
Lord, Lord, etc .
His mama and his papa they came ’round,
And brung the money for to pay,
But money don’t do in a murdering case,—
They kept John Hardy locked away.
Lord, Lord, etc .
John Hardy had a pretty little girl,
The dress that she wore was blue;
She came skipping thro’ that old jail hall,
Saying, "Baddy, I will always be true."
Lord, Lord, etc .
John Hardy had another little girl,
The dress that she wore was red;
She followed John Hardy to the hanging ground,
Saying, "Daddy, I would rather be dead,"
Lord, Lord, etc.

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Song Texts
2887
I been to the East, I been to the West,
I been this wide world round;
I been to the river and been baptized,
Now I’m a-standing on the hanging ground.
Lord, Lord, etc.
John Hardy stood upon the scaffold there,
His loving wife began to cry;
The very last words he ever heard her say
Was, "I'll meet you in the sweet bye and bye!"
Lord, Lord, etc .
*************************************

No. 897
JOHN HENRY AND THE HAMMER I
also known as
Johnnie Henry
Steel-Driving Man
Ballad of John Henry
Every Monday Morning
John Henry is an American folk hero; he is in a class
all by himself. Unlike Paul Bunyan, who did highly ex
aggerated things, John Henry was a man rather than a
super man. He was like you and me—only a little bit
better. His story celebrates a triumph of man over
machine. That explains his popular appeal. That and the
fact that his contest with a machine has real meaning.
For the machine was being tested to determine whether
or not the steel drivers, or shakers , and the drill
holders, or turners , should be replaced. So John Henry
was not just a black man showing off muscle— he was a
man fighting for his job, his family and his fellow
workers. In fact, he represents all human struggle
against great natural and mechanical forces. So he be
came a hero, a legendary figure, and one that may yet
save us

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Song Texts
2888
John Henr y, the Steel-Driving Man , an undated broad
side signed W. T. Blankenship was discovered around
the latter part of the 19th century, and its appear
ance aroused an almost unbelievaDle interest* <Jonn
Henry was discussed in articles, newspapers, university
class-rooms and at dinner parties. Two questions were
of prime importance to folklorists and historians; Did
such a person ever exist? Did a contest between a
steel-driver and a steam-drill ever take place? The
answer to the firs question is yes, to the second no.
For those interested in the details, the following
works are recommended: B. A. Botkin's A. Treasury of
American Folklore (Hew York, 1944), B. A. Botkin's
A Treasury of Southern Folklore (New York, 1949)»
Louis V/. Chappell's JOHN HENRY: A Folklore Study (Jena,
Germany, 1933), Marion Cooke's Tracking Down a Ghost
( TRACKS , Vol 29, Feb. 1944, No. 2, Chesapeake & Ohio,
Nickel Plate, Pere Marquette), and Guy B. Johnson's
JOHN HENRY: Tracking Down a Negro Legend (Chapel Hill,
1929). To locate these works, consult the Bibliography
and Reference Guide in this Master Book.
There are two types of John Henry songs— the ballad
type and the work-song type; and each type has its own
form and structure. There are, literally, hundreds of
versions of each type and this fact caused a division
of opinion among folklorists as to which came first,
the ballad type or the work-song type. A lot of time
was wasted on this question, but not here. I do not
know which type came first.
I do know’ that the "fuson" process was at work, result
ing in the mixing together of similar but unrelated
songs. For example, John Hardy (see preceding song) was
- a contemporary of J ohn Henry , and the song about him was
almost as popular. It is not surprising to learn that
the two names were frequently substituted, one for the

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Song Texts
2889
other, at the folk level. The fused versions are
there to substantiate the fusion process. For a
thorough and documented discussion of the Hardy - Henry
fusion, see Henry (FSSH), 441-442; Jour (AFL), XXXII,
505-520; Steely, 184-185, and White, 189-190.
We find John Henry mentioned in many songs, sometimes
for no apparent reason."Other songs present him as
this or that or simply copy the form and tune of one
of the many ballads about him. For example, one song
presents him as a river roustabout, and has him say
ing:
Looked up and down the river,
Twice as far as I could see.
Seed befo' I gits to be twenty-one,
De Anchor Line gonter b'long to me,
Lawd, Lawd,
De Anchor Line gonter b'long to me.
Above stanza is from Roark Bradford's JOHN HENRY (New
York: Harper & Bros., 1931), pp. 1-4. It was reprinted
in Botkin (AFL), 239.
In a version given by Brown, II, 270 & IV, 292, John
Henry says, "I been a miner all o' my life.” In other
songs he is a "railroad man” and a "water boy" or is
nothing more than a tagged on name. For an example of
the latter, see Li'1 John Henry in Lomax (A3FS),
198-199 or Little John Henry (same piece) in Lomax
(FSNA), 561-564. The same piece is also in Lomax (OSC),
258 - 261 .
The A and B versions given below are both of the ballad
type.
For a variation, see The Yew-?ine Mountains in Combs
(FSUS), 166.
REFERENCES
Arnett, 111
Botkin (AFL), 233-237
Botkin (RFL), 238-239
Brewer, 201-202
Brown, II, 623-627; IV
298-301

MB
Song Texts
Burton & Manning, 48
Chappell (JH), 22-23, 32
Combs (FSMEU), 211-212
Combs (FSUS), 164-165
Courlander (ITSA), 64-72
Cox (FSS), 185-186 H
Downes, 270-273, 312-314
Emrich (CBF), 21
Friedman, 383-386
Gainer, 112-113
Gainer (100), No. 13
Grai'man, 107
Haywood (FSW), 40-41
Henry (FSSH), 446-447
Ives (SA), 228-230
Johnson (JH), 89, 123
Jour (AFL), XXII, 249;
XXVI, 163
Kennedy (TAB), 77-80
Leach (BB), 756-757
Leisy, 189-191
Leisy (LAS), 34-35
2890
Leisy (SPS), 54
Lomax (ABFS), 3-10
Lomax (FSNA), 560-564
Lomax (OSC), 258
Lomax (PB), 88
Lomax (USA), 258-261
Morris, 182-183
Okun, 78-79
Ritchie (SFC), 264-265
Roberts (IP), 160-163
Sandburg (AS), 24-25
Scarborough (NFS), 220-222
Scott (SA), 17
Seeger (1), 154-155
Seeger (6), 82
Siegmeister, 68-71
Silverman, II, 414
Talley, 105
White, 189-191, 260-263
Whitman, 65-66
Williams (BS), 407
Work (ANSS), 242-243
John Henry and the Hammer _I A
John Henry had a little baby boy,
He held him in the palm of his hand;
And he looked at him and he said with a grin,
"You're gonna be a steel-arivin' man, Lawd! Lawd!
You're gonna be a steel-drivin' man."
John Henry overheard the captain say,
"I'm gonna bring a steam drill around;
Gonna take that steam drill out there on the job,
I'm gonna whop that steel on down, Lawd! Lawdt etc

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Song Texts
2891
John Henry told the captain with a smile,
"A man ain’t nothin’ more than a man,
But if I can’t do what that steam drill can do,
I’ll die with my hammer in my hand, lav/d} Lav/d!
John Henry took his hammer in his hand
And said, ’’Come on and sing, shaker, sing!
I’m throwin’ forty pound from my hip on down—
Jus’ listen to that cold steel ring, Lawd! Lawd!
The sun was bright and burnin' hot all day,
There was never a sign of a breeze;
That new steam drill didn’t pay the heat no mind—
Kep right on a-workin' with ease, Lawd! Lawd!
John Henry’s hammer struck a little fire,
As he hammered on that stone mountain-side;
And he pounded on til his heart gave away,
And he lay down his hammer and he died, Lawd! Lawd!
They haul’d his body ’way from the track,
And they dug him a grave in the sand;
At his head they put a tombstone that said:
”In this place lies a steel-drivin' man, Lawd! lawd!
In this place lies a steel-drivin’ man.”
VERSION B_ TUNS: SAMS AS A
For similar versions, see: Greenway, 107; Henry (FSSH),
446-447 C and Work (ANSS), 242-243.
John Henry was a little bitty boy,
A-sittin' on his Papa’s knee,
When he shouted out, for the whole world to hear:
"That hammer's gonna be the death of me, Lav/d! Lawd!
That hammer's gonna be the death of me!”

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Song Texts
2692
They took John Henry down to the mine,
He picked up a hammer from the ground;
When the hammer struck, you could feel the
whole earth shake,
And nothin' hut his hammer cornin' down, Lawd! Lawd!
John Henry had a woman that he loved,
And he called her his sweet Julie Ann;
Julie Ann went down to the mine for a day,
And she hammered steel like a man, Lawd! Lawd!
0, who will shoe your pretty little feet?
And who' s 'gonna glove your hand?
And who's gonna buy you a long silken gown?
And v/ho's gonna be your lovin' man? Lawd! Lav/d!
My Papa will shoe my little feet,
And my Mama she will glove my hand;
And I'll buy myself my own silken gown,
For I won't ever marry no man, Lawd! Lawd!
John Henry spoke to his captain and said,
"I know a man ain't nothin' but a man,
But before I'll let your steam drill beat me down,
I'll die with my hammer in my hand, Lawd! Lawd!"
John Henry tried but took sick and died,
And they buried him deep in the sand;
And somebody wrote on the stone at his head,
"John Henry was a steel—drivin* man, Lawd! Lawd!
John Henry had a pretty little gal,
The dress that she wore it was red;
And she walked down the rack, and she never
looked back,
gays, "I'm goin* where John Henry fell dead, Lawd!
Lawd!
I'm goin' where John Henry fell dead.."
***************** * **** * **** *

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Song Texts
2893

No. 898
JOHN HENRY AND THE HAMMER II
also known as
Big Ben Tunnel Nine Pound Hammer
Ever Since Uncle John Henry This Ole Hammer
Been Dead
Here we have three different but related "work type”
John Henry songs. The songs given as versions A, B,
and C are associated with John Henry because his name
appears in the various texts. Another thing the songs
have in common is the tune, though each may also have
an air of its own.
REFERENCES
Brown (BLNC), 12
Chappell (FSRA), 179-181
Friedman, 391-392
Jour (AFL), XXII, 247;
XXVI, 180; XXVII,
249; XXVIII, 14; XXIX,
400; XXXII, 505
Sandburg (AS), 376
Scarborough (NFS), 220
Scott (SA), 3-4
Seeger (1), 149
Silverman, II, 402
White, 261
Work (ANSS), 233
John Henry and the Hammer II A
Nine pound hammer killed John Henry!
Nine pound hammer killed John Henry!
Nine pound hammer killed John Henry!
But this ol' hammer won't kill me!
If I live to see december, (3)
Goin' back home, babe, goin' back home.
Big Big Tunnel killed John Henry, (3)
Somebody dyin' ev'ry day.

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Song Texts
2894
That ol' mountain over yonder, (3)
Killed him dead, babe, killed him dead!
Goin' back to live in Georgia, (3)
That's my home, babe, that's my home.
Nine pound hammer killed John Henry, (3)
Don't worry, babe, it won't kill me.
VERSION B
This ol' hammer swings real easy;
Workin' hard, boys, workin' hard.
Been a-workin' on this mountain
Seven years, boys, seven years.
Ain't no hammer on this mountain
Rings like mine, boys, rings like mine.
This ol' hammer earns my livin',
Drivin' steel, boys, drivin' steel.
Gave the captain my ol' hammer,
Goin' home, boys, goin' home.
Lay my body in this mountain,
When I die, boys, when I die.
My ol' hammer shines like silver,
In the sun, boys, in the sun.
VERSION C
If I could drive like John Henry,
I'd go home, babe, I'd go home.

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Song Texts
2895
If I had me fifty dollars,
We*d live good, babe, we’d live good.
This ol’ hammer killed John Henry—
Can’t kill me, babe, can't kill me.
When I come home with my money,
Ho more trials, babe, no more trials.
********************************************

No. 899
JOHN HENRY AND THE HAMMER III
also known as
Take My Hammer
Take This Hammer
Tell the Captain
Chain-gang Hammer
Gone on Home
Round Bald Mountain
This song is much older than the story of John Henry,
but we frequently find versions that mention him by
name. The popular versions that circulated during the
folk-song craze of the 1950s and '60s were usually
rewritten by professional entertainers and did not,
for the most part, mention John Henry at all.
Version A became extensively popular under the title,
Take This Hammer . Version B is not as well-known but
it retains John Henry’s name in the text and is con
sidered, by some, to be an independent song. Versions
have been published in sheet music form under the
title, Bald Mountain .
REFERENCES
Berger, 44-45
Best, 26-27
Botkin (AFL), 913
Brown, II, 626
Edwards (CHSB), 101, 102
Fowke (SWF), 80-81

M3
Song Texts
2896
Henry (FSSH), 443-445
Lomax (USA), 322-323
Scott (ESS), 22
Siegmeister, 48-49
Silverman, II, 360
Warner, 87
White, 259
John Henry and the Hammer III A
Take my hammer, give it to the captain!
Take my hammer, give it to the captain!
Take my hammer, give it to the captain!
Tell ’im I’m gone, jus' gone on home!
Tell the captain how it killed John Henry, (3)
It won’t kill me, it won’t kill me.
If he ask you if I was a-runnin’, (3)
Tell ’im I was flyin’, a-flyin' on home.
I’m damn tired drillin’ on this mountain, (3)
Don’t want no more, don't want no more.
Got a letter, got it from my baby, (3)
Said, "Come on home, jus' come on home."
Tell the captain he can have my hammer, (3)
Don’t need it no more, don’t need it no more!
VERSION 3
I been drivin’ all around Bald Mountain, (3)
Now's my time, buddy, now's my time.
Say, 01' Man, where’d you get your learnin’, (3)
’Bout the world, buddy, 'bout ’the world?
Got my learnin' in the Big Bend Tunnel, (3)
Stay awhile, buddy, stay awhile.

MB
Song Texts
2897
This old hammer surely must be loaded, (3)
It don’t ring, buddy, it don’t ring.
I been drivin’ since John Henry was a baby, (3)
He's a man, buddy, he's a man.
Everything tha’t you see a-shinin’ , (3)
Ain't pure gold, buddy, ain't pure gold.
********************************************
N°* 9QQ
' JOHN HENRY AND THE HAMMER IV
also known as
Ashville Junction
Drivin’ Steel
My Old Hammah
Swannanoa Town
Swannanoa Tunnel
Swan 0 Tunnel
If the tune and certain lines of this song are familiar,
the explanaion is simple: it is a compounded song, put
together by materials belonging to various other songs.
The tune is obviously a reworking of Irish Girl I 3
(see in this Master 3ook). For a song with distinct
similarities in text and tune, see East Colorado Blue 3
in Lomax (FSNA), 549*
According to Scarborough, the tune of her version ”is
the first part of Come , Thou Fount of Every Blessing. ”
Other collectors say the tune is derived from No Hiding
Place I (see in this Master Book ), which is an indication
that the song has been sung to many tunes over the years.
REFERENCES
Botkin (SFI), 749-750
'Brown, II, 626-627; IV,
301-302
Edwards (CHSB), 106
Henry (FSSH), 448-449
Jour (AFL), XXVI, 163
Sandburg (AS), 457
Scarborough (NFS), 219-220
Sharp, II, 42-44
White, 261

MB
Song Texts
2898
John Henry and the Hammer IV
Swannanoa Town, 0 Swannanoa Town,
0 that's ray home, baby, that's ray home.
I've got the hammer that killed John Henry,
Killed him dead, baby, killed him dead.
I'm goin' back to Swannanoa Town,
Before long, baby, before long.
0 look for me till your eyes run water,
I'll be home, baby, I'll be home.
Don't you remember last November?
Wind blowed cold, baby, wind blowed cold.
I didn't come here to get learnin',
Cause I know, baby, cause I knew.
****************************************.

No. 901
JOHNNY BOKER
also known as
Johnny Poker
Jonny Boker
Knock John Booker
Johnny Booker
Johnny Bowker
Johnny Polka
Versions of this song have been collected in shanty form
on both sides of the Atlantic, but first it was a popu
lar minstrel song. Apparently its land history was ion-
known to most collectors. According to Colcord, "Johnny
'Boker is one of the mysterious heroes of shantymen,
about whom nothing much is known than his name."
Linscott simply refers to it "as one of the oldest"

MB
Song Texts
2899
shanties known. Colcord does point out the melodic
similarities between the shanty and a shore ballad
called Aunt Jemima's Blaster (see in MB). A comparison
of the shanty chorus with the minstrel chorus will
suffice to show a relationship in words as well as in
*
melody. The minstrel chorus begins:
0, Jonny Boker, helpt dat nigger
Do, Jonny Boker, do!
For minstrel versions, see Nathan, 439» who reprints
the version in The Ethiopian Glee Book , II (Boston,
1848), 80, where the title was misprinted as Jenny
Boker , The Rose-Bud Songster (Richard Marsh, N. Y. C,),
95 and Trifet 1 s Budget of Music No. 15 (March, 1892),
136 .
For a derivative, see Mister Booger , or The Old Wagoner
in Randolph, II, 344-345.
REFERENCES
Adams, 312
Bullen & Arnold, No. 38
Colcord, 44
Davis (SSC), 64
Doerflinger, 9
Greenleaf, 339
Harlow, 97-98
Hugill (1), 289-290
King, 13
linscott, 141
Lomax (FSNA), 497-498
Perrow, XXVIII, 138
Randolph (Ozarks), 207
Roberts (SBS), 187-188
Scarborough (NFS), 100
Sharp (EFC-2), 45
Shay (ASSC), 28
Shay (IMWS), 97
Smith (MW), 14
Terry, I, No. 57
Terry (SS), No. 5
Whall (SSS-6th ed.), 146
Williams (FSUT), 304
Johnny Boker
Do, my Johnny Boker,
Come rock and roll me over,
Do, my Johnny Boker, do!

MB
Song Texts
2900
Dq, my Johnny Boker,
Prom Wilmington to Dover,
Do, my Johnny Boker, do!
Do, my Johnny Boker,
The old man he’s a-growlin’,
Do, my Johnny Boker, do!
Do, my Johnny Boker,
The gale is now a-howlin’,
Do, my Johnny 3oker, do!
Do, my Johnny Boker,
The weather's thick and hazy,
Do, my Johnny Boker, do!
Do, my Johnny Boker,
It nearly drives me crazy,
Do, Johnny Boker, do!
Do, my Johnny Boker,
Let's haul and sway together,
Do, my Johnny Boker, do!
Do, my Johnny Boker,
We'll soon have finer weather,
Do, my Johnny Boker, do!
**********************************
I

No. 902
JOHNNY BULL I
also known as
Johnny Bull, My Jo, John
This song, originally a broadside, was written shortly
after the termination of the War of 1812, and it re
capitulates the war from the imaginative American's
point of view.

MB
Song Texts
2901
During the month of December, 1861, some S7 British
ships-of-war were lying in the waters of the West
Indies, an event that caused consternation in the
North. This inspired a Southern author to parody the
piece dealing with the War of 1812:
0 Johnny Bull, my Jo, John,
I wonder what you mean
By sending all these fregates out,
Commissioned by the Queen!
You'll frighten off the Yankees, John,
And why snould you do so?
But catch and sink, or burn them, all,
0 Johnny Bull, my Jo!
For an additional stanza of the Southern song, see
Songster (10), 14-18 or Staton, 73-74.
The 1812 war broadside below does not, to my knowledge,
appear in any of the recognized folk collections and is
given here as a piece of interesting and important
American musical history.
Johnny Bull ][ Tune: John Anderson , My Jo
Oh, Johnny Bull, my jo, John, I wonder what you mean:
Are you on foreign conquest bent, or what ambitious
scheme?
Now heed your brother Jonathan, your fruitless plans
forego;
Remain on your fast-anchored isle, Oh, Johnny Bull,
my jo!
Oh, Johnny Bull, my jo, John, don't come across the main
Our fathers Died and suffered, John, our freedom to
maintain.
And his who in the cradle, John, repelled the ruthless
foe,
Provoke not when to manhood grown, Oh, Johnny Bull,
my jo!

M3
Song Texts
2902
Oh, Johnny Bull, my jo, John, on Erie’s distant shore,
See how the battle rages, and loud the cannons roar.
But Perry taught our seamen to crush the assailing foe;
He met and made them ours, Oh, Johnny Bull, my jo!
What though at Washington a bass marauding band,
Our monuments of art, John, destroyed with ruthless hand?
It was a savage warfare, beneath a generous foe,
And brings the more disgrace on you, Oh, Johnny Bull,
my jo!
Oh, Johnny Bull, my jo, John, when all your schemes have
failed,
To wipe away the stigmas, John, for New Orleans you
sailed.
Par heavier woes await thee, John, for Jackson meets
the foe,
Whose name and fame's immortal, Oh, Johnny Bull, my jo!
♦♦♦t*******************************************

No * 903
JOHNNY BULL II
also known as
The Bold Benicia Boy
Heenan and Sayers
This song is so similar to Morrissey and the Russian (see
in this Master Book ) that some versions of it are in print
under the title: Morrissey - and the Benicia Boy . In fact,
some versions are little more than Morrissey and the
Russian with name changes for the two fighters. See and
compare The Bold Irish Yankey Benicia Boy in Ashland
(MSB), 71-74.
REFERENCES
Beck (FLM), 267-268
Finger, 48-49
Hubbard, 362-363
Rickaby, 177-181

MB
Song Texts
2903
Shay (PF-2), 46-50 Shay (PF-3), 136-137
Wehman (ISB) No. 2, 110
Johnny Bull II
Over in old merry England,
The home of Johnny Bull,
All the Britains filled their glasses
And drank them brimming full.
The toast they were drinking,
'Twas e*er to Britain brave,
For we*re the bully champions
On land and on wave.
Then up steps old Uncle Same
From across the raging main,
And he says, "Is that old England
A-bellowing again?
Or has she forgotten
How once we made her run,
Defeating all her armies
• And liberty won?"
It was in old merry England,
All in the bloom of spring,
That they put an English bully
All naked in the ring,
To fight noble Heenan,
Our gallant son of Troy,
And try his English muscle
X On our favorite boy.
All the coppers they were taken,
The minutes did begin;
It was two to one on Sayers
When bets came rushing in.

MB
Song Texts
2904
When round one was ended,
Our Heenan felt quite low,
And what a crimson tide
Prom his nose did flow.
Uncle Johnny then remembered
The fight at Bunker Kill,
Where the mighty English lion
Of terror got his fill.
We taught them a lesson,
Which caused them all to shy—
When you boast about your muscle,
John Bull, mind your eye!
The last round they fought, my boy,
The world did never see;
For the son of Uncle Sam
Rose a champion on his knee.
The followers did laugh
While he held them in the air,
When from his breast he threw them
The Englishman did stare.
How come all you Yankee heroes
Prom ev* ry clime and trade,
Look upon your lofty eagle
And never be afraid.
May the Union live forever,
The flag be unfurled,
For Heenan is our champion
And king of the world!
*******************-*-***-*****

Song Texts
2905
MB

No, 904
JOHNNY COOK
also known as
Pair John and the Seven Johnie Cock
Foresters Johnnie of Breadislee
James O' Broodies Johnnie of Cockerslee
This ballad is No. 114 in the Francis Child collection,
and he tells us: ’’The first notice in print of this
precious specimen of the unspoiled traditional ballad
is in Ritson's Scotish Song, 1794, I, xxxvi, note 25
....Scott, 1802, was the first to publish the ballad,
seclecting the stanzas of greatest merit from several
copies which were in his hands.” Although the ballad
has been recovered from American tradition, it has not
been recovered in its entirety.
REFERENCES
Buchan MSS, I, 82
Kinloch MSS, VII, 29
Chambers (SSP3), 181
Leach (B3), 324-332
Child, III, 1-12; V, 419
Moore (BFSS), 86-89
Coffin, 104
Motherwell, I, 169-175
Creighton (SBNS), 65-67
II, 276
Davis (TBV), 385-387
Muir, 228
Dixon (TVAB), 77
Niles (BB), 228-231
Friedman, 233-240
Ord, 467-469
Gummere, 123-126
Quiller-Couch, 707-712
Houseman, 173-176
Scott (MSB), I, 59
Kinloch (AS3), 36, 38
Whiting (T'BB), 111-114
Johnny Cook
Johnny Cook rose one May mornin*
And -washed his face and hands;
He did not know his two bloodhounds
Were bound in iron bands, bands,
Were bound in iron bands.

MB
Song Texts
2906
Johnny's mother got word of that,
And fear for him to roam;
M 0, Johnny, for my peace of mind,
I wish you'd stay at home, home, etc .
"They have got seven foresters,
At Bowan Pork they dwell,
And for a drop of your heart's blood,
They'll ride the fords of hell, hell, etc ."
Johnny Cook was impressed by that,
For he knew what it did mean;
He took off his red scarlet shirt
And dressed himself in green, green, etc.
With his arrows and dear-skin sheaf,
And bent bow in his hand,
He mounted on his snow-white steed,
And rode across the land, land, etc .
Rode he in by the Bov. r an Pork,
The air was fresh and clean,
And there he spied a good dun deer
Upon the grass so green, green, etc .
Johnny shot and the dun deer leaped
With a death wound in its side;
Between the river and the woods,
The deer fell down and died, died, etc .
Johnny knifed and then carved the deer,
And then he ate his fill;
He fell asleep beneath a tree,
But forgot to hide his kill, kill, etc .
Seven foresters found him there,
And quietly gathered round;
But Johnny woke and quickly rose,
And struck them to the ground, ground, etc.

MB
Song Texts
2907
Six foresters had Johnny slain,
The seventh wounded sore;
He mounted on his snow-white steed
And said, "I*11 kill no more, more, etc.
********************************************

No. 905
JOHNNY DOYLE
also known as
Johnnie Dile
Johnny Dials
Johnny Dile
Johnny Dye
Johnny Dyers
Lost Johnny Doyle
This is an old Irish ballad that became popular in
England and America; it deals with a familiar folk
theme—a young girl who is forced to marry an older,
richer man while in love with a young but poor one.
The story is similar to that of The Bride's Death (see
in MB) and The Plymouth Tragedy . a stall ballad issued
by Pitt's. However, the details in the stories differ
considerably.
Broadsides of the ballad are on file in the Harvard
College Library, and these include: Bebbington, Man
chester, No. 354; DeMarsan (List 11), No. 50; and Such,
No. 310.
The more recent American versions of Johnny Doyle are
different in text but similar in theme. For example,
see Henry (FSSH), 162-163.
REFERENCES
Barry (ABB), No. 55
Brown, II, 365-366
Campbell & Sharp, No. 83
Davis (FSY), 64
DeMarsan (SJ), I, 53
Eddy, 187-188
Flanders, III, 279-285
Flanders (NGMS), 248-250

M3
Song Texts
2908
Gardner (BSSM), 69-70
Greenleaf, 106-107
Greig, II, art. 102
Henry (FSSH), 162-163
Hubbard, 56-57
Hudson (FSM), 159-160
Hudson (FTM), 9
Hudson (SKFL), 35
Hughes, IV, No. 72
Jour (AFL), XXXIX, 121-122;
XLIV 93-94; XLVI, 32-33
Jour (FSS), V, 142-146
Jour (IFSS), I, 66
Karpeles, 212-213
Laws, M 2, 180-181
Leach, No. 16
Mackenzie, 106-107
Maidment (NCG), 10
Morris, 331-334
Peacock, III, 687-690
Petrie, 629-630
Quarterly (SFL), VIII, 163
Randolph, I, 350-353
Scarborough (SC), 248-250,
421-422
Sharp, II, 27-28
Shearin (SKFS), 27
Songster (100), 26
Songster (153), 22
Wehman (617), 27
Johnny Doyle
0 here I am a fair maiden, all tangled in my love,
And my case I’ll make known to the good Lord above.
I thought it a right thing but it caused much turmoil,
This roaming the world over with young Johnny Doyle.
It was last Saturday evening that we made up the plan,
On early Monday morning for to run away by land.
My waiting maid was standing by, as you can plainly see;
She slipped into my mama's room and told upon me.
Then my mama conducted me into the bedroom high,
Where no one else could hear me and have pity for my cry
She bundled up my clothes, and she bade me be gone;
For she knew well, within her heart, I loved young
Johnny Doyle.
There was horse and side-saddle that my father did
Q
provide,
In hopes that I would marry, that I’d be Tom Lindall’s
bride.

MB
Song Texts
2909
A horse and side-saddle my dear father did prepare,
And with six noble footmen for to wait on me there.
So we rode all along till we came to Belfast town,
Our horses they were stabled and footmen settled down;
While they were at their merriment, I suffered deep
turmoil,
Por my heart did stay at home with my own Johnny Doyle.
By my handsome eldest brother I was conducted home;
My mother she then conducted me into my own bedroom.
My own bed being softest, my head I did lie down,
For to seek consoling sorrow—but peace could not be
found.
"Now you close the door, dear mama, don't let Tom
lindall in!
0 , marry him I cannot, for it would be a sin!
Tonight is the night, mama, that he comes to my side;
But he will never get the girl he wants for his bride!"
When she looked and saw the preacher a-coming through
the door,
Her ear-rings they were bursted and they fell upon the
floor;
The ring on her finger in a hundred pieces did fly,
Her corset stays came all undone, and death was drawing
nigh.
"I will send for Johnny Doyle, dear, and fetch him here
tonight;
I'll send for Johnny Doyle, and he'll bring you much
delight."
"Yes, send for Johnny, mama, tho' I fear it is too late
-For I feel death a-coming now, and sad will be my fate.

MB
Song Texts
2910
"Death, I see you a-coming now, and welcome you will
he;
I'm sure from pain of love you will quickly set me
free!
There is trouble on my mind, far more than ior.gue
can tell,
But these are my dying words: Dear Johnny, fare you
well!"
************************************

No. 906
JOHNNY HAZELGREEN
also known as
Jock o' Hazeldean
John of Hazelgreen
John Over the Hazel Green
Willie of Hazel Green
This is an American version of the old Scottish song,
Jock o' Hazeldean ♦ which, according to Child, V, 160,
was first printed "in Campbell's Albyn's Anthology , I,
p. 18" in the year 1816. The text is much older, but
was different from the words we have. Sir 7/alter Scott
wrote three additional stanzas to match the one collect
ed along the Scottish Border by Campbell, and it is
Scott's text that became popular in North America.
The tune was traced by William Chappell to the old
English song, In January Last, and tells us it is one
of the tunes known as Northern Nanny; or . The Loving
Lasse's Lamentation.
REFERENCES
Barry (BBM), 369-371
Brown, IV, 352-353
Buchan (ABS), II, 253
Bulletin (ESSN), III, 9
Chambers (SB), 319
Child, V, 159-164
Christie, I, 124
Cochrane, 126
Coffin, 158
Davis (MTBV), 350-355

MB
Song Texts
2911
Davis (TBV), 529, 604
Flanders, IV, 281-284
Flanders (BMKE), 237-238
Ford (SH), 282
Friedman, 143-145
Greig & Keith, 244-245
Hopekirk, 168-170
Johnson (FS), 371-372
Kinloch (ASB), 199, 206
Leach (B3), 674-678
Macfarren, 62-63
Moore (BFSS), 137-139
Morris, 330
Niles (3B), 331-335
Pub (MLN), XLVI, 304
Rogers, 82
Scarborough (SC), 225, 415
Sharp, I, 294
Johnny Hazelgreen
"Why are you weeping here, my girl,
Along the riverside?
Just come along and meet my son.
And you shall be his bride.
0 , you shall be his bride, girl.
And live like some rich queen.”
She said, "Kind sir, I’m weeping here
For Johnny Hazelgreen."
"Then dry your tears and weep no more,
And come along with me;
My son is young and handsome, too,
And lord of all you see.
He's lord of all you see, girl,
And you shall be his queen.”
She said, "Kind sir, my heart belongs
To Johnny Hazelgreen."
He took her gently by the hand,
And took her into town;
He purchased there a wedding ring,
And bought a wedding gown.
"My son will ease your heart, girl,
And never treat you mean.”
But still she let the tears fall down
For Johnny Hazelgreen.

Song Texts
■2912
MB
He took her home to meet his son.
To drive a?/ay her fears;
"My name," he said, ’’is Hazelgreen,
And there's no need for tears.
Ho, there's no need for tears, girl—
My son shall have his queen.
I've "brought you home to weep no more
For Johnny Hazelgreen.”
****************************

No, 907
♦JOHNNY, I HARDLY XNE77 YOU
This is an Irish adaptation of an American Civil War
song. It was popular with balladeers and folk song fan
but seldom appeared in traditional-type folk song
collections.
REFERENCES
Bikel (FF), 191-192 Okun, 23-25
Colum, 605-606 Scott (BA), 329-330
Silverman, II, 292
Johnny , _I Hardly Knew You
Tune : When Johnny Comes Marching Home
Where are your legs with which you run, Karoo, haroo?
Where are your legs with which you run, Haroo, haroo?
Where are you legs with which you run,
When first you went to carry a gun?
I fear your dancing days are done.
Johnny, I hardly knew you.
Chorus

MB
Song Texts
2913
With your guns and drums and drums and guns, Karoo, haroo
With your guns and drums and drums and guns, Haroo, haroo
With your guns and drums and drums and guns,
The enemy nearly slew you.
Oh, Johnny dear, you look so queer—
Johnny, I hardly knew you.
And where are your eyes that looked so mild, etc.
When you first my innocent heart beguiled?
And why did you run from me and the child?
Johnny, I hardly knew you.
You haven’t an arm and you haven’t a leg, etc.
Your’re an eyeless, boneless, chickenless egg—
You'll have to be put with a bowl to beg!
Johnny, I hardly knew you.
'Tis glad I am to see you home, etc.
Safe from the war, no more to roam,
But low in the flesh and high in the bone
Johnny, I hardly knew you.
** ************************ * * * * * *

No. 908
JOHNNY RINGO
This mellow little song about a one-time gunman and out
law does not appear in any of the traditional collections.
The version below is from Dickson Hall’s Outlaws of the
Old Wejst, an MGM Records album issued in the late 1950s,
and is reproduced here with Hall’s permission. The tune
is obviously an adaptation of one used for Cotton Eyed
Joe I (see in MB).
Johnny Ringo (real name, John Ringgold) was a cousin of
of the Younger Brothers (see Cole Younger in MB). When

MB
Song Texts
2914
Texas became legally uncomfortable for him, Ringo went
to Arizona. There he joined forces with Old Man Clanton
and his band of rustlers and gunmen (see Gun Fight at
the 0. K. Corral in MB). He also joined forces with
Curly Bill Brocius, another notorious rustler who led
a gang that operated around Tombstone, Arizona (see Curley
Curley Bill in MB).
It is generally agreed among scholars of Western history
and folklore that Johnny Ringo was one of the most danger
ous men with a six-gun that ever lived. His reputation
for speed and accuracy was so great that even members of
his won group were afraid of him. It is a metter of re
cord that he .once challanged Wyatt Sarp to a "nose to
nose, boot to boot*' duel on the main street of Tombstone.
The challenge came to nothing due to the interference of
Doc Holliday (see in MB ) who was friendly with both men.
On July 14, 1882, Johnny Ringo's body was discovered near
Turkey Creek, Arizona, in the foothills of the Chirichua
mountains. He had been shot through the head and left
lying against the trunk of a tree. It was later learned
that his killer was John O'Rourke, a gambler whom Ringo
had once wanted to hang 'Must for the fun of it."
Johnny Ringo
0 , where do you come from, movin' so slow?
And why did you come here, Johnny Ringo?
Well, I came from somewhere—where I won't say,
But I came to your town expectin' to stay.
0 , why do you wear guns, wear 'em so low?
And why do you need them, Johnny Ringo?
Well, I wear a six-gun, one on each side,
And I've notches to show for men who have died.

MB
Song Texts
2915
0 , you'll never leave here, that you must know;
You'll die with your boots on, Johnny Ringo.
Well, when it's all over. I'll have no regret;
It'll be the first time I've been buried yet!
**********************************
Ho. 9Q9
JOHNNY SANDS AND BETTY HAGUE
also known as
Betty Hague
A Husband's Revenge
Johnny Sams
Johnnie Sands
Johnny Yands
Tied Hands
This song was written by a professional songwriter,
John Sinclair, and was published around 1842. It was
featured across by America by the famous Hutchinson
Family singers, which probably accounts for its wide
popularity in the decades prior to the Civil War.
The song is frequently confused with The Victim (see in
MB), but not without good reason. John Sinclair mere
ly rewrote the older English song but did not alter the
subject or the theme.
REFERENCES
Belden (BS), 237-239
Botkin (NEF), 885-886
Brewster (BSI), 262-264
Brown, II, 448-450; IV,
Hubbard, 222-223
Hudson (FSM), 198-199
Jour (AFL), XXVIII, 174;
XXIX, 178; XXXV, 385;
239-240
XLIX, 235; IX, 204
Karpeles (EFS), II, 207
Kennedy (TAB), 183-184
Laws, Q2, 274
Levy, 33
Linscott, 255-258
Chappie (HS), 42-43
Davis (FSV), 165
Eddy, 89-90
Friedman, 451-452
Greig & Duncan, No. 319

MB
Song Texts
2916
Luther, 108-109
Memoirs (APIS), XXIX,
Pound, 114-116
Pound (SFSN), XXI, No. 1
Pub (TPLS), VI, 223-224
Randolph, IV, 246-249
Scarborough (SC), 239-240
Shay (PF-2), 80-82
Shay (PF-3), 158-160
Stout, 65-68
65-69
Moore (BFSS), 219-220
Morris, 368-370
Neely, 175-176
Ord, 93
Owens (TFS), 207-209
Johnny Sands and Betty Hague
A man whose name was Johnny Sands had married Betty
Hague,
And tho' she brought him gold and lands, she proved a
terrible plague;
For oh! she was a scolding wife, full of caprice and
whim,
He said that he was tired of life, and she was tired
of him,
.And she was tired of him, and she was tired of him.
Says he "Then I will drown myself—the river runs below
Says she, '’Pray do, you silly elf! I wished it long ago
Says he "Upon the brink I'll stand, do you run down the
hill,
And push me in with all your might.” Says she, "My
love I will}
Says she, "My love I will! Says she, My love I will!"
For fear that I should courage lack and try to save my
life,
Pray tie my hands behind my back." "I will," replied
his wife.
She tied them fast as you may think, and when securely
done,

MB
Song Texts
2917
"Now stand," she says, "upon the brink and I’ll pre
pare to run.
And 1*11 prepared to run, and I’ll prepared to run."
All down the hill his loving bride now ran with all
her force,
To push him in. He stepped aside, and she fell in, of
course.
Now splashing, dashing like a fish, "Oh save me, Johnny
Sands!"
"I can’t, my dear, tho’ much I wish, for you have tied
my hands!
For you have, tied my hands! For you have tied my hands!"

No. 910
JOHNNY SCOTT
also known as
Bonnie Johnie Scot
Jack the Little Scot
Johnie Scot
Lord John
Lord Johnnie Scott
Love Johnny
McNaughton
Young Johnny Scott
The story told by this ballad is rooted deep in Euro
pean history and tradition. According to Child, "The
Rev. Andrew Hall, in his interesting Roman Antiquities ,
recently discovered in Fife, 1823, p. 216, relates the
following:
James Macgill, of Lindorea, had killed Sir
Robert Balfour...in a duel which he had wish
ed to avoid, about the year 1679. Macgill im
mediately went up to London in order to procure
his pardon, which it seems the king, Charles II,
offered to grant him upon condition of his
fighting an Italian gladiator or bravo, or, as
he was then called, a bully; which, it is said

MB
Song Texts
2918
none could be found to do.,.Accordingly
a large stage was erected for the exhi
bition before the king and the court.
Sir James, it is said, stood on the de
fensive till the bully had spent himself
a little, being a taller man than Sir James,
In his mighty gascondading and brava-doing
he actually leaped over the knight, but in
attempting to do this a second time Sir
James ran his sword up through him, and then
called out, "I have spitted him; let them
roast him who will,” This not only procured
his pardon, but he was knighted on the spot.
The same story is told about the Breton seigneur Les
Aubrays, or Lizandre, of St, Brieux, v/ho was ordered
by the French king to undertake a combat v/ith a wild
Moor,
The version of the ballad given below has Johnny Scott
fighting the Italian for love as well as for pardon.
REFERENCES
Barry (BBM), 213-224
Buchan (GSEI), 122
Campbell & Sharp, 109-110
Child, II, 377-398; V,
53; VII, 39-49
Kinsley, 304-308
Leach (BB), 303-308
Moore (BFSS), 77-80
Motherwell, II, 78-91
Motherwell MS., 113, 205
Jour (AFL), XLII, 273
Kinloch MSS, I, 311; VI,
418
Coffin, 99-100
Creighton (MFS), 15-17
Flanders, III, 45-55
Flanders (BMNE), 101-104
Greig & Keith, 74-75
Henry (FSSH), 100-102
211, 213, 394
Sharp, I, 215-218
Johnny Scott

Song Texts
2919
Young Johnny Scott a-hunting went
Into the woods so wild;
With the fairest young lady in old Ireland,
Johnny Scott fell in love.
The word into the kitchen went,
Likewise into the hall;
And the word unto her father did go,
And that is the worst of all.
Her father was himself the king,
And soon the word he got—
That his daughter would a mother be,
Because of Johnny Scott.
The king wrote him a brief letter,
And stamped it with his ring;
He sent it straight to Johnny Scott,
Who knew nothing of the thing.
When Johnny saw the king's letter,
A sorry knight was he:
"It's to the palace I must go,
The king has sent for me."
Now with him was a brave young knight,
A worthy friend was he;
"Five hundred of my knights,” says he,
"Shall keep you company."
Now when they reached the king's palace,
They rode it 'round about,
And there they saw the king himself
At the window looking out.
"Are you the Duke of Albandy,
Or James, the Scottish king?

Song Texts
2920
M3
Or are you some great foreign lord,
That’s come a-visiting?”
"I’m not the Duke of Albany,
Nor James, the Scottish king;
But, Sire, I am a worthy knight—
Johnny Scott is my name.”
"If Johnny Scott is your true name,
As I trust well it be,
Before I taste of morning food,
On yon scaffold you will be.”
Up spoke the young and valiant knight:
"0 listen unto me—
I have five hundred bowmen bold
Who’ll die to set me free!"
The king was heard to speak again,
As scornful as could be,
"I have an Italian in my house,
Who'll fight you three by three.”
"One favor grant,” young Johnny cried,
"Bring your Italian here;
But if he falls beneath my sword,
I win your daughter dear.”
The king sent his Italian out,
Agreeing to the deal,
And there the battle at once began
With swords of tempered steel.
Young Johnny Scott with courage stood,
And fought beneath the sky;
Upon the point of his gleaming sword,
This Italian did die.

MB
Song Texts
2921
He took his sword and took his sheath
And threw then on the plain,
Saying, "Do you have another dog
You wish to have slain?"
M 0 bring a knight," the king he cried,
"And set my daughter free!"
"A priest! a priest!" said young Johnny,
"To wed ny love and me."
"I want none of your gold," he said,
"And soon will leave you here;
I’m only waiting for your daughter fair,
Whose love has cost me dear 0 "
*****************************************

No. 911
JOHNNY'S SO LONG AT THE PAIR
also known as
Johnny, Oh Johnny To Tie Up My Bonny
0 Dear! What Can the Brown Hair
Matter Be? What Can the Matter Be?
This widely known song is quite old. William Chappell
says it came into public favor through being sung at
Harrison's concerts, in England. It is also, as Opie
points out, an old Scottish favorite. Opie says there
is a version in "a collection of Scots songs, compiled
probably by Elizabeth St. C.lair between 1770 and 1780."
The song as we know it now was published in sheet music
form by J, Dale, in 1792. Since then it has appeared
in numerous song collections and currently shows no
signs of diminishing in popularity. In America, it is
published even in school song books.
The tune was used for the revival spiritual, Send Us a
Blessing; , which may be seen in Jackson (SPS), 209.

MB
Song Texts
2922
REFERENCES
Bertail, 88
Brown, III, 170; V,
99-101
Cazden, II, 6-7
Chappell (PMOT), 202, 732
Chappie (HS), 140
Creighton (FSNB), 179
Davis (FSV), 197
Dearmer (ST), 34
Ford (TMA), 351-352
Gilbert (100), 13
Mackenzie (SH), 51-52
McCaskey, I, 43
Moffat (LSLA), 29
Oberndorfer, 40
Opie, 248-250
Perrow, XXYIII, 167-169
Pound (SFSN), XXXI, No. 2
Quarterly (SFI), VI, 252
Shoemaker (NPM), 69, 80
Silverman, I, 324
Sullivan, II, 183
Thomas (DD), 144-145
Vinson, 110-111
Wier (YAM), I, 100
Williams (FStJT), 201
Johnny♦s So Long At The Fair
0 dear, what can the matter be?
0 dear, what can the matter be?
0 dear, what can the matter be?
! Johnny’s so long at the Pair.
He promised to bring me a fairing to please me,
And then for a kiss, Oh! he vowed he would tease me;
He promised to rbing me a bunch of blue ribbons
To tie up my bonnie brown hair.
0 dear, what can the- matter be? etc
He promised to bring me a basket of posies,
A garland of lilies, a garland of roses,
A little straw hat to set off the blue ribbons
That tie up my bonnie brown hair.
0 dear, what can the matter be? etc
*****************************

MB
Song Texts
2923

Ho. 912
JOHN PAULDING AND MAJOR ANDRE
also known as
Ballad of Major Andre The Death of Major Andre
Brave Paulding and the Spy Major Andre'
The Capture of Major Andre’ Major Andrew's Execution
This is a historical ballad from the American Revolution.
John Andre' (1751-170) was a soldier in the British army,
stationed in Canada. He was taken prisoner by rebel Ameri
can forces in 1775 and exchanged a year later. He then
became an aide-de-camp to Sir Henry Clinton, who promoted
him to rank of Major and, later, assigned him the task
of negotiating with. Benedict Arnold.
Andre' sailed under a flag of truce, negotiated the take
over of West Point with Arnold, but, unfortunately for
him, his ship was fired upon before he could return to
it. His ship took flight, leaving Andre' stranded in
enemy territory. He was captured the following day by
three American militiamen, Paulding, Williams and Van
Wert. Andre's attempt to bribe these men failed, and he
was tried, found guilty and hanged October 2, 1780. His
conduct and courage in face of death created universal
sympathy and admiration for him.
The tune played at Andre's execution was The Blue Bird ,
a fife-and-drum piece. For an instrumental version, see
Dolph, 490. For a version with both words and music, see
The Hesperian Harr, 1848, 249.
The ballad below was first published during the final
year of the Revolutionary War.
For an entirely different composition, Andre's Request
to Washington . see Kennedy (TAB), 22.
REFERENCES

KB
Song Texts
2924
Brand (S-76), 138-139
Dolph, 488-489
Eddy, 258-259
Lawrence, 87
Moore (BBSS), 269-271
Scott (BA), 84-87
Silber (SI), 104-106
John Paulding; and Manor Andre'
Come, all you brave Americans, and unto me give ear;
1*11 sing you now a ditty that will your spirits cheer:
Concerning a young gentleman who came from Tarrytown,
Where he met a British officer, a man of great renown.
Then up spoke this young hero—John Paulding was his
name—
"0 tell us where you're going, sir, and also whence you
came•"
"I bear the British flag, sir,” Up answered bold Andre;
"I have a pass that takes me through, I have no time to
stay.”
Then others came around him and bade him to dismount:
"Come, tell us where you're going, give us a strict
account.”
Young Paulding said, "We are resolved that you shall
ne'er pass by.”
And so the evidence did prove the prisoner was a spy.
He begged for his liberty, he pled for his discharge,
And oftentimes he told them if they'd set him at large,
"Of all the gold and silver I have laid up in store,
But when I reach the city I'll send you ten times more.”
"We scorn this gold and silver you have laid up in
store,”
Van Wert and Paulding both did cry, ”You need not send
us more.”

MB
Song Texts
2925
He saw that his conspiracy would soon be brought to
light,
And begged for pen and paper, and asked if he might
write•
The story came to Arnold commanding at the Port:
He called for the Vulture and sailed for New York.
Now Arnold to New York has gone, a-fighting for the
King,
And left poor Major Andre* on the gallows for to swing.
Andr^ was executed, he looked both meek and mild;
His face was fair and handsome, and pleasantly he smiled
It moved each eye with pity, and every heart there bled,
And everyone wished him released and Arnold in his stead
He was a man of honor! In Britain he was born,
To die upon the gallows most highly he did scorn.
And now his life has reached its end so young and bloom
ing still—
In Tappan’s quiet countryside he sleeps upon the hill.
*******************************

No. 913
JOHN PAUL JONES I
also known as
An American Frigate Paul Jones* Victory
Paul Jones Poor Richard
This is one of several ballads honoring America's first
great naval hero. Another, set to the tune of Anacreon
in Heaven and called Paul Jones , may be seen in Rabson,
p. 85. It begins:
A song unto Liberty's brave Buccaneer,
Ever bright be the fame of the patriot
Rover ,

MB
Song Texts
2926
For our rights he first fought in his
"black privateer,”
And faced the proud foe ere our sea
they crossed over.
On September 23, 1779, with three men-of-war, John
Paul Jones sighted a British warship off the English
coast. One of his vessels, under a French commander,
turned and fled. With his two remaining vessels, the
Bonhomme Richard and the Pallas , Jones fought and won
a desperate engagement. His courage and daring off
Plamborough Head that day established an American naval
tradition and led to the writing of an immensely popu
lar ballad, John Paul Jones I.
Broadsides were issued on both sides of the Atlantic *
and the piece was almost as popular in England as in
America. English broadsides were issued by Bebbington,
Manchester, No. 287; T. Birt; Catnach; Forth, Pockling-
ton, No. 114; Such, No. 10; John Ross, Newcastle-on-tyne,
No. 119; and W. R. Walker, Newcastle, No. 119.
REFERENCES
Baring-Gould (SW), No. 108
Barrett, 56-57
Brand (S-76), 123
Brown, II, 523-524; IV,
272
Cazden, I, 16-17
Chappell (FSRA), 48
Downes (1943), 66-67
Durlacher, 160
Ebsworth (RB), VIII, 332
Eggleston, I, 83-86
Firth (NSB), 259-260
Friedman, 290-291
Jour (AFL), XXXI, 171-173
Jour (FSS), III, 206-213
Leach (BB), 713
Logan, 32-38
Luce, 44-45
Mackenzie, 205-207
Mackenzie (QB), 141
Marsh (SSM), III, 159-161
McCarty, II, 85-86
New (2), 100-102
Notes (9th series), II,
306; III, 34, 296
Scott (BA), 81-83

MB
Song Texts
2927
Silber (SI), 132-133
Songster (6), 200-202
Songster (12), 159
Songster (14), 159-161
Songster (61), 24-25
Songster (62), 204-205
Songster (126), 24-25
Songster (152), 84-87
John Paul Jones I
An American frigate, a frigate of fame.
With guns mounting forty, The Richard by name,
Sailed to cruise in the channels of old England,
With a valiant commander, Paul Jones was his name.
Chorus Tag
Hurrah! Hurrah! Our country forever, Hurrah!
We had not cruised around long before he espies
A large "forty-four” and a "twenty" likewise
Well-manned with British seamen, well laid in with
stores.
And in consort to drive us from England's old shores.
Paul Jones then said to his men, each and every one:
"Let ev'ry true seaman stand firm to his gun!
We'll take a broadside from this bold Englishman,
And like true Yankee sailors, return it again,"
Now to us they did strike and their colors haul down;
The fame of Paul Jones to the world shall be known.
And his name shall rank with the gallant and brave,
For he fought like a hero, our Freedom to save!
*************************************

No. 914
JOHN PAUL JONES II
also known as
John Paul Jones, the
Privateer
Paul Jones
The Ranger

Song Texts
2928
MB
The Stately Southerner The Yankee Man-of-^7ar
Like the preceding song and many other ballads of
early American history, this patriotic ballad was
highly esteemed by seamen and very popular in the
forecastle.
This ballad recounts an exploit of Jone3 off the Irish
coast in his privateer, the Ranger , which was fitted
out in Portsmouth, N. H., in 1777. The phrase "stately
Southerner" in the text has been responsible for con
siderable comment from folk song collectors and editors,
several of whom could find no logical reason for its
use since the Ranger , outfitted in the North and entire
ly manned by Northerners, had no connection with the
South whatsoever. They missed the point. The ballad
was about a man as well as a ship, and John Paul Jones
had been a Virginian since 1773; it should have been
obvious to anyone that the man, not the ship, was the
"stately Southerner."
The Yankee Man-of-Jar is a title used by several other
songs, none of which are related.
The tune of this ballad is also used by other songs. For
example, see The Ship Lord Wolseley in Harlow, 181-183.
REFERENCES
Barry (FMA), 77
Beck (FLM), 173-174
Beck (FLS), 172-174
Clements, 53-56
Colcord, 126-127
Doerflinger, 131-133
Eckstorm, 208-212
Harlow, 177-179
Hugill (2), 217-219
Ives (SA), 264-265
Ives (SB), 108, 96-97
Lomax (PB), 25
Patterson, 293
Rabson, 85
Rickaby, 156-160
Sampson, 62
Shay (ASSC), 153
Silber (SI), 130-131
Smith (MW), 41

MB
Song Texts
2929
John Paul Jones II
It was the Stately Southerner
That flew the stars and “bars,
And the whistling wind from west-nor'-west
Blew thro* her pitch-oine spars;
And with her tacks about me, boys.
She hung upon the gale.
'Twas an autumn night when she made the light
On the ol' Head of Kinsale.
It was a fine and cloudless night.
The .wind blew fresh and strong,
As gaily o'er the bounding deep
Our good ship bowl'd along;
And the foam beneath her trampling bows
The rolling waves did spread,
And, as she stooped low, with her breast
of snow,
She buried her lee cathead.
There was no talk of short'ning sail
By him who trod the poop,
And under the weight of the ponderous jib
Her boom bent like a hoop.
And the groaning chestrees told the strain
Held down by the stout main tack,
But he only laughed as he gazed abaft
At her bright and glittering track.
What looms upon our starboard bow,
What hangs upon the breeze?
'Tis time the packet hauled her wind
Abreast of the Saltees;
For by the mighty press of sail
That clothed each lofty spar,
The ship we spied on the misty tide
Was a British man-o'-war!

MB
Song Texts
2930
Out booms, on board the Southerner !
Out booms! and give her sheet!
The fastest keel that cuts the deep,
And the pride of the British fleet,
Comes bearing down upon us,
With a high foam at her bow.
Out booms, on board the Southerner ,
Spread out your canvas now!
The nightly robe our frigate wore
Was her three topsails large,
Her flying jib and spanker
And her course had been furled.
"Come, lay aloft, my gallant tars!”
The words had scarce been passed
When royals and topgallant yards
Were crossed upon each mast.
Up spoke our hoble captain,
A cloud was on his brow,
He says "My gallant heroes,
Our great distress is now.
We carry aloft the 8tars and Stripes
Against the royal host;"
Paul Jones, the terror of the sea,
Shall flog them on the coast.
The night fog had not cleared away,
That scarce obscured the shore;
A heavy mist hung o'er the land
Prom Erin to Kingshore;
With light sails set, and booms rigged out,
And stud sails hoisted away,
Paul Jones down in the North Channel did 3teer
Before the break of day.
******************* **********

KB
Song Texts
2931

No. 915
JOHN SAW THE HOLY NUMBER
also known as
Before the Lamb of God
The Golden Altar
John Done Saw Dat Numbuh
*Way In the Middle Of the
Air
This old spiritual has many relatives, some more apparent
than others. John was a favorite with spiritual singers
and we find him in many songs, such as John, John of the
Holy Order in Allen (SSUS), 16 or 49 and John Saw de
Hundred and Forty-Four Thousand in Brown, III, 597 & V t
337-338.
Versions of the song below vary from place to place,
and some have familiar floating lines, such as "before
the Lamb of God" and "’Way in the middle of the air,"
For an effective use of the latter, see Ezekiel Saw the
Wheel in this Master Book.
An interesting version of John Saw the Holy Number , col
lected from Blacks in southern Kansas, is in Eva A,
Jessye’s Spirituals (New York, 1927), pp. 44-45# Also
see and compare the piece in Dett, 63 and another in
Jour (AFL), XXV, 241.
The version below is partly compounded, but it has managed
to survive on its own over the years.
REFERENCES
Allen (SSUS), 77, 131
Brown, III, 596-597
Dett, 63
Fisher (NSS), 63-64
Grissom, 38-39
Johnson (BANS), 158-159
Jubilee (PS),. 12
Lomax (OSC), 16-21
John Saw the Holy Number

MB
Song Texts
2932
John he saw the holy number
Climbin’ up the golden stair;
John he saw the holy number
•Way in the middle of the air.
A little while longer here below,
Here below, here below,
A little while longer here below,
Eefore the Iamb of God.
0, it’s home to Jesus we will go,
We will go, we will go,
0, it's home to Jesus we will go,
Before the Lamb of God.
**************************■*****.*****.#..*

No. 916
JOIN THE BAND I
also known as
Chatter With the Angels
Gwineter Ride Up in de
Chariot
Gwine to Ride Up in the
Chariot
Hope I’ll Join the Band
I Hope I'll Join the Band
I Wanter Jine de Ban'
I Want to Join the Band
Look Away in the Heaven
Lord, Hope I'll Join the
Band
lord, I 7/ant to Join the
Band
Ship Rock Ashore
Some of these Hornings
SoDn-a in de Hornin'
This spiritual comes in versions so diverse as to war
rant being independent pieces. Versions A, B & C may
very well be independent songs, but they certainly share
a common theme and common titles. Version A is from
the singing of Wade and Zeke of J. E. Mainer's Moun
taineers, Charlotte, N. C., 1938. Version B is from

MB
Song Texts
2933
the repertoire of the original Fisk Jubilee Singers,
and version C is from, Slave Songs of the United States .
For yet another possible relative, see Join the Band II
in MB.
REFERENCES
Allen (SSUS), 95, 150
Brown, III, 640-641; V,
372-373
Dett, 46-47
Fisher (NSS), 145
Greenway, 79
Johnson (SBNS), 121-123
Jubilee (PS), 12-13
Marsh (SJS), 138-139,
250-232
Pike, 178, 220
Randolph, II, 339-341
Scarborough (NFS), 16-17
Work (FSAN), 47, 63-64
Join the Band I ( Version A)
listen, Moses, don't you get lost!
Stretch that rod and come on across!
Oh! I want to join the band!
I got an old mother in the Promised Land.
She went over there to feed God's lambs,
And I want to join the band!
Oh, I want to join the band!
Hear me singing:
Lord, I want to join the band!
Listen, Sinner, and hear the news:
You're the one with a soul to lose!
Oh! I want to join the band!
Argue with the Father, chatter with the Son,
Beg forgiveness for the things I've done,
For I want to join the band!
Oh, I want to join the band!
Hear me singing:
Lord, I want to join the band!

MB
Song Texts
2934
Version B
Gonna ride up in the chariot,
Sooner in the morning;
Ride up in the chariot,
Sooner in the morning;
Ride up in the chariot,
Sooner in the morning,
And I hope I’ll join the hand.
Chorus
0 Lord, have mercy on me! (3)
And I hope I’ll join the hand!
Gonna meet my mother there,
Sooner in the morning;
Meet my mother there,
Sooner in the morning;
Meet my mother there,
Sooner in the morning,
And I jope I’ll join the hand.
Gonna chatter with the angels,
Sooner in the morning; etc
Gonna meet my loving Saviour,
Sooner in the morning; etc
Gonna walk and talk with Jesus,
Sooner in the morning; etc
Version C
What is that up yonder I see?
Two little angels cornin' after me;
I want to join the hand,
I want to join the hand,
Up in heaven, I want to join the hand!
****************************** ****************

|§ng Texts
2935
No, 91?
JOIN THE BAND II
also known as
t*® A-Going To Join the Band
£hi% form "T v/ant to Join the band” theme requires a
leather and a chorus to be effective. The chorus is con-
tiattOha,, while the leader interjects whatever phrase or
%xci.amaticn. that seem to be appropriate.
The yareicn below is from Work (ANSS}, 196.
Join the. Band IT
5'*% agoing- to join, the band*
SfetLlelujah!
H'®b agoing to join, the band*
Q^*'t you sing it?
agoing to join the band*
QD hosed !:
TPCfc^vgping to join the band.
The? more? come in with. a. free good will,
Maker the? band seem sweeter still.
J < Prdhir , 5; stream is- chiTXy' and cold,
I]ff y.otu don’ t mind itiOX chill your soul!
Wntohr. that: sun—how - sieady she runs !
DOfrf t: lot: her catch, you., with your work undone.
Jj>ohU9a prayed for toe siocp the sun;
Thee Sith: did stop s.tilll the battle was won.
G<5>ihg: to; hang my harp-on the willow tree;
Itf111 sound way over; in.Galilee.
* ** ***-***** *************** *

MB
Song Texts
2936

No. 918
THE JOLLY BEGGAR I
also known as
The Beggar's Bride
The Begging Song
The Dirty Beggarman
The Jolly Beggar-Man
Yon Toun
We'll Go No More A-roving
The Jolly Beggars
There Was a Wife in
Beggars received much attention from early ballad com
posers, but few compositions achieved the popularity
that this one attained on both sides of the Atlantic.
Some collectors insist upon relating The Jolly Beggar
to The Gaberlunyie-Man . probably because the two songs
tell similar stories and both were printed by Child
under the same number (279). But Child made a clear
and precise distinction between the two songs, point
ing out that differences far exceeded similarities.
This song comes in many versions, some as a result of
deliberate alteration. It first appeared in print in
Herd (AMSS), p. 46, in 1769» but was known prior to
its publication. Percy cited it in the second edition
of Reliques of Ancient English Poetry , II, p. 59, issued
in 1767.
Authorship was ascribed to James V of Scotland by many
collectors, and this error was perpetuated by publishers
who continued to repeat it. As recent as 1894, Oliver
Ditson, Boston, attributed the ballad to the king in
Gems of Scottish Song, There is not a single piece of
evidence to support the claim and researchers no longer
make it.
For a similar song, see Bibberly Town , or The Tinker
Behind the Door in Karpeles (FSE), I, 703 o
Also see Baring-Gould (S.7), No. 110 and Peacock, I, 318.
REFERENCES

MB
Song Texts
Barry (BBM), 475-476
Child, V, 109-114
Cox (TBPS), 61
Cox (TBWV), 50-51
Creighton (TSNS), 99-101
Davis (MTBV), 332
Puson, 212
Gems, 165
Greig & Duncan, No. 274
Greig & Keith, 222-276
Herd, II, 26
Johnson (SMM), No. 266
2937
Jour (API), XXII, 79
Karpeles (EPS), I, 201-208
Kinsley, 624-625
MacColl & Seeger, 102-104
Moore (SPSS), 128-131
Ord, 376-377
Pepys, III, No. 71
Quarterly (SPL), I, 11
Randolph, I, 194
Reeves (EC), 215-216
Ritson (SS), I, 168
Sedley, 26-27
The Jolly Beggar I
There was a jolly beggar
And a-begging he was bound,
And he came to do his begging
In our little town.
Chorus
0 , we’ll go no more a-roving
So late in the night!
No, we’ll go no more a-roving
When the moon is shining bright.
0 , we’ll go no more a-roving!
He would neither sleep in barn,
Nor would he go retire—
Unless behind a hall door,
Or else before a fire.
The beggar made his bed one night,
With lots of straw and hay;
And in a house, behind the door,
The beggar he did stay.

MB
Song Texts
2938
Up rose the daughter of the house,
And went to bar the door,
And there she saw the beggar
All naked on the floor.
He took the lassie in hi3 arms,
Laid her against the wall;
”0 sir!” she cried, "be civil,
You'll wake my pa an' all!"
He never minded what she said,
But carried on his stroke
Until he got his job all done—
Then he began to joke.
"Are there any dogs about,
To bark and carry on?"
"The devil take your dogs, sir,
My maidenhead is gone!"
The lassie she rose up again
Before the break of day,
To give the beggar breakfast
Before he went away.
She went into the cellar
To draw a pot of ale;
The beggar followed after,
To make her moan and wail.
He laid her on the ringle-tree,.
He laid her on the stair;
And then they sat together
And did it in the chair.
At last, when he had finished,
As tired as he could be,

MB
Song Texts
2939
He gave her twenty dollars.
To ease her misery.
"Had you been an honest lass,
As I took you to be,
You might have rode in your carriage
And gone along with me."
He took a horn from his side
And blew both loud and shrill,
And four and twenty armored knights
Came ridin' o’er the hill.
Then out he took a little knife,
Let all his old clothes fall;
And he stood forth a gentleman,
The bravest of them all.
***•*■*•* ****************************

No. 919
THE JOLLY BEGGAR II
also known as
A-Begging 7/e 7/ill Go The Jovial Beggars
The Beggar's Song To Begging I Will Go
This old English song has been imitated and parodied
many times. It is more widely known in American tra
dition than the preceding s.ong, Jolly Beggar I.
According to Chappell (OEPK), II, 42-43, a copy of The
Jolly Beggar II , in black letter, is in the Bagford
Collection as The Beggars * Chorus in The J ovial Crew.
The song served as a prototype for such compostions as
A-Bowling V/e Will Go, A
We Y/ill Go and A-Huntin
ishlng We Will Go , A-Hawking
■7e Will Go (see latter in ItB
).
The tune was borrowed and used for a religious-type

M3
Song Texts
2940
song known as We * re Off For China* s Shore (se in MB).
Another religious song, To Glory _I Will Go (also see
in MB), which appeared in the Original Sacred Harp ,
was obviously patterned after Jolly Beggar II.
The song dates from at least the last quarter of the
17th century, because, as Chappell records, it appeared
in the 1676 edition of Loyal Songs and in Choice Ayres ,
V, 1684.
For a single stanza version, see Beggar in Jackson (SFS),
29 -30, who says that traces of the song reach back to
1611.
The Jolly Beggar II
0, I’m a jolly beggar, and I've got a wooden leg;
I’ve had it from my cradle, and that is why I beg.
Chorus
A-begging I will go, will go,
Will go, a-begging I will go!
A bag for my cornmeal, another for my salt,
And a crutch for leaning where e’er I chance to halt.
A bag for my wheat, and another for my rye,
And a little bottle for drink when I feel dry.
I live in the open, and so I pay no rent;
Providence provides for me and I'm quite content.
Of all the occupations a beggar's life is best;
For when e'er he feels weary, he simply stops to rest.
I fear no plots against me, I heed no clock or bell;
There is no king on this earth who lives half as well.
******************** *.*•#****.**

MB
Song Texts
2941

No. 920
THE JOLLY JESTER
also known as
I Love Sixpence
The Jolly Shilling
The Jolly Sixpence
The Jolly Tester
This nursery song has been traditional in both England
and America for a long time. A modern rewrite, I've
Got Sixpence , by Box, Cox and Hall, was published in
the United States in 1941 and became a national hit„
If there had been a Hit Parade in 1841 this song most
certainly would have been on it. Actual date of origin
has not been established, but we know the song was in
print as early as 1810, for a version is in Gammer
Gurton's Garland, or The Nursery Parnassus . Versions
are also in Halliwell's Nursery Rhymes of England (1842),
Mason’s Nursery Rhymes and Country Songs (1877), Rim-
bault’s Nursery Rhymes (1846), and Baring-Gouid’s A
Book of Nursery Songs and Rhymes (1895).
REFERENCES
Chappell (PMOT), II, 737-738
Karpeles (EPS), II, No. 344
Kidson (FSNC), 2-3
Kidson (TT), 158-159
Moorat, 5
Opie, 388-389
Wier (YAM), I, 44
Williams (FSUT), 90
The Jolly Jester ( Version A)
I love sixpence, pretty little sixpence,
I love sixpence better than my life.
I spent a penny of it, I lent another,
And I took four pence home to my wife.

MB
Song Texts
2942
0, ay jolly fourpence, pretty little fourpence,
I love fourpence better than my life.
I spent a penny of it, I lent another,
And I took twopence home to my wife.
0, my jolly tuppence, pretty little tuppence,
I love tuppence better than my life.
I spent a penny of it, I lent the other,
And I took nothing home to my wife.
0, my jolly nothing, my pretty little nothing—
What will nothing buy for my wife?
I have nothing, I spend nothing,
I love nothing better than my wife.
Version B
I love a jolly shilling,
I love a jolly shilling,
I love a jolly shilling
As I love my life;
A penny for to spend,
A penny for to lend,
And tenpence carry home
To my wife, wife, wife.
A pint nor a quart won't grieve me,
Nor false young girl deceive me:
Here's to my wife who will kiss me
When I come rolling home 0
*********************************************

No. 921
JOLLY OLD ROGER
also known as
Chee wang, Ghee 7/ang
Johnie o' Rogers

MB
Song Texts
2943
Johnnie O'Rogers
Roger the Tinker Man
The Tinker's Song
The Tin Maker Man
This old English song is in the Percy Society's Early
English Poetry and Ballads , I, 155 and Thomas D'Urfey'
Songs Coraoleat , p. 9. Versions have been reported in
the United States from various areas, such as New Eng
land, the Middle ’.Vest and the Ozarks.
REFERENCES
Brewster (BSI), 318
Broadwood (ECS), 54
Doering, 75
Flanders (VFSB), 171-173
Linscott, 222-224
Randolph, III, 262
Siegmeister, 83-85
Thomas (SG), 16-17
Young (SS), 88
Jolly Old Roger
There's jolly old Roger, the tin-maker man,
Who lived in a garret of New Amseterdam,
And showered down blessings like rain in the
spring.
Oh! gather and listen—of him I would sing.
There never was yet a boy or a man
Who could better mend tin kettle or pan,
Or bucket, or skimmer, or dipper or can,
Than jolly old Roger, the tin-maker man!
Chorus
Chee wang! Chee wang! Chee wang! Chee wang!
Te-rattle! Te-rattle! Te-rattle te-bang!
Now he had a bald head as smooth as your nose,
And buying his stockings he never bought hose;
He had just one leg so he wore just one shoe,
And stumped 'round his store 'til he wore the
• floor through.

MB
Song Texts
2944
Now jolly old Roger was known as "four eyes,"
The "specs" he wore were of an uncommon size;
His nose, like a strav/berry, rosy and red,
Was a "snuffer" all day and a bugle in bed.
But jolly old Roger he soon passed away,
The "nippers" of death nipped his life thread
one day;
In yonder old churchyard they trampled him in—
Poor jolly old Roger, a mender of tin.
***********************************

No. 922
THE JOLLY ROVER
also known as
Here Comes Someone A-Roving
This is an English game song that developed many versions
and variations over the years. It is similar to several
other well-known game songs, such as Knights A-Riding (se
in MB).
Two versions (A & B) given below are representative of
the much larger number in circulation and in print.
Version B is an American version of the English Here
Comes a Lusty Wooer (see Gomme, I, 202-203), which be
gins:
Here comes a lusty wooer,
My a dildin, my a daldin;
Here comes a lusty wooer,
Lily bright and shine a f .
Other similar games are known as Here Comes One Virgin ,
the Jolly Hoooer , and Three Dukes.
All these games are played in more or less the same man
ner, and to song texts that have quite a lot in common.
The major differences are in the names of the principals,

MB
Song Texts
2945
such as Dukes, Virgin , Hooper , Wooer , Rover ,
etc.
s
As given here, Version A is English and Version B is
American. Por other versions, see Arnold, 150 and
Gomme, I, 293-294.
The Jolly Rover ( Version A)
Here comes a jolly rover, jolly rover, jolly rover,
Here comes a jolly rover, a-roving all day.
0 what do you rove for, rove for, rove for,
0 what do you rove for, all dressed up and smiling?
I rove for my pleasure, my pleasure, my pleasure,
I rove for my pleasure, all dressed up and smiling.
0 what is your pleasure, your pleasure, your pleasure,
0 what is your pleasure, with your eyes all smiling?
For you and I to marry, to marry, to marry,
Por you and I to marry, my dear and my darling.
Version B
Here comes someone a-roving, a-roving, a-roving,
0 who here comes a-roving, ransom, scamson, biddy dee-oh!
Why are you here a-roving, a-roving, a-roving,
Why are you here a-roving, ransom, scamson, biddy dee-oh?
I’m roving to get married, get married, get married,
I’m roving to get married, ransom, scamson, biddy dee-oh.
You’d better keep a-roving, a-roving, a-roving,
You’d better keep a-roving, ransom, scamson, biddy
dee-oh.
*************-#•******•*-*•*-**-*■*****•*■**

MB
Song Texts
2946
il

No. 923
THE JOLLY SAILORS
also known as
Here Comes Pour Jolly
Sailor Boys
Here Comes Our Jolly,
Jolly Sailors
Jolly Lads, Bold
Jolly Sailor Girls
The Sailor Boys
Tailor Boy
There Came One Jolly
Jolly Sailor Boy
Three Jolly Sailors
An old English ’'ring” or "kissing” type game song that
crossed the Atlantic during colonial times and became
a play-party piece. Newell was of the opinion that this
is "a relic of antiquity," perhaps derived from a round
in Chappell (PMOT), I, 77 (reproduced from Leuteromelia .
1609), which begins:
We be three poor mariners,
Newly come from the sea 3 ;
We spend our lives in jeopardy,
While others live at ease.
Botkin found a play-party version called Jolly Sailor
Girls, Babcock recovered a version called Tailor Boy .
while other versions have anywhere from "one" to "four"
sailor boys.
REFERENCES
Babcock, 253-254
Botkin (APPS), 221-222
Douglas, 81
Gomme, I, 294-296
Hamilton, 301-302
Heck, 24-25
Newell, 124
Northall, 369
The Jolly Sailors
Here comes some jolly, jolly sailor boys,
Who lately came ashore;

MB
Song Texts
2547
They spend their time in drinking wine,
As they have done before.
0, we will have a jolly, jolly whirl,
As long as we’re ashore;
And he who wants a pretty girl
Must kiss her like before.
We will have a round, a round, a round,
We will have a round, a round, a round;
And he who loves a pretty girl
Must kiss her on the ground.
*******************************

No. 924
JORDAN I
also known as
Jordan Am, or, Is a Hard Road to Travel
Source Song. Tune and form have served other songs, many
of which are rcognized folk songs. The tune was usually
"borrowed" and new words were written to natch it.
First published in 1852 as a Dan Emmett song, Jordan I
became popular and financially successful. Later, the
song was credited to other composers who could not have
possibly written it.
An early adaptation, Slavery Is A Hard Foe To Battle,
sung by the Hutchinson Family, may be seen in broadside
form at the Baker Library, Dartmouth College. The tune
was also used for California Bank Robbers and California
Humbugs (see both in MB).
For a parody, see Jordan II immediately following the
song below.
REFERENCES

Song Texts
MB
2948
Chappie (HS), 136-137
Ford (TMA), 390
Keach, 21
Levy, 130-131
Nathan, 335-339
Jordan I
I came down to old New York, to pass the time away,
I traveled o’er the Russ pavement accordin’;
Dey gwine to have it finished when the City Hall hell
Sounds over the other side of Jordan.
Chorus
I took off my coat, and roll up my sleeve,
Jordan is a hard road to travel;
I took off my coat, and roll up my sleeve,
Jordan is a hard road to travel.
Then I look to the North, and I look to the East,
And I holler for the oxcart to come on,
With four gray horses a-driven on the lead,
To take us to the other side of Jordan.
Clem in the hayloft, try’n to get asleep,
Massa John went out to haul urn;
He hit him on the head with a bar of soft soap,
And it sounded on the other side of Jordan.
I went and made a banjo, so well I kept it strung,
And ranged all my music now accordin';
I played up a tune call'd "Go it while you're young,"
And they sing it on the other side of Jordan.
*****************-****-************-

No, 925
JORDAN II
also known as
The Other Side of Jordan
T’other Side of Jordan

MB
Song Texts
2949
This is a parody of the preceding song, Jordan I. For
yet another parody, see Hooos, M£ Dears ? in Ford (TMA),
447.
Other versions of this parody are in Ford (TMA), 82,
400 and Randolph, II, 390.
Jordan II Time: Jordan I
I Just arrived in town to pass the time away,
And settle all my business accordin';
But the weather turned so cold I heard a fella say,
"I wish I was on t'other side of Jordan.”
Chorus
Take off your coats, boys, and roll up your sleeves,
For Jordan is a hard road to travel;
So take off your coats, boys, and roll up your sleeve
For Jordan is a hard road to travel.
I looked off to the Bast, I looked off to the West,
And I saw an old-time miser a-comin';
With his four bay horse hitched up to a chest,
To haul his money to t'other side of Jordan.
0, David and Goliath they both had a fight,
And the Devil he came and slipped up behind urn;
David hit Goliath with all of his might,
And it sounded on t'other side of Jordan.
********************************* *♦**.*

No. 926
JORDAN'S RIVER
also known as
'Tis Jordan's River
An American slave spiritual from the singing of the
original Fisk Jubilee Singers. See Marsh (SJS), 214.

ME
Song Texts
2950
Jordan * s River
Am I a soldier of the Cross? Yes, my'Lord!
Or must I count this soul as lost? Yes, my Lord!
Chorus
It*s Jordan river, and I must go ‘cross (3)
Poor sinner, fare you well.
As I go down the stream of time, Yes, my Lord!
I leave this sinful world behind, Yes, my Lord!
Old Satan thinks he‘11 get us all! Yes, my Lord!
Because in Adam we did fall. Yes, my Lord!
If you wanna see old Satan run, Yes, my Lord!
Just shoot him with a Gospel-gun! Yes, my Lord!
*************•**•****•#■•*•**•*■*•*■■*■*■*•*■**•*■*■*

No. 927
JORDAN'S STORMY BANKS
also known
Bound For the Promised Land
The Heavenly March
I Am Bound for the Promised
Land
I'm Bound for the Promised
Land
Jordan's Shore
On Jordan's Stormy Banks
On the Other Side of
Jordan
The Promised Land
Rivers of Delight
Sweet.Prospect
To Welcome Trav'lers Home
The hymn On Jordan* s Stormy Banks I Stand by Samuel
Stennett (1727-1795) inspired many songwriters. The
first stanza of Stennett*s song shows up in at least
four variations, combined with refrains contributed
by as many writers. All four variations are given here
as versions A, B, C & D, though each is a composition
in its own right.

MB
Song Texts
2951
Variated versions are in many old-time hymn books, in
cluding Good Old Songs , p. 512; Gospel Hymns Consoli
dated , p. 303; Harp of Columbia , pp. 47, 56; Hesperian
Harp, p. 154; Original Sacred Harp , p. 486; Sacred Harp ,
p. 128; Social Karp , p. 114; Southern Harmony , p. 51;
and Western Psalmodist , p. 53.
As Jackson remarked, the tune of version A is similar
to that of the English folk
for a Sailor.
refere;
Arnett, 98
Ballanta, 37
Brown, III, 629-630; V,
367-368
Chappell (FSRA), 152
Cobb (SH), 220
Downes, 102-103, 120-121
Glass (SW), 12-13
Jackson (BES), 115-116
Jackson (SPS), 8, 238
Jackson (WHS), 208
Jackson (WSSU), 137
ballad, I * 11 Go and Enlist
CES
Lloyd, 58-59
Lomax (USA), 350
Mackenzie (SH), 250
McCurry, 114
McDowell, 59, 76
Pound (SFSN), XVIII, No. 1
Randolph, IV, 62
Silverman, II, 85
Thomas (DD), 116-117
White & King, 128-
Jordan* s Stormy Banks ( Version A)
On Jordan’s stormy banks I stand
And cast a wishful eye,
To Canaan's fair and happy land,
Where my possessions lie.
Chorus
I am bound for the Promised Land,
I'm bound for the Promised Land!
0, who will come and go with me?
I'm bound for the Promised Land.

MB
Song Texts
2952
Soon will the Lord my soul prepare
For joys beyond the skies,
Where never-ceasing pleasures roll,
And praises never die.
VERSION B
also known as
Rivers of Delight Sweet Prospect
This is a folk version of the hymn written
by Samuel Stennett and set to music by John
B. Dykes. Versions are in Davisson (SKE), 86;
Jackson (SFS), 115; McCurry, 166; Methodist (1),
435; Psalmist, 1173d Hymn; and White & King, 65.
On Jordan's Stormy banks I stand
And cast a wishful eye,
To Canaan's fair and happy land
Where my possessions lie.
Chorus
0, transporting rapt'rous scene
That rises to my sight,
Sweet fields arrayed in living green,
And rivers of delight.
There generous fruits that never fail
On trees immortal grow;
There rocks and hills and brooks and vales
With milk and honey flow.
When shall I reach that happy place
And be forever blest?
When shall I see my Father's face
And in His bosom rest?

MB
Song Texts
2953
VERSION C
This version appeared in the Baptist Harmony of
1834 under the title, The Heavenly March . It is
also known as To Welcome Trav'lers Home.
On Jordan’s stormy banks I stand
And cast a wishful eye,
To Canaan's fair and happy land,
Where my possessions lie—
To see the righteous marching home,
And the angels bid them come,
Where Jesus stands a-waiting
To welcome trav'lers home.
To welcome trav'lers home,
To welcome trav'lers home,
Where Jesus stands a-waiting
To welcome trav'lers home.
VERSION D
This version appeared in The Revivalist (1868,
1872), p. 465 under the title: On the Other
Side of Jordan . It appeared in White & King,
p. 117 as Jordan 1 s Shore.
On Jordan's stormy banks I stand
And cast a wishful eye,
To Canaan's fair and happy land,
Where my possessions lie,
On the other side of Jordan, hallelujah!
Chorus
On the other side of Jordan, hallelujah!
On the other side of Jordan, hallelujah!

MB
Song Texts
2954
No chilling winds, no poisonous breath
Are on that healthy shore;
And sickness, sorrow, pain and death
Are felt and feared no more.
•*•»*** •*■*•*** *************************** ******

No. 928
JOSHUA EBENEZER FRY
also known as
Giddap, Napoleon! My Song Joshua Wal, I Swan!
This is an old song that has managed several spurts of
popularity. During the 1920s and '30s it was country
music performers who kept the song alive by featuring
it on daily radio programs. During the late 1940s and
early *50s it was revived by the new breed of "pop-folk”
singers. A group called The Kingston Trio performed
a version on Capitol Records that attained considerable
popularity.
REFERENCES
Ford (TMA), 273-276
Kennedy (AB), 110-112
Kennedy (TAB), 338-340
Queries (2-5-39)» 31
Roberts (IP), 299-301
Shay (PF-1), 117-119
Shay (PF-3), 64-65
Joshua Ebenezer Fry
I'm the Constibule of Pumpkinville,
Just traded horses at the mill;
My name's Joshua Ebenezer Fry.
I know a thing or two, you bet your life I do!
You can't fool me 'cause I'm too darn sly.
Chorus

Song Texts
2955
Wal, I swan! I must be gettin 1 on.
Giddap, Napoleon! It looks like rain.
1*11 shoot a hawk! If the critter didn't walk,
1*11 lick Jed Hawkins, sure as Joshua's my
name.
I went to the County fair
Met a city slicker there;
He says: "Gimme two tens for a five."
I says, "You dern'd fool, I be the Constibule!
Now you're arrested, just as sure as you're
alive."
Chorus
Wal, I swan! I must be gittin' on.
Giddap, Napoleon! It looks like rain.
1*11 bet two bits the money's counterfit—
That the fella gimme cornin' down on the train,
I hitched up the old mare,
Drove 'er to the County Fair,
Took first prize on a load of squash.
I got so darn'd full, I went and sold the red bull
And give away the cow that wore the silver bell.
Chorus
Wal, I swan! I must be gittin' on.
Giddap, Napoleon! It looks like rain.
I'll be dern'd if the butter ain't churn'd!
Now we'll have some buttermilk, or Josh is not
my name.
I got home so dern'd late,
Couldn't find the barn gate.
Ma says: "Joshua! is it possible?
You are a disgrace. You ought to go and hide
your face!
I never seed such actions for to be a Constibule."

MB
Song Texts
2956
Chorus
Wal, I swan! I must he gittin' on.
Giddap, Napoleon! It looks like rain.
1*11 he switched, and the hay ain't pitched!
Drop in when you're over to the farm again.
******************************************

No. 929
JOSHUA PIT THE BATTLE OP JERICHO
This spiritual is still popular with singers and audiences
of all kinds. It can he quite stirring when sung hy three
or more singers who know what they're doing.
The tune was borrowed and used for The Berlin Wall (see
Carawn, 154) hy the Selma, Alabama "Freedom Movement."
REFERENCES
Agay (1), 55
Leisy (SPS), 197
Lomax (USA), 374-375
Mackenzie (SH), 110
Seeger (6), 37
Silverman, II, 95
Whitman, 15
Chambers (TNS), 52-54
Downes (1943), 194
Johnson (BANS), 56-58
Leisy, 198
Leisy (LAS), 140-141
Joshua Fit the Battle of Jericho
You may talk about your kings of Gideon
You may talk about your men of Saul,
But there's none like good old Joshua
At the battle of Jericho.
Chorus
Joshua fit the battle of Jericho
Jericho, Jericho,
Joshua fit the battle of Jericho,
And the walls came tumblin' down!

MB
Song Texts
2957
Well, the good Lord told ol' Joshua,
"You gotta do ev*ry thing I say:
March around that city sev'n times,
An' the walls will tumble away!"
Well-a up to the walls of Jericho,
He marched with a spear in his hand;
"Now-a go and blow them ram horns,
And-a turn them walls to sand!"
Well-a them ram horns began to blow,
And the trumpets began to sound,
And the children started to shout,
'Cause-a them walls came tumblin' down!
***************************************

No. 930
THE JOYS OF MARY
also known as
The Seven Blessings of Mary The Ten Joys of Mary
The Seven Joys of Mary The Twelve Blessings of
The Ten Days of Mary Mary
The Twelve Joys
This is an old English carol of numbers that is widely
known in America. The theme, however, is much older
than the carol as we now know it. The number of bless
ings , or .joys , has increased over the years from five
to the current twelve, as author after author took up
the theme.
REFERENCES
Bramley, 28-29 Cox (FSS), 409-410
Brown, II, 206-208; IV, Creighton (MFS), 172-175
128 Creighton (TSNS), 275-278
Bullen, 155 Flanders (BMNE), 211-213

MB
Song 'Texts
2958
Flanders (NGMS), 185-187
Husk, 87-88
Ives (SB), 16-17
Jour (API), V, 325
Jour (PSS), V, 18-21,
319; XII, 24
Lloyd (PSE), 117-118
Lomax (FSNA), 244
Newell (OSS), 325
Quarterly (SPL), IV, 161
Quiller-Couch, 443-445
Roberts (IP), 258-260
Sandys, 157
Sharp (EFC-1), 33
Sharp (PSPS), V, 65
Shaw & Dearmer, 56
Silverman, I, 333
Sylvester, 132-133
Wells, 201
The Joys of Mary
The first great joy Mary had,
It was the joy of one—
To see her own son Jesus
To suck at her own breast bone;
To suck at her breast bone, good man,
How happy may you be—
0 Father, Son, and Holy Ghost,
And Christ to eternity.
The next great joy that Mary had,
It was the joy of two—
To see her own son Jesus
To make the lame as new;
To make the lame as new, good man,
How happy may you be—etc.
The next great joy that Mary had,
It was the joy of three—
To see her own son Jesus
To make the blind to see;
To make the blind to see, good man,
How happy may you be— etc .

MB
Song Texts
2959 •
The next great joy that Mary had,
It was the joy of four—
To see her own son Jesus
To read the Bible o'er;
To read the Bible o'er, good man,
How happy may you be— etc♦
The next great joy that Mary had,
It was the joy of five—
To see her own son Jesus
To bring the dead alive;
To bring the dead alive, good man,
How happy may you be—etc.
The next great joy that Mary had,
It was the joy of six—
To see her own son Jesus
To bear the crucifix;
To bear the crucifix, good man.
How happy may you be— etc .
The next great joy that Mary had,
It was the joy of seven—
To see her own son Jesus
To wear the crown of Heaven;
To wear the crown of Heaven, good man,
How happy may you be— etc .
The next great joy that Mary had,
It was the joy of eight—
To see her own son Jesus
To make the crooked straight;
To make the crooked straight, good man,
How happy may you be— etc.
The next great joy that Mary had,
It was the joy of nine—

MB
Song Texts
2960
To see her own son Jesus
Turn water in to wine;
Turn water into wine, good man, .
How happy may you be— etc .
The next great joy that Mary had,
It was the joy of ten—
To see her own son Jesus
Bring up ten gentlemen;
Bring up ten gentlemen, good man,
How happy may you be— etc .
**************************************

No. 931
JUBA
This minstrel—show song is more than likely a rewrite
of a folk piece. A version is in White’s New Illustrat
ed Melodeon Song Book (New York, 1848). The same was
reprinted in Christy and Wood’s Melodies (c. 1854), p.
72. Southern blacks told Scarborough the original was
an old African chant. For a folk variation, see Dinky
in Randolph, II, 337. Also see Old Aunt Kate in this
Master Book.
A modern version is in W. C. Handy’s A Treasury of the
Blues (New York, 1926), p. 44. For a ’’Freedom Movement
adaptation, see Carawan, p. 116.
REFERENCES
Botkin (SFL), 708
Nathan, 443-446
Parrish, 116
Scarborough (NFS), 98-99
Seeger (1), 91
Talley, 9
White, 163
Juba

MB
Song Texts
2961
Juba this an* Juba that,
Juba chased a yellow cat.
Juba up an' Juba down,
Juba runnin' all thro' town.
Juba this an' Juba that,
Round the pot of possum fat;
Hoop a-hoy, a-hoop a-hoy,
Double step for girl and boy.
Make the fire an* make it hot,
Potch along the water'n pot.
Don't you see ol' Granny Grace
’Lookin' ugly in the face?
Bile the beef, give me the bone,
Give me a kick an' send me home.
Bake the bread, give me the crust,
Shuck the corn, give me the husk.
Peel the tater, eat the skin,
An' that's the way she sucks me in.
Juba this an' Juba that,
Juba chased the yellow cat.
************************************.*

No. 932
JUDAS AND JESUS
Most writings about Judas Iscariot are largely speculative
What we know of him is given in the New Testament, and
that isn't very much. The ballad below came down from
the 13th century; it gives many details not mentioned
in the Scriptures, such as Judas' sister, the talk with
Pilate, and the loss of the pieces of silver paid to him
for betraying Jesus. It is interesting to note that
Judas was the only disciple whose name was not changed

MB
Song Texts
2962
from native spelling to a Greek equivalent.
Judas is considered by some to be the oldest narrative
"in English composed in the ballad manner.’* A copy is
on file in a 13th century MS., at Trinity College,
Cambridge, B. 13. 39.
The Judas piece in Henry (FSSH), 416 is a version of
Were You There? (see in MB) and is not related to our
two stanza fragment. There is no record of the 13th
century ballad in its entirety in American tradition.
REFERENCES
Child, I, 242-244 Leach (BB), 108
Friedman, 56-58 Niles (BB), 90-97
Houseman, 67-70 Quiller-Couch, 425-426
Judas and Jesus
It was in the pleasant month of May,
When Easter time was near,
That Jesus to his followers said,
"I fear my time is near, is near,
I fear my time is near."
Then Judas said, "How near, my Lord,
How near your time, how near?"
"Thou knowest well, dear Judas,
Thou knowest well, I fear, I fear,
Thou knowest well, I fear."
************************************************

No. 933
JUDGMENT DAY IS ROLLING ROUND
also known as
Oh, How I Long To Go
A spiritual sung by black slaves in the South, probably

MB
Song Texts
2963
adapted from a camground hymn. It circulated through
the country as a result of being performed by the
original Fisk Jubilee Singers. For a white campground
version, see There Will Be Mourning in Jackson (SFS),
186.
REFERENCES
Dett, 158-159
Jubilee (PS), 34-35
Marsh (SJS), 149
Pike, 189, 231
Randolph, IV, 22
Judgment Pay Is Rolling Round
I've a good old mother in heaven, My Lord;
How I long to go there too.
I've a good old mother in heaven, My Lord,
0, how I long to go.
Chorus
Judgment, Judgment
Judgment Pay is rolling around.
Judgment, Judgment,
0, how I long to go.
There's no back sliding in heaven, my Lord;
How I long to go there too. - etc .
King Jesus sitting in heaven, my Lord;
How I long to go there too. - etc
There's a big camp meeting in heaven, my Lord;
How I long to go there too. -etc
Hear angels singing in heaven, my Lord;
How I long to go there too. -etc.

MB
Song Texts
2964

No. 934
JULIA GROVER
also known as
Gwine to the Mill
When this song was composed by Jay R. Jenkins and pub
lished by C. Bradlee & Company, Boston, in 1846, it
was called Gwine to the Mill. Popular on mid-century
minstrel stages, it took on folk coloration as the 19th
century came to a close.
A variation, Miss Julie Ann Glover , is in Brown, III,
492 & V, 273.
REFERENCES
Julia Grover
I drove my cart to the mill one day,
I met miss Julia on my way;
She said she wished that she might ride,
And up jumped Julia by my side.
Chorus
Sit down there, Miss Julia Grover!
Never you mind that I’m a rover;
Julia, the .mill is not too far.
I tried to kiss her along the road,
And such a temper fit she throwed;
The mule she bolt, the cart turned over,
An' I lay sprawled with Julia Grover.
She knuckled me on the nose and chin,
And then she kicked me in the shin;
I bopped her one and she fell over,
And there I left miss Julia Grover.

MB
Song Texts
2965
The miller man wears a mealy hat,
He keeps his hogs and his chickens fat;
He used to sing "Hey! Get along!"
But gave it up to sing my song.

No. 935
JXJLIANNA
also known as
Goodbye, Julie
Juley
Juliana 3rown
Julie
Miss Juley
It is suggested that this halyard and stevedore shanty
derives from the preceding song, Julia Grover , but I
fail to see any relationship. It is related, however,
to the children's song, Julie Ann Johnson, which begins:
Julie Ann Johnson, don't you know,
If you don't dress fine you can't
catch a beau?
For versions of Julie Ann Johnson , see Lomax (ABBS), 244
245; Scarborough (NFS), 9; and Seeger (1), 60-61.
For a version of this shanty, see Colcord, 59.
Julianna
0, Julianna, you're my lady!
Oo-oo, Oo-oo, Julie, Julie, Julie,
Here and gone, Miss Julianna Brown!
Hey! sailor, who's your lady?, etc .
Is her name Miss Julianna Brown?
0, who you want to marry? etc .
Walk along, Miss Julianna Brown.

MB
Song Texts
2966

No, 936
JUMP DOWN, WHIRL AROUND
also known as
Pick a Bale a Day Pick a Bale of Cotton Jump Down,
Spin Around
As known today, this song owes its popularity to Harry
Belafonte and other professional folk-singers who sang
it all over the country. For those who wouldn't ordinar
ily know, a full bale of cotton weighs close to fifteen
hundred pounds and there is no record anywhere of anyone
having picked a bale in a day's time,.
REFERENCES
Agay (1), 53
Best, 46
Leisy, 265-266
Lomax (ABFS), 231-233
Lomax (PB), 30
Lomax (USA), 234-235
Scott (BA), 303-304
Seeger (1), 148
Seeger (6), 54
Silber (HSB), 17
Silverman, II, 420
Warner, 51
Whitman, 66
Jump Down, Whirl Around
You gotta jump down, whirl around,
Pick a bale of cotton;
Well, you jump down, whirl around
And pick a bale a day!
Tag Chorus
0 Lordy! Pick a bale of cotton,
0 Lordy! Pick a bale aday!
Two ol' maids a-sittin' in the sand, etc .
Each one a—wishin' the other was a man, etc.

MB
Song Texts
2967
Two ol* maids a-layin' in a bed, etc .
One rolled over, the other one said, etc.
Well, me and my buddy can
Pick a bale of cotton,
And me and my buddy can
Pick a bale a day.
***************************** ************

No. 937
JUMP JIM CROW
also known as
Jim Crow
This is a minstrel-show song credited to Thomas Dartmouth
Rice, writer and performer, and it dates from 1828 or 1829.
The story goes that Tom Rice '’got it from Jim Crow, an old
slave in Louisville, who used to execute a queer dance to
the refrain." Rice rewrote and introduced it in a play
called A Plight to America at the old Bowery Theatre,
in 1832 or 1836 (dependeding upon the reporter), New York.
Elliot Shapiro, co-author of Early American Sheet Music
(1941), told me that the information on p. 32 of that book
was correct: the first edition, containing 19 stanzas, was
published in New York City around 1829 by E. Riley.
The tune owes a clear debt to two other songs: (1) an
English broadside of the 18th century, The Old One Out
witted . and (2) the Irish song, I Wish the Shepherd's
Pet Were Mine (versions of which may be seen in Ashton's
Modern Street Ballads and Joyce's Old Irish Folk Music
and Songs) .
A version by Rida Johnson and Sigmund Romberg was pub
lished by G. Schirmer, Inc., New York, in 1917. Dozens
of rewritten and arranged versions have been published

MB
Song Texts
,2968
in folios and songbooks over the years, but all versions
have retained the text of the original refrain 9
REFERENCES
Agay (2), 64
Ashton (MSB), 349-350
Bass, 427-428
Botkin (APPS), 222-223
Charters, 9-10
Davis (NFSC), 250
Ford (TMA), 83, 424-425
Gaines (SP), 96
Goldberg, 37-38
Harris (URSS), 147
Reach, 58
Lair (SLL), 44
Loesser, 105
Luther, 79-80
Minstrel, 209
Nathan, 171
Negro, 329
Paskman, 11-14
Randolph, II, 323
Scarborough (NFS), 125-127
Talley, 13
White, 162-163, 452-453
Whitman, 157-158
Jump Jim Crow
Come listen all you gals and boys,
I'm just from Tuckyhoe;
I'm gonna sing a little song—
My name's Jim Crow.
Chorus
Turn about and twist about,
An' do jus' so;
And ev'ry time I turn about,
I jump Jim Crow.
One day I went to Louisville,
I didn't mean to stay,
But there I saw so many girls,
I couldn't get away!
And then I went to New Orleans,
And feel so full of fight,

MB
Song Texts
*2969
They locked me in the calaboose
And kept me there all night!
*************************************

No. 936
THE JUNIPER TREE
also known as
Oh! Sister Phoebe
Old Mother Fibbe
Sister Phoebe
That June Apple Tree
Under the Juniper Tree
The Widow with Daughters
Old Sister Phoebe, How
Happy Were We
Presenting a Hat to Phoebe
to Marry
This game song is derived from the English game song,
The Poor Widow (see Gomme, II, 62 & 451). Gomme relates
the game itself to Silly Old Man (see in MB), and
accounts for the various versions by saying they "may
have arisen by girls playing by themselves without
boys."
Sometime during the early part of the 19th century, on
the American frontier, this song was taken over as a
play-party piece by young adults and used as a straight
kissing game. In fact, it was a favorite of young Abe
Lincoln, who was later to write: "A woman is the only
thing I am afraid of that I know cannot hurt me."
In time, the song became popular without the game.
REFERENCES
Ames (MP?), 305-306
Bell, 13-14
Beckwith (FGJ), 59
Botkin (APRS), 312-313
Brown, I, 100
Bulletin (TFLS), XI, 5
Halliwell (NRE), 116
Hamilton, 292, 300
Gardner (SPPG), 107
Glass (SFRF), 52-53
Gomme, II, 452
Champlin, 447

MB
Song Texts
2970
Hoke (listed), 118
Hudson (FSM). 298-299
Hudson (SMFL), 127-128
Jour (AFL), XX, 248; XIIX
Quarterly (SFL), VI, 244
Randolph, III, 339-342
Randolph (OPP), 225-226
Ritchie (F3), 15
Seeger (1), 82-83
Shearin (SKFS), 37
Talley, 140
Van Doren, 489-490
Wedgwood, 272
Whitney & Bullock, 152
Wilson (BA), 81-82
Wolford, 80-81
248-249; LX, 11
Lair (SLL), 23
Mahan, 43-44
McDov/ell (FDT), 14-15
McIntosh (FSSG), 63-64
Morris, 218
Newell, 57-58
Owens (ST), 67
Piper (SPPG), 268-269
The Juniper Tree
Old Sist er Phoebe, how happy were we
The day we sat under the Juniper tree.
The Juniper tree, hi, ho, hi, ho!
The Juniper tree, hi, ho!
I have a young daughter who sleeps upstairs,
And she is forever afraid of the bears.
Afraid of the bears, hi, ho, hi, ho,
Afraid of the bears, hi, ho!
When Bobby came out he brought his long gun,
And swore he would shoot if we did not run.
If we did not run, hi, ho, hi, ho!
If we did not run, hi, ho!
Take this old hat, it will keep your head warm;
And take a sweet kiss, it will do you no harm.
It will do you no harm, hi, ho, hi, ho!
It will do you no harm, hi, ho!

MB
Song Texts
2371
Rise up, dear daughter, and choose you a man!
And choose you the fairest there is in the land.
There is in the land, hi, ho, hi, ho!
There is in the land, hi, ho!
Rise up, young fella, and choose you a wife!
Choose only the fair to share your sweet life.
To share your sweet life, hi, ho, hi, ho!
To share your sweet life, hi, ho!
*****************************************

No. 939
JUST BEFORE THE BATTLE, MOTHER
This was one of the more popular songs during and follow
ing the American Civil War. Written by George F. Root,
the song was sung by civilians and soldiers on both sides
of the conflict. Until the 1940s, the song was a staple
item in folios and music books of the sentimental variety
Its availability in print kept it out of most folk song
collections, but it was encountered as often as any other
song by the collectors.
Like most such songs from the North, this one was quickly
parodied by Southerners (see version B below). As recent
ly as World V/ar I, American soldiers over-seas made yet
another parody (see No. 941 below).
REFERENCES
Chappie (HS), 370-371
Cox (FSS), 277
Dolph, 331-333
Glass (SS-2), 247-248
Grand Army, 16-17
Kennedy (TAB), 165
Luther, 181
Mackenzie (SH), 104
Oberndorfer, 106-107
Pound (SFSNj, X, No. 8
Silverman,'II, 320
Staton, 51

MB
Song Texts
2972,
'' k
Just Before the Battle, Mother
( Version A)
Just before the battle, mother,
I am thinking most of you,
While upon the field we're watching,
With the enemy in view.
Comrades brave are round me lying,
Pilled with thoughts of home and God;
For well they know that on the morrow
Some will sleep beneath the sod.
Chorus
Farewell, mother, you may never
Press me to your heart again;
But, oh, you’ll not forget me, mother.
If I’m numbered with the slain.
Hark! I hear the bugles sounding,
»Tis the signal for the fight;
Now may God protect us, mother,
As He ever does the right.
Hear the ’’Battle Cry of Freedom,"
How it swells upon the air!
Oh, yes, we’ll rally round the standard,
Or we’ll perish nobly there.
Version B: Confederat e Par 00.7
Just before the battle, mother,
I was drinking mountain dew;
When I saw the Rebels marching.
To the rear I quickly flew.
Where the stragglers were flying,
Thinking of their homes and wives—
’Twas not the Eebs we feared, dear mother,
L..t our own dear precious lives.

MB
Song Texts
2973
Chorus
Farewell, mother! you will never
See ay name among the slain.
For if I only can skedaddle,
Dear mother, I'll be home again!
I hear the bugle sounding, mother,
My soul is eager for the fray.
I guess I'll hide behind some cover,
And then I shall be 0, K.
Discretion's the better part of valor,
At least I've often heard you say;
And' he who loves his life, dear mother,
Won't fight if he can run away!
******* ************************ **************

No. 940
JUST BEHIND THE BATTLE, MOTHER
World Jar I parody of the preceding song. Other versions
are given in Dolph, 102-104 and Johnson (BELL), 74, or
140 .
Just Behind the Battle , Mother
Tune: Just Before the Battle, Mother
Just behind the battle, mother,
I am slinking back to you,
For the cannons' rattle, mother,
Makes me fees almighty blue.
I am not so fond of dying
As my comrades seem to be,
So from missiles round me flying
I am slinking back to thee.

No. 941
KANSAS LAND
This is a parody of the 1709 hymn, Beulah Land (see in
MB). Versions A & B are both about Kansas , but there
were other states that served as parodies also. Poking
fun at one's location is an old American custom.
REFERENCES
Koch (2), 13-14 Malone (FB), 143-144
Lingenfelter, 462-463 Pound (STWS), 30-31
Vincent (ALS), 29
Kansas Lend Tune; Beulah Land
Version A
I*ve reached the land of corn and wheat,
Of pumkin pies and taters sweet.
I got my land from Uncle Sam,
And I am happy as a clam.
Chorus
0 Kansas land, sweet Kansas land!
As on my dugout roof I stand,
I look across the plains
And wonder if it never rains;
But as I turn and view my corn,
I think I'll never sell my farm.
When first I came to get my start,
My neighbors they were miles apart;
But now there's one on every claim,
And sometimes three all want the same.
Today, at last, the cars are here!
We've waited for them many a year.

MB
Song Texts
2S76
And won't you with me take a smile?
For I have "freighted" many a mile.
Final Chorus
0 Kansas girls, sweet Kansas girls!
With sky-blue eyes and teeth like pearls!
They sing and at the organ play
Until some dudlet comes that way.
They fly to meet him at the door
And skip with him for evermore.
Version B
I've reached the land of short-grass fine
And sought to make a homestead mine.
The hot wind blows the livelong day,
And all my cash has passed away.
Chorus
Oh, Kansas land! My Kansas land!
As on the dugout roof I stand,
I look away across the plain
And see the corn is needing rain.
I see the "hoppers" flying low,
And feel the burning hot wind blow.
The dust clouds float upon the breeze,
Through drooping corn and wilting trees.
The wheatfields all are lifeless brown;
The sunflower leaves hang limply down.
The ’hoppers come and camp on me.
I know no place from them to flee.
They eat my crops, they eat my shirt;
They leave me naught but sun-dried dirt!

MB
2977
Song Texts
In Kansas Land I'm going to stay,
For all these things shall pass away.
Sure, pleasure follows after pain—
Next spring it's going to rain again*
******* *************** ********* **********

No. 942
KABO TOWN
also known as
Karo Song
This is compounded of several songs. The version in
Scarborough (NFS), 170-171, begins with a stanza found
in The Possum II (in MB). The third stanza in the
version below is almost identical to the 4th stanza in
Baltimore II (in MB;, while the refrain is quite similar
to Stephen Foster’s I_ Hear My True love Cry (in M3).
Karo Town
Once I had a little mule, rode him North an' South;
One day I went to hitch him up, he kicked me in the
mouth!
Chorus
Oh! hear my true love weeping, Oh, hear my true love
sigh;
I*m going down to Karo town, and there I’ll live and
die.
Once I had a little dog, thought he was a hound,
An' every time he struck a trail he nearly quit the
ground.
Once I had a big fine house, sixteen stories high,
An' every story in that house was filled with chicken
Pie.

MB
Song Texts
2978
Once I went to see my gal, took her by the hand,
But nothin* that I had to say came out as I had
planned•
Told that gal how much I cared, begged for her to wed;
She answered me with one sweet kiss which almost killed
me dead.
************************ ******* ******

No. 943
KATE KEARNEY
also known as
The Beardless Boy The Kate Kearney Waltz
An Irish song that has been popular in American tradition
for more than a century. The text was written by Lady
Morgan, who, as Sidney Owenson, achieved recognition with
her story, The Wild Irish Girl. She set the words of
her song to an older Irish air known as The Beardless
Boy. Samuel Lover used the same air for his Oh, Did
You Ne * er Hear of the Blarney? , which may be seen in
Moffat (MI), 178.
An instrumental dance version of this song is in Ford
(TKA), 138. For versions with both words and music, see
Johnson (PS), 418; Moffat (MI), 180; and O'Conor, 17.
Kate Kearney
Oh, did you not hear of Kate Kearney?
She lives on the banks of Killarney;
Prom the glance of her eye, shun danger and fly,
Por fatal*s the glance of Kate Kearney.
For that eye is so modestly beaming,
You ne'er think of mischief she's dreaming;
Yet, oh! I can tell how fatal the spell
That lurks in the eye of Kate Kearney.
*********** *****★***-*****

MB
Song Text3
2979

No. 944
KATE'S DECEPTION
also known as
The Clothier
Crafty Kate of Colchester
Kate and Her Horns
Kate and the Clothier
Kate and the Cowhide
Poor Nell and the
Chimney Sweep
Young Kate
According to Ehsworth (RB), VIII, 430, this song is a
reprint of a broadside issued by John White, Newcastle-
on-Tyne, in 1689. It is also similar to The Jealous
Husband Outwitted in Logan, 384-387.
The song was frequently published in America throughout
the 19th century, including an 1813 broadside issued by
Coverly in Boston.
Whatever popularity it enjoyed during the 19th century,
itfe distribution in the 20th century continues to fade.
REFERENCES
Belden (BS), 231-232
Cazden, II, 90-91
Combs (FSMEU), 157-158
Combs (FSUS), 137-138
Hubbard, 111-113
Karpeles (EFS), II, No. 221
Mackenzie, 325-327
Mackenzie (QB), 146-149
Sharp, I, 405-406
Shearin (SKFS), 30
Songster (62), 145-147
Songster (63), 14
Songster (84), 325-326
Songster (126), 145-147
Kate * s Deception
Come, all you fellows, and I'll tell
About a girl that I knew well;
The girl was young, the girl was fair,
And her name was Kate O'Dare.
A lawyer came and courted her,
And tried her favor to incur;

M3
Song Texts
2980
And when he gained young Kate*s consent,
He straight to another went.
She never spoke to friend nor foe,
Nor did she let her parents know;
She went down to the Tannery,
The old tanner for to see.
Prom him she got an old cowihide,
With horns attached both long and wide;
She wrapped it ‘round her, all about,
Then in earnest started out.
She hid herself near close of day,
To wait the lawyer bound that way;
When after him she did pursue,
He cried, “God! what shall I do?"
Kate seized him by his tailored coat,
And with a sad and doleful note,
Said: “You have left young Kate, I hear,
For to court another dear."
He cried, ”0 devil, spare me now,
And I shall keep my former vow."
"I'll see to that," young Kate replied,
And smiled within the old cowhide.
She told it not to friend nor foe,
Nor did she let the lawyer know,
Until three years they married were—
Then she told him it was her.
It pleased the lawyer in his heart,
He said she'd played a clever part;
He told her with a happy smile,
"I really knew it all the while."
***************************

MB
Song Texts
2981

No. 945
THE KATIE AND THE JIM LEE I
(The Katie and the Jim Lee Had a Little Race)
This and the following song are about the same two river
boats, the Kate Adams and the James Lee ♦ According to
Wheeler (SD), 56, these bots, both side-wheelers, were
favorite packets, and for a time had overlapping trades
in the Mississippi. There is no record however of any
formal race between the two boats.
The Katie and the Jim Lee I_
Katie an' the Jim Lee had a little race,
Katie throwed water in the Jim Lee *s face,
0 babe®
Way down the rivuh, jes' as fur as I kin see,
Don't see nothin' but the Cherokee, 0 babe.
I told my woman when I left this town,
Been a good wagon but I done broke down, 0 babe.
What kind o' shoes do my sweet Ella wear?
They cost four dollars and a half a pair, 0 babe.
I know dang well she's real mad at me,
I won ten dollars an' didn't give her but three,
0 babe.
Hear a boat a-conin', an* I look to see—
Only thing movin' was the ol' Jim Lee, 0 babe.
Told my woman 'fore I left this town,
Jus' be at the Levee when the Katie comes down,
0 babe.
*****#***-*■#-**-* **************

MB
Song Texts
2982

Ho. 946
THE KATIE AND THE JIM IEE II
( Katie and the Jim lee Had a Race)
This is another song about the same two packets mention
ed in the preceding song.
The Katie and the Jim Lee II
Katie and the Jim Lee had a race,
Ah, that same song:
Katie throwed water in the Jim Lee * s face!
Ah, that same song.
Tain*t no lie, tain’t no tale,
Ah, that same song:
Katie made the Jim Lee leave her mail,
Ah, that same song.
**************** ************************ *

Ho. 947
KATIE MOREY
also known as
Kitty O’Noory
A Man and a Maid
The Shepherd's Son
The Shepherd’s Song
The Shrewd Maiden
The Defeated Knight
The Foolish Maiden
The Foolish Shepherd
Katey Morey
Kitty O’Morey
A song with the same story theme as The Baffled Knight
(see in M3). Story similarity explains why, in some
collections, this song has been listed as a ’’secondary
Child ballad.” The story is an ancient one in folk
lore, so it is not surprising that similar ballads
are known in most European countries.
REFERENCES

MB
Song Texts
2983
Barry (BBM), 454-456
Beck (FLM), 111-112
Cazden, II, 32-34
Child, II, 479-493
Coffin, 104
Creighton (TENS), 63-65
Eddy, 64-65
Flanders, III, 89-99
Gardner (3SSM). 393-394
Greig & Keith, 90-92
Jour (AFL), XXXV, 385-387;
XLIX, 232-233
Laws (A3), 215
Moore (BFSS), 84-86
Motherwell, 410
Peacock, I, 272-275
Percy (RASP), II, 336-342
Sharp, II, 119-121
Shoemaker (LIMP), 130-132
Katie Morey
All you young and foolish men,
Listen to my story;
Tell you how I fixed a plan
To fool miss Katie Morey.
Chorus
Come a too do ride, 0, too do rig,
Come a too do ride, 0 dandy;
I'll tell you how I fixed a plan
To fool miss Katie Morey.
I told her that my sister Lil
YTas waiting in the bower
And wanted her to come that way,
To spend one happy hour.
But when I got her to the spot,
I said, "There's no time to flatter.
I brought you here to have you, dear—
So what about the matter?"
She did not seem to be displeased,
And said, "I've no fear at all, sir;

M3
Song Texts
2984
But father soon will pass this way,
And he 7/ill surely call, sir.
"If you will go and climb yon tree,
'Til he has passed this way,
We will gather grapes and plums,
And then we'll sport and play."
So off I went and climbed the tree,
And did not feel offended
When Katie came and stood beneath,
To see how I ascended 0
When at last I reached the top,
I found myself alone, sir;
She said, "You wait 'til Papa comes,
And I'll run quickly home, sir!"
Well, one, two, three, down that tree
I came with quite a bound, sir;
But Katie was nearly out of sight
Before I hit the ground, sir.
Now that is all that I recall,
And I've grown tired of rhyming;
But let me say that Kate Morey
Still makes me think of climbing.
*************************************

No. . 948
KATIE'S ROMANCE
also known as
The Hawthorne Tree Katie's Secret
Kate and Willie Weeping Kate
Katie and Willie Willie and Kate
^ 0 ^l—known throughout the United Spates during the l^tn
century, this song is thought by some to be of American

MB
Song Texts
2985
Oh, mother, to Jim I f m the dearest,
And I want to be at his side;
He told me he. loved me last evening,
And I promised to be his bride.
********************************

No. 949
KATY CRUEL
also known as
Katie Cruel The Roving Jewel
This popular ’’blue grass” song was imported from Eng
land prior to the American Revolution. We know it was
used as a marching song by George Washington’s troops„
REFERENCES
Edwards (CHSB), 70
Flanders (VFS3), 123
Linscott, 225
Lloyd, 14-15
Lomax (PB), 33
Robinson (YF), 100-102
Scott (BA), 50-52
Silverman, II, 352
Katy Cruel
When I first came to town,
They called me ’’the Roving Jewel;”
Now they’ve changed their tune,
And call me Katy Cruel.
Oh, dilly, dilly day,
Oh, delilleety oh day!
Oh, if I were where I would be,
Then would I be where I am not;
Here I am where I must be—
7/here I would be, I am not?, etc .
****#*******-**■***-■*•-*■*■***

MB
Song Texts
2986
origin. It was No. 4 in Wehman's Irish. Song Book, p.
74, which could very well be an indication that the
song originated in Great Britain. In the numerous
versions I have seen the tune shows more variations
than the text.
REFERENCES
Pound, 198-200
Pound (SFSN), XIV, No. 13
Randolph, IV, 293-294
Stout, 69-70
Belden (BS), 215
Brown, II, 437
Hubbard, 139
Jackson (WSSU), 271
Katie's Romance
Last night I was weeping along, mother,
Last night I was weeping alone;
The world was so dark and so dreary,
My heart grew as heavy as stone.
Jim Wilson came down to the gate, mother,
Jim Wilson came down to the gate;
He asked me to walk in the moonlight,
And whispered, "I’m fond of you, Kate."
We strolled for awhile in the moonlight,
Then stopped by that old white oak tree;
Oh! mother, I wonder if ever
A girl was as happy as me!
Now, mother, I'll gather red roses,
To twine in my long braided hair;
When Jimmy comes down in the evening,
He'll find me both willing and fair.

MB
Song Texts
2967

No. 950
THE REACH IN THE CREEL
also known as
Bonnie May
The Covering Blue
The Creel
The Cunning Clerk
The Little Scotch
Girl
This song was apparently printed in Great Britain for
the first time during the 1820s. As a fabliau , however,
it dates back to at least the 14th century.
REFERENCES
Ford (VSBS), 277
Greig & Duncan, No, 317
Greig & Keith, 230-233
Kinloch (B3), 61
Kinioch MSS, I, 276
Kinsley, 631-634
MacColl, 19
Sedley, 20-22
Seeger (4), 116-118
Stokoe, 22-23
Barry (BBM), 336-339
Bell (ARBS), 75
Bruce, 82
Buchan (ABS), I, 278-280
Cazden, II, 10-11
Child, V, 121-125, 424
Coffin, 150-151
Dean-Smith, 82
Dixon (ARBS), 112
Flanders, IV, 136-138
The Reach in the Creel
A fair young maid went up the street,
To buy some fish to fry;
And the handsome clerk fell in love with her,
And he followed her by and by;
And he followed her by and by,
"Where do you live, my bonnie lass?
And let your words be true.
When the moon is up and the night is dark,
I will visit awhile with you," (2)

m
Song Tests
2988
^Jdy father locks our door at night.
My mother keeps the key;
Even tho' you are more than clever, sir,
You could not get inside to me.” (2)
The clerk he had one true "brother,
A. clever man was he,
And he made him a long, long ladder,
Of some thirty steps and three. (2)
He made a cleek-hut and a creel,
A. creel-but and a pin;
; v
Then he climbed up to the chimney-top,
And he let the handsome clerk in. (2)
The mother, who was not asleep,
Heard something that was said:
"I will bet my life,” cried the mother then,
"There’s a man in our daughter's bed!" (2)
The father he got out of bed,
To see if it were true;
But she took the handsome clerk in her arms,
And she covered him o'er with blue. (2)
"0 what is wrong, father?" she said,
"0 tell me, I entreat!
You have disturbed me in my evening prayers,
And oh! but they were sweet." (2)
"0, ill betide you, silly wife!
How foolish can you be?
She has the Holy Book in her arms,
And she's praying for you and me." (2)
The mother she got out of bed,
To see if it were true;

MB
Song Texts
2989
And the thing she saw gave her a fit,
And into the creel she flew. (2)
The man who was at the chimney-top,
He thought his friend was through,
And he wrapped the rope ‘round his left
shoulder,
Then fast to him he drew. (2)
He towed her up and he towed her down,
And twice he let her fall;
And every rih in the woman’s side
Played nick-nack on the wall! (2)
Here’s to the "blue, bonny, bonny blue,
And we wish the blue does well,
While every woman jealous of her own daughter
Might fall into the creel! (2)
***************************

No. 951
THE KEEL ROW
also known as
As I Came Thro' Sandgate 0 Weel May the Keel Row
Lightly May the Boat Row Smiling Polly
Oh, Who is Like My Johnnie? Through Sandgate
Weel May the Keel Row
This song has been claimed by both the English and the
Scots. According to Cole, the song first appeared in
print about 1770. Chappell (OEPM) refers to Thompson's
200 Country Dances, II, p. 63-a work that was publish
ed in 1765— where he found it under the title Smiling
Polly (see version B below). The word "keel" comes from

MB
Song Texts
2990
just below the Scottish border, along the Tyne River,
where it means "boat" in that area's dialect. In some
American versions, the line "weel may the keel row”
reads "light may the boat row” (see version A below) 0
REFERENCES
Chappell (OEPM), II, 185 Johnson (FS), 428-429
Chappell (PMOT), II, 721 Silverman, I, 361
Cole, 24-25 Stokoe, 41-42
Wier (LS), 67
The Keel Row ( Version A)
Oh, who is like my Johnnie, so handsome, blithe and
bonnie?
Foremost 'mong the many upon the River Tyne.
He'll set or row so tightly, or in the dance—so
sprightly—
He'll cut and shuffle sightly; 'tis true, were he
not mine.
Chorus
Light may the boat row, the boat row, the boat row,
Light may the boat row, that my Johnnie's in.
He has no more of learning than tells his weekly
earning;
Yet right from wrong discerning, and gentle as can be.
Tho' he's without a dollar, he doesn't kick or holler,
Now wear another's collar, and he's the man for me.
( Version B)
As I came thro' Sandgate, thro' Sandgate, thro* Sandgat
As I came thro' Sandgate, I heard a lassie sing:

MB
Song Texts
2991
n:
0 weel may the keel row, the keel row, the keel row,
0 weel may the keel row, that my laddie's in,
0 wha's like my Johnny, sae leish, sae blithe, sae
bonny?
He’s foremost among the mony Keel lads o’ coaly Tyne;
He’ll set and row so tightly, or in the dance— so
apritely—
He’ll cut and shuffle sightly; ’tis true, were he not
mine.
He wears a blue bonnet, blue bonnet, blue bonnet,
He wears a blue bonnet—a dimple in his chin;
And weel may the keel row, the keel row, the keel row,
And weel may the keel row, that my laddie’s in<,
** ******** *•****■*■*•* *•*••** **********

No, 952
THE KEEPER OP THE EDDYSTONE LIGHT
also known as
The Eddystone Light My Father ’.Tas the Keeper of the
Eddystone Light
An English song with little or no tradition in the
United States. Its popularity here rests almost entire
ly upon professional performances, one of the more
notable being balladeer Burl Ives.
A parody, The Keeper of the London Zoo , transfers the
unusual sexual encounter from a mermiad to a kangaroo,
and begins:
My father was the keeper of the London Zoo,
And he slept one night with a kangaroo.
Prom this union there came three—
A wallaby and a wombat and the other was me.
The Keener of the Eddystone Light was largely ignored

Song Texts
2992
t]ie_ scholastic
viVe anyhowo
vive an;-.
B §stj 44,
I»fiisyl 205-206
Jli 6 1 c > * - -
collectors, but
REFERENCES
it managed to sun
Leisy (SPS), 172
Silber (HSB), 116
Silverman, II, 207
The^Keeper of the Sddystone Liairt
My.father was the keeper of the Eddystone Light;
Ha",slept with a mermaid one fine night,
Arjd^from this union there came three:
A?Porp.oise and a Porgy, and the other was me!
Chorus
Yc^ho ho, the wind blows free!
0^ give me a life on the rolling sea!
Or^e. night while workin* at the trimin* of the glim,
I Jbhought of my father, and my eyes grew dim.
A voice from starboard shouted, "Ahoy!”
- V
And. there was my mother a-sittin' on a buoy!
"Whatever happened to my children three?”
My.. dear mother did enquire of me.
”0pe„.was sold as a talking fish,
The^other was served in a chafing dish!”
The ..phosphorus flashed in her seaweed hair;
When.J looked again my mother wasn't there.
But .her reply came ringing through the night:
"Tp-hell with the keeper of the Eddystone Light!”
*************************

MS
2993
Song Texts

No. 953
KEEP ME FROM SINKING DOWN
A spiritual of American slaves. It was one of the slave
spirituals sung by the original Fisk Jubilee Singers.
REFERENCES
Dett, 288, app. xii Marsh (SJS), 145
Johnson (BANS), 154-155 Pike, 185, 227
Jubilee (PS), 15 Work (ANSS), 54
Work (FSAN), 50
Keep Me From Sinking Down
I tell you what I mean to do,
Keep me from sinking down;
I mean to go to Heaven too,
Keep me from sinking down.
Chorus
Oh, Lord! Oh, my Lord!
Oh, my good Lord!
Keep me from sinking down.
I look up yonder, and what do I see?
Keep me from sinking down!
I see the angels beckon me,
Keep me from sinking down!
0 when I was a sinner just like you,
Keep me from sinking down;
I prayed and prayed till I got through,
Keep me from sinking down.
I praise Lord Jesus, and when I die,
Keep me from sinking down!
I'll live in Heaven, by and by,
• Keep me from sinking down!

Song Texts
2994
MB

No. 954
KEEP YOUR HANDS ON THE PLOW
also known as
Hold On, Hold On Keep Your Hand On the Gospel Plow
This is a "campground” religious song, or "white
spiritual”, from the early half of the 19th century.
For a political parody, see Lomax (USA), 377.
REFERENCES
Lomax (OSC), 44-45 Scott (FSS), 20
Lomax (USA),.376 Sharp, II, 292
White, 115
Keep Your Hands On the Plow
One of these days about four o'clock,
This old world's gonna reel and rock!
Chorus
Keep your hand, keep your hand on the plow!
Hold on, hold on, hold on, keep your hand,
Keep your hand on the plow, hold on.
One of these days, tho' I don't know when,
This old world's gonna be a has-been!
Go away, Satan, and let me be!
You fooled my brother but you can't fool me!
Goin' straight to heaven, ain't gonna stop;
I'm gonna, climb every stumblin' bloack!
Now when I'm gone, don't you weep for me;
Just tell old Satan that from him I'm free!

MB
Song Texts
2995

Ho. 955
KEEP YOUR LAMPS TRIMMED A HD BURNING
Pre-Civil War spiritual that was sung by slaves and, later
popularized by the original Fisk Jubilee Singers„
REFERSUCES
Marsh (SJS), 190 Pike, 272 Silverman, II, 87
Keep Your Lamps Trimmed and Burning
Brothers, don’t grow weary,
Brothers, don’t grow weary,
Brothers, don't grow weary,
Por this work's almost done.
Chorus
Keep your lamps trimmed and burning,
Keep your lamps trimmed and burning,
Keep your lamps trimmed and burning,
Por this work's almost done.
It*s religion makes me happy, (3)
Por this work's almost done.
We are climbing Jacob's ladder, (3)
Por this work's almost done.
♦ ♦♦a***************************-********--***-**

No. 956
KENNY WAGNER
and
Kenny Wagner's Surrender
Here we have two songs about Kenny 'Vagner, a Mississippi
criminal and murderer who, according to Burt "was once a
trick-shot-artist in a circus." According to Hudson (PSM)

MB
Song Texts
Wagner shot and killed Sheriff McIntosh of Greene County,
Mississippi, while escaping from the state pennitentiary;
he got to Arkansas, killed another officer and v?as appre
hended by a woman sheriff. 7/agner served a life sentence.
Version B is a different song, but is given here because
it is the same story told in the first person*
REFERENCES
Brown, II, 566-567;
IV, 285
Burt, 216-217
Burton & Manning, 67, 83
Hudson (FSM) % 243-246
Laws (A3) , E 7
Morris, 90-91
Roberts (I?)* 126-128
Kenny T/agner ( Version A)
It was down in Mississippi
Not many years ago,
A young man started out to live
A life of sin and woe.
Now Kenny Wagner was his name,
A bandit bold and free;
. He shot down Sheriff McIntosh
And fled to Tennessee.
He was captured up in Tennessee
And locked up in their jail;
He had no one to help him out,
No one to stand his bail.
But Kenny broke from jail one night,
And made his get away;
He thought that he could go thro* life
And never have to pay.
It was out in Texarkana
That Kenny met his fate;
A woman sheriff called his hand,
And he pulled his gun too late.

MB
Song Texts
2997
Well, they took him back for trial,
Back where the crime was done;
The Judge to Kenny Wagner said,
"No more you'll pull the gun!"
When Kenny Wagner broke the law,
He threw his life away,
And now behind these prison bars
He*s locked till judgment day.
Young men, take fair warning now,
And heed this kid advice:
Don't break the laws of God or man,
For -you will pay the price l
Version B
(Kenny Wagner's Surrender)
I'm sure you've heard my story
From the Kenny Wagner song—
How *twas down in Mississippi
That I took the road that's wrong.
'Twas down in Mississippi
That I murdered my first man,
When the sheriff there at Leachville
For justice took his stand.
Then I fled from Mississippi
To the state of Tennessee,
Where two men v;ent down before me
Lest I lose my liberty.
Well, I traveled thro' the country,
But I never could find rest
'Till I went to Texarkana,
Away out in the West.

MB
Song Texts
2998
Once more I started drinking,
And again I pulled my gun;
And within a single moment,
The deadly work was done.
The sheriff there was a woman,
But she got the drop on me;
I quit the game, surrendered,
And gave up my liberty•
Now I’m back in Mississippi,.
And I soon shall know my state;
For I’ll soon face judge and jury,
But I do not dread my fate.
Young men, young men, take warning,
And heed my last advice:
If you start the game in life wrong,
You must surely pay the pricel
*******************************************

No. 957
THE KICKING MULE I
also known as
Simon Slick Simon Slick’s Mule Whoa, Mule, Whoa!
Although the A and B texts given below are two distinct
songs, they are given together here due to their semi
fusion as they made their ways from area to area. Lines
of one were incorporated into the other, or perhaps, as
Brown believed, both are a form of Liza Jane (see in MB)
and thus developed their similarities. There are so
many variations involved that specific claims must be
regarded as questionable, if not suspiciously.
REFERENCES

MB
Song Texts
2999
Brewster (BSI), 335-336
Brown, III, 567-568; V,
328
Ford (TMA), 295, 440
Henry (FSSH), 430-433
Hubbard, 347, 349
Jour (AFL), XXIY, 373
lomax (FSNA), 441-442
Morris, 190-191
Odum (NHS), 237-238
Scarborough. (NFS), 186
Seeger (3), 62-63
Shellans, 76-77
Talley, 47-48
White,’ 157, 227-229
Yolen, 34-35
The Kicking Mule I ( Version A)
Whoa, mule! Whoa, mule, I tell you!
Whoa, mule, I say!
Tied a slip-knot in his tail
And his head slipped thro’ the collar!
Lordy, Lord! that dange mule
Ain’t worth a single dollar!
Lordy, Lord! come save us!
Whoa, mule, I say!
Chorus
Whoa, mule, I tell you!
Whoa, mule, I say!
Ain’t got time to kiss you now,
But don't you run away!
Whoa, mule! 7/hoa, mule, I tell you!
Whoa, mule, I say!
Drove that mule from here to town,
And he danged near wrecked the wagon!
Lordy, Lord! 0 save us!
Hee-haw, hee-haw, hee-haw!
Lordy, Lord! come save us!
Whoa, mule, I say!

MB
Song Texts
5000
Tersion B
Oh! once I knew a farmer,
Eis name was Simon Slick;
r
He had a mule with dreamy eyes,
But how that mule could kick!
He'd shut one eye and swish his tail,
And greet you with a smile;
He'd gently telegraph his leg,
And raise you half a mile 0
Chorus
Whoa, mule, whoa! Don't you roll them eyes!
You can change a fool hut a dog-gone mule
Is a fool until he dies!
He kicked just like the devil;
He pulverized a dog,
And killed sixteen lumberjacks
And one old freckled hog*
He kicked the feathers from a goose, .
And then he reared right hack
And stopped the midnight railroad tram.
And kicked it off the track!
He stopped the Big Ben riverhoat
And kicked it out of sight;
He kicked the Main street hotel down—■
And that was just last night.
The people with their nightgowns on,
They watched and held their breath
As he stuck his hind leg down his throat
And kicked himself to death!
****************************

MB
Song Texts
3001

No. 958
THE KICKING MULE II
also known as
Johnson* s Mule The Old Gray Mule
This ’’mule” song was popularized on the minstrel stage.
Now it is a staple item in ’’country music” and is fre
quently heard at square dances as an instrumental piece.
REFERENCES
Brown, III, 566-567; Gardner (BSSM), 447
V, 327 Pound, 213-214
The Kicking Mule II
Clem Johnson had an old gray mule,
And he drove him to a cart;
He loved that mule, and the mule loved him
With all his mulish heart.
When the rooster crowed Clem Johnson knowed
.That dawn was ready to break;
He combed that mule with a wagon wheel
And he rubbed him down with a rake.
Chorus
0, you could hear him sing
Hee-haw-hee haw-hee haw-hee
Haw-hee haw-hee haw haw haw,
And you could hear him sing.
He fed that mule on old boot tops
And bits of yellov; clay,
Some shavings and some wooden pegs,
Instead of oats and hay.
And the mule would chav; with his iron jaw
On a piece of dirty sock,

Song Texts
3002
And; he*d wink his eye if he had some pie,
And- his mouth chuck full of rock.
That- mule could kick like a ton of brick;
Both, hind legs were loose,
Apd he flung them back at a big lipped Jack,
And-he mashed his royal snoot,
01 J Jack he thought that he’d been caught
In-an av/ful big cyclone,
And-you bet he wished thax he had let
That-old gray mule alone.
*******************************

No. 959
KICKING MY DOG AROUND
also known as
H<$und -Dawg Song You Gotta Quite Kickin’
Hofund- log My Dog Around
Wha-to-ver its age, we know that the tune is older' than the
wqxda : of this song. The tune is clearly a reworking of an
o]^ jdance-and-fiddle air, Sandy Land (see in MB).
A -shee-t -music version credited to Webb M. Oungst and Cy
Pej^ins- was published by M. Whitmark & Sons, New York,
N*’Y.--, in 1912, but it is quite easy to prove that the
song, is -much older than the 7/hit mark copyright. Accord
ing- -to- Masterson, for example, the song was known as far
baoio.as: 1890. I saw one claim (unsupported) that the
song- was sung by Daniel Boone, who died in 1820. Randolph
saya-the song was popular in the Ozarks in 1912, "when
Chemip--.Clark of Missouri was running for President." It
was.* ~ in fact, a nresidential campaign song for Clark and
j - - *
hi£- followers.
REFERENCES

MB
Song Texts
3003
Allsopp, II, 196-197
Lomax (FSNA), 311
Randolph, III, 278-279
Richardson (AMS), 80-81
Scarborough (NFS), 187
Thede, 81
Kicking My Bog Around
I got a little dog named Jim—
He's fond of me and I'm fond of him;
But every time I go to town,
The boys start kickin' my dog around
Now he.'s my friend, a good one too;
He don't tell lies like people do.
I don't care if he is a hound,
They gotta quit kickin' my dog around!
I went down town to buy some meat
And left ol' Jim out on the street;
Then I heard a wailin' sound,
And there they were, kickin' my dog around!
Now every time I go to town,
The boys all kick my dog around;
It don't matter if he's a hound,
They gotta quit kickin' my dog around!
******************************

No. 960
KILLICRANKIE
also known as
The Braes o' Killicrankie
Creel-My-Crankie
Crinkely, Cronkely
Crinny My Cranky
Bancing on a Sheepskin
Kila Ma Cranky
Kilamakrankie
Killy Kranky
Kilmacrankie

MB
Song Texts
3004
The original song was a poem by Robert Burns that was set
to music. It became known as a '’Jacobite” song, but in the
United States it eventually became a game song with many
variations, such as in the following:
Consolation flowing free,
Consolation flowing free,
Consolation flowing free,
Come and go along with me.
Kila ma cranky, here we go,
Kila ma cranky, here we go,
Prom my heel unto my toe,
Kila ma cranky, here we go.
OR
If you have been where I have been
And have seen the sights that I have seen,
Four-and-twenty Irishmen
All dancing on a sheepskin.
OR
Killy Cranky is my song,
Sing and dance it all day long;
Prom my wrist down to my knee,
Now we*11 wind the grape-vine tree.
For various "game” versions of the song recovered in the
United States, consult the reference list below. A version
of the original, which still circulates in print, is given
here in recognition of its status as a "source song."
REFERENCES
Botkin (APPS), 225-226
Branuer, 183-184
Gardner (SPPG), 95
Hamilton, 297
Hogg, 40
Hudson (FSM), 170
Hudson (SC), 37
Macquoid, 40-41
Piper (SPPG), 272-273
Ritchie (FS), 10
Ritchie (SFS), 121
Van Boren, 489
Wolford, 61

Song Texts
3005
KB
Killicrankie
Whare hae ye "been sae braw, lad?
Whare hae ye been sae brankie, 0?
Whare hae ye been sae braw, lad?
Came ye by Killicrankie, 0?
An ye had been where I have been,
Ye wad-na been sae cantie,* 0;
An ye had seen what I hae seen,
I* the braes o' Killicrankie, 0.
X faught at land, I faught at sea,
At hame I faught my auntie, 0;
But I met the devil and Dundee
On the braes o' Killicrankie, 0,
An ye had been, etc.
********************************************

No, 961
KING ARTHUR
also known as
Good King Arthur When Good King Arthur. Ruled This
Land
An old nursery song from England. It appears in song-
books produced for children. See Bertail, 100; Moorat,
24; and V/ier (YAM), I, 107. For an unrelated song some
times known under the same title, see Three Roguish
Chaps (in this MB).
King Arthur
When good king Arthur ruled this land
He was a goodly king;
He stole three pecks of barley meal,
To make a bag pudding.

JIB
Song Texts
3006
A bag of pudding.the Queen did make.
And stuffed It. 7/ell with plums;.
And in it put. great lumps of fat
As big as my two thumbs.
The King and Queen did eat thereof.
And noblemen beside;
And what they could not eat that night,
The Queen next-, morning fried*.
* * * * * ***&*.*.* *** * * *;*,*.**-**•*
No-., 962
KINGl- HENRY.’ S TRIBUTE
also- known as
The Fency King and the: English Henry’s Tribute
King Henry the Fifth’s
King
Henry V and the King- of: France
Henry V's Conquest a± France
Conquest of France
The Tennis Balls
This song is descended: from-an old English broadside of
the 18th century. Child- tells- us, however r that the song
"may represent an older ballad,” date no ’’earlier than
the accession of George I"-,. 1714•"
The text is concerned with events relative to the Battle
of Agincourt, which was fought Oct. 25,- 1415# The paral
lel to the ancient tale of Alexander the Great and Darius
the Persian King, is obvious.- Darius wrote to Alexander
as if writing to a boy, and set, among other gifts, a
ball for him to play with.- Alexander,- making reply,
turned the tables upon his enemy by his clever interpre
tation of the insulting gifts.
As between Henry V and the Dolphin of France,- however,
the age differences were reversed: Henry was eight years
older than the Dolphin, who was only nineteen at the time

MB
Song Texts
3007
And yet there is no need for serious concern—the story
told in this text has no factual basis.
REFERENCES
Baring-Gould (SPSS), 30-31
Bulletin (FSSN), II, 5-6;
IV, 10-11
Buchan MSS, I, 176; II, 124
Child, III, 320-326; V, 420
Coffin, 113
Dixon (APBS), 52
Ebsworth (RB), III, 358
Flanders, III, 145-148
Flanders (CSV), 36-37
Flanders (NGMS), 192-195
Hales, II, 597
Henry (FSSH), 106-109
Jewitt, 1
Jour (API), XLV, 17-21
Leach (BB), 463-466
Niles (BB), 264-269
Wells, 43-44
King Henry[s Tribute
A king was sitting on his throne,
And on his throne was sitting he;
He bethought himself of a tribute due,
Been due in France for many years.
He called for his little page,
His little page then called he,
Saying, "You must go to the King of France,
To the King of France, now go speedily.”
And then rode away this little page,
This little page then away rode he;
And when he came to the King of Prance,
He fell down low on his bended knee.
”My master greets you, worthy sir;
Ten ton of gold that is due to he,
And you will send him his tribute, sir,
Or in your land you soon will him see.”
”Your master's young, of tender years,
Unfit to come into my degree,

MB
Song Texts
3008
And I will send him three tennis balls,
That he may learn to play through me.”
0 then returned this little page,
This little page then returned he;
And when he came to his gracious King,
He fell down low on his bended knee,
"He says you’re young, of tender years,
Prom wisdom, Sire, too far away;
And he has sent you three tennis balls,
That with them you may learn to play.”
He then marched into the French land,
with drums and trumpers so merrily;
And then bespoke the King of Prance,
"Lo! yonder comes proud King Henry.”
The first shot that the French King gave,
They killed Englishmen so free;
Then Henry killed ten tousand French,
The rest of them then did.flee.
Then he marched to the Paris gates,
With drums and trumpets so merrily;
And then bespoke the King of France,
"Oh, mercy for my men and me.
"I will send Henry’s tribute home.
Ten ton of gold that is due to he;
The finest flower that is in all France,
To Hose of England I give free.”
*******-#--* ****************

MB
Song Texts
3009

No. 963
KING JOHN AND THE BISHOP
also known as
The Bishop of Canterbury The King and the Bishop
The Bishop of Canterbury King John and the Abbot
and King John The King's Three Questions
The theme of this song’s story is not new. The matter of
a king, prince, general, or some other important official
testing other persons with riddles and difficult questions
is an ancient as history itself. Such tales abound in the
folklore of all peoples, and are even found in the Bible,
beginning with Samson’s riddle. In this ballad 7/e find a
later version of an ancient and well-known tale.
Child 45 B is a broadside text published by P. Brooksby,
who was in business from 1672-to-1695• American versions
show only minor variations in the story line, which sug
gests a very narrow oral tradition. A variation of the
tune was used for two American songs, Blue Mountain Lake
and The Little Brown Bulls (see both in MB).
REFERENCES
Barry (BBM), 445
Barry (FMA), 2
Child, I, 403-414
Coffin, 58-59
Flanders, I, 280-298
Flanders (BMNE), 111-112
Flanders (VFSB), 200-203
Gardner (BSSM), 379
Hubbard, 10-12
Leach (BB), 154-158
Niles (BB), 109-112
Percy (RAEP), II, 303-312
Quiller-Couch, 849-853
Smith (AA), 8-
King John and the Bishop
England's King John was a noble old king,
And he often did wrong for the fun of the thing;
And one morning early, while feeling quite merry,
He summoned the Bishop of Canterbury.

MB
Song Texts
3010
"Morning, Abbot. It has cone to my eye,
That you keep a far nicer house than do I;
But if you can’t answer my questions three,
Your head shall be taken from your body.
"While I’m set so high, and so nobly bred,
With my crown of gold upon my head,
Amidst nobility, with joy and much mirth,
Right to the penny say what I am worth.
"And the next question you dare not flout:
How long shall I be riding the world about?
The third question, sir, thou must not shrink
Is tell to me truly what I do think."
"These are hard questions for my shallow wit,
And I require time to think upon it;
If you will give to me three days space,
I shall endeavor to answer your grace."
As an old shepherd went out to his fold,
He saw the old Bishop and spoke to him bold:
"Good morning, Abbot. » r hat news do you bring?
And how did you leave our noble old king?"
"Sad news, shepherd, I have thee to give;
I have but three days space in which to live.
Unless I can answer his questions three,
My head he will take from my body."
"0 Bishop, have you never heard it yet,
That a fool may learn a wise man's wit?
Lend me your horse and your fine apparel,
I’ll see the old king and answer his quarrel."
Now the shepherd wears the Bishop’s gold ring,
And stands to answer in front of the king;

MB
Song Texts
3011
And if he fails to answer each‘question right,
His head will be taken from him that night.
"Your first question, Sire, concerns your estate.
My answer to it determines my fate:
With all your nobility, your joy and mirth,
I must to the penny surmise your worth.
"For thirty gold pieces the Saviour was sold
Among the false Jews, as we have been told;
Twenty-nine pieces is your grace’s due,
For Jesus is worth a piece more than you.
"The second question, without the least doubt,
Is how long you'll be riding the world about:
You’ll rise with the sun, and, if you keep pace,
In twenty-four hours you’ll end your race.
"The last question is one I can’t shrink,
For I am to tell you just what you think.
That I shall do, and please your heart very:
You think I’m the Bishop of Canterbury!"
*************************************

No. 964
THE KING OF FRANCE
Nursery and game song. For other versions, see Bancroft,
355-356; Bertail, 120; and Forbush, 60-61.
The King of France
The King of France,
With forty thousand men,
Marched up the hill
And then marched down again.
*****************************************

KB
Song Texts
3012

go. 965
KING OP THE CANNIBAL ISLANDS
Source song. The tune of this song has been used for
several songs, including Gold Seeker XIX in this Master
Book and King of the Tuscaroras in John Brougham's play,
Po-Ca-Hon-Tas , or The Gentle Savage. Por a version of
the latter, see Vernon, 156-157.
Por complete text of this song, see Songster (10), 230.
A dance version is in Ryan, 84.
King of the Cannibal Islands
Oh! have you heard the news of late,
About a mighty king so great?
If you have not, ’ tis in my pate.
The king of the Cannibal Islands
He was so tall, nearly six feet six;
He had a head like Mister Nick'3,
His palace was like dirty Dick’s;
’Twas built of mud, for want of brick.
And his name was Poonoowinkewang
Plibeedee flobeedee buskeebang.
And a lot of Indians swore they would hang,
Hokee, pokee, wongee, fum,
Putte, po, pee, kabula, cum,
Tongeree, wongree, ching, ring wum,—
The king of the Cannibal Islands.
This mighty king had in one hut
Seventy wives as black as soot,
And thirty of a double smut,—
The king of the Cannibal Islands.
So just one hundred wives he had,
And every week he was a dad,—
Upon my word it was too bad,
Por his smutty dears 30on drove him mad.
There was Hunkee, Munkee, short and tall,
With Tuzzee, Muzzee, and Keako Pall,

MB
Song Texts
And some of them sore they would hall all
The king of the Cannibal Islands.
3013
**•****•*****■»■»■****-»****♦#*****#

Ho. 966
THE KING’S HIGHWAY
also known as
The little Woman
The Old Woman Who Went to Market
There Was a Little Woman
An old nursery piece. According to Linscott, the song
came "originally from Ulster, in the north of Ireland"
and is related to the Wee Wifie Kee. In Gens of English
Song , published at Boston by Ditson, 1875, the words are
credited to F. F. Weatherly, the music to J. L. Molloy.
REFERENCES
Bertail, 64
Linscott, 258-259
Moore (BFSS), 227-228
Wier (YAM), I, 86
The King* s Highway
There was an old woman, and I’ve heard tell,
Pol-lol, riddle dee all dol.
She went to market her eggs for to sell,
Fol-lol, riddle dee all dol.
She went to market one fine market day.
And she fell asleep trav'lin' on the King's Highway.
Pol dee rol dee rol rol, lol, lol, lol,
Fol-lol riddle dee all dol!
Along came a peddler by. the name of Stout, etc .
He cut her petticoats all round about, etc,
He cut her petticoats above her knees,
And left her there all alone to freeze,
Pol dee rol dee rol rol, lol, lol, lol,
Pol-lol riddle dee all doll
************** ******* ********

MB
Song Texts
3014
~~ No. 967
'THE KING'S LAND
The King's Land is a New England game song. Linscott in
dicated a possible relationship to an ancient English
game, The King of Cantland (see Gomme, I, 300), A Similar
game is played in America to How Many Miles to Babylon? ,
which is given elsewhere in this Master Book.
For other versions of this song, see McIntosh (PSSG), 90
and Linscott, 30-31*
The King's Land
I'm on the king's land,
The king's not at home!
The king's gone to London,
To buy his wife a comb.
Here come the king's men,
To chase us away;
So we'll play the game, boys,
And teach them how to play.
If we are captured,
Appeal to the throne,
And beg his forgiveness,
But never to atone.
************************************

MB
Song Texts
3015

No. 968
KING WILLIAM
also known as
King and Queen
King Arthur Was King
William's Son
King Charles He Was King
James' Son
King William Was King
David’s Son
King William Was King James'
or King Jamie's Son
Prince Charles He is King
James’ Son
Prince Charlie Was King
James' Son
Prince William
A game song derived from an ancient tale that Became a
song. Origin is debatable. Gomme, I, 303, says: "In this
game we have preserved one of the ceremonies of a now
obsolete marriage custom— namely, the disguising of the
bride and placing her among the bridesmaids and other
young girls, all having veils or other coverings alike
over their heads and bodies. The bridegroom has to select
from among these maidens the girl whom he wished to marry,
or whom he had already married, for until this was done
he was‘not allowed to depart with his bride.” It is quite
possible that the wearing of a "bridal veil” in our day
came from this custom.
For a similar piece, see Kneel on This Carpet in Talley,
82.
REFERENCES
Ames (MPP), 313
Arnold, 133
Babcock, 247-248
Ball, 10-11
Botkin (APPS), 226-227
Brown, I, 113-117; V,
523-524
Champlin, 447
Collins, 20
Flanders (VPSB), 188-189
Ford (TMA), 255-256
Gardner (PSH), 244-245
Gardner (SPPG), 107-109
Gomme, I, 302-304; II,
67-77
Hamilton, 295

MB
Song Texts
Henry (FSSH), 406
Hofer (CSG), 30
Hudson (BSM), 191
Hudson (FSM), 289-290
Jour (AFL), XIV,* 299;
XXXI, 50, 131; XLII,
226; XLIV, 10
Korson (PSL), 57
Lomax (OSC), 65-66
Maclagen, 58-59
Mahan, 57-58
McDowell (FDT), 66-67
3016
Morris, 222-223
Northall, 372-373
Pound (TEN), 355-356
Puckett, 55
Quarterly (SFL), VI, 216-220
Randolph, III, 344-349
Randolph (OPP), 226-227
Spenney, 111
Van Doren, 493-494
Whitney & Bullock, 146
Wolford, 62-64
King William ( Version A)
_ King William was King George's son,
And all the royal race he run;
Upon his breast he wore a star,
And it was called the sign of war.
My lady will you list and go?
My lady will you list and go?
The broad-brimmed hat you must put on,
And follow to the fife and drum.
Go choose you East, go choose you West,
Go choose the one you love the best;
If he's not here to take your part,
Go choose another for your heart.
VERSION B
(Randolph, I, 429, gives a version of this piece as
part of the Jacobite song, The White Cockade, but he
recognized its relationship to version A above.)

MB
Song Texts
3017
Prince Charles he is King James' son,
And from a royal line he sprung;
So up with a shout and out with the blade,
We'll raise once more the white cockade.
The royal bird, our prince, is gone,
A stranger holds his rightful throne;
But up with a shout and out with the blade,
We'll stand or fall with the white cockade.
***********************************

No. 969
KING WILLIAM AND KING JAMES
also known as
King James* Defeat at Boyne
King William the Third
William of Orange
The Battle of Boyne Water
The Battle of the Boyne
Boyne Water
This is one of several songs dealing with the historical
battle at the Boyne River, and many of the songs share
several common titles 0 William III of England defeated
the forces of deposed James II in battle, July 1, 1690,
at the Boyne River. For examples of the other songs
celebrating that battle, see the one in Moore (3FSS), 151
152, which begins:
William leads on like a Protestant hero,
While James shrinks away from the Hill of
Dunmore,
Frightened to death by the lillibullero
That conquered the bays on the opposite shore.
And see the one in both Colum, 583-584 and Moffat (MI),
128-129, which begins:

MB Song Texts 3Q1§
July the first, in Oldbridge Town
There was a grievous "cattle,
Where many a man lay on the ground
By cannons that did rattle#
The song below has a narrow and limited tradition in the
United States, but it has been recovered from oral source
in Indiana, Oklahoma and Pennsylvania*
REFERENCES
Brewster (BSI), 314-314 Korson (PSL), 47-=.48
Moore (BFSS), 152^155
King William and King James
Old King James made a vow,
Let him keep it if he can;
He swore he’d be in London Town,
To meet King William’s whole army.
To meet King Willian’s whole army#
King 7/illiam rode on his milk-white stee,
•Saying, "Oentlemen, now ain’t this a pity?
For many a valiant man will be slain this day
Throughout King James’ whole army, etc #”
James rode up to the river bank,
Where his horse began to fall;
He pulled his mount to the heavy side,
And his soldiers heard his call, etc *
"Fight on! and do not fear,
But count my less as only one;
Should I by chance fall in battle, boys,
Your king would be my own song, etc. ”
Mad King James made them brave,
And each decided he’d not yield;

MB
Song Texts
3019
The drums did beat, the fifes did play,
And King James died on the battlefield, etc .
Good King William sat his steed,
And called for their attention:
"Let us be good friends forevermore
And quit this mad contention, etc."
Both the drums and fifes were heard,
And they took themselves from battle;
And every man there, despite his rank,
Was glad to leave Boyne waters, etc.
***************************************
No*
THE KISSING SONG I
also known as
How to Kiss Your Girl When a Man Palls in Love
When a Fellow Falls in Love ?/ith a Little Turtle Dove
A Young Man’s Love
This song dates from the final quarter of the 19th century,
and it has all the earmarks of a professionally composed
piece* I haven’t been able to pin-point either author or
composer, or date of publication, but this does not mean
that the song was otherwise produced. It does not seem
to be related to any of the other songs of like title, such
as the Kissing Song in Talley, 82 and The Kissing Song II
given in this Master Book .
Hubbard, 168-169
Loesser, 44-45
REFERENCES
Randolph, III, 83-86
Thomas (DD), 140-142

MB
Song Texts
3020
When a man falls in love with a t\irtle dove,
He will finable all around her under jaw;
He will kiss her for her mother, her sister and brother
brother,
Till her daddy comes and kicks him thro’ the door,
Draws a pistol from his pocket,
Pulls the hammer back to cock it,
And vows to blow out his giddy brains!
Oh, his sweetie says he mustn't;
Tain't loaded and he doesn't-
They're kissing one another quick, again.
Now the old maids they love it and widows ain't
above it,
For they've all got a finger in the pie.
Some girls they are so haughty, and they say it'.s
very naughty,
But you bet your life they'll do it on the sly.
It will make a fellow shiver,
Make him want to jump the river,
But they'll stick as tight as granulated glue.
Don't you ever dare to tell her
You're some other girl's feller,
For she'll masticate your smeller if you do!
When a girl is seventeen she thinks it very mean
If she cannot catch on something for a mash;
She will pucker up her mouth in a cunning little
pout,
And fumble under his big mustache.
If you want to kiss her sweetly,
Kiss her neatly and completely,
If you want to kiss and make the kissing nice,
Y/hen you get a chance to kiss her,
Make a dodge or two and miss her-
Then sock her on the kisser once or twice!
.***********--**-*-#■**- *****************

Song Text 3
. 3021
MB

No. 971
THE KISSING SONG II
also known as
He Kept A-Kissing On She Gave Him Kisses Three
I Kept On We Kept Kissing On
I have seen only two versions of this song in published
folk collections, and these were ”cleaned-up” versions.
There are several vulgar versions in circulation, one of
which I learned at age nine (1927) in North Carolina,
The ’’vulgar” texts in circulation is probably why the
song is omitted from so many collections.
See Brown, III, 368-369; V, 224 and Randolph, III, 89-91
The Kissing Song II
I gave her kisses one, kisses one,
I gave her kisses one, kisses one,
I gave her kisses one
And she said, ”0h my! it's fun!”
So we kept on kissing on, kissing on!
I gave her kisses two, kisses two, etc.
And she said it was too few! etc .
I gave her kisses three, kisses three, etc .
And she gave 'em back to me! etc .
I gave her kisses four, kisses four, etc.
And she said she wanted more! etc ♦
I gave her kisses five, kisses five, etc .
And she really came alive! etc .
I gave her kisses six, kisses six, etc .
And she started doing tricks! etc.

MB
Song Texts
3022
I gave her kisses seven, kisses seven, etc.
And she said, ”0 Lord! it's heaven!" etc .
I gave her kisses eight, kisses eight, etc .
And she said, "0 Lord! it’s great!" etc .
I gave her kisses nine, kisses nine, etc .
And she promised to be nine! etc.
I gave her kisses ten, kisses ten, etc.
And she said, "Let’s start again!" etc.
**********************■**'*' ** *** ***** ******* * * *

No. 972
KITTY ALONE AND I
also known as
The Bed-Time Song Kitty Alone
This children’s song takes its title from the old Kitty
Alone and I refrain found in several older songs, such
as some forms of The Prog and the Mouse and Prog in the
Well (see both in MB). American texts vary considerably
from those recovered in England. Baring-Gould (GCS), 30-
31 has a version which begins:
If as of old in Noah’s flood,
Crock-a-my daisy, Kitty alone,
The world were lost, an ark of wood—
Kitty alone and I,
Would serve for home, and naught I'd care,
Having no beasts our ark to share;
Merrily I'd sail with Kitty alcne,
Kitty alone and I.
In Baring-Gould (EFSS), 90-99, we find the same text as
part of The Prog and the Mouse.

ME
Song Texts
3023
For additional versions of the song "below, see Brown, III,
149; V, 81; Winn (1), 28-29; and Wyman (LT), 22-24.
Kitty Alone and I
Saw a crow a-flying low,
Kitty alone, Kitty alone,
Saw a crow a-flying low,
Kitty alone and I.
Saw a crow a-flying low,
And a cat a-spinning tow,
Kitty alone and I,
Rock-a-ma-ree-a-rye.
Buzzing came the little bee,
Kitty alone, Kitty alone,
Buzzing came the little bee,
Kitty alone and I.
Buzzing came the little bee,
With some honey on his knee,
Kitty alone and I, etc.
Next I saw a little flea,
Kitty alone, Kitty alone,
Next I saw a little flea,
Kitty alone and I.
Next I saw a little flea
With a fiddle on his knee,
Kitty alone and I, etc»
Then there came a little rat,
Kitty alone, Kitty alone,
Then there came a little rat,
Kitty alone and I.
Then there came a little rat,
And he shook hands with the cat,
Kitty alone and I, etc,
**********************

MB
Song Texts
3024

No. 973
KITTY CLYDE
al so known as
Katie Clyde Katy Clyde
Here we have a folk version of a one-time popular literary
song; it dates from the 1850s. I have in my possession a
sheet copy published by Russell & Richardson, 291 Washing
ton St., Boston, Mass., and the copyright notice reads
1853. Both words and music are credited to L. V. H. Crosby
There is also a version in Ditson (SSB-1860), 6.
This song is not related to Kitty Kline (see. No. 975 in
MB) , although some collectors have so indicated.
REFERENCES
Brown, II, 476-477; IV,
257-258
Davis (FSV), 102
Gardner (FSH), 217-218
Jour (AFL), XXII, 240
Pound (SFSN), XIV, No. 18
Shoemaker (KMP), 119
Shoemaker (NPM), 114
Silber (HS3), 100 .
Kitty Clyde
0 who doesn’t know Kitty Clyde?
She lives at the foot of the hill,
By the shady nook of some old babbling brook,
That runs by her dear old father's mill.
Chorus
0 how I dearly love you, Kitty Clyde!
You’re the one I always will adore!
Nothing on this earth can change my mind—
0 every day I love you more and more!
0 who doesn’t love Kitty Clyde?
That sweet sunny-eyed little lass,

MB
Song Text;
3025
With dimpled chin and roguish as sin,
And always a smile as you pass.
She has a "basket for her fish,
Goes forth with line and hook;
A fine lass as she trods the grass
Straight down to the clear running brook.
She throws her line into the stream
And tries it along the river-side;
0 how I wish I was a fish,
To be caught by sweet Kitty Clyde!
KITTY KLINE
also known as
Free As a Bird
Free Little 3ird
I«m As Free a Little Bird
As I can Be
I*m As Free As a Little
Bird Can Be
Katie Cline
Katie Kline
Katy Cline
Katy Kline
Pretty Little Bird
Take Me Home To My Mommer
This song is difficult to trace, which probably explains
why some collectors have indicated a derivative—type re
lationship between it and the preceding song, Kitty Clyde.
There are many versions with differences in texts, some
so different that identification is made difficult. Some
times, in fact, the name of Kitty Kline is not even
mentioned in the text. What ties them all together is
the appearance of specific expressions, such as the "free
as a bird” and the ”take me home” lines. Unfortunately,
these lines are also combined sometimes with elements
from The Lass of Roch Royal (see in MB), usually the

Song Texts
3026
MS.
tiB&A'iS. gonna glove your hand” and "who will shoe your
lines. For examples of such combinations, see:
I : II, 293-297 & V, 175-179; Jour (API), XXII,
XLVI, 49; Perrow, XXVI, 134; Seeger (1), 120;
Sb^L-l-ans, 24; and Silverman, II, 152. Also see: Fuson,
Kline
Take me home to my Mommer, Kitty Kline!
Take me home to my Mommer, Kitty Kline!
When the stars shine bright,
And the moon gives light,
Take me home to my Mommer, take me home,
I J m as free as a little bird can be, (2)
And I'll build my nest
On sweet Kitty's breast—
Take me home to my Mommer, take me home.
0 tell me that you love me, Kitty Kline, (2)
You're the one I love,
You're my turtle dove—
Take me home to my Mommer, take me home.
0 I cannot stay here all by myself, (2)
When the stars come out,
You will hear me shout:
Take me home to my Mommer, take me home.
Who is going to shoe your little feet? (2)
Who will kiss your lips,
And your finger-tips?
Take me home to my Mommer, take me home.
*************-************-***-*

MB
Song Texts
3027
Bo • 975
KITTY WELLS
also known as
Katy Wells
Sweet Kitty Wells
This began as a minstrel-stage song during the Civil
War years, when "Negro dialect" songs were very "in."
The words are credited to Thomas Sloan, Jr. on a De
Marsan broadside (List 6, No. 32), and the song was
copyrighted in 1861. The music, according to Staton,
was composed by T. Brigham Bishop, but Wilder credits
it to Charles E. Atherton.
Early versions were published in Europe as well as in
the United States. See: American Popular Songs (H. A.
Franz, Berlin, 1867), p. 31; The " Blonde " of the Period
Songster (1869), p. 41; The Captain Jink3, of the Horse
Marines, Songster (1868), p. 44; Dan Bryant * s Shoo Fly
Songster (1869), p. 41; Partridge broadside (Boston),
No. 540; and Gus Williams * Old-Fashioned G. A. R.
Camp-Fire Songster, p. 7.
REFERENCES
Beck (SML), 216
Brewster (BSI), 351-352
Brown, III, 492-494; Y,
273-276
Cox (FSS), 395
De Marsan (SJ), I, 28
Henry (FSSH), 414-415
Henry (SSSA), 185-186
Hubbard, 128-129
Jour (AFL), XLIV, 79;
XLVI, 47
Morris, 139-141
Neely, 223-225
Owens (TFS), 146-147
Pound, 202
Pound (SFSN), XXIII, No. 13
Shearin (SKFS), 22
Shoemaker (MMP), 141
Shoemaker (NPM), 135
Songster (119), I, 38
Staton, 53
Stout, 80-83
Wilder, 132-134

MB
Kitty
Song Texts ? uc '
Wells
You ask what makes this darky weep,
Why he like others is not gay,
What makes the tears roll down his cheek
Prom early dawn to close of day?
My story, darkies, you shall hear,
For in my mem’ry fresh it dwells;
It will cause you all to drop a tear
On the grave of my sweet Kitty Wells.
Chorus
While the birds are singing on the morning,
And the myrtle and the Ivies were in bloom,
And the sun on the hill-tops were a-dawning,
It was there we laid her in the tomb.
I never shall forget the day
That we together roamed the dells;
I kissed her cheek and named the day
That I would marry Kitty Wells.
But death came to my cabin door
And took from me my joy and pride;
And when I found she was no more,
I laid my banjo down and cried.
I ofttimes wish that I was dead
And laid beside her in the tomb;
The sorrow that bov/s down my head
Is silent in the midnight gloom.
The springtime has nc charm for me,
Tho* flowers are a-blooming in the dells;
For there’s one bright form I do not see,
*Tis the form of my sweet Kitty Wells.
************-**-******-**-***■

M3
Song Texts
3029

No. 976
KNIGHTS A-RIDING
also known as
Tire Duke Ranchy Tanchy Teen
Duke A-Ridins
The Duke of Riddeo, or
Rideo
Dukes of York and Lancaster
Here Comes a Duke
Here Comes a Young Man
Courting
Here Comes Four Dukes A-
Riding, or A-Roving
Here Comes One Duke A-Riding
Here Comes Two Dukes A-
Roving
Here Come Three Dukes A-
Riding
Here Come Three Knights, or
Three Merchants A-Riding
Here Come Two Dukes A-Roving
Janet Jo
Knights of Spain
We are dealing here with two songs rather than one. As
known in the United States, the song is compounded of
two ancient European game-songs. The songs are so fused
that scholars have encountered much difficulty in de
termining which is which. Much of the difficulty has
been generated by scholastic-type specialists in folk
lore. The two songs have been lumped together on the
basis of word similarity when, in fact, they should have
been separated on the basis of game and word differences.
There is no doubt whatsoever that the Three Duke a and
the Three Knights derived from entirely different games
—■ — WIWI — '' 1 ' . /
Raz-ma-taz-a-ma-tee
Ten Jews Arriving
Three Brothers Come from
Spain
Three Dukes
Three Farmers
Three Jews from Spain
Three Kings
Three Knights A-Riding
Three Knights from Spain
Three Sailors
Three Soldiers
Two Dukes A-Riding, or
A-Roving
We Are Three Brethren Out
of Spain
We Are Three Jews
We Are Three Lords

MB
Song Texts
3030
and sources. Which came first, however, is debatable—
hut both are rooted in antiquity.
According to Gomme, Knights A-Riding , or Three Knights ,
is derived from an ancient marriage custom that evolved
into a game for children. This game reaches back, she
informs us, to tribal marriage, or Carriage at a period
when it was the custom for men of one clan to seek wives
from the girls of another clan, both clans belonging to
one tribe."
Knights A-Riding is scarcely remembered now, but it was
a popular favorite in colonial America and until the
final quarter of the 19th century. It exists through
out Europe under a score of forms, many of them traceable
to the Middle Ages. Cur versions and variants are all
derived from English and Scottish forms broght to America
by early settlers. The theme is courtship , but not in
the modern romantic sense; it has to do with the ancient
idea, when "love" was "a mercantile negotiation. When
this idea was no longer considered natural, the game
simply changed and "coquetry" replaced "bargaining"—the
bride herself replaced the head of the house as negotiator
The game still survives in this tranformed form, though
the song (which vocalizes the game) became more and more
entwined and confused with the other game-song, The Three
Pukes. It followed, too, that both game-songs underwent
local adaptation, with farmers, sailors and soldiers
taking over from Dukes, Kings, and Knights.
Eor closely related game-songs in England and Scotland,
see: Broadwood (ECS), 77; Chambers (PRS), 139; Dearmer
(ST), 72; Douglas, 73; Gomme, I, 202, 203, 206, 287* 293}
Halliwell (NRS), 126; Udal, 355;
Por related songs in the United States, see: Babcock, I,
258; Bolton (CRC), 113; Gardner (SPPG), 129; Reck, 3}
Randolph (OPP), 229; and in this Master Book , see: Here
Comes a Lusty Wooer; Hog Drovers ; The Jolly Royer ; and

MB
Song Texts
3031
The Jolly Sailors,
Also see and compare: Janet Jo in Chambers (PBS), 143;
Here Comes Three lawyers in Brown, III, 101 and Davis
(FSV), 228-229; Three Kings in Newell, 46-47; and Three
Sailors in Gomme, II, 282,
REFERENCES
Arnold, 130
Babcock, 259
Beckwith (FGS), 48
Botkin (APPS), 328-330
Broadwood (ECS), 77
Brown, I, 89-93; V,
516-517
Brown & Boyd, 19
Bulletin (TFS), V, 26-27
Burne, 517
Chambers (PRS), 139, 143
Collins, 33
Dearmer (ST), 72
Folklore Journal, VII, 222-
224; V, 46
Folk-Lore Record, IV, 174
Gomme, II, 233-255, 257-279
Halliwell (NRE), 107, 222
Halliwell (PRNT), 123-124
Handelmann, 62
Henry (FSSH), 242
Hornby, 38
Hudson (FSM), 296-297
Jour (AFL), VIII, 253; XXXI,
52, 130; XXXII, 486;
XXXIII, 113} XLVIII,
337} XLIX, 257-259
Kidson (ESG), 11
Linscott, 13-15
Lomax (FSNA), 399-400
Maclagan, 90
Meier, 107, 109
Muir, 24-25
Newell, 39-45, 46-51, 234
Northall, 383-385
Notes (1st), Vi, 241; (5th),
IVT 51, 57
Owens (ST), 5
Price, 138-139
Quarterly (SFL), VI, 200
Randolph, III, 360, 367
Ritchie (FS), 57
Ritchie (SSB), 40-41
Scarborough (NFS), 131
Shearin (SKFS), 36
Sumner, 20-21
Talley, 85-86
Thomas (SG), 14-15
Udal, 355-358
Vernaleben, 55
Walter (OESG), 14-15
Whitney & Bullock, 148
Wolford, 52-54

MB
Song Texts
3032
Knights A-Rlding
Here come three knights a-riding,
Hiding, riding,
Here come three knights &-riding,
Hansom and lansom and Tee*
What are you riding here for, etc . (?)
We've come here to get married, etc.
Won't you have one of us, sir? etc
You're all too black and dirty, etc .
We're just as clean as you, sir, etc .
Then I will take the fairest, etc.
******************************************

Ho. 977
THE KNOXVILLE GIRL
also known as
The Berkshire Tragedy
The Bloody Miller
The Boston Girl
Come All of You Who's Been
in Love
The Cruel Miller
The Ellen Sharpe Murder
The Expert Girl
Hanged I Shall Be
I Asked My Love to Take a
Walk
Johnny McDowell
The Kosciusko Girl
Last Saturday Night, Two
Weeks Ago
The Lexington Girl
The Lexington Miller
The Lexington Murder
The Miller's Apprentice
The Murdered Girl
The Murdering Miller
My Confession
The Noel Girl
Oxford City
Oxford Girl
The Oxford Tragedy

MB
Song Texts
3033
Poor Nell
The Prentice Boy
The Rexford Girl
The Shreveport Girl
The Tragedy
The Waterford Girl
Waterford Town
The Waxford Girl
The Wexford Girl
The Wexford Lass
The Wittam Miller
The Worcester Tragedy
This is an American '’murdered girl” s ng. Unlike the
series of historical ”Murder of” songs in this Master
Book , this one is not founded upon an actual murder case.
Although people around Lanagan, Missouri, where the song
is known as "The Noel Girl”, say it is based on the death
of Lula Noel whose body was found in the Cowskin river on
December 10, 1892. But as one can tell by the also known
as titles above, the song has been frequently adapted to
the localities in which it is sung. Also the titles repre
sent several different songs that have become fused in
American tradition. There are at least six quite similar
songs known in America and all of them, say the experts,
are derived from an English broadside known as The
Berkshire Tragedy ; or . The Wittam Miller , versions of
which are in the Douce and Roxburghe collections. The
Berkshire Tragedy is merely one of many old ballads tell
ing the story of a girl murdered by the man who has se
duced her, but it dates back to about 1700. Another of
the older ballads is The Bloody Miller , which deals with
the murder of Anne Nicols on Peb. 10, 1684-• A version of
The Bloody Miller is in Rollins (PB), III, 118-122, and
it has often been associated with an early 19th century
Boston broadside, The Lexington Miller — see Jour (AFL),
XLII, 249-250. For suggested derivatives, see The B anks
of the Old Pedee and The Old Shawnee in Pound, 108-109.
Another possible derivative is Banks of the Ohio (see in
MB) .
According to Peacock, The Knoxville Girl is an American

MB
Song Texts
3034
derivative of the Irish song, The Wexford Girl , and the
English song, The Worcester Tragedy , both of which "were
apparently based" on The Wittam Miller , or The Berkshire
Tragedy, According to Belden, the form called The
Wexford Girl , or The Cruel Miller is "a reduction of The
Wittam Miller ." According to an Edinburgh chapbook of
1744 (catalogued by Halliwell) Notices of Fugitive Tracts ,
Percy Society, XXIX, 90, The Wexford Girl is based upon
an actual murder case, and, as Cox reports, "the miller's
name was John Mauge," He murdered a girl (supposedly his
mistress) at Reading (Berkshire) in 1744, and he was hang
ed for it that same year.
I have no urge to involve myself in the task of unraveling
such a knotty ball of twine, but I will say this: The
Bloody Miller given by Pepys and dated 1684 is quite dif
ferent in structure and story detail and has, in my
opinion, no relationship to The Berkshire Tragedy and its
derivatives. A Case could possibly be made for a relation
ship with some versions of The Lexington Miller , but we
would still be faced with the task of rolling back the
covers of the traditional process* It is far easier to
establish a relationship between The Berkshire Tragedy and
The Knoxville Girl . Even after doing so, however, we would
he forced to conclude that The Knoxville Girl is, at best,
a distant variation. The three versions (A, B & C) given
below should amply demonstrate the point.
REFERENCES
Baring-Gould (SW), IV, 30
Belden (BS), 133-136
Botkin (SFL), 737-738
Brewster (BSI), 204-205
Brown, II, 240-246; IV,
138-144
Cox (PSS), 311-313
Doerflinger, 288-290
Eddy, 231-232, 233-235
Emrich (PAL), 580-581
Flanders (VFSB), 59, 83
Friedman, 225-228
Gardner (3SSM), 77-79
Greenleaf, 119
Greig, Nos. 137 & 179
Henry (FSSH), 214-219

MB
Song Texts
5035
Henry (SSSA), 51
Hudson (FSM), 141-143
Hudson (SMFL), 25-26
Jour (APL), XXV, 11} XXX,
356; XXXIX, 125; XLII,
247, 290; XLV, 125;
XLVI, 29
Jour (PSS), VII, 23, 44
Karpeles (EPS), I, 294-
297, 298-299
Laws (AB), P 35
Leach (BB), 786-787
Lomax (OSC), 174-176
MacColl & Seeger, 242-246
Mackenzie, 293-294
Manny, 301-303
Morris, 336-339
Neely, 150
Owens (TFS), 64-65
Peacock, II, 634, 638
Petrie, No. 693
Pound, 108-109
Put (TPLS), VI, 213-214
Randolph, II, 92-104
Richardson (AMS), 30
Roberts (SBS), 107-108
Rollins, III, 118-122
Scarborough (SC), 159-
164, 402
Sedley, 94-95
Sharp, t, 407-409
Shearin (SKFS), 13, 28
Spaeth (WSM), 121-122
Stout, 50
The Knoxville Girl ( Version A)
•Twas in the town of Knoxville
I used to live and dwell,
And in the town of Knoxville
I owned a flour mill.
I used to court the Knoxville girl
With dark and roaming eye;
I asked her if she'd marry me,
But she would not reply.
We went into her sister's house,
But when we got inside
I asked her to walk with me
Down by the river's tide.
We walked all thro' the grassy hills
And down to level ground;
Then I picked up a long fence stake
And hit and knocked her down.

MB
Song Texts
3036
She fell upon her bended knees,
"Have mercy," she did cry;
"Oh, Johnny, don’t murder me—
I'm not prepared to die!"
But no attention did I pay,
And beat her all the more;
And soon my clothes and everything
Were in a bloody gore.
I took her by her golden hair,
I drug her o'er the ground,
Then threw her in the river
That flows thro’ Knoxville town.
I started hom at twelve o'clock,
And when I reached the door
My aged mother spoke to me—
For blood dripped to the floor.
"0 son, 0 son, what have you done,
To bloody so your clothes?"
I told her I had suffered
All from a bleeding nose.
Then early in the morning time
The poor dead girl was found;
They pulled her from the river deep
That flows thro' Knoxville town.
The Sheriff came that afternoon,
And locked me in the jail;
They charged me with her murder,
And would not give me bail.
Her sister swore my life away,
Without a fear or doubt;
She swore I wa3 the only man
Who took her sister out.

KB
Song Texts
3037
The Knoxville Girl ( Version B)
This is a version also known as The Cruel Miller and,
in some places, as The Butcher's Boy , See: Creighton
(PSNB), 194-195; Greig & Duncan, No. 200; Karpeles (EFS)
I, 294-297; Kennedy, 713; Laws 5, 22, 103, 104, 109, 111
112, 267, 301; and Peacock, II, 638.
My parents reared me tenderly
And good learning gave to me;
They bound me 'prentice to a miller,
To which I did agree,
Till I fell in love with a pretty girl
With a dark and a rolling eye;
I told her I would marry her
If she would with me lie*
I went unto her sister's house
About eight o'clock that night,
But little did that poor girl think
I only came for spite.
I asked her to take a walk
Down in the meadows gay,
And there we'd sit and talk a while
And fix our wedding day.
I picked me up a heavy stake
-r- And I knocked her to the ground,
And soon the blood of innocence
Was dripping all around.
Now with her body's blood
My hands and clothes were dyed;
Instead of being a breathless corpse
I wish she were my bride.

MB
Song Texts
3038
I rode unto my master's house
About twelve o'clock that night;
My master did unlock the door
And for me struck a light.
He asked me and questioned me,
About my hands and clothes,
And quickly I did answer him,
"I had a Bleeding nose.”
I took from him a candle then,
And hurried straight to my Bed
While knowing well as I lay down,
My true love she lay dead.
Before three days had passed
The murdered girl was found,
A-floating near the river Bank
Outside of Wexford town.
They came and took me prisoner;
The jurors they did agree:
Bor murdering my own true love,
•Twas hanged that I must Be.
How come, all you young men,
And warning take in time,
Bor if you kill some poor young girl,
Tour fate will Be like mine*
The Knoxville Girl (Version C)
When I was young and a tailor boy
About sixteen years of age,
My father hired me to a miller.
That I might learn the trade.

MB
Song Texts
3039
I fell in love with a pretty girl
Who filled me with desire;
Her rosy cheeks, her curly hair,
I really did admire.
Her father he persuaded me
To take her as my wife;
The devil he persuaded me
To take away her life.
I went unto her father's house
About nine o'clock at night,
Invited her to take a walk,
To plan and make things right.
We had not gone so very far
Till looking about and around,
I saw a stake and picked it up,
Then struck and knocked her down.
I took her by her lily-white hands
And slung her around and around;
I dragged her off the river bank,
And plunged her in to drown.
About nine or ten days after that,
The girl's dead body was found
A-floating down by her father's house
Who lived in Oxford town.
********************

MB
Song Texts L
3040

Fo. 978
LA CALANDRIA
also known as
The Lark
The Sparrow
Spanish-language love song from Few Mexico, collected by
Charles Lummis sometime during the final quarter of the
19th century. Lummis thought the song came from Sonora.
Sees Lummis (LPT), 243-244.
Snanish Text
La Calandria
En una jaula de oro,
Pendiente de un balcon.
Una triste / calandria
Lloraba su prision.
Chorus
Ay, Dios l no hay remedio?
Ay, Dios! no hay piedad?
Me robas del reposo,
Y adois tranquilidad.
Hasta un gorrioncito,
Amoroso la hallo,
Y dijo "Mi bonita,
Te quiero mucho yo."
Y luego la calandi-ia
Le dijo y le juro^
"Me sacas de mi prision,
Me vo.v contigo yo."
English Text

Song Texts
3041
MB
In a cage of pure gold
Upon a balcony,
A sad lark was crying,
And longing to be free.
Chorus
Oh, God! is there no cure?
Oh, God! is there no pity?
You have robbed me of repose,—
Goodbye, tranquility.
Until a little sparrow,
So amorous and true,
Said, "0 my little pretty,
I love you much, I do!”
Straight away the little lark,
She promised to be true:
"Oh, take me out of prison,
And I will go with you!"
*************************************

No. 979
LA CUCARACHA
also known as
The Cockroach Mexican Cockroach Song
This song originated in Mexico and is usually associated
with Pancho Villa, Zapata, and other revolutionaries in
that country. It has circulated in the United States in
a variety of versions, but was largely ignored by col
lectors of folk material. The first collection in which
a version of any length appears is Sandburg's American

MB
Song Texts
3042
Songbag .
REFERENCES
Downes (1943), 354
Sandburg (AS), 289-291
Silverman, I, 262
Whitman, 12
Wier (LS), 179
La Cucaracha
( Spanish text )
Cuando uno quiere a una
Y esta una no lo quiere,
Eb lo mismo que si un calvo
En la calle encuentr' un peine.
Chorus
La cucaracha, la cucaracha,
Ya no quieres caminar,
Porque no tienes, porque le falta,
Marihuana que fumar.
Las muchachas son de oro;
Las casadas son de plata;
Las viudas son de cobre,
Y las viejas oja de lata.
Las muchachas Mexicanas
Son lindas como -una flor,
Y hablan tan dulcemente
Que encantan de'amor.
Una cosa me da risa—
Pancho Villa sin camisa.
Ya se van los Carranzistas
Porque vienen los Villistas.

MB
Son*; Text3
3043
Necesita automovil
Par’ hacer la caminata
A1 lugar a done mando
La convencion Zapata.
English Text
When a fellow loves a maiden
And that maiden doesn't love him,
It's the same as when a bald man
Finds a comb upon the highway.
Chorus
The cucaracha, the cucaracl
Doesn't want to travel on
Because she hasn't, 0 no, she hasn't
Marihuana for to smoke.
All the maidens are of pure gold;
All the married girls are silver;
All the widows are of copper,
And old women merely tin.
All the girls from Mexico
Are as pretty as a flower,
And they talk so very sweetly,
Fill your heart quite up with love.
One thing makes me laugh most hearty—
Pancho Villa with no shirt on;
Now the Carranzistas beat it
Because Villa's men are coming.
Fellow needs an automobile
If he undertakes the journey
To the place to which Zapata
Ordered the famous convention.
**************************

KB
Song Texts
3044

Ho. 980
LADIES MAN
also known as
1*11 Always Be A Ladies Man
This light, humorous song is probably of music hall ori
gin, but I have been unable to learn much about it. I
have sung the song periodically over a thirty-five year
span. It is not related to the 19th century popular
song, The Ladles Man, a text of which is in Songster (10),
218. A version of the song below is also in Best, 42-43.
Ladies Man
Boys love cake and girls love silk,
And little pigs love buttermilk,
But ever since this world began,
Women have loved a ladies man.
I go along with the ladies;
Sing my song for the ladies.
As long as I can walk or stand,
I'll always be a ladies man.
The bluebird loves its little nest,
The baby loves its mother's breast,
But dressed in rags, or spic and span,
Women all love a ladies man.
I sympathize with the ladies,
Tell no lie3 to the ladies;
As long as I know sugar from sand,
1*11 always be a ladies man.
Squirrels all love a hick'ry tree,
Preachers love eternity,
And ever since this world began
Women have loved a ladies man.

MB Song Texts 3045
I go along with the ladies,
Sing my song to the ladies:
God bless them all, I think they*re grand!
1*11 always be a ladies man.
***************************

No. 981
THE LAE WITH THE AUBURN HAIR
also known as
The Boy With the Auburn Hair Michael Roy
This is a "source" song, not a folk song. The tune is
that used for California Joe and The Southern Soldier ,
both given elsewhere in this Master Book.
REFERENCES
Brown, 17, 351 Levy, 80
Carmer (SRA), 12 Lewis, 88
Chappie (HS), 408-409 .Luther, 140-141
* . Most (PCS), 90-91
The Lad With the Auburn Hair
In Brooklyn city there lived a maid,
And she was known to fame;
Her mother’s name was Mary Ann,
And hers was Mary Jane;
And every Saturday morning
She used to go over the river,
And went to market where she sold eggs,
Sassages, likewise liver.
Chorus
For Oh! for oh! He was my darling boy.
For he was the lad with the auburn hair,
And his name was Michael Roy.
*#*******■*•»■*•*•»•*■****■»•**

MB
Song Texts
5046

So, 982
LADY WALPOLE’S REEL
also known as
Boston Fancy
This is a country dance tune, and it is without words. The
name of the dance associated with the tune is The Boston
Fancy . The tune is probably of Scottish origin, but it is
sometimes fused with another dance air, Pigtown Fling (see
in MB). Often musicians will make it a trio, adding The
Opera Reel -see Ford (TMA), 69 and Ryan, 150.
Since there is no text, see Lady Walpole 1 s Reel in this
Master Book , No. 985 , under TUNES .
Por other versions of the tune, some with dance calls and
instructions, see: Elias Howe's Musician's Omnibus No.I,
p. 45; Durlacher, 138; Linscott, 70; Tolman & Page, 111.
*********************************

Ho. 983
THE LAIRD OF COCKPEN
The tune of this old song is more widely known in the
United States than are the words. According to Johnson
(PS), the Laird was a companion-in-arms and attached
friend of Charles II: he fought with Charles at Worcester,
and formed one of the merry monarch's little court at
the Hague. The Laird was famous for his musical skill,
and he often played a tune called Brose and Butter for
the exiled King. That is the tune known now as Cockpen.
Words were written to the air by Lady Nairne, turning it
into a ballad. Later, a Miss Ferrier, added two stanzas,
and the ballad became even more popular.
REFERENCES
Chappie (HS), 448
Hopekirk, 141-143
Johnson (FS), 417-418
Macfarren, 42-43
Rogers, 61

MB
Song Texts
3047
The laird of Cockpen
The Laird of Cockpen he's pro^d and he's great,
His mind is ta'en up wi' the things o' the state;
He wanted a wife hia braw house to keep.
But favour wi' wooin' was fashious to seek.
Doun by the dyke-side a lady did dwell,
At his table-head he thought she'd look well;
M* Cleish's ae dochter a' Clavers'-ha' Lee,
A penniless lass wi' a lang pedigree.
His wig was well powdered as good as when new,
His waist-coast was white, his coat it was blue;
He put on a ring, a sword and cock'd hat—
And who could refuse the Laird wi* a' that?
He mounted his mare, and rode cannilie,
An' rapped at the gate o' Clavers'-Ha* Lee.
"Go tell Mistress Jean to come speedily ben:
She'8 wanted to speak wi' the Laird o' Cockpen."
An' when she cam ben, he bowed fu* low,
An' what was his errand he soon let her know.
Amazed was the Laird when the lady said, "No."
An' wi' a laigh curtsie she turned to go.
****************************
• No^ 984
THE LAIRD OP DRUM
also known as
The Grassy Hills The Laird and the
The Ladye 0 The Drum Shepherd '3 Daughter
This ballad appeared in Kinloch's Collection in 1827, and
he reported it to be a very popular boradside in Scotland.

KB
Song Texts
3048
Alexander Irvine, the Laird of Dr inn, was loyal to the
Stuart cause and suffered considerably as a result.
REFERENCES
Dixon (T7AB), 33
Gardner (BSSM), 149
Herd (AMSS), II, 6
Johnson (SMM), Ho. 397
Zinloch (ASB), 199
Kinloch MSS, Y, 9
MacMath MS., 13
Muir, 256-257
Barry (BBM), 300
Buchan (ABS), II, 194
Buchan MSS, II, 101
Chambers (SSPB), 440
Child, IV, 322
Christie, I, 24
Creighton (MBS), 28
The Laird of Drum
The Laird o' Drum has a-hunting gone.
All in the morning early,
When he did spy a well-far'd maid
A-shearing her father's barley.
"Good morning, lass," said the Laird o' Drum,
"And can you fancy me?
Of all the lasses here about,
I like none so well as thee."
"I will not go with you, fair sir,
I'm busy— as you can see;
I'm much too low to be your wife.
And mistress I scorn to be!"
**************************************

No. 985
THE LAKE OP COLD FINN
also known as
The Lake of Cool Finn
The Lakes of Cold Finn
The Lakes of Col Finn
Willie Leonard

MB
Song Texts
3049
This is an Irish "mythological" broadside. Imported to
America, the ballad drifted into tradition, where most
of the mythological content disappeared. The original
story tells how a mermaid fell in love with young Willie,
awakened him and had him come to the lake, where, after
tiring of him, she took him under water. It was first
published by Joyce in his Ancient Irish Music , in 1873.
The song is sung to several different airs, including
a variation of Lord Randall .
REFERENCES
Barry (MWS), 26-27
Bulletin (FSSN), VIII, 9-12
Flanders (CSV), 22-23
Flanders (NGMS), 32-34
Jour (IFSS), IX, No. 1, 15
Joyce (AIM), 103
Joyce (0IFMS), 227
Leach (BB), 732-733
Morris, 437
O'Conor, 15-16
The Lake of Cold Finn Tune: The Unfortunate Life III
On a fine summer morning Willie Leonard arose,
And straight to his comrade's bed-chamber he goes,
Saying, "Comrade, oh comrade, let nobody know,
This very fine morning a-swimming we'll go."
They walked on together and came to a stream,
The first one they met was a keeper of game;
He addressed them-with sorrow, said, "You mustn't go in,
For you'll surely .be drowned in the lake of Cold Finn."
Young Willie stripped down to swim the lake 'round;
He swam to an island and came to dry ground,
Saying, "Comrade, dear comrade, don't venture in,
For there's deep and false water in the lake of Cold Finn.
Young Willie dove in once more to swim 'round,
And swam the lake over and couldn't find ground,

Song Texts
3050
MS
Crying, "Comrade, dear comrade, I feel very weak—"
And those were the last words Willie Leonard did speak.
Early that morning his sister arose,
Straight to her mother’s bed-chamber she goe3,
Saying, "Mother, dear mother, I’ve had a sad dream,
I saw Willie drownaed in the lake of Cold Finn."
That very same morning his mother came there,
wringing her hands and a-tearing her hair,
Saying, "Where did it happen? Where did he fall in?
This is a sad day on the lake of Cold Finn."
**********************************

Ho. 986
THE LAKE OF PONCHARTRAIN
also known as
The Creole Girl On the Lakes of
On the Lake of the Poncho Ponchartrain
Plains The Ponsaw Train
Helen Flanders described this song as "a companion
piece" to Little Kohea "with the situation altered.
Ponchartrain is the name of a lake in Louisiana.
REFERENCES
Creighton (SBNS), 299
Flanders (NGMS), 147-148
Gardner (BSSM), 133
Jour (AFL), XXXV, 387-388
Larkin, 31-33, 46-48
Manny, 256-257
Pound, 127-128
Randolph, IV, 413
Stout, 90-91
Tolman & Eddy, 387
The Lake of Ponchartrain
It was a dark and stormy night,
I made my weary way

MB
Song Texts
3051
O’er hills and tides and meadowlands—
A-far my feet did stray.
Just at the close of evening,
Some higher ground to attain,
It was there I met a Creole girl
On the lake of Ponchartrain.
"Good evening, my pretty fair maid,
My money does me no good;
If it were not for the alligators
I would sleep out in the wood,”
"You are most welcome, stranger,
To my cottage, tho' it's plain,
For we never turn a sailor out
On the lake of Ponchartrain."
She took me to her mother's house,
And treated me quite well;
Her hair hung down in ringlets
And about her shoulders fell.
I tried to paint her beauty,
But my efforts were in vain—
Oh! handsome was that Creole girl
On the lakes of Ponchartrain.
I asked her if she'd marry me;
She said that never could be,
For she had had a lover true
And he had gone to sea.
Yes, she had had a lover true,
And she would true remain,
Until he returned to claim her there
On the lake of Ponchartrain.
"Adieu, adieu, my pretty one,
We will meet again no more;
But I won't forget your kindness
In that cottage by the shore."

MB
Seng Texts
3052
Long may this social gathering last
O'er this wide and spreading main;
We'll drink a toast to that Creole girl
On the lake of Ponchartrain.
***************************************

Ho. 987
LA MENTIRA
also known as
The Lie
Spanish-language "philosophical love" song from Hew
Mexico. The song was recovered hy Charles Lummis, who
said: "The song is beautiful—almost classic—Spanish
verse; and no poet need have been ashamed of it." See:
Lummis (LPT), 227-228.
La Mentira ( Spanish Text )
La vida es sueno, el porvenir mentira;
•La amis tad y el amor mentira son;
T mentiras son tambien las ilusiones
Que se forja delirante el corazon.
Es mentira el amor de las mugeres,
Y mentira su belleza y su deaden,
Y mentira el "te adoro" que pronuncian,
Y sus besos mentiras son tambien.
Son mentiras los dulces juramentos
Que pronuncian 3us labios de carmin;
Son palabras prados a los bosques del confin.
Es la espina de que en vuelto va el veneno
Con que halagan 3U male^ fico querer;

MB
Song Texts
3053
Con que matan mestros pobres corazones—
Cuan malvada, cuan malvada es la muger!
English Text
Life's a dream, the future hut a lying vision,
Ab for friendship and for love mere lies are they;
And hut lies as well are all the fond illusions
The misguided heart is conjuring-up alway*
•Tis a lie, this love the women all are feigning,
And a lie their beauty and their proud disdain,
And a lie the "I adore thee!” that they murmur,
And their very kisses are a li< as vain.
They are lies—the sweetest vows of passion
That their carmine lips breathe tenderest of all;
They are words, and only words the winds shall
scatter
Down the valley like the dead leaves of the fall.
Love! it is the thorn that holds the hidden poison
Wherewithal they wreak their cruel whims and blind;
Wherewithal they slay our trusting hearts forever—
Ah, that wicked, ah, that, .wicked womankind!
*************************************

No. 988
LAMENT OP A BORDER WIDOW
also known as
Sweet William
Sweet Willie
A Bonnie Bower
Pair Eleanor
The original ballad has long since disappeared from
England, where it was first published in doctored form
in Percy (RAEP), III, 86. A similar ballad, The Lady

MB
Song Texts
3054
Turned Serving-Man , was found in Scotland and published
by Sir Walter Scott in his Minstrelsy , III, 83. Child
has it as No. 106, which aided its survival in the U, S.
The ballad is known under various titles, such as:
The Famous Flower of Serving-Man , or Men and The Famous
Flower and Her Serving Man . Barry found a version in a
pocket songbook printed in America during the 1840s ( The
Blackbird Songster , New York, 1845)* and said the ballad
dated back to at least 1660-1675.
REFERENCES
Barry (BBM), 227-232
Child, II, 428-432; V, 418
Creighton (TSNS), 62-63
Flanders, III, 77-88
Flanders (BMNE), 127-129
Greig & Duncan, No. 163
Greig & Keith, 85-36
Kinloch (ASB), 95-36
Kinsley, 525-526
MacColl & Seeger, 81-86
Moore (BFSS), 83-84
Muir, 199
Percy (RAEP), III, 86-89
Quiller-Couch, 793-794
Scott (MSB), 381-382
Thomson (OSA), IV, 162
Lament of a Border Widow
My lover built me a bonnie bower,
And sent to me a lovely flower;
A nicer bower you never will see,
Than my own true love built for me.
There came a man around mid-day,
He spied his sport and went away;
He brought the king that very night,
Who broke my bower and slew my knight.
He slew the knight, to me so dear;
He slew my knight and took his gear.
My servants all for life did flee,
And none were left to comfort me.

MB
Song Texts
3055
I sew his sheet and made my moan,
And watched his corpse, myself alone;
I watched his body, night and day—
No living creature came that way.
I took his body on my back,
Awhile I rode, awhile I sat;
I dug a grave and laid him down.
And covered him with cold, cold ground.
No living man will cause me pain,
Now that my lovely knight is slain;
With a lock of his yellow hair
I'll chain my heart away from care.
************************

No. 989
LAMENT OP THE IRISH EMIGRANT
also known as
I'm Sitting on the
Stile, Mary
The Irish Emigrant
I Was Sitting on a Stile
This is a M source song" as well as a traditional piece.
Written and composed by Helena Sheridan (who later became
Lady Gifford) and William Dempster, who, as a singer, was
responsible for the song's popularity in America.
Por a forecastle shanty with a near-like title, The
Irish Emigrant , see Hugill (1), 300-301.
Por a gold-rush song sung to this tune, see The Gold
Seeker XV in this Master Book.
REFERENCES
Brown, II, 369
Dean, 81
Johnson (PS), 85-87
Lair (SLL), 30
Peacock, II, 462-464

MB
Song Texts
3056
Lament of the Irish Emigrant
I*m sittin' on the stile, Mary,
Where we sat aide hy side
On a bright May mornin', long ago,
When first you were my bride;
The corn was springin' fresh and green,
And the lark sang loud and high,
And the red was on your lip, Mary,
And the love-light in your eye,
And the red was on your lip, Mary,
And the love-light in your eye.
The place is little changed, Mary,
The day as bright as then,
The lark's loud song is in my ear,
And the corn is green again.
But I miss the soft clasp of your hand.
And your breath warm on my cheek;
And I still keep listenin' for the words
You never more will speak, etc.
I'm very lonely now, Mary,
For the poor make no new friends.
But oh! they love them better for
The few our Father sends.
And you were all I had, Mary,
My blessing and my pride;
There's nothing left to care for now,
Since my poor Mary died.
***•****•*■»•** ******** ***■»*

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Song Texts
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Ho. 990
THE LAND OP CANAAN
also known as
Bound for Canaan
Bound for the Land of Canaan
Bright Canaan
Canaan, Bright Canaan
I A-j Bound for the Land
of Canaan
0 Canaan, Sweet Canaan
Swee+ Canaan
This campground-type hymn is based upon a poem by Isaac
Watts, author of many well-known protestant hymns. The
stanzas and refrains are quite numerous, having accumu
lated over the years of its traditional use. We know
it was sung in 19th century protestant churches, because
versions appear in both the Baptist Hymn and Tune Book ,
1857, p. 334 and the Methodist Hymn and Tune Book , 1989»
Ho. 885.
See and compare Canaan in Richardson (AMS), p. 70 and
Pray Give Me Your Right Hand in Marsh (SJ5), 243.
REFERENCES
Lair (SLL), 8
Songster (197), 271
White, 438
White & King, 87
Benziger, 15
Jackson (SPS), 198
James, 87
The Land of Canaan
How on the day I say goodbye,
I am bound for the land of CanaanJ
No need to greive, no need to cry,
I am bound for the land of Canaan.
Chorus
Oh, Canaan, bright Canaan,
I am bound for the land of Canaan!
Sweet Canaan will be my happy home,
I am bound for the land of Canaan!

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Song Texts
3058
Oh, who will come and go with me?
I am hound for the land of Canaan!
I’m hound fair Canaan’s land to see,
I am hound for the land of Canaan!
Before me many friends have gone,
I am hound for the land of Canaan!
And I’ll he glad to travel on,
I am hound for the land of Canaan!
************************************

No. 991
LARKIN THE MASON
also known as
Bauld Randkin
Beau Lamkin
Beaulamkins
Boab King Henry
Bolakin
Bo Lamkin
Bold, or Bow Lamkin
Bold Rankin
Cruel Lammikin
False Lamkin(s)
False Linfinn
Lambert Linkin
Lambkin
Lamerlinkin
Lamferd, or Lanfin
Lamkin the Mason
Lammikin
Long Lankyn, or Longkin
Long Lonkin
Lord Arnold’s Castle
Squire Relantman
Tamkin
Tumkin
Young Alanthia
This old Scottish song has been collected in all areas of
the United States, and in quite a few slightly differing
versions. But as Child says, "The story is told without
material variation in all the numerous versions." Yet
the time to which it is sung varies greatly, and is not
so easy to identify if encountered without a text.
REFERENCES

MB
Hong Texts
Allingham, 297
Barry (BBM), 200-206
Beck (FLM), 91-92
Brewster (BSI), 122-124
Brown, II, 140-143; IV,
74-76
Brown (BLNC), 9
Bulletin (TFLS), VIII, 75
Campbell & Sharp, No, 23
Chappell (FSRA), 76
Child, II, 320-342
Christie (1876), I, 60
Coffin, 94-96
Creighton (MFS), 20-21
Davis (MTBV), 214-220
Davis (TBV), 354-359, 583
Dean-Smith, 83
Eddy, 59-60
Finlay, II, 45, 55
Flanders, II, 296-316
Flanders (BMNE), 104-107
Friedman, 199-201
Gainer, 63
Greig & Duncan, No. 187
Greig & Keith, 71-72
Henry (BMFB), 20
Henry (FSSH), 91-93
Henry (SSSA), 62-64
Herd (AMSS), I, 145
Herd MSS, I, 25
Hubbard, 23
3059
Jamieson, I, 176-181
Jones, 301
Jour (AFL), XIII, 117; XXIX
162; XXX, 318; XXXV, 344
XLIV, 61; III, 70
Jour (EFDSS), I, 1
Jour (FSS), I, 212; II,
111; V, 81-84
Karpeles, 68-72
Karpeles (FSN), I, No. 4
Kinloch MSS, I, 306; V,
246; VI, 31
Kinsley, 313-317
Leach (I '), 288-295
Leather (FLH), 199-200
Linscott, 303-305
Maidment (NBOB), 73
Moore (BFSS), 72-74
Motherwell, II, 164-167
Niles (BB), 213-215
Notes (2d series), II, 324;
(3d series), II, 381
Peacock, III, 806-807
Quarterly (SFL), V, 137-138
Randolph, I, 141-142
Reeves (EC), 171
Sharp, I, 201-207
Sharp (100), 62-64
Whitelaw, 246
Whiting (TBB), 61-64
Larkin the Mason

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Song Texts
3060
Young Larkin was the best mason that ever laid a stone;
He built Lord Arnold’s castle, but the lord paid him none
And Larkin swore revenge, and revenge it would be;
He’d have Lord Arnold's castle, or the Lord’s family.
One day as Lord Arnold was a-leaving his home,
He said to his wife, H What if Larkin should come?”
”1 fear neither Larkin nor all of his kin;
The doors will be bolted and the windows locked in.”
The doors were all bolted and the windows all pinned,
But nevertheless young Larkin got in;
He came through the cellar and straight up the stair,
And he called Lady Arnold, who knew he was there.
"0 Larkin, 0 Larkin, turn around and go back,
And I’ll give you enough gold to fill up a sack.”
He took out a penknife, both pointed and sharp,
And stabbed her baby three times in the heart.
"How even if you should offer me gold by the peck,
It wouldn't keep my knife from your lovely white neck."
”0 spare me, Sir Larkin, at least for an hour,
And you shall have my daughter, a lovely young flower."
Lord Arnold came riding home and he opened the door,
And there was his family all dead on the floor.
He sent for young Larkin, to pay him his hire—
The hire that he gave him was to burn him in fire!
**********************************

No. . 992
THE LASS OP ROCH ROYAL
also known as
The Bonny Lass of Lochroyen
Bright Lay
Pair Annie and Gregory
Pair Annie of Lochroyan,
or Lochyran
Pair Army

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Song Texts
3061
Pair Isabel of Rochroyall
The False-True Lover
Georgie Jeems
The Lass of Aughrun
The Lass of Lochroyan
The Lass of Ocram
Lord Gregory
Lover Gregor , or Gregory
Oh, Open the Door, Lord Gregory
Sweet Jane
This old, tragic Scottish ballad was never widely known
in the United States, but its title has been circulated
by collectors of folk songs to, in my opinion, an unreason
able extent. The earliest published version of The Lass
Of Roch Royal is, apparently, the one in David Herd's
Ancient and Modern Scottish Songs, 1776, I, 149* That is
the version reprinted as Ho» 76 B in Child, II, 217, The
first section of Child's work, vol. 1, part 1, was pub
lished in 1882, followed by additional sections at
irregular intervals. The final section, vol, 5, part X,
was published in 1898. Shortly thereafter the ballad
numbers used by Child became something like reference
numbers in other works. And thereby hangs a confusing
tale.
A great many American collectors have consistently at
tempted to relate their song-findings to one or another
of the ballads in Child's collection, and often without
sufficient reason or cause. In the case of The Lass of
Roch Royal (Child, No. 76), collectors have claimed re
lationship for a particular song on nothing more substant
ial than the appeared of lines and stanzas which were
never clearly established as belonging to either Child,
No. 76, or the song being related. The primary lines and
stanzas used by most American collectors as a basis for
relationship are those which go:
0 who will shoe my bonny foot?
0 who will glove my hand?
It is a rather far-fetched association, but collectors per
sisted in making and restating that association. Why did
they do so? Probably because they were caught up in the

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Song Texts
3062
Child number game. For as Coffin, II, 75, observed:
"There are few versions of ( The Lass of Roch Royal ) in
America, if the widely sung 'shoe my foot' stanzas are
discounted." And that is just the point. The "shoe my
foot, glove my hand" stanzas have a long tradition as
"floaters" and cannot be show to belong to The Ia3s of
Roch Royal . Those stanzas are not only common everywhere
in the United States, they are also sung as a song in
their own right. Also, the list of song3 containing the
two stanzas is quite extensive. Without even referring
to my research notes, I am able to set down the follow
ing titles: The Blue-Eyed Boy ; Bright Day ; Careless Love ;
A Cold Winter's Night; The Daemon Lover ( James Harris );
The False True Lover ; The False Young Man ; The Foolish
Girl ; The Gambling Man; He♦s Gone Away ; Honey Babe ; The
Irish Girl ; 1 Truly Understand That You Love Some Other
Man ; John Hardy ; John Henry ; Kitty Kline ; Lord Randal ;
El Dearest Dear ; My Lady « s Slipper ; The New-Slain Knight ;
The Rejected Lover ; The Storms Are Over the Ocean; The
True Lover's Farewell ; and Wild Bill Jones♦ For additional
information and references, see The Floaters in this Master
Book.
On the available evidence I am forced to conclude that
the "shoe my foot, glove my hand" stanzas floated into
The - Lass of Roch Royal just as they floated into many
other songs* Therefore, we cannot safely use such lyric
matter for purposes of relating and identifying texts. It
is as Helen Flanders said: The Lass of Roch Royal "has
been abused by American collectors eager to swell the ranks
of the traditional ballads discovered in this country."
Nevertheless, this being a reference work, I am compelled
to report what is printed by others in accordance with
their claims and stipulations. So the works listed below
(under References ) include works wherein editors and/or

MB
Song Texts
3063
collectors "associate" their offerings with The Lass
of Roch Royal , even to the extent of using that title
for nothing more than the "shoe my foot, glove my hand"
stanzas. In the interest of clarity, I decided to here
set down as version B the Who Will Shoe Your Pretty
Little Feet that I used to sing when I was a young per
former in North Carolina and elsewhere.
REFERENCES
Agay (1), 42-43
Arnold, 14-15
• Barry (BBM), 149-150
Belden (BS), 55, 480-482
Brewster (BSI), 92-96,
348
Brown, II, 88-92; III,
250-254, 302, 307;
IY, 47-48
Buchan, II, 149
Buchan (ABS), II, 198
Chambers (SB-1829), 91
^Chappell (FSRA), 128
Child, II, 213-226; III,
510-512
Christie, II, 164
Cochran, 153
Coffin, 73-75, 79-81
Combs (FSMEU), 134-138
Combs (FSUS), 118-121
Cox (FSS), 83-87, 182-183
Davis (FSV), 17
Davis (TBV), 267-272
Ebsworth (RB), VI, 609
Flanders, II, 174-177
Folk-Lore Journal, VII, 31
Fowke (TSSO), No. 42
Friedman, 78-84
Gainer, 47-50
Greig & Keith, 59-63
Henry (FSSH), 66-69
Henry (SSSA), 24, 175-176
Herd MSS, I, 31; II, 65
Hudson (FSM), 91-93
Hudson (FTM), 21
Jamieson (1806), I, 3.7
Johnson (SMM), I, No, 5
Jour (AFL), IV, 156; XXII
30; XXVIII, 147; XXX
304; XXXIX, 148; XLV
347
Jour (FSS), II, 86; IV,
286
Kinsley, 144-149
Kolb, 40
Leach (BB), 253-256
MacColl & Seeger, 72-74
McGill, 94
Modern (LR), VI, 514
Moore (BFSS), 58-61
Morris, 278-279
Niles (BB), 167-171

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Song Texts
3064
Biles (BCTL), 6
Owens (TPS), 20-21
Pub (TPLS), XXII, 58-59
Quiller-Couch, 184-192
Randolph, I, 115-121
Richardson (AMS), 37
Ritchie (PS), 84
Roberts (IP), 45-46
Sandburg (AS), 98-99
The Lass of Roch Royal
Sanders, 202-206
Scarborough (SC), 122-126
Scott (MSB-1802), II, 49
Sedley, 134-137
Seeger (6), 65
Sharp, II, 96
Shearin (BBCM), 4
Silverman, I, 104
Wells, 119
( Version A)
Pair Isabel of Roch Royal
Abed and dreaming lay;
She dreamed of Lord Gregory
Before the dawn of day.
0 slowly she then rose up,
And slowly she put on
Her silken gown of crimson.
And sadly faced the dawn.
Go saddle my steed, said she,
Go saddle up the brown;
I’ll ride the swiftest steed, sir,
That ever rode the town.
She had not rode a mile or more—
Perhaps she had rode three—
When she met a rude rover
A-riding o'er the lee.
Is this the queen that I now see,
The queen herself? said he.
Or am I in the presence of
One of her Marys three?

MB
Song Texts
3065
I'm not the queen herself, said she,
Nor one of her Marys three;
I am the lass of Roch Royal
In search of Lord Gregory.
0 see you now yon ca tie tower?
Go there and tirl the pin.
♦Tis rumored here about, said he,
Lord Gregory is within.
Away she rode to yon castle,
She tirled hard at the pin:
Q open, open, Lord Greogry,
And let your true love in.
His mother stood behind the door,
And heard the maiden's plea;
In voice low she made reply,
Pretending to be he:
If you're the lass of Roch Royal,
As you so claim to be,
Then tell me of some love-tokens
That was betweixt you and me.
Have you forgot. Love Gregory,
As we sat upon the hill,
Tqu robbed me of my maidenhead,
Tho,' 1 not against my will?
Lord Gregory is not to home,
He sails upon the sea;
If you have any word for him,
Leave it r pray, with me.
Q who will shoe my bonny foot?
CL who will glove my hand?
And who will bind my middle jimp
WitlL the broad lilly band?

Song Texts
3066
0 who will comb my bonny head
With my new silver comb?
And who’ll be my child’s father
•Til Gregory comes home?
Your father'll shoe your bonny foot,
Your mother'll glove your hand.
Your brother'll bind your middle jimp
With the broad lilly band.
And you will comb your bonny head
With your new silver comb,
But none shall be your child's father
•Til Gregory comes home.
0 Then she turned her face about:
Well, since that it be so,
let never woman that has born a son
Have heart so full of woe.
She set her foot upon a ship,
Sailed out upon the sea,
In search of her love Gregory,
Wherever he might be.
lord Gregory started from his sleep,
And to his mother said:
I dreamed a dream this night, mother,
That fills my heart with dread.
Pair Isabel of Roch Royal,
The flower of her kin,
Was standing just outside my door,
But none would let her in.
There was a woman at the door;
She spoke with such alarm
That I refused to let her in,
For fear she'd done you harm.

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Song Texts
3067
0 quickly, quickly rose he up,
And fast rode to the strand,
And there he saw fair Isabel
Was sailing from the land.
Lord Gregory he called her name.
He shouted out his plea;
The louder that he called to her,
The louder roared the sea.
The wind blew strong, the sea grew rough,
Her ship was rent in twain;
And soon he saw his Isabel
Come floating o*er the main.
He caught her by her yellow hair,
He drew her to the strand;
But cold and stiff was every limb
Before he reached the land.
0 first he kissed her cherry cheek,
And then he kissed her chin;
And soon he kissed her ruby lips—
There was no breath within.
0 woe betide my cruel mother,
And ill her death may be;
She turned my true-love from my door,
When she came so far for me.
He then drew forth his hunting knife,
With heart so sad and sore,
He gave himself a deadly wound,
And breathed a breath no more.
VERSION B
This song, Who Will Shoe Your Pretty Little Feet?, is not
related to version A, except via stanzas dealing with the

MB
Song Texts
3068
questions, "who will shoe your feet?” and *who will glove
your hand?”
For additional information, see headnotes above and The
True Lover’s Farewell in this Master Book.
The time arrived for me to go,
The ship was set to sail;
I held my true-love in my arms,
And saw her face so pale.
0 who will shoe your pretty little feet?
And who will glove your hand?
0 who will kiss your red, ruby lips,
While I'm in some foreign land?
My father will shoe my pretty little feet,
My mama'll glove my hand;
And you can kiss my red, ruby lips
When you return to this land.
0 fare you well, my own true love,
The time has come to part,
But I will wait for you, my love,
With sad and aching heart.
Ho matter where I go, my love,
To England, Prance, or Spain,
I'll never rest nor be at ease
'Til I see your face again.
*************************************

Ho. 993
THE LAST PIERCE CHARGE
also known as
Balaclava
The Battle of Fredericksburg
The Battle of Gettysburg
The Charge At, or Of
The Comrades' Last Brave
Charge
Fredericksburg
t

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Song Texts
3069
Custer's Last Pierce Charge
Custer's Last Fight
Death in Battle
The Fight at Bunker Hill
Just Before the Last Great
Charge
The Last Charge
The Last Fearful Foe
The Soldier Boys
The Soldier Boy With the
curly Hair
The Two Soldiers
This song has traveled from American battlefield to battle
field. Mackenzie thought it "may have come into existence
as early as the second year of the Civil War." Actually,
it may be much older. Up until World War I it was adapt
ed to practically every military engagement fought in the
United States, including the one at Bunker Hill. Text has
also served for Waterloo and other European battles. And
strangely enough there is little variation in the story,
as if there was no necessity to change the name of any
thing but the battle itself.
REFERENCES
Barry (TFS), 70
Belden (BS), 383-387
Botkin (WFL), 745-746
Brown,"II, 539-540; IV,
274-275
Creighton (MFS), 156-157
Dean, 14-16
Eddy, 301-304
Emrich (FAL), 314-315
Fife, 127-128
Friedman, 295-296
Fuson, 94-96
Greig & Duncan, No. 105
Henry (FSSH), 363-364
Hubbard, 277-279
Jour (AFL), XLV, 161-162
Lingenfelter, 274-275
Mackenzie, 298-300
Moore (BFSS), 276-278
Peacock, III, 1004-1006
Pound (SFSN), X, No. 4
Pub (TFLS), VI, 132-134
Randolph, II, 297-303
Shearin (SKFS), 14
Thede, 79
The Last Fierce Charge

Song Texts
3070
MB
'Twas just before the last fierce charge,
Two soldiers drew their rsin,
With a touch of hands, and parting words,
That they might not meet again.
One had blue eyes end wavy hair—
Just nineteen years or so—
With rosy cheeks and childish brow,
He was still a boy, you know.
The other, tall and dark and proud,
His faith in the world was dim;
He only trusted most in those
Who were all the world to him.
They rode together many a day,
They marched for many a mile;
But not 'til now had they met the foe
With a peaceful, common smile.
They looked into each other's eyes
In the face of an awful doom;
The tall, dark man was first to speak,
Saying, "Charlie, my time has come.
"I have a picture on my breast,
I will wear it in this fight;
A picture that is all the world to me;
It shines like the morning light.
"Like morning light was her true love;
It brightened my lonely life.
How care has wrought a furrowed brow
Since she became my loving wife.
"Write to her, Charlie, when I am gone,
Send back this fair young face,
And tell her for me how I died
And of my resting place."

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Song Texts
3071
There were tears in the eyes of the boy.
His voice was filled with pain:
"I* 11 do ray comrade’s parting wish,
If I ride home again.
"But should you get back and I do not,
Will you do as much for me?
I have a mother left to hear the news,
So write her tenderly.
"One after another she has lost
Husband and sons— all are gone;
I am the last of all her boys,
But she cheerfully sent me on."
Just then they heard the order to charge;
For an instant hand touched hand.
They waved goodbye and rode away,
A brave and reckless band.
They rode together straight up the hill,
But the charge was all in vain;
And all of those whom death had spared
Hode slowly back again.
But among those dead upon the field
Was he with the curly hair;
The tall, dark man that rode with him
Lay dying by him there.
There's no one to write that blue-eyed girl
The words her lover said,
And the mother that's waiting at home
Will learn her son is dead.
#***■* #*•**•* ******* **•#■* ************

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Song Texts
3072

Mo. 991
LAVENDER * S BLUE
also known as
Diddle Diddle
Dilly, Dilly
The Kind Country Lovers
Sweet Lavender
This was not originally a nursery song, and it dates from
1672. Its prototype is a song called Diddle Diddle , or
The Kind Country Lovers , which is extremely distant in
spirit from the nursery. In olden times it was associated
with the amusements of Twelfth Night, and it refers to
the choosing of the King and Queen of the festivities.
About 1805 it gained a new lease on life in an abbreviated
form as a nursery song. It survived in the nursery until
1948, when it was given a modern "pop” treatment by Larry
Morey and Eliot Daniel for the Walt Disney film, j3o Dear
To My Heart . The song was sung in the film by Dinah Shore
and soon became a nation-wide hit. It was revived again
in 1959 by Sammy Turner, who had a hit record of it on
the Big Top label. Since then the song has faded from
the "pop" scene, but still retains a popular standing in
the nursery. Version B is the original text.
REFERENCES
Bertail, 6
Cazden, II, 88-89
Cole, 36-37
Leisy (LAS), 91-92
Linscott, 229-230
Moffat (LSLA), 49
Moorat, 21
Opie, 265-267
Wier (YAM), I, 93
Lavender’s Blue
(Version A)
Lavender’s blue, diddle, diddle!
Lavender’s green;
When I am king, diddle, diddle!
You shall be queen.

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Song Texts
3073
**
Call out your men, diddle, diddle!
Tell them to start;
Some to the hay, diddle, diddle!
Some to the cart.
VERSION 3
( The Kind Country Lovers; a black-letter broadside that
was published sometime between 1672 and 1683).
Lavender’s green, diddle diddle.
Lavender's blue;
You must love me, diddle diddle,
Por I love you.
I heard one say, didddle diddle,
Since I came hither,
That you and I, diddle diddle,
Must lie together.
My hostess maid, diddle diddle,
Her name was Nell,
She was a lass, diddle diddle,
That I loved well.
If she should die, diddle diddle,
By some mishap,
Then she shall lie, diddle diddle,
Under the Tap.
That she may drink, diddle diddle,
When she is dry,
Because she loved, diddle diddle,
My dog and I.
Call up your maids, diddle diddle,
Show them the clock,
Some to make hay, diddle diddle.
Some to the Rock.
*********************************

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Song Texts
3074

Wo. 995
IAY THIS BODY DOWN I
also known as
I'm a Long Tine Traveling To Lay This Body Down
I'm Traveling To My (The) The Traveler
Grave
Campground spiritual with common title and common theme,
with both white and black versions# Version A was pub
lished in the 1859 edition of the Original Sacred Harp
and reproduced in the 1911 edition, p. 288. The tune was
credited to Edmund Lumas of Georgia. The same version was
reprinted in Jackson (SP5), 202-203.
According to McCurry ( Social Harp , 1855), p, 37, version
B was written by himself and William C. Lavis in 1853.
This is the version that slaves adapted (see version C).
Version B is in Jackson (SPS), 230 and (WSSU), 260.
Version C is in Brewer, 188; Lett, 187; Jackson (WSSU),
261; Marsh (SJS), 146; and Pike, 186, 228.
Lay This Body Lown I ( Version A)
Ye fleeting charms of earth, farewell,
Your springs of joy are dry;
My soul now seeks another home,
A brighter home on high.
Chorus
I'd a long time trav’ling here below,
I'm a long time trav'ling away from home;
I'm a long time trav'ling here below.
To lay this body down.
Farewell, my friends, whose tender care
Has long engaged my love;
Your fond embrace I now exchange
For better friends above.

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Song Texts
3075
VERSION 3
I'm traveling to my grave,
I'm traveling to my grave,
I*m traveling to my grave,
To lay this body down.
My fathers died a-shouting,
Rejoicing in the Lord;
The last word I heard them say
Was shout Jerusalem,
The saints* delightful home.
I'm traveling to my grave, (3) •
To lay this body down.
VERSION C
My father died a shouting,
Singing glory hallelujah!
The last words he spoke to me
Was about Jerusalem.
Chorus
I'm a trav'ling to the grave,
I'm a trav'ling to the grave,
My Lord, I'm a trav'ling to the grave
For to lay this body down.
My mother died a shouting,
Singing glory hallelujah!
The last words she spoke to me
Was about Jerusalem.
My brother died a shouting, etc.
My sister died a shouting, etc.
*-*********************** ###########

Song Texts
5076
MB

Bo. 996
LAY THIS BODY DOWN II
also known as
I Know Moonlight 0 Graveyard
This is a "slave” spiritual; it was first published in
1867.
REFERENCES
Allen (SSUS), 19-20, 54 Sandburg (AS), 451
Lomax (ABPS), 577-578 Scott (BA), 209-210
Lay This Body Down II
0 graveyard, 0 graveyard,
I*m walking through the graveyard,
Lay this body down.
I know moonlight, I know moonlight,
I'm walking through the moonlight,
Lay this body down.
I know starlight, I know starlight,
I*m walking through the starlight,
Lay this body down.
I go to Judgment, I go to Judgment,
In the evening of the day,
Lay this body down.
***************************************

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Song Texts
3077

No. 997
LAY YOUR MONEY DOWN
also known as
Lay Ten Dollars Down
This is a song from the Civil War era that comes to us
in two distinct versions, one sung hy blacks and the
other by whites. It may be related to Pay Me Mv Money
Down , a song collected in the Georgia Sea Islands by
Lydia Parrish, which begins:
I thought I heard the captain say,
Pay me my money down!
Tomorrow is our sailing day,
Pay me my money down!
Por other versions of the Parrish song, see Lomax (PSNA),
530 and Silber (HSB), 27.
Version A, below, was contributed from Dickson Hall, New
York City and Wilmington, N. C., and it is a Confederate
song. Version B ( Lay Ten Dollars Down ) is an adaptation
by blacks recovered by Work (ANSS), 240.
Lay Your Money Down ( Version A)
The Yankees came to Dixie
And gave the folks a scare;
They came to find Jeff Davis,
And they're searching everywhere.
Chorus
0! lay your money down!
I'm taking bets today;
I'm givin’ two to one, boys,
Jeff Davis gets away.

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Song Texts
3078
They*re lookin' in the mountains.
And lookin' by the sea;
They wanna hang Jeff Davis
Prom a sour apple tree!
Up there at Appomattox,
They cornered General Lee,
But they'll never catch Jeff Davis, boys,
You jus* wait an* see!
VERSION B_
I went down to Macon,
But I did not go to stay;
Laid my head in a yaller gal's lap
An* there I stayed all day.
Chorus
0, lay ten dollars down!
Lay ten dollars down!
Lay ten dollars down!
Count 'em one by one.
I went down to Clinton,
But I did not go to stay;
Put my arms round a black gal's waist
An* hugged her tight all day.
June bug has a golden wing,
Lightnin* bug has a flame,
Bedbug has no wings at all,
But he gets there jus' the same.
***»**********************

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Song Texts
3079

No. 998
LAZY MARY
also known as
Lazy Mary, Will You
Get Up?
Lazy Roger
Mary Brown
This is a game song from England, where it is commonly
known as Mary Brown. The game may sometimes vary but
the action is usually carried out by children forming
a ring around Mary, who is lying down or kneeling with
eyes closed. They march around her, singing, and then
stop and sing the answers to Mary*s questions. At the
song*s conclusion, Mary catches one of the visitors who
then becomes Mary.
For songs sometimes associated with this one, see:
She Won * t Get Up in Brewster (GSSI), 254-255 and What
Will You Give Me If I Get Un in Pound, 225-226.
REFERENCES
Halliwell (NRE), 218
Halliwell (PRNT), 119
Jour (AFL), XL, 18-19
Kit, P, 5
Bertail, 101
Brown, I, 55; V, 509
Gomme, I, 364-368
Linscott, 31-33
Newell, 96-97
Notes (6th series), II, 248
Quarterly (SFL), VI, 240-242
Shearin (SKFS), 44, 74
Whitney & Bullock, 143
Wier (YAM), I, 136
Winn (1), 17
Lazy Mary
Lazy Mary, will you get up?
Will you get up, will you get up?
Lazy Mary, will you get up,
Will you get up today?

MB
Song Texts
30S0
0, no, mother, I won’t get up,
I won’t get up, I won’t get up;
0, no, dear mother, I won’t get up
So early in the morning.
0 what will you give me for breakfast,
For my breakfast, for my breakfast,
0 what will you give me for breakfast
So early in the morning?
A little bowl of bread and milk,
Of bread and milk, of bread and milk,
A little bowl of bread and milk
So early in the morning.
0, then, dear mother, I won’t get up,
I won’t get up, I won’t get up,
0, then, dear mother, I won't get up
So early in the morning.
A nice young man with rosy cheeks,
With rosy cheeks, with rosy cheeks,
A nice young man with rosy cheeks
So early in the morning.
0, then, dear mother, I will get up,
I will get up, I will get up,
0, then, dear mother, I will get up
So early in the morning.
I’ll bathe and eat some bread and milk,
Some bread and milk, some bread and milk,
I'll bathe and eat some bread and milk
So early in the morning.
******************************

MB
Song Texts
3081

Ho. 222
THE LAZY YOUNG MAN
also known as
Georgia Boy-
Harm Link
The Lazy Parmer
The Lazy Man
The Young Man Who Did Not
Hoe Corn
The Young Man Who Wouldn’t
Hoe Corn
The Young Man Who Wouldn’t
Hoe His Corn
The Young Man Who Wouldn’t
Plow Corn
A tremendous amount of **guessing H is in print concerning
this song, even as to its place of origin. According to
Cox (PSS), the song is "probably an American product,”
because it "had not" been reported from England. On the
other hand, Cecil Sharp certainly considered it to be an
English product, which is why we find a version in his
Appalchian collection of English Polk Songs.
There are several versions in circulation and in print,
and, according to Randolph, "it is sometimes sung to an
old melody called The Blackbird and the Crow."
REFERENCES
Arnett, 10
Barry (ABB), No. 72
Belden (BS), 440
Belden (PLSB), No. 106
Botkin (APL), 874-875
Brewster (BSI), 307
Brown, III, 247-248; V,
138-139
Campbell & Sharp, 314
Cox (PSS), 494
Davis (PSV), 172-173
Eddy, 243-244
Flanders (VPSB), 74
Hudson (PSM), 200-201
Ives (SA), 160-161
Ives (SB), 242-243, or
220-221
Lomax (OSC), 286-287
Lomax (PB), 39
Lomax (USA), 230-231
Moore (BFSS), 386-387
Owens (TPS), 128-129
Pound, 110-111
Pound (SFSN), XXI, No. 10

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Song Texts
3082
Randolph, III, 195-196
Scott (BA), 46-47
Seeger (6), 42
Sharp, II, 258
Silverman, II, 194
Stout, 91
Tolman, 181
The Lazy Young Man
I'll sing you a song, and it's not very long,
About a young man who wouldn't hoe corn;
The reason why, I cannot tell,
For he was young and strong and well.
He planted by the moon in the month of June,
And in July it was knee high;
But in September there came a frost,
And all this young man*3 corn was lost.
He went to the corn-field and peeped in,
And saw the weeds had grown to his chin;
The hungry weeds had grown so high,
They caused this young man for to cry.
He went to his nearest neighbor's door,
Where ofttimes he had been before;
And when his courtship he'd begun,
She asked him if he'd hoed his corn.
'He hung his head and drew a sigh,
"0, no, dear madam, no, not I;
I've tried and tried but all in vain,
And know I shall not raise a grain."
"Then why do you ask me for to wed,
When you can't raise corn for making bread?
Single I am and single I'll remain,
For a lazy man I won't maintain!"
********■#■*■# ************* »*•***

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Song Texts
3083

No, 1000
THE LEAPING STAG
also known as
As I Rode Out The Deer Song Sally Buck
This is an Americanized "tall tale" version of an old
English "hunting" song. Its popularity in the United
States was and is rather limited.
Por a children's song called The Deer Song , or Sally Buck ,
see Seeger (3), 34-35 and Yolen, 80-81.
Por other versions of the song below, see Sharp, II, 217-
219 and Thompson (BBB), 154.
The Leaping Stag
Well, I went out a-hunting
One cold November day;
The leaves were turning green,
And the flowers were fresh and gay,
And the flowers were fresh and gay.
I rode down by the river,
And on the other side
I saw a thousand deer
All a-swimmin' on the tide, (2).
With gun all cocked and ready,
I under water went,
To get my self a deer or two—
Well, that was my intent, (2).
Now I was under water
A thousand feet or more,
And when I fired my pistols,
Like a cannon they did roar, (2).

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Song Texts
3084
I got me a great big buck,
And from the water went;
The rest of them were long gone,
But to trail 'em all I meant. j
I
I waved and made a circle, i
Then shot around a hill— '
A thousand out of twenty
Is the number I did kill!
************ **•**#•* *■*******•■»•* *********

Ho. 1001
LEATHER BREECHES, or BRITCHES
also known as
Ledder Breeches The Old Leather Breeches
This song is mainly viewed as an instrumental piece that
is played by "old time fiddlers” at Square dances. It was,
however, quite popular as a music-hall and minstrel-show
80ng. It is claimed that Ledder Breeches is a parody of
a song called Brother Jonathan , that the words were writ
ten by Dan Emmett and set to the time of Saint Patrick 7 ?as
A Gentleman . According to Peacock, an Irish version of
Emmett’s text— The Old Leather Breeches —appears on a
Horace Partridge broadside, Ho. 105. Many fiddle-dance
versions simply contain various made-up stanzas, such as
the one given by Thede:
Leather breeches full of stitches,
Leather breeches, leather breeches,
Mammy cut ’em out an’ m‘ daddy
Sewed and sewed th ; stitches.
Two versions are given below, with A being from North
Carolina and B is from Ireland, more like a ballad than
a dance tune.
REFERENCES

KB
Song Texts
3085
Brown, III, 374} V
227
Ford (OTFM), 6
Ford (TMA), 48
O'Lochlainn, 214-216
Peacook, I, 71-72
Thede, 115
Thomas (DD), 134
Leather Breeches ( Version A)
\
I went down to town
And I wore my leather breeches;
I couldn’t see the people
For looking at the peaches.
I went down to town
And I got a pound of butter;
I come home very drunk
And I throwed it in the gutter.
VERSION B
At the side of the mill on the road to Clonmel,
Patty Ackerty kept many sheep in;
Sold pig's meat and bread, kept a nice lodging bed
They liked 'round the country he lived in.
Now him and his wife both struggled thro life,
In the week Patty mended the ditches;
And on Sunday he dressed in a coat of his best,
But his pride was his old leather britches.
For twenty-one years it so do appears,
Those britches his father had runned in;
On the day that he died he to his bedside
Called Patty his dutiful son in.
Advice then he gave ere he went to his grave,
He bid him take care of his riches;

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Song Texts
3086
He said, "It’s no use to step into my shoes,
But I wish you’d pop into my britches."
One night as he lay a-dreaming away,
At the prill-dogs, their frills, and the witches,
He heard an uproar just outside the door,
And he crept to steal on his old britches.
Says Barry McGurke, with a voice like a Turk,
"Come, Patty, come get us some eating."
Says big Andy Moore, "We'll bust open the door,
Por this is the night you’ll be treating,"
0 scarce had he spoke when in the door broke.
They gather'd 'round Patty like leaches;
"By the good martial grog if you don't give us prog,
We'll eat you clean out of your britches!”
He took up the waist of his britches with haste,
He cut out the buttons and stitches;
And he cut 'em in stripes, right away they were
tripes.
And he boiled them his old leather britches.
They walloped the stuff, says Andy: "It's tough!"
Says Patty, "You're no judge of mutton."
When Barry McGurke on the point of his fork,
He lifted a bid ivory button.
'Twas well then for Pat he had gone out at that.
An* fled when he saw them all risin';
Says Barry, "Make haste, and go for the priest.
By the holy St. Jackstone, I'm Poisoned!"
Por Patty's big joke they got up and broke
The table, the bowls and the dishes;
And from that very night they'd knock out your light.
If they caught you in old leather britches!
*•»•*•*•**■*•*****■** *** a-*******-#-* *

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Song Texts
3087

Ho. 1002
LEAVE HER, JOHNNY, LEAVE HER
also known as
Across the Rockies Across the Western Ocean
Across the Rocky Mountains Amanda, Where You Bound To?
This is an immigrant song from about 1850. Shortly after
the Irish potato famine, packet ships carried thousands
from Liverpool across the Western Ocean, to America,, This
is a capstan shanty sung during that time. Later, the
song was adapted by sailors as a hauling shanty (see
version B below).
REFERENCES
Bone, 133-136
Colcord, 118
Glass (SS-1), 50-51
Greenway, 233
Harlow, 58-60
Hugill (1), 292-293
Ives (SA), 86-87
Langstaff (1), 73
Sandburg (AS), 4-12 B
Scott (BA), 150-151
Shay (ASSC), 71-72
Smith (BOS), 71-73
Whall (SSS), 51
Leave Her , Johnny, Leave Her ( Version A)
0 the times are hard and the wages low!
Amanda, where you bound to?
The Plains of Kansas is my home,
Across the Western Ocean.
0 1*11 go ashore and I‘ll spend my pay!, etc.
When I get home I’ll surely stay, etc.
To Hew York town I'll make my way!, etc.
I hate the High Plains any way, etc.
0 the captain's mean as he can be!, etc.
I*m bound across the Western Sea,
To join the Irish army!

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Song Texts
3088
TER SI Oil B
also known as
Leave Her, Bullies, Leave Her Time For Us To Leave Her
Time To Leave Her
Some say this song grew out of version A (above), but
others say it happened the other way around# Judging
strictly by the number of published works containing a
version of this, it is far more popular than version A.
REFERENCES
Bone, 135-136
Bullen & Arnold, 8
Colcord, 119-121
Davis (SSC), 11
Doerflinger, 89-90
Finger (SCCS), 13
Grainger, No. 205
Harlow ('48), 376
Harlow (* 62), 99-100
Hugill (1), 293-298
Hugill (2), 134-135
Jour (FSS), Y, 36
King, 7
Masefield (SG), 371
Masefield (SS), 73
Patterson (SA), 233
Robinson, 124, 128
Sampson, 29
Sandburg (AS), 412
Scott (BA), 135-137
Sharp (EFC-2), 3, 4
Shay (ASSC), 86-87
Smith (BOS), 74-75
Terry, II, 52
Trevine, 16
I thought I heard the old man say,
Leave her, Johnny, leave her!
Just go ashore and draw your pay!
It»s time enough for us to leave her!
The winds were foul, the work was hard, etc .
From England to the Norfolk yard, etc .
The work was hard, the ship was slow, etc .
The food was bad, the wages low, etc.
************ *****-!Mt*** *■»**■»********* *#•*•*■*•*

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Song Texts
3089
No, 1003
THE LEAVES ARE GREEN
also known as j
Who Stoops Last
Game song, and one of many sung to the tune of Mulberry
Bush.
For other versions and game directions, see Bancroft,
358 and Forbush, 87.
The Leaves Are Green Tune: Mulberry Bush
The leaves are green,
The nuts are brown;
They hang so high
_ They will not come down;
Leave them alone
Till frosty weather,
Then they will all
Come down together.
*****************************************

No. 12M
THE LEAVES SO GREEN, 0!
also known as
Among the Leaves So Green, 0! The Keeper Would A-
The Keeper Hunting Go
English "hunting** song with at least half a dozen dif'
ferent versions in America.
REFERENCES
Baring-Gould (SW), No. 113
Best, 22
Brown, V, 419-420
Ebsworth (RB), VII, 557
Farnsworth, 42-43
Karpeles (EFS), II, No. 271

No, 1003
THE LEAVES ARE GREEN
also known as j
Who Stoops Last
Game song, and one of many sung to the tune of Mulberry
Bush.
For other versions and game directions, see Bancroft,
358 and Forbush, 87.
The Leaves Are Green Tune: Mulberry Bush
The leaves are green,
The nuts are brown;
They hang so high
_ They will not come down;
Leave them alone
Till frosty weather,
Then they will all
Come down together.
*****************************************
No. 12M
THE LEAVES SO GREEN, 0!
also known as
Among the Leaves So Green, 0! The Keeper Would A-
The Keeper Hunting Go
English "hunting** song with at least half a dozen dif'
ferent versions in America.
REFERENCES
Baring-Gould (SW), No. 113
Best, 22
Brown, V, 419-420
Ebsworth (RB), VII, 557
Farnsworth, 42-43
Karpeles (EFS), II, No. 271

MB
Song Texts
3090
Kit 24, No. 100
Leisy (SPS), 106-107
Reeves, 138-139
Reeves (EC), 289-290
Seeger (6), 59
Sharp (100), 178
Silber (HSB), 124
Silverman, I, 301
Wheeler (DIPS), 81-88
Winn (2), 86-87
Yolen, 84-85
The Leaves So Green , 01
The keeper would a-hunting go,
And under his coat he carried a bow,
All for to shoot at a merry little doe
Among the leaves so green, 0!
Chorus
Come along, sing along, sing it well, very well—
Hey down! Ho down! Derry, derry down.
Among the leaves so green, 0.
To my hey down, down! To my ho down, down!
Hey down! Ho down! Derry, derry down,
Among the leaves so green, 0.
The first doe he shot at he missed,
The second doe he trimmed he kissed,
The third doe went where nobody wist.
Among the leaves so green, 0.
The fourth doe she did cross the plain.
The keeper fetched her back again;
Where she is now she may remain,
Among the leaves so green, 0.
The fifth doe she did cross the brook,
The keeper fetched her back with a crook;
Where she is now you must go and look,
Among the leaves so green, 0.

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Song Texts
3091
The sixth doe she ran over the plain,
The keeper took hounds and turned her again;
And there he did hunt in a merry, merry vein,
Among the leaves so green, 0.
****** **■*•* ********************* #**•*•**

No. 1005
LET GOD’S SAINTS COME IN
also known as
Come Down, Angels Trouble the Water
Black spiritual from slave-years, and another of those
performed by the original Fisk Jubilee Singers, For
other versions, see Allen (SSUS), 76, oic 129-130 and
Marsh (SJS), 234.
Let God♦s Saints Come In
-I love to shout, I love to sing,
Let God's saints come in!
I love to praise my heav'nly king,
Let God’s saints come in!
Chorus
Come down, Angels, trouble the water, (3)
Let God’s saints come in.
I think I heard a sinner say, etc.
My Saviour taught me how to pray, etc.
I hope to meet my brother there, etc .
He used to ;join with me in prayer, etc,
Now Jesus told us all before, etc .
Go, He said, and sin no more, etc.
****************************-********

KB
Song Texts
3092

No. 1006
LET HER GO, LET HER GO
also known as
How Sad Was the Death of Let Her Go, May God Bless Her
My Sweetheart The Lover's Return
Let 'er Go True Love 1
The stanza from which this song takes its title is a
floater, as are at least several lines and two stanzas
found in some other versions* * There is a "male" and a
"female" version, hut the theme is almost always the
game. For another version oi the title stanza, see The
Unfortunate Life V in this Master Book.
Of the two versions below, the first (A) is male and
the second (B) is female.
REFERENCES
Best, 69 Leisy (SPS), 18
Fuson, 111 Shay (DFW), 80-81
Let Her Go , Let Her Go ( Version A)
True love may be a blessing,
But it never was to me,
For the only girl I ever loved
Has turned her back on me*
* / •*"
Chorus
4 .
Let her go, let her go, God bless her
Wherever she may be;
Let her search this wide world over,
She'll never find a man like me.
There may be a change in the weather,
There may be a change in the sea,
But the only change she ever had
Is change she took from me*

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Song Texts
3093
Here’s to a glass of good whiskey,
Here's to a good glass of beer;
They're not as sweet as a maiden's kiss,
But a damn sight more sincere.
VERSION B
Had I listened to mother,
I would not be here today;
But I was so young and foolish,
And had my own sweet way.
Chorus
let him go, let him go, God bless him.
He's mine wherever he may be;
If he roams this wide world over
He'll never find a friend like me.
I have a big ship on the ocean,
It's lined with silver and gold;
Before I'd see my love suffer,
I'd have that ship anchored and sold.
If I had the wings of a sparrow,
I would spread my wings and fly;
I'd fly to the arms of my darling,
And there I'd stay 'til I die.
0 who is that coming out yonder,
So brave, so handsome and strong?
I think it's my own darling Charlie,
For whom I've waited so long.
♦♦a***************-************

Song Texts
MB
3094
Hen 1001
LET ME PLY
also known as
Trying Hard
19th century campground gospel song
other versions, see Okun, 182-183;
Silverman, II, 111*
and spiritual. Por
Silher (HSB), 65; and
Let Me Fl£
I»m goin’ down to the middle of the fiela;
I»m gonna start workin’ on a chariot wheel.
I don’t care much about workin* on a wheel,
But I gotta find out how the chariots feel.
Chorus
I«m tryin', Lord, I’m tryin* hard;
Lord, you know I’m tryin’ hard.
I know a man over in the Promised Land;
I»m gonna go over and I’ll shake his hand.
I don’t care much about skain' his h^nd,
But I wanna good look at the Promised Land
***********************************
Wrestlin' Jacob

Ho. 1008
LET ME GO, JACOB
also known as
Oh, Rastle Jacob Wrestle On, Jacob
A slave spiritual featured by the original Pish Jubilee
Singers. It is still a favorite of vocal groups who_
feature religious material, but it is usually chan 6 ea
slightly by those performing it. Por example. Brown s
version contains lines and stanzas also found in ^

MB
Song Texts
309^5
other spirituals: Bon*t Be Weary and Keep Your Lamps
Trimmed and Burning;.
Also see and compare the items in Fenner (RFSN), 131
and Jour (AFL), XLI, 580.
REFERENCES
Lett, 70
Hallowell, 41
Marsh (SJS), 180-181
Pike, 262
Allen (SSUS), 4-5, 29-30
Arnold, 167
Brown, III, 684
Let Me Go, Jacob
Wrestling Jacob, Jacob,
Day is a-breaking!
Wrestling Jacob, Jacob,
I will not let thee go!
Let me go, Jacob!
I will not let thee go!
Let me go, Jacob!
I will not let thee go
Until thou bless me.
I will not let thee go,
Until thou bless me.
I will not let thee go!
Wrestling Jacob, Jacob,
I will not let thee go.
1*11 wrestle till the break of day.
I will not let thee go
Until thou come and bless my soul.
I will not let thee go!
***********************

MB
Song Texts
3096

Ho. 1009
THE LETTER EDGED IN BLACK
This is a 19th century "pop" song that disappeared in
the rural South and became a traditional song, re-emerging
as a "country" song on radio and phonograph records in the
late 1920s and through the 1930s. Song has been recorded
by many "country" artists and printed in hundreds of folios
by music publishers* The song is based upon the discarded
practice of sending messages of death and disaster in en
velopes edged in black.
REFERENCES
Kennedy (AB), 131-132 Shay (PF-2), 122-124
Kennedy (TAB), 208-209 Shay (PF-3), 192-193
Randolph, IV, 162-163 Spaeth (WSM), 38-39
Richardson (AMS), 35
The Letter Edged in Black
I was standing by the window yesterday morning,
Without a thought of worry or a care,
When I saw the postman coming up the pathway
With such a happy face and jolly air.
He rang the bell and whistled while he waited,
And then he said, "Good morning to you, Jack."
But he little knew the sorrow that he brought me
As he handed me that letter edged in black.
With trembling hand I took the letter from him,
I broke the seal and this is what it said:
"Come home, my boy, your dear old father needs you;
Come home, my boy, your dear old mother’s dead.
The last words that your mother ever uttered,
Tell my boy I want him to come back.
My eyes are blurred, my poor old heart is breaking,
For I’m writing you this letter edged in black.

MB
Song Texts
3097
"Those angry words, I wish I'd never spoke then—
You know I did not mean them, don’t you, Jack?
May the angels hear me witness, I am asking,
Your forgiveness in this letter edged in blacki"
I could hear the postman whistling yesterday morning
Coming up the pathway with his pack,
But he never knew the sorrow that he brought me
When he handed me a letter edged in blacki
***************************************

No. 1010
LEWIS AND CLARK
also known as
On the Discoveries of
Lewis and Clark
The Discoveries of
lewis and Clark
An early American historical-type song. In 1803, at the
request of Thomas Jefferson, Meriwether Lewis and William
Clark set out to explore all the land beyond the Missis
sippi to the Pacific Ocean. After the return of the ex
plorers, much celebrating was done. Nevertheless, the
expedition was ridiculed in song by an anonymous Federal
ist. Of course, it was more of a political attack on
Jefferson than an attack on Lewis and Clark, though Lewis
had once been Jefferson's secretary.
The "dusky Sall y " named in the 9th stanza was Jefferson’s
housekeeper with whom, rumor had it, he was having a
live-in love affair. The "Joel" mentioned in the last
stanza is Joel Barlow, poet and statesman, who published
a poem written for a dinner given in honor of Lewis and
Clark in Washington.
The text below is from Lawrence, 184.
Lewis and Clark Tune: Yankee Doodle

MB
Song Texts
3098
Good people, listen to ay tale,
•Tis nothing but what true is;
1*11 tell you of the mighty deed
Achieved by Captain lewis.
How starting from the Atlantic shore
By fair and easy motion,
He journeyed, all the way by land,
Until he met the Ocean.
Heroic, sure, the toil must be
To travel through the woods, sir,
And never meet a foe, yet save
His person and his goods, sir.
What marvels on the way he found—
He'll tell you, if inclined, sir—
But I shall only now disclose
The things he did not find, sir.
He never with a Mammoth met,
However you may wonder;
Not even with a Mammoth's bone,
Above the ground or under.
And spite of all the pains he took
The animal to track, sir,
He ne'er could o'er-take the hog
With navel on his back, sir.
And from the day his course began,
Till even it was ended,
He never found an Indian tribe
Prom Welshmen straight descended.
Hor, much as of Philosophers
The fancies it might tickle.

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Song Texts
3099
To season his adventures, met
A Mountain, sous’d in pickle.
Let dusky Sally henceforth hear
The name of Isabella;
And let the mountain, all of salt,
Be christen’d Monticella*
The hog with navel on his back
' Tom Paine may be when drunk, sir—
And Joel call the Prairie-dog,
Which once was call’d a skink, sir.
******************************************

No. 1011
THE LEXINGTON MARCH
also known as
Brother Ephraim Yankee Doodle
This song ridiculing Americans was published in England,
where it was tremendously popular. The "Doctor Warren"
referred to in the text is Dr. Joseph Warren, who wrote
The Liberty Song , and many others.
The text below is from Lawrence, 52.
The Lexington March Tune: Yankee Doodle
Brother Ephraim sold his cow
And bought himself a commission,
And then he went to Canada
To fight for the Nation.
But when Ephraim he came home,
He proved an arrant coward;
He wouldn’t fight the Frenchmen there,
For fear of being devoured.

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Song Texts
3100
Sheep’s head and vinegar,
Buttermilk and candy,
Boston is a Yankee town,
Sing Hey Doodle Dandy.
First we’ll take a pinch of snuff
And then a drink of water;
And then we'll say "how do you do?,"
And that’s a Yankee supper.
Seth's mother went to Lynn,
To buy a paid of breeches;
The first time Nathan put them on
He tore out all the stitches.
Dolly Bushel let a fart,
Jenny Jones she found it,
Ambrose carried it to Mill
Where Docotor Warren ground it.
Our Jemima’s lost her Mare
And can't tell where to find her,
But she'll come trotting by and by,
And bring her tail behind her.
Two and two may go to bed,
Two and two together,
And if there is not room enough,
Lie one a-top the other.
********************************************

No. 1012
THE LIBERTY SONG I
also known as
In Freedom We're Born The Sons of Liberty
This is a song with a common title. Several songs were
known as The Liberty Song , or just plain Liberty , and
the title is all they had in common* The text of this

KB
Song Texts
3101
song is by John Dickinson, of Delaware who became a
member of the First Continental Congress. He was also
an officer in the Continental Army. He wrote this song
for the Sons of Liberty and published it in the Boston
Gazette, July 18, 1768.
This song has the distinction of being the first patriotic
song published in America. Two or three months later, the
Boston Gazette published the first parody of it, a British
version called Come , Shake Your Dull Noodles (see Liberty
Song II in MB). The parody, in turn, inspired yet another
Come , Swallow Your Sumners (see Liberty Song III in MB).
This song is not related to the Sons of Liberty ballad
that was set to the air of Come , Joily Bacchus and writ
ten for a celebration in 1768 commemorating the Stamp Act
riots of August 14, 1765 (see Rabson, 12-13).
For other "Liberty” songs, see McCurry, 74 and Thomas
(BMMK), 47.
REFERENCES
Agay (2), 20-21
Brand (S-76), 9
Downes, 49-51, 56-57
Ives (SA), 248-250
Lawrence, 15, 26
Lloyd, 16-17
Rabson, 6-8
Silber (SI), 44-45
Vinson, 20-21
Whitman, 2-3
The Liberty Song I Tune: Heart of Oak
Come, join hand in hand brave Americans all,
And rouse your bold hearts at fair Liberty's call;
No tyranous acts shall suppress your just claim,
Or stain with dishonor America's name.
Our worthy forefathers—-let*s give them a cheer!-
To climates unknown did courageously steer;

KB
Song Text3
3102
Thro' oceans, to deserts, for freedom they came,
And dying bequeath'd us their Freedom and Fame,
The Tree their own hands had to liberty rear'd;
They liv'd to behold growing strong and rever'd;
With transport they cry'd, "Now our witness we gam
For our children shall gather the fruit3 of our pain.
Swarms of placemen and pensioners soon will appear,
Like locusts deforming the charms of the years;
Suns vainly will rise, showers vainly descend,
If we are to drudge for what others shall spend.
Then join hand in hand, brave Americans all,
By uniting we stand, by dividing we fall;
In so righteous a cause let us hope to succeed.
For Heaven approves of each generous deed.
All ages shall speak with amaze and applause,
Of the courage we'll show in support of our laws;
To die we can bear, but to serve we disdain,
For shame is to Freedom mors dreadful than pain.
This bumper I crown for our Sovereign's health,
And this for Britannia's glory and wealth—
That wealth and that glory immortal may be,
If she is but just—and if we are but free!
Chorus
In Freedom we're born and in Freedom we'll live,
Our purses are ready, steady, friends, steady:
Not as slaves, but as free men our money we'll give!
*********************** ******

SB
Song Texts
3X03

No. 1013
THE LIBERTY SONG II
also known as
Come Shake Your Lull
Noodle, or Noodles
The Liberty Song
Parody
This song appeared shortly after publication of Liberty
Song I (above), and in the same newspapers: the Boston
Gazette and the Boston Evening-Post. Both papers pub
lished the text on the same day, September 26, 1768.
The ballad was described as a Tory "law and order" parody
For other versions, see Brand (S-76), 11; Lawrence, 30;
Rabson, 9; and Vinson, 22.
The Liberty Song II Tune: Heart of Oak
Come shake your dull noodles, ye Pumpkins, and bawl,
And own that you're mad at fair Liberty's call.
No scandalous conduct can add to your shame,
Condemn'd to dishonor, inherit the fame.
Such villains, such rascals, all danger despise.
And stick not at mobbing when mischief's the prise.
They burst thro' all barriers, and piously keep
Such chattels and goods the vile rascals can sweep.
The tree which the wisdom of justice hath rear'd,
Should be stout for their use, and by no means be spar'd;
When fuddled with rum, the mad Scots to restrain,
Sure Tyburn will sober the wretches again.
Your brats and your bunters, by no means forget,
But feather your nests, for they're bare enough yet;
Prom the insolent rich, sure the poor knave may steal,
Who ne'er in his life knew the scent of a meal.

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Song Texts
3104
When in your own cellars you've quaff'd a regale,
Then drive, tug, and stink the next house to assail.
Por short is your harvest, nor long shall you know
The pleasure of reaping what other men sow.
Then nod your poor Numbskulls, ye Pumpkins, and bawl;
The devil take such rascals, fools, whoresons and all!
Your cursed old trade of purloining must cease,
The curse and the dread of all order and peace.
Gulp down your last dram, for the gallows now groans,
And order depress'd her lost Empire bemoans;
While we quite transported and happy shall be,
Prom mobs, knaves, and villains, protected and free!
Chorus
In folly you're born, and in folly you'll live;
To madness still ready, and stupidly steady
Not as men, but as monkies, the tokens you give!
***********************************

No. 1014
THE LIBERTY SONG III
also known as
Come Swallow Your Bumpers The Massachusetts Song of
Liberty
Early Americans no less than current Americans were de
termined to have the final word, so this song, written
by Dr. Benjamin Church,.a traitor masquerading as a
patriot, is a parody on a parody. After the hostilities
began in 1775, it was discovered that Dr. Church was a
British agent. George Washington presided at the trial,
and Church was found guilty but not put in prison. It was
decided that the man was too old and ill, so he wa3

MB
Song Texts
3105
paroled and allowed to leave America. History records
that the ship on which Church sailed was lost at sea
and never discovered. His song achieved distribution
in England as well as in America, apparently giving the
Tories the final word—*at least in the trio of "Liberty”
songs set to the same air.
REFERENCES
Brand (S-76), 13 Luther, 33-35
Dolph, 465-467 Silber (SI), 47-48
Yinson, 24-25
The Liberty Song III Tune: Heart of Oak
Come swallow your bumpers, ye Tories, and roar,
That the sons of fair Freedom are hamper’d once more;
But know that no cut-throats our spirits can tame,
Nor a host of oppressors shall smother the flame!
Our grandfathers, blest heroes, we’ll give them a tear.
Nor sully their honors by stooping to fear;
Thro’ deaths and thro' dangers, their trophies they won.
We dare to be their rivals, nor will be outdone.
Let tyrants and minions presume to despise,
Encroach on our rights, and make freedom their prize;
The fruits of their rapine they never shall keep,
Tho’ vengeance may nod, yet how short is her sleep.
When oppress’d and reproach'd, our king we implore,
Still firmly persuaded our rights he’ll restore.
When our hearts beat to arms, to defend a ^ust right,
Our monarch rules there and forbids us to fight.
Chorus
In Freedom we’re born, and like sons of the brave,
We'll never surrender, but swear to defend her,
And scorn to survive if unable to save!

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Song Texts
3106

Ho* 1015
THE LIBERTY SONG IV
also known as
Brave America
Free America
Free Amerikay
Hew Massachusetts Liberty
Song
An early patriotic song by Dr. Joseph Warren, Boston,
who was President of the Provincial Congress and one of
the original Minute Men, He is also the person who
started Paul Revere on that famous ride in 1775# Warren
was killed in a battle at Breed's Hill—a position mis
takenly fortified* and it was the first major engagement
of the Revolution.
For another Revolutionary era song set to the same tune,
see Lord Cornwalli3’ Surrender in Scott (BA), 88#
REFERENCES
Ives (SB), 96-97, 88-89
Lawrence, 36-37
Luther, 37
Silber (SI), 57-58
Silverman, II, 284
Spaeth (REW), 14-15
Vinson, 28-29
Botkin (NEF), 847-848
Brand (S-76), 43
Chappie (HS), 45
Dolph, 480-481
Ford (TMA), 455-457
Ives (SA), 258-259
Tune: The British Grenadiers
The Liberty Song IV
That seat of science, Athens, and earth's great mistress
Rome,
Where now are all their glories? We scarce can find their
tomb:
Then guard your rights, Americans! nor stoop to lawless
sway,
Oppose, oppose, oppose, oppose, my brave America!

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Song Texts
3107
We led fair Pranklin hither, when lo the desert smil'd,
A paradise of pleasure, was open'd in the wild;
Your harvest, bold Americans! no power shall snatch away!
Assert yourselves, yourselves, yourselves, my brave
America!
Torn from a world of tyrants beneath the western sky,
We formed a new Dominion, a land of liberty;
The world shall own their masters here, then hasten
on the day,
Huzza, huzza, huzza, huzza, for brave America!
#
Lift up your heads, my heroes, and swear with proud
disdain,
The wretch who would enslave you shall spread his snares
in vain;
Should Europe empty all her force, we'd meet them in
array,
And shout, and shout, and ashout, and shout, for brave
Americal
Some future day shall crown us the Masters of the Main,
And giving laws and freedom, to subject Prance and Spain;
When all the Isles o'er ocean spread, shall tremble and
obey.
Their Lords, their Lords, their Lora^, their Lords of
America!
*****************************************

Ho. 1016
LIEBER AUGUSTIHE
also known as
Ach, Du Lieber Augustin Du Lieber Augustine
Dear August 0 Du Lieber Augustin
Austrian-German folk song, and one quite widely and
well-known in the United States. Eecause versions are

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Song Texts
3108
available in hundreds of song books and and music folios,
the song was not considered by folk collectors as being
worthy of inclusion in their published collections.
This song is probably sung more often by more people than
those songs found in collections, and it is sung from the
memories of the singers. i
REFERENCES
Best, 88 Shay (PF-1), 41
Boyer, 151-155 Shay (PF-3), 17
Wier (SWWS), 158
lieber Augustine
Ach du lieber Augustine, Augustine, Augustine,
Ach du lieber Augustine alles ist hin!
Geld ist weg, Kadi ist weg, alles weg, alles weg,
Ach du lieber Augustine alles ist hin!
*******************************************

No. 1012
A LIFE BY THE CABIN FIRE
One of many “gold rush" songs written by J. A. "Old Put"
Stone. As usual, Stone borrowed the tune of a well-known
song.
For another version, see Dwyer, 95-96.
A Life By The Cabin Fire Tune: A Life On The Ocean Wave
A life by the cabin fire,
A home in the northern mines,
We’ll make a pile and retire,
Won't that be charming and fine?

MB
Song Texts
3109
We*11 roam the Sierra Nevadas,
•Till we kill the grizzly bear
And send the fur home to the ladies,
For pantalets—how it will wear.
The city’s no longer in view.
The ground is beginning to rise;
If stories they told us are true,
How the lumps will dazzle our eyes!
We built us a cabin so fine,
Got grub to last us a while,
Commenced in the morning to mine,
But at night fell short of a pile.
The Doctor would give us advice,
And the Lawyer would argue the point,
But we couldn't get rid of the lice,
No matter how often we'd ointj
The clerk, with his breeches worn out,
Look'd more like a Panama Ape,
That you'd see on the Chagres route—
What a change from needles and tape!
The Doctor and Lawyer combined,
And agreed that the Doctor should kill,
And the Lawyer should come on behind,
And collect the exorbitant bill.
The preacher could not make a pile
And the gospel he came out to preach;
He fiddled and gambled a while,
But money kept out his reach.
The cabin is now out of sight.
That stood on the western slope,
We left it for nothing but spite,
For that was our only hope.
The most of the party went home,
Disgusted with what they had seen,
And I left behind to roam—
"Oh,-wasn't I wonderful green!* 1
*************************

MB
Song Texts
3110
Jfo. 1018
A LIFE OK TEE OCEAN WAVE
Source song* The words were written by Epes Sargent,
born in Gloucester, Mass., Sept. 27, 1812* Epes was a
journalist and long resided in Boston, where he died in
Dec., 1880. The music was composed by Henry Russell.
The song was extremely popular in both England and America
during the 19th century. It was used as a fiddle and
country dance tune, published in school song books, adapted
as the official march of the Royal Marines by authority
of the British Admiralty, and inspired several other songs.
Tune was used for A Life 3y The Cabin Fire (see foregoing
song) and for A Life On The Vicksburg Bluff (see next
song).
The song was a commercial success, but the author was not
paid anything. Sargent said, "The copyright of the song
became very valuable, though I never got anything from
it myself. A year or two after its publication, I received
from England copies of five or six different editions that
had been issued there by competing publishers.”
The version given here is from Johnson (FS), 130-136.
REFERENCES
Chappie (HS), 431
Ford (OTFM), 24-25
Huntington, 87-89
Leisv (LAS), 70-71
Mackenzie (SH), 55-56
Songs (15), 102-103
Staton, 6
Ford (TMA), 33, 408-409
Glass (SS-1), 6-8
A Life On The Ocean Wave
A life on the ocean wave,
A home on the rolling deep,
Where the scattered waters rave,
And the winds their revels keep:

KB
Song Texts
3111
Like an eagle caged I pine
On this dull, unchanging shore.
Oh! give me the flashing brine,
The spray and the tempest roar!
Once more on the deck I stand
Of my own swift-gliding craft.
Set sail! farewell to the land.
The gale follows far abaft.
We shoot thro' the sparkling foam,
like am ocean bird set free;
like the ocean bird, our home
We* 11 find far out on the sea!
The land is no longer in view,
The clouds have begun to frown,
But with a stout vessel and crew
We* 11 say, "Let the storm come down!"
And the song of our heart shall be.
While the winds and the waters rave,
A life on the heaving sea,
A home on the bounding wave!
**************** ************ ************

No. 1019
A LIFE ON THE VICKSBURG BLUFF
This Civil War song takes a humorous view of a very
serious situation. According to Dolph, "When Pemberton
surrendered to Grant on July 4, 1863, the Confederate
supplies were so depleted that a skimpy ration of mule
meat ('Logan’s beef') and pea-bread was the only food."
Staton attributes the words of this song to Captain J.
W. A. Wright. Others say the words were written by
A. Dalsheimer, a member of Company E, Third Louisiana

MB
Song Texts
3112
Regiment, who not only witnessed hut participated in
the siege of Vicksburg.
REFERENCES
Carmer (SRA), 96-98 Glass (SS-2), 199-201
Dolph, 290-293 Luther, 287
Staton, 136
A Life On The Vicksburg Bluff
Tune: A Life On The Ocean Wave
A life on the Vicksburg bluff,
A home in the trenches deep,
Where we dodge Yank shells enough,
And our old pea-bread won't keep.
On "old Logan's beef" I pine.
For there's fat on his bones no more;
Oh! give me some pork and brine,
And truck from a sutler's store.
Chorus
A life on the Vicksburg bluff,
A home in the trenches deep,
Where we dodge Yank shells enough,
And our old pea-bread won't keep.
Pea-bread, pea-bread,
Our old pea-bread won't keep;
Pea-bread, pea-bread,
Our old pea-bread won't keep.
Old Grant i3 starving U3 out.
Our grub is fast wasting away,
Pemb' don't know what he's about,
And he hasn't for many a day.
So we'll bury "old Logan" tonight,
Prom tough beef we'll be set free;
We'll put him far out of sight,
No more of hi3 meat for me.

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Song Texts
3113
like a rebel caged I pine,
And I dodge when the cannons roar;
But give me corn dodgers and swine,
And 1*11 stay forever more.
Once more in the trench I stand,
With my own far-ranging gun;
Should the fray come hand to hand,
1*11 wager my rations I rim.
****************************************

Ho. 1020
' LIFE * S RAILWAY TO HEAVEN
This religious song was written by M. E. Abbey and C. D.
Tillman and dates from 1891* It was a staple item on
"country music- radio programs through the early 194-Os*
For another version, see Benziger, 24. Also see Pound
(SFSN), XX, No. 2, 55.
Life 1 s Railway to Heaven
Life is like a mountain railroad.
With an engineer that’s brave;
We must make the run successful,
From the cradle to the grave.
Watch the curves, the fills, the tunnels.
Never falter, never quail;
Keep your hand upon the throttle.
And your eye upon the rail.
You will roll up grades of trial,
You will cross the bridge of strife;
See that Christ is your conductor,
On this lightning train of life.
Always mindful of obstruction,
Do your duty, never fail;

KB
Song Texts
3114
Keep your hand upon the throttle
And your eye upon the rail.
You will always find obstructions,
Look for storms of wind and rain;
On a fill, or curve, or trestle,
They will almost ditch your train.
Put your trust alone in Jesus,
Never falter, never fail;
Keep your hand upon the throttle
And your eye upon the rail.
**********************-******************

No. 1021
THE LIGHT IS A-COMIN'
also known as
Rise, Shine, For Thy
Light is A-Comin'
My Lord Says He’s
Cornin’ Ey'n-By
Campground spiritual that was taken over by black slaves
and turned into their kind of spiritual. It was featured
by the original Fisk Jubilee Singers.
REFERENCES
Marsh (SJS), 262 Work (ANSS), 47 Work (FSAN), 49
The Light is A-Comin*
Oh, wet or dry, I mean to try,
My lord says He's cornin’ by'n-by,
To serve the Lord until I die,
My Lord says He’s cornin' by'n-by.
Chorus

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Song Texts
3115
0 riae, shine, for the light is a-comin'!
Rise, shine, for the light is a-comin*!
0 rise, shine, for the light is a-comin*!
My lord says He's cornin' by'n-by*
We'll build a tent on this campground, etc.
And give old Satan another round, etc .
I mean to shout and never stop, etc .
Until I reach the mountain top, etc .
****************************************

No. 1022
LILLY DALE
Source Song . Lilly Dale was written by H. S. Thompson
about 1852. Versions are found in many song books and
folios published between 1890 and 1935* The melody was
used for a quick-step, for a schottische, and by the
Swiss composer Sigismund Thalberg for a set of piano
variations. In California, during the gold rush era,
the tune was borrowed for Gold Seeker XIII (see in MB).
This song has survived in American tradition, perhaps
because, as Lloyd reminds us, "it was the first classic
torch song in American music."
REFERENCES
Agay (2), 94-95 Lloyd, 108-109
Chappie (HS), 299 Luther, 160
Keach, 11 Staton, 56
Wilder, 128-129
Lilly Dale
'Twas a calm, still night, and the moon's pale light
Shone soft o'er hill and vale;

M3
Song Texts
3116
When friends mute with grief stood around the death-bed
Of my poor lost Lilly Dale.
Choru3 * ■'* ' "
Oh! Lilly, sweet Lilly, dear Lilly Dale,
How the wild rose blossoms
O'er her little green grave,
'Heath the trees in the flow'ry vale.
'Heath the chestnut tree, where the wild flow'rs grow,
And the stream ripples forth thro' the vale,
Where the birds shall warble their songs in the spring.
There lay poor Lilly Dale.
&&*&&&&&&&*************************

Ho. 1023
LILY OP THE VALLEY
also known as
He's the Lily of the Valley
This was first a hymn (see version A) and then a spiritual
(see version B). The tline, an old English melody, was
adapted by Will S. Hayes and J. L. Peters for their famous
composition, The Little Old Log Cabin in the Lane (see in
sai- For other songs making use of this time, see Little
Old Sod Shanty and Little Joe , the Wrangler in this Master
Book.
.For a version of the hymn, see Sizemore (1), 47.
For other versions of the spiritual, see Dett, 145;
Jubilee (PS), 25; Marsh (SJS), 163; and Pike, 203, or 245.
Lily of the Valley ( Version A)
I have found a friend in Jesus,
He's everything to ne:
He!s the fairest of ten thousand to my soul.

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Song Texts
3117
The lily of the Valley, in Him alone I see
All I need to cleanse and make me fully whole.
In sorrow He 1 a my comfort,
In trouble He’s my stay,
He tells me ev’ry care on Him to roll.
Chorus
He*s the Lily of the Valley,
The bright and Morning Star,
He’s the fairest of ten thousand to my soul.
VERSION B
King Jesus in the chariot rides,
Oh, my Lord!
With four white horses side by side,
Oh, my Lord!
Chorus
He*s the lily of the valley,
Oh, my Lord!
He’s the lily of the valley,
Oh, my Lord!
What kind of shoes are those you wear?
Oh, my Lord!
That you can ride upon the air?
Oh, my Lord!
These shoes I wear are gospel shoes.
Oh, my Lord!
And you can wear them if you choose,
Oh, my Lord!
*****************************

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Song Texts
3118

So. 1024
THE LILY OF THE WEST
• *
also known as
Flora, the Lily of the West
Originally an English street ballad, this old murder
song has survived by traditional means on both sides
of the Atlantic.
According to Creighton (SBNS)"It used to be sung at the
Revel of St. Breward’s on the Bodmin Moors, and can be
traced back there to 1839.'' Randolph says it was pub
lished in the United States as early as 1859 in The
Dime Songster No. 3, Indianapolis, p. 8. A year later
(1860), it was published in Beadle 1 s Dime Song Book No .
5 (New York), p. 48.
REFERENCES
Baring-G-ould (SW), No. 58
Belden (BS), 132-133
Brown, II, 622
Chappell (FSRA), 192
Creighton (SBNS), 84-86
Eddy, 147-149
Emrich (FAL), 585-586
Fife, 152-154
Kennedy (AB), 136-137
Kennedy (TA3), 316-317
Kincaid No. 1, 46
Moore (BFSS), 191-192
Okun, 220-221
O'Lochlainn, 184-185
Peacock, II, 473-474
Randolph, II, 75-79
Robinson (YF), 22-24
Sandburg (NAS), 61
Sharp, II, 199
Silverman, I, 128
Tolman & Eddy, 368-369
The Lily of the 'West
When first I came to Louisville
Some pleasure for to find,
A maiden there ffom Lexington
Was pleasin’ to my mind.
Her ruby lips, her rosy cheeks,
Like arrows pierced my breast.

Song Texts
The name she bore was Flora
The Lily of the West.
Her hair hung down in ringlets.
Her dress was spangled o*er,
A ring on every finger
And still a dozen more.
And to entice some wealthy man
So modestly she dressed—
Oh! how I loved my Flora,
The Lily of the West.
I courted her for many a day;
Her love I thought to gain.
Too soon, too soon, she slighted
And caused me grief and pain.
She robbed me of my liberty,
Deprived me of my rest:
They call her handsome Flora,
The Lily of the West.
One evening as I wandered
Down thro' yonder shady grove,
I saw a man of high degree
Conversing with my love.
He walked and talked so merrily
That I was sore oppressed—
He kissed my handsome Flora,
The Lily of the West.
In anger rushed I to them,
A dagger in my hand;
I tore him from my true love
And quickly bade him stand.
In a fit of desperation
My dagger pierced his breast—
I was betrayed by Flora,
The Lily of the West.

Song Texts
3120
MB
Oh, when I*ve gained my liberty,
1*11 rove the country through;
1*11 travel the city over
To find my loved one true,
The girl who stole my liberty
And deprived me of my rest—
For I still love my Flora,
She Lily of the West.
****■»■■** ********** ********************

No. 1225
THE LION*S DEAN
also known
The Bold Lieutenant
The Brave Lieutenant
The Distressed Lady
The Faithful Lover
The Glove
The Hero Lover's Reward
as
The Hero Rewarded
In Castule There Lived a
Lady
The Lady of Carlisle
The Lady's Fan
The Lover's Test
The Squire's Sons
A Trial of True Love
This song dates from the 16th century and is said to
have been quite popular in the Court of Francis I of
France. Perhaps it would be more accurate to say that
the source of the ballad is back in 16th century Spain
(see A. L. Krappe, The Legend of the Glove , Modern
Language Notes, XXXIV, 16ff). The theme was also used
by Schiller in Per Handschuh , Leigh Hunt in The Glove
and the Lions , and Robert Browning in The Glove, But
the oldest known ballad version is The Distresse d Ladv,
or A Trial of True Love (Percy Broadsides, I, 69, on
file in the Harvard University Library).
The major difference between the literary versions and

MB
Song Texts
3121
the traditional ballad is the ending: in the literary
versions of the story the lover returns the glove and
deserts the lady; in the folk ballad the lucky suitor
marries the lady,
REFERENCES
Brewster (BSI), 279-230
Brown, II, 296-299; IV,
166
Christie, II, 126
Creighton (MFS), 34-35
Creighton (SBNS), 87-88
Davis (FSV), 33
Flanders (BMNE), 207-208
Flanders (GGMS), No. 17
Flanders (NGMS), 67-70
Hudson (FSM), 139-141
Jour (AFL), XLIX, 227
Jour (FSS), V, 258
Karpeles, 140-145
Laws, 0 25, 237
Leach, 32
Lomax (OSC), 162-164
Mackenzie, 82-83, 396
Okun, 135
Ord, 393-394
Pub (MLN), XXVI, 113, 167
Roberts (IP), 103-105
Sharp, I, 396-398
Sharp (FSFS), III, No..56
Silverman, I, 200
The Lion* s Den
A maiden was courted by many a noble,
But none of them her heart could win;
Then came two lovers, and they were brothers,
And both of them were tall, handsome men.
One was a captain aboard of the Vanity ,
That sailed upon the seas afar;
And the other a young lieutenant,
Who served on the Yorkshire man-of-war.
When both of the brothers had asked her to marry
They heard the maiden’s soft reply:
"We'11 take a walk to the lake for pleasure;
We’ll walk and talk and answer I’ll try.”
They strolled along by the thickest of bushes,
And soon arrived at the lion's den;

MS
Song Texts
3122
She removed a glove from her email fair hand
And into the den she threw it in.
"Row which of you wishes to gain my favor?
0 which desires my heart to win?
My glove lies there in the den of lions,
And he who gets it my heart shall win."
The bold sea captain did first speak up,
And to the maiden he did say:
"My dear, I know of no man so foolish
To brave that den of lions today."
Then up-spoke the handsome and bold lieutenant,
And to the maiden made reply;
"My dear, altho’ I may be foolish,
I'll bring to you your glove or die."
Into the den he bravely ventured,
The lions all growled and fiercely grinned;
And with sword in hand he secured her glove,
And quickly returned to her again<>
The moment she saw her lover approaching,
And saw no harm at all was done,
She fell into his arms and whispered,
"Take now the prize you have bravely won."
Then up-spoke the bold sea captain,
And he told her with a sigh:
■My dear, I'll sail to some far country,
And for your love I'll pine and die."
*************************** ****

No. 1026
LISA
This is obviously a variation on an old Negro 3ong
called Dinky, which was, in its turn, a rewrite of

MB
Song Texts
3123
an even older minstrel-show song, Juba (see in MB).
For versions of Dinky , see Randolph, II, 337; Scar
borough (NFS), 98; Talley, 233; and White, 163.
Lisa
Lisa, pretty little baby,
Lisa, pretty little baby,
Lisa up and Lisa down,
Lisa all around the town;
Lisa up and Lisa down,
Lisa all around the town.
*************** ******* ***** ***■*•*■*♦■** *

No. 1027
LISTEN TO TEE MOCKINGBIRD
also known as
The Mockingbird Schottische
Here we have one of the most popular fiddle "hoe-down”
tunes in America. Song was composed by Septimus Winner
under the alias Alice Hawthorne. Winner wrote and pub
lished Mockingbird in 1855. Folk song collectors irnored
it, probably because it was easily available in print.
Whatever their reason for not collecting this song, I
can 6ay with confidence that not one of them ever print
ed anything more genuinely folk than traditional versions
of this song.
REFERENCES
Agay (2), 102-103
Armitage, II, 41
Chappie (HS), 384-386
Downes (1940), 280-282
Downes (1943), 328-330
Ford (OTFM), 16
Ford (TMA), 45, 161
Keach, 8
Mackenzie (SH), 78
Oberndorfer, 89

3124
M3
Song Texts
Pound (SPSS), IX, So. 6
Silverman, I, 126
Songs (15), 136
Wier (IS), 112-113
Vier (SWWS), 64-65
Wier (YAM), III, 92
Staton, 56
Listen to the Mockingbird
I'm dreaming now of Hally, sweet Hally, sweet Hally,
I'm dreaming now of Hally,
Por the thought of her is one that never dies;
She's sleeping in the valley, the valley, the valley,
She's sleeping in the valley,
And the Mockingbird is singing where she lies.
Chorus
Listen to the Mockingbird, listen to the Mockingbird,
The Mockingbird still singing o'er her grave;
Listen to the Mockingbird, listen to the Mockingbird,
Still singing where the weeping willows wave.
Ah! well I yet remember, remember, remember,
Ah! well I yet remember
When we gather'd in the cotton side by side;
•Twas in the mild September, September, September,
'Twas in the mild September,
And the Mockingbird was singing far and wide.
When the charms of spring awaken, awaken, awaken.
When the charms of spring awaken.
And the Mockingbird is singing on the bough,
I feel like one forsaken, forsaken, forsaken,
I feel like one forsaken,
Since my Hally is no longer with me now.
************** ****************

KB
Song Texts
3125

Bo. 1028
LITTLE AH SID
This was originally performed on the minstrel stage,
and it was extremely popular along the California coast
and throughout the goldfields during the 1840s and * 50s.
Later, the song traveled to the cattle ranches and ranges
and was adapted by cowboys. It is one of the less insult
ing "racial” songs about the Chinese in California, but
typical of its time and place.
For other versions, see Luther, 285 and Sandburg (AS),
276-277.
Little Ah Sid
Little Ah Sid was a Chinee kid.
And a neat little cuss, I swear.
With eyes full of fun
And a nose that begun
Way up in the roots of his hair.
Chorus
Woo-ee, woo-aye, woo-yappy woo-aye,
woo-yappy woo-yappy woo-aye,
Sang little Ah Sid, the Chinee kid,
As he played cowboy thro' the day.
Happy and fat was the Chinee brat,
As he played thro’ the hot summer day;
And he braided his cue
Like his Pa used to do
In Chinaland, far, far away.
Once on a lawn that Ah Sid played on,
A Bumble-Bee flew in the Spring.
"Ah, velly nice bullify!"
Said he, winking his eye,
"Me git 'urn and pull off big wing."

MB
Song Texts
3126
Taking his cap, he gave it a rap
And stunned the big Bumble-bee;
Then he put its remains
In the seat of his janes,
Por a pocket there had the Chinee,
Little Ah Sid was only a kid,
So how could one expect him to guess
What kind of bug
He was holding so snug
In the folds of his Chinee type dress,
"Woo-ee woo-aye, woo-yappy woo-aye! n
Cried he, as he leaped from the spot,
"Woo-ee woo-aye,
Me better not stay,
Me bullify velly damn hot!"
***************** ******** ***********

No, 1029
THE LITTLE BIG HORN
also known as
Old Sitting Bull Out Along, All Along Little Big Horn
Sitting Bull
Historical battle song. The tune to this is obviously a
reworking of Old Uncle Tom Cobley (see in MB) . The text
however, relates more or less accurately what happened
on July 25, 1876, when General George C, Custer led his
men to their deaths at the Little Big Horn.
This song is from Songs and Legends of Great American
Rivers, a 20th-Fox Album, by Dickson Hall and Gary Romero.
The Little Big Horn

MB
Song Texts
3127
The Indians gathered to hold a war dance
Out along, all along Little Big Horn;
Each Brave had a bow, a shield and a lance,
And there on the prairie they started to dance
Chorus
With Low Dog, Spotted Eagle, Red Horn and Gall;
Two Moon, Little Knife, Crazy Horse,
And Sitting Bull, Chief of them all,
Old Sitting Bull, Chief of them all!
The soldiers with Custer came riding that day
Out along, all along Little Big Horn;
Each soldier had orders he had to obey.
To capture or kill all the redskins that day
With Low Dog, etc.
The drums of war sounded that Sunday in June,
Out along, all along Little Big Horn;
The battle got started around about noon—
The soldiers were killed that Sunday in June
By Low Dog, etc,
George Custer, the general, sought glory they said,
Out along, all along Little Big Horn;
But there on the prairie he lay with the dead—
The glory he wanted was taken instead
By Low Dog, etc,
******* *********** ****************

Ho. 1030
THE LITTLE BLACK MUSTACHE
also known as
The Black Mustache
Charming Beau
The Darling Black Mustache
His Little Black Mustache
That Little Black Mustache

MB
Song Texts
3128
This is a 19th century vaudeville song. The version
below was obtained from Mary Hurt, a young lady from
Alabama, who learned it from her grnadmother. Miss
Hurt was in New York City at the time, earning her
living by singing "commercials" and doing back-up work
on phonograph records* i
\
This song was recorded in the 1920s by Yernon Dalhart*
REFERENCES
Arnold, 20-21
Brown, II, 479; IV, 260
Bulletin (TFS), IV, 76
Combs (FSMEU), 210-211
Combs (FSUS), 180-181
Davis (FSV), 177
Henry (FSSH), 295-297
Hudson (BSM), 159-160
Jour (AFL), XLV, 116-118
Malone, 58
Morris, 142-143
Payne (SBGG-) * 231-232
Randolph, III, 126-130
Roberts (IP), 302-304
Stout, 85-86
The Little Black Mustache
Oh, once I had a charming beau,
I loved him dear as life;
His pockets were not filled with gold,
But still he cut a dash,
With diamond ring, and watch and chain,
And a darling black mustache.
Chorus
Oh! that little black mustache,
That little black mustache!
But you must know, I lost my Beau
With the little black mustache.
He came to see me Sunday night
And stayed till almost three;

MB
Song Texts
3129
He said he never loved a girl
As much as he loved me.
He said we’d live in finest style.
For he had plenty of cash—
And then he placed upon my lips
That darling black mustache!
There came to town a sour old maid,
She was worth her weight in gold;
She wore fake hair, she had false teeth—
She was forty-five years old!
So cruelly he deserted me,
Just for that old maid’s cash;
And that is how I lost my beau
With his little black mustache.
********************************

No. 1031
LITTLE BO PEEP
One of the most popular nursery rhymes in the English
language, Little Bo Peep is not really as old as one
would suspect. According to Opie’s Oxford Dictionary
of Nursery Rhynes , "although bo-peep is to be found
rhymed with sheep, in a ballad of the time of Queen
Elizabeth, no recording or reference to the present
verse is known before the 19th century." The rhyme
has been set to music by several composers, including
J. W. Elliot.
REFERENCES
Bertail, 87
Chappie (HS), 207
Mackenzie (SH), 128
Moorat, 14
Opie, 94
Taylor (BR), 11
Wier (SWWS), 189
Wier (YAM), I, 109
Little Bo Peep

MB
Song Texts
3130
Little Bo Peep has lost her sheep
And don’t know where to find then;
Let then alone, and they’ll cone hone,
Wagging their tails behind then.
Little Bo Peep fell fast asleep,
And dreant she heard then bleating;
When she awoke 'twas all a joke,
For they were still all fleeting.
Then up she took her little crock,
Determined sure to find them;
What was her joy to behold them nigh,
Wagging their tails behind them.
*****************************************
No^ 1032
LITTLE BOY BLUE
Popular nursery rhyme from England, where it has been
said that Little Boy Blue was intended to represent
Cardinal Wolsey.
The nursery rhyme below is not at all related to the
Little Boy Blue poem by Eugene Field.
REFERENCES
Bertail, 10 Wier (SWWS), 194
Opie, 98-99 Wier (YAH), I, 82
Little Boy Blue
Little Boy Blue, come blow your horn,
The sheep’s in the meadow and the cow’s
in the corn;
Where is the boy that looks after the sheep?
He’s under the iiay-3tack fast asleep.
*************** a * *

MB
Song Text3
3131

No. 1033
THE LITTLE BROWN BULLS
also known as
The Brown Bulls McCluskey ar.d Gordon
A lumberman’s song that Botkin calls "an old Wisconsin
classic, dating from the days when oxen wars used in
the woods almost entirely." According to one of Rick-
aby’s informants, the ballad was composed "in Mort
Douglas’s camp in northern Wisconsin in 1872 or r 73.*
The tune is derived from a form of Derry Down , or Eing
John and the Bishoo to which Blue Mountain Lake is sting.
REFERENCES
Barry (MWS), 30-31
Beck (LLC), 66-69
Beck (SML), 92-95
Botkin (AFL), 849-851
Eckstorm, 54-60
Gardner (BSSM), 266
Glass (SFRF), 49-51
Laws (NAB), 152
Leach (BB), 775-777
Lomax (FSNA), 110-111
Lomax (OSC), 224-226
Rickaby, 65-68
The Little Brown Bulls
Not a thing on the river McCluskey did fear
When he drew the stick o’er the big spotted steers;
They were young, quick, and sound,
Girting eight foot and three,
Says McCluskey, the Scotsman, "They’re the ladies for me.
Tag line c horus
Derry down, down, down, derry down.
Bull Gordon, a Yankee, on skidding was full,
And he cried, "Whoa-hush!" to the little brown bulls.

MB
Song Texts
3132
Short-legged and soggy, girt six foot and nine.
"Too light," says McCluskey, "Too light for our pine."
For three to the thousand our contract did call;
Our hauling was good and the timber wa3 tall.
McCluskey then swore he r d make the day full
And skid two to one of the little brown bulls 0
"Now wait," says Bull Gordon, "that you cannot do!
Altho' we well know you've the pets of the crew.
And mark you, my boy, you would have your hands full,
If you skid one more log than the little brown bulls."
With a whoop and a yell came McCluskey in view
With the big spotted steers, the pets of the crew,
Both chewing their cuds— "0 boys, keep your jaws full,
For you can easily beat out the little brown bulls."
Then out came Bull Gordon with a pipe in his jaw,
The little brown bulls with their cuds on the chaw;
And little we thought, when we saw them come down,
That a hundred and forty they could jerk around.
The sun had gone down when the foreman did say,
"Turn out, boys, turn out! you've enough for the day.
We have scaled them and counted, each man to his team,
And it's well do we know which one kicks the beam."
After supper was finished McCluskey appears
With the belt ready made for the big spotted steers;
To form it he'd torn up his best mackinaw—
He was bound he'd conduct it according to law.
Then up spoke the scaler, "Hold on, there, awhile!
The big spotted steers are behind just one mile.
For you have a hundred and ten and no more,
And Gordon has beat you by ten and a score."

MB
Song Texts
3133
The shanty did ring and McCluskey did swear;
He tore out by handfuls his long yellow hair.
Says he to Bull Gordon, "My colors 1*11 pull—
So, here, take the belt for the little brown bulls!"
***********************************

No. 1034
LITTLE BROWN JUG
also known as
Ha-Ha-Ha, You and Me
An extremely popular song, Little Brown Jug has been
8U ng and recorded dozens of times by professional enter
tainers and musicians, including a big-band version by
Glen Miller. The words were written by J. E. Winner and
the music was composed by R. A. Eastburn.
This song is available in hundreds of folios and song-
books.
REFERENCES
Agay (2), 92
Best, 100
Belden (BS), 261
Brown, III, 62-64; V,
35
Davis (FSV), 147
Downes (1940), 286-287
Downes (1943), 332-333
Ford (TMA), 33, 415-417
Howe (PS), 122
Hubbard, 244
Jour (AFL), XXVII, 296;
XXXIII, 109-110;
LVI, 101-102
Keach, 7
Kennedy (AB), 30-31
Kennedy (TAB), 201-202
Leisy (SPS), 116-117
Loesser, 230-231
Lomax (ABFS), 176-177
Memoirs (AFLS), XXIX, 124
Minstrel, 30-31
Owens (ST), 35-36
Partridge, 14
Pound (SFSN), XXII, No. 10
Quarterly (SFL), II, 161
Randolph, III, 141-142
Roberts (SBS), 173-174
Shay (PF-1), 81-82
Shay (PF-3), 40-41
Silverman, II, 224
Songs (15), HO

MB
Song Texts
3134
Songster (115), 14 Spaeth (HEW), 58
Williams (FSUT), 212
Little Brown Jug
My wife and I live all alone
In a little log hut we call our own;
She loves gin and I love rum,
And she and I have lots of fun.
Choru3
Ha! Ha! Ea! you and me,
Little brown jug how I love thee!
It's you who makes my friends and foes,
And it’s you who makes me wear old clothes;
Here you are so near my nose—
So tip her up and down she goes!
If my old cow would give such milk,
I*d clothe her in the finest silk;
I*d feed her on the freshest hay
And milk her forty times a day!
When I go toiling on my farm,
My little brown jug goes under my arm;
I place it under a shady tree—
Little brown jug, it's you and me!
The rose is red, my nose is too.
The sky is blue and so are you;
And yet I guess before I stop
I*d better take another drop!
** ****•*■*■•***•**-**•!*■** ********

MB
Song Texts
3135

Ho. 1035
LITTLE DAVID I
also known as
David, David, Yes, Yes, Little David Play on Your
Li*l David Play on Yo' Karp Harp
Little David Play Yo• Harp
Early 19th. century spiritual; and one that sprouted
several versions, the most notable of which is known as
Li*l Boy Named David , or King David (see Little David II
in MB) .
This spiritual is still widely known and performed, and
specially in the South*
REFERENCES
Berger, 37
Brown, III, 647-648; Y,
377-378
Chambers (TNS), 58-59
Dett, 64
Downes (1940), 174
Downes (1943), 208
Fenner (RFSN), 139
Hayes, 30-33
Jackson (WNS), 226-227
Johnson (BANS), 65-67
Johnson (EAS), 38
Jour (AFL), XXVII, 263
Kennedy (BC), 160
Kennedy (M-l), 158-161
Mackenzie (SH), 121-122
Perrow, XXVI, 161
Silverman, II, 97
Thomas (BKMK), 204-207
White, 66-68, 426
Work (ANSS), 124
Work (FSAN), 64
Little David I
Little David was a shepherd boy,
He slew Goliath and shouted for joy!
Chorus
Little David, play on your harp, hallelu! Hallelu!
Little David, play on your harp, hallelu! Hallelu!
01' Joshua was the son of Nun;
He never quit till the work was dene.

MB
Song Texts
3136
I tol' you once, I tol' you twice,
There’s sinners in hell for shootin'
dice.
Go down angel, with ink and pen,
Write salvation for dyin’ men.
**************************************
£°t 1036
LITTLE LA?ID II
also known as
King David
Li'l, or Little Boy Named David
This is related to Little David I, the preceding song,
hut the tune was adapted from another spiritual, Ole
Ship O’ Zion (which is not to he confused with the old
Protestant hymn, Shin of Zion )«
REFERENCES
Courlander (NSA), 35-37
Kennedy (M-2), 124-132
Brown, III, 647
Chappell (FSRA), 143
Little David II
Li’l boy named David, shepherd on the mountain,
An’ they fetched him from the mountain,
Li’l hoy named David, hallelu! hallelu! hallelujah!
David done slew Goliath, hallelujah!
Rose up that mornin’, seekin’ for his brethren,
An’ he left his flock behind him;
.Li’l. boy named David, hallelu! hallelu! hallelujah!
David done slew Goliath, hallelujah!
Come from the mountain, went to see ol’ Samuel,
An’ he went to face the army;

MB
Song Texts
3137
Li'l boy named David, hallelu! hallelu! hallelujah!
David done slew Goliath, hallelujah!
Goli'ah was mighty; David stood before him,
An* he flung the stone an' slew him!
Li»l boy named David, hallelu! hallelu! hallelujah.
David done slew Goliath, hallelujah!
**********************************
No.
1037
the little family
also known as
The Little Family of Bethany
Bethany
The Death of Lazarus Martha and Mary
Based on the Biblioal story of the raising of Lazarus
from the dead, this song is apparently an American cre
ation, I say this because, at this writing, I
seen a version of the song in any European collection.
There are similar Biblioal types, however, some of which
date back to ancient times. Bor example, there is the
Resurrection Ballad in Ebsworth (EB), I, 388.
I should point out that some American collectors do n
. Believe that this song originated in the United State..
Mac Edward Leach writes that it -doubtless goes back to
an English stall ballad.- If so, I have notion X *
Ballad and Mr. Leach did not name or otherwise -den
it. Again, the Marx and Martha spiritual referred to
in Frank 0. Brown-s Month Carolina Folklo re is not a
version of this song despite the melodic similarities
of some versions. The tunes vary, of course, but
more popular air seems to be an adaptation of t e me ■
Belonging to the secular song, Johnnv ^
n 256). several other songs have versions set to si
^ melodic strains, including Adam and Eve I_ and Uoe

MB
Song Texts
3138
Bowers (see both, in this Master Book ).
REFERENCES
Belden (BM), 17
Belden (BS), 447-449
Belden (PLSB), No. 38
Benziger, 43
Botsford, I, 29-30
Brown, III, 648-652; V,
378-379
Chase (AFTS), 183
Cox (FSS), 407-408
Davis (FSV), 295-296
Eddy, 295-297
Gardner (3SSM), 366-367
Henry (FSSH), 417-418
Hudson (BSM), 174-175
Hudson (FSM), 212-214
Jackson (SFS), 36
Jackson (WNS), 174
Jackson (WSSU), 195-197
Johnson (BANS), II, 81-83
Jour (AFL), XXXII, 499
Leach (EB), 734-736
Moore (BFSS), 237-238
Pine Mountain, VII, No. 1
Randolph, IV, 48-50
Ritchie (SFC), 253-254
Scarborough (SC), 195-196
Thomas (BMMK), 218-222
Tolman, 182
Tolman & Eddy, 388
Wells, 190-191
The Little Family
There was a little family that lived in Bethany;
Two sisters and a brother composed the family.
With shouting and with singing, like angels in the sky,
At morning and at evening they raised their voices high.
But while they lived so happy, 30 poor, so kind and good.
Their brother was afflicted and lay quite ill in bed.
Poor Martha and her sister, they wept aloud and cried;
Fcr he did not grow better, but suffered on and died.
The Jews then told the sisters: ’’Put Lazarus in the tomb!"
They wept their hearts to comfort and drive away the
gloom.
Then Jesus heard their tidings while in a distant land,
And quickly he did travel to join their lonely band.

MB
Song Texts
3139
When Martha saw Him coming, she met Him on the way;
She told Him how her brother had died and passed away.
He cheered her and He blest her, and bade her not to
weep—
For in Him was the power to wake him from his sleepj
*****************************
Ho. 103§
LITTLE PIGHT IN MEXICO
also known as
Fight in Mexico Had a Little Fight in Mexico
Had a Big Fight in Mexico The Mexican War, or Mexico
There are many versions and variations of this song in
circulation, some of which seem to have become distinct
pieces. Collectors usually associate it with other songs.
For example, Fife gives it as version B of the play-party
song, Johnny Cake . Botkin also has it as a play-party
eong, but he sets it alone.
REFERENCES
Botkin (APPS), 232-233
Botkin (WFL), 788-789
Brown, III, 112-113
Davis (FSV), 220
Dudley & Payne, 14
Duncan (PPHC), 4-5
Fife, 23
Hamilton, 296
Hudson (FSM), 288-289
Hudson (SMFL), 120
McLendon (list), 214
Lomax (OSC), 66-67
Piper (SPPG), 277
Randolph, III, 357-359
Little Fight in Mexico
Had a little fight in Mexico-—
‘Twasn't for the girls, the boys wouldn't go.
Chorus
Sing fol dee roll, sing fol dee ray,
0 fol dee roll, 0 fol dee roll dee ray.

MB
Song Texts
3140
Vent to where the fighting blood was shed;
All the girls went back, the boys went ahead.
Had an old hat with a flip-flop brim,
Looked like a toad frog sittin* on a limb.
All the girls and boys, when they did meet,
They laughed and they talked and kissed real sweet.
****************************************

No. 1039
THE LITTLE HUNTERS
also known as
Billy Barlow
The Cutty Wren
Hunting of the Wren
Hunting the Wren
Let * s All Go Hunting
Let’s Go A-Hunting, Say
to Robert
Let’s Go to the Woods
Richat and Robet
Says Robin to Bobbin
The Wran, £r The Wren
s Richard
In America this is nothing more than a children's song.
Most collectors have associated it with the ancient
English-Irish song, The Wran ( Wren ), which, in Flanders
(BMNE), 58-59, begins:
The wran, the wran, the king of all birds,
Saint Stephen's Day, he was caught in the firs;
Drolin, drolin, where is your nest?
It's in a place that•I love best.
If a relationship exists, the connection has escaped me.
The celebration of Saint Stephen's Day is, in my opinion,
insufficient grounds upon which to establish a relation
ship between two songs as divergent in text as are these.
But, since this is a reference work, I must follow to a
degree where others lead.

MB
Song Texts
3141
John Lcnax was the first American collector to publish
a version of The Little Hunters.
REFERENCES
Brown, II, 215-216
Greenway, 110-111
Henderson, 125
Herd, II, 210-211
Ives (SA), 122-123
Jour (FSS), V, 76-78;
VII, 177-180
Leisy, 29-30
Linscott, 230-233
Lomax (FSNA), 311-312
Lomax (OSC), 101-102
Opie, 367-370
Owens (TFS), 143-144
Pound, 235-236
Pound (SFSN), II, 16
Pub (TFLS), VI, 70-71
Quarterly (SFL), XVIII, 70
Scott (BA), 165-166
Seeger (1), 80-81
Silverman, I, 203
Williams (FSUT), 184-185
The Little Hunters
Let's all go hunting, said Jonathan Lee.
That's a good idea, said Donald MacGee.
We'll all go with you, said Tom, Bill and joe.
I'll bring my sling-shot, said Willy Barlo.
What shall we hunt for? said Jonathan Lee.
It makes no difference, said Donald MacGee.
Let's think about it, said Tom, Bill and Joe.
We'll hunt for possum, said Willy Barlo*
Where can we find one? said Jonathan Lee.
That's a good question, said Donald MacGee.
Where else 'cept the woods? said Tom, Bill and Joe.
In Haunted Hollow, said Willy Barlo.
Where shall we eat it? said Jonathan Lee.
I really don't care, said Donald MacGee.
Well, make up your minds, said Ton, Bill and Joe.
Down in the cellar, said Willy Barlo.

MB
Song Texts
3142
1*11 take the front leg, said Jonathan Lee.
1*11 take a hind leg, said Lonal MacGee.
We'll take the rih parts, said Tom, 3ill and Joe.
Save me the Tail-hone, said Willy Barlo.
********************************************

Ho. 1040
LITTLE JACK HORNER
Like most of our nursery rhymes, this one came from
England and with the first colonials, Henry Carey re
ferred to it in 1725, in his ballad Namby Pamby :
Now he sings of Jacky Horner
Sitting in the Chimney-corner
Eating of a Christmas pie....
According to one legend, the original Jack Horner was
"steward to Richard Whiting, last of the abbots of
Glastonbury • :, -0 pie« This legend, however, dates back
in print no further than the 19th century. The rhyme
itself is far older than the earliest known printed
versions, and may, as claimed by some, have originated
during the reign of Henry VIII.
REFERENCES
Bertail, 111 Seeger (4), 127-128
Opie, 234-237 Wier (SWWS), 194
Wier (YAM), I, 55
Little Jack Horner
Little Jack Horner
Sat in a corner,
Eating a Christmas pie;
He put in his thumb
And pulled out a plum
And said, “What a good boy am I."
♦ a-***************

MB
Song Texts
3143

No. 1041
LITTLE JOE THE WRANGLER
A cowboy song written in 1898 by Jack Thorp, who pub
lished it in his Songs of the Cowboys in 1908. John
Lomax collected a version from oral sources and print
ed it in his Cowboy Songs . 1910. Since then it has been
published many times in folios and folk collections.
For a sequel, Little Joe the 7/rangier's Sister Nell , see
Ohrlin, 169-171 and Randolph, II 236-237.
The tune is that of Little Old Log Cabin in the Lane (see
in MB), which, in turn, was adapted from the Protestant
hymn. The Lily of the Valley (see in MB).
REFERENCES
Allen (CL-1933), 35-36
Bulletin (CFS), II, 35-36
Clark (CS), 44-45
Clark (HC), 19
Craddock (SCS), 184
Davis (TTS), 27
Emrich. (PAL), 497-499
Fife, 214-216
Gillis, 103-105
Larkin (1931), 119-122
Larkin (1963), 123-126
Laws (NAB), 134-135
Lee (CSB), 40-41
Lingenfelter, 423-425
Lomax (CS-1919). 167-171
Lomax (CS-1938), 91-93
Lone Ranger, 8-9
McConathy, 84-85
Patterson (SRR), 27-29
Randolph, II, 234-236
Rhinehart, 41
Sherwin (SRU), 44-45
Silber (HSB), 28
Silverman, I, 50-51
Sires, 48-49
Sizemore (1), 30
Sizemore (2), 27
Utah Cowboy, 17-18
Thorp (1908), 9-11
Thorp (1921), 96-99
Thorp & Clark, 16, 42 &
52
Thorp & Fife, 30-32, 35
Williams (CFCS), 24
Wylder, 27-29
Little Joe the Wrangler

MB
Song Texts
•3U4
Little Joe the wrangler
He'll wrangle never more,
His days with the remuda, they are gone.
'Twas a year ago last April
When he rode into our camp—
Just a little Texas stray, and all alone.
He said he had to leave his home,
His Pa had married twice;
And his new Ma beat him ev'ry day or two.
He saddled up old Chow one night
And lit a shuck this way—
How he's trying to paddle his own canoe.
He said if we would give him work,
He'd do the best he could,
Tho' he didn't know straight-up about a cow.
The boss he cut him out a mount
And kindly put him on,
Por he sorta liked thi3 little kid somehow.
He learned to wrangle horses,
And tried to know 'em all,
/
And to get them at daylight, if he could;
And to trail the old chuck wagon
And always hitch, the team,
And to help the c ocinero hustle wood.
We had traveled to the Pecos;
The weather being fine
We had camped on the south side, in a bend.
When a norther commenced blowin'
We had to double up the guard,
Por it took all of us to hold 'em in.
Little Joe the wrangler
Was called out with the rest;

Song Texts
3145
MB
Altho' the kid had scarcely reached the herd
When the cattle they stampeded
Like a duster movin’ west,
Then we were all a-ridin' for the lead.
At last we got ’em milling
And kinda quieted down,
And the extra guard back to the wagon went;
But there was one a-missin*—
We could see it at a glance—
•Twas our little Texas stray, wranglin’ Joe.
Next Morning Just at daybreak
We found him where he fell,
Down in a washout some twenty-feet below;
Beneath the horse, mashed to a pulp,—
Hie spur had wrung the knell—
Was our little Texas stray, wranglin' Joe.
*********************************
No. ± 2*2.
LITTLE MARTY GRAY
also known
Handsome Marty Gray
Little Massey Grove
Little Matha Grove
Little Mathey (Mathie)
Groves
Little Mathy Graves
Little Matthew Groves
Little Matthey (Matthy)
Groves
Little Mattie Groves
Little Matty Gross, or
Groves
as
Little Moscrow
Little Mose Graves, or Groves
Little Musgrave
Little Musgrave and Lady
Barnard, £r Barnswell
Lord Arnold
Lord Arnold's Wife
Lord Banner
Lord Banner’s Wife
Lord Barnabas' Lady
Lord Barnaby
Lord Barnett and Little
Musgrove

MB
Song Texts
3146
Lord Daniel
Lord Valley, or Vanover
lord Daniel's Wife
Lord Darnell
Lord Donald
Matty Groves
The Red Rover
Wee Messgrove
Lord Donald's Wife
Young Little Mathy Groves
This ballad seems to have enjoyed a greater popularity
in America than in Great Britain, the land of its origin*
Age is uncertain but we know it dates back at least to
1630, because on June 24 of that year the ballad was
entered to Francis Coules in the Stationers' Register ,
London* We find a version in Wit Restor'd , 1658, p.
174. Percy, who included a version in his Relique3 , said:
"This ballad is ancient, and has been popular; we find it
quoted in many old plays
The ballad wa 3 first recorded from traditional sources
in North America by W, R. Mackenzie in 1909» in Nova
Scotia (see Journal of American Folklore , XXIII , 571 - 374 )»
The first American texts to be printed with their tun.es
are in Campbell & Sharp, 1917, 78-79. By then of course
the ballad had undergone some changes. It exists in a
considerable number of versions and variations, as is
demonstrated by the large number of works in the reference
list below. Some derivatives are so far removed from
the original versions as to make it difficult to establish
a positive relationship. The game song for children known
as Lord Daniel's V/ife is an example, for it seems to have
no connection with the ballad whatsoever.
The tunes are as varied as are the texts. For example,
in Bronson, II, there are 74 different melodies.
REFERENCES
Barry (BBM), 150-176
Barry (FMA), 78
Belden (BS), 57-60
Brown, II, 101-111; IV
Brown (BLNC), 9
Buchan MSS, I, 27
Bulletin (FSSN), III, 6-8;
53-57
IV, 12-13; VII,
8-10

KB
Song Texts
3147
Bulletin (TPS), III, 4, 95
Bulletin (VPS), Nos. 3, 6
7, 9 & 11
Cambiare, 50-54
Campbell & Sharp, No. 20
Chappell (FSRA), 29-31
Chappell (PMOT), I, 170
Child, II, 242-260
Coffin, 84-86
Cox (PSS), 94-95
Creighton (PLC), 71
Creighton (MFS), 11-13
Creighton (SBNS), 11
Creighton (TSNS), 43-49
Davis (MTBV), 170-181
Davis (TBV), 289, 577
Ebsworth (BB), I, 36
Eckstorm, 150
Eddy, 48-51
Flanders, II, 195-237
Flanders (BKNE), 86-91
Flanders (NGMS), 135-139
Friedman, 186-190
Fuson, 52-55
Gainer, 53-56
Gardner (BSSM), 46-49
Henry (PSSH), 73-79
Henry (SSSA), 65-68
Houseman, 126-130
Jamieson, I, 170
Jour (AFL), XXIII, 373;
XXV, 182; XLII, 265
Karpeles, 60-66
Kinloch MSS, I, 287
Kinsley, 168-172
Kittredge (BS), 309-317
Korson (PSL), 32-34
Leach, No. 5
Leach (BB), 265-273
Lomax (FSNA), 316-318
Mackenzie, 27-34, 392
Mackenzie (QB), 14-18
Manny, 204-205
Moore (BFSS), 63-68
Motherwell, No. 21
Motherwell (MS., 120, 305 f
371 & 642
Niles (BB), 192-197
Peacock, III, 613-616
Pine Moutain, VII, No. 1
Pound, 37-39
Pub (MLA), XXXIX, 455
Quiller-Couch, 227-231
Randolph, I, 124-126
Ritchie (FS), 36-38
Ritchie (SFC), 135-139
Roberts (IP), 49-52
Roberts (SBS), 92-94
Robinson (YF), 103-105
Rollins (PB), I, 364;
III, 314
Roxburghe Ballads, III,
146, 340
Scarborough (SC), 143, 400
Sedley, 99-102
Sharp, I, 161-182
Shearin (BBCM), 3
Shearin (SKFS), 8

MB
Song Texts
3148
Silber (HSB), 104
Silverman, I, 194
Smith (SCB), 125-128
Smith (TBSOS), Ho. 7
Wells, 110-113
Whiting (T3B), 55-59
Wyman (TKMS), 22-35, 62-71
Little Marty Gray
0 holiday, holiday, the best day of the year.
And little Marty Gray to church did go
Some holy words to hear, some holy words to hear.
Now first there came a gay lady,
The next to come was tall;
And then he saw George Arnold's wife,
The fairest of them all.
She stepped right up to Marty Gray
And looked him in the eye;
"You may go home with me tonight,
All night with me to lie."
"I cannot go with you tonight,
I cannot for my life;
I know the ring I see you wear,
You're George Arnold's wife."
"And if I am George Arnold's wife.
You know he's gone away;
He has gone to see New Orleans
And won't be back today."
A servant boy was standing near,
And quickly he did run;
He ran till he came to the riverside,
And there his tale he spun.

MB
Song Texts
3149
George Arnold stood and said to him,
"What news have you for me?
Has anything happened at my home,
Or to my family?"
"Your house and lands are safe and fine,
But still I bring you strife;
For little Marty Gray is in your house,
And sleeping with your wife."
Geroge Arnold stood before his men.
And they stood in a row;
And he bade them all to silent be
And homeward with him go.
There was one man among them all,
A friend of Marty's still.
And he raised his horn up to his mouth
And blew both loud and shrill.
"0 hear that sound?" cried Marty Gray.
"I heard a bugle blow.
And every single note cried out to me:
Arise! arise! and go!"
"Lie down, lie down," the woman said,
"My back is getting cold;
It is the shepherds out in the field
A-calling sheep to fold."
From that they fell to making love.
From that they fell to sleep;
When they awoke at the break of day,
George Arnold stood at their feet.
"Kow get you up, young Marty Gray,
Put on your clothes and stand!

MB
Song Texts
3150
It never shall be said of George Arnold
He killed a naked nan."
The very first blow Marty struck,
He wounded Arnold sore;
The very first blow that Arnold struck
Lay Marty on the floor,
George took his lady by the hand
And sat her on his knee:
•How tell me who you like the best, my dear—
Young Marty Gray or me?"
"I really like your rose cheeks,
I like your dimpled chin,
But better do I like young Marty Gray
Than you and all your kin."
He took his lady by the hand
And led her o'er the plain;
He took the broad sword from his side
And split her head in twain,
"0 don't you heard the nightingale?
0 hear the sparrows cry!
For today I've killed two true lovers—
Tomorrow I must die!"

Ho. 1043
A LITTLE MORE CIDER
also known as
A Little More Cider for A Little More Cider Sweet
Miss Dinah a Little More Cider Too
This song came down a hazy path, taking detours as it
traveled. It possibly originated as a minstrel song.

KB
Song Texts
3151
but where and when is the question* * Even the writer
or writers remain unknown. The earliest printed version
I have seen is one arranged by Austin Hart in 1888. Most
traditional versions gathered from oral sources contain
many lines and stanzas found in other songs*
REFERENCES
Brown, III, 75-77; V, 41-42
Chappie (HS), 372-373
Ford (TMA), 332-333
Hubbard, 374
Jour (AFL), XXXII, 249
A Little More Cider
I love the blondes, I love brunettes,
And I love all the rest;
I love the girls for loving me.
But I love myself the best.
0 Lord, I feel so thirsty!
I've Just come down from supper;
• I drank three pails of apple-jack
And a tub of apple butter.
Chorus
A little more cider, cider, cider,
A little more cider too;
A little more cider for Miss Dinah,
A little more cider too.
I wish I was an apple ripe,
And Dinah was another—
Just think how happy we would be
Upon the tree togetherj
Reach, 32
Minstrel, 126
Pound (SFSN), XXXIII, No. 19
Shay (PF-2), 84-85
Shay (PF-3), 160-161

MB
Song Texts
2152
If you love me like I love you,
We'd have no time to tarry;
We'd have the old folks runnin' 'round
For to fix us up to marry.
I'd rather marry my Dinah,
With a peach in her hand
Than marry me some wealthy gal
With a house and lots of land.
Consequence be what it may,
Be long or short or wider,
She is the apple of my eye,
And I'm bound to be beside her!
************************************

No. 1044
A LITTLE MORE FAITH IN JESUS
19th century spiritual that was popular with both
blacks and whites. For an example of a white version,
see Thomas (BIOT), 212-213.
The version here is a black slave version reproduced
from Marsh (SJS), 178. For other versions, see:
Chambers (TNS), 11; Jubilee (PS), 40-41; Pike, 260;
and Thomas (BMMK), 211.
A Little More Faith In Jesus
Whenever we meet you'll hear me say,
A little more faith in Jesus!
0 what's the order of the day?
A little more faith in Jesus!
Chorus
All I want, all I want, all I want
Is a little more faith in Je 3 usl

MB
Song Texts
3153
All I want, all I want, all I want
Is a little more faith in Jesus!
1*11 tell you now what I’ve said before, etc .
The word came down from Heaven’s shore, etc .
Go spread the word thro’-out the land, etc.
The Lord extends a giving hand, etc.
I do believe without a doubt, etc,
That Christians have a right to shout, etc.
Now shout out, children—you are free!, etc .
For Christ has bought your liberty!, etc.
************* *•**•* ************** **•*•**-*•* *******

No. 1045
THE LITTLE OLD LOG CABIN IN THE LANE
Source song. This song, written by Will S. Hays and J.
L. Peters in 1871, was a commercial success almost im
mediately and was soon featured in minstrel shows all
over the nation. The tune is an adaptation of the old
Protestant hymn, The Lily of the Valley (see in MB) and
the pop song, Little German Home Across the Sea (see
Randolph, IV, 396-397).
The success of Little Old Log Cabin led to a dozen or
so songs, all using the same melody or slight variations
thereof. For examples in this Master Book, see: 'The
Double - Breasted Mansion on the Square , Little Joe the
Wrangler , Little Old Sod Shanty I, II & III , The
Miner* s Life , and The X I T Chuck Wagon. For other ex
amples, see The Little ’ Dobie Casa , The Little Vine-Clad
Cottage , and Little New Log Cabin in the Hills in
Fife, 70-71. Hobos and railroaders used the tune for
The Littlo Old Caboose Behind the Train, a song that

MB
Song Texts
3154
fell into the hands of Boh Miller, a songwriter, in
1932, and he turned it into a hit by changing one
word: he replaced ’’old" with "red" and made a lot of
money. For versions of The Little Red Caboose Behind
the Train , see Botkin (RFL), 455 and Brown, III, 263.
In the 1950s the tune was used to advantage yet again
by a songwriter, and the modern folk song Doctor Freud
was born.
Despite its popularity and influence over the years,
The Little Old Log Cabin in the Lane was ignored by all
but three or four collectors of folk songs,,
REFERENCES
Brown, V, 439-440 Keach, 3
Ford (TMA), 281-282 Morrison (SWL), 299
Jour (AFL), XXVI, 359 Pound (SFSN), XXIII, 63
White, 181
The Little Old Log Cabin in the Lane
I am growing old and feeble now,
I cannot work no more;
I have laid the rusty-bladed hoe to rest.
My ol* massa and ol' missus
Now are sleepin' side by side,
And my friends they are all numbered with
the blest.
0 ev*ry thing is changing now;
The darkies are all gone—
I never hear them singing in the cane.
I*m the only one that’s left now,
With this ol' dog of mine.
In the little old log cabin in the lane.
Coda: last 16 bars

MB
Song Texts
3155
The chimney’s failin’ down
And the roof is cavin’ in,
I ain’t got long around here to remain;
But the angels watches o'er me
When I lays me down to sleep,
In the little old log cabin in the lane.
*************************************

Ho. 1046
THE LITTLE OLD SOD SHANTY I
also known as
Little Old Sod Shanty on the Claim The Western Settler
This is a parody of the preceding song, The Little Old
leg Cabin in the lane . The parody has been ascribed to
and claimed by several individuals, including Addison
Bennet, a Kansas newspaper man, Harry Cline, a Civil
War veteran, and Dr. Oliver E. Murray, South Dakota
songwriter. According to Lomax, the words were written
by a West Virginian named Lindsey Baker. We know where
the tune came from, but according to D. K. Wilgus, it
derives from Keep Your Feet Still , Geordie Hinny , a song
credited to an English Music Hall comedian named Joe
Wilson (1841-1874).
For a similar song, see The Little Old Sod Shanty on the
Plain in Glass (SW), 36-39.
The parody itself became so popular that it, too, was
parodied again and again. For examples, see The Little
Old Sod Shantv II in this Master 3ook ; Answer to the
Answer to the Little Old Sod Shanty in Lingenfelter, 467
and McMullen, 59-60; The Little Adobe Shack . Way Out West
in Thorp & Fife, 92; and The Little Old Log Cabin B^r the
Stream in Thorp & Fife, 95-96.
REFERENCES

MB Song Texts
Allen (CL), 13, 103
Arnett, 94
Botkin (WFL), 742-743
Fife, 68-69
Frey, 40-41
Ives (SA), 162-163
Ives (SB), 278-279, 250-
251
Lingenfelter, 464-465
Lomax (CS), 187-189, 405-
406
3156
Lomax (FSNA), 397-398
Luther, 209
McMullen, 57-58
Moore (BBSS), 293-295
Pound, 165
Pound (SFSN), VII, No. 4
Randolph, II, 219-221
Sandburg (AS), 89-91
Thorp & Fife, 93-94
White (GALL), 169-171
The Little Old Sod Shanty I Tune: Little Old Log Cabin
I am looking rather seedy now,
While holding down my claim,
And my victuals are not always of the best;
And the mice play slyly round me
As I nestle down to rest,
In my little old sod shanty on my claim.
The hinges are of leather
And the windows have no glass,
And the board-roof lets the howling hlizzrds in
And I hear the hungry coyote
As he slinks up through the grass,
•Round the little old sod shanty on my claim.
But I rather like the novelty
Of living in this way,
Tho’ my bill of fare is always rather tame;
Yet I*m happy as a clam
On the land of Uncle Sam,
In the little old sod shanty on my claim.

MB
Song Texts
3157
Now when I left my eastern home,
A bachelor so gay,
To try and win my way to wealth and fame,
I little thought that I'd come down
To burning twisted hay
In the little old sod shanty on my claim.
My clothes are plaster'd o'er with dough,
I'm looking like a fright.
And everything is scatter'd 'round the room;
But I wouldn't trade the freedom
That I have here in the West
For the table of the Easterners' old home.
Still I wish some kind-hearted girl
Would come and pity take,
And relieve me from the mess that I am in.
Oh! the angel, how I'd bless her
If this place her home she'd make.
In the little old sod shanty on my claim.
Oh, we would make our fortune
On the prairies of the West,
Just as happy as two lovers we'd remain;
We'd forget the trials and troubles
We endured at the first,
In the little old sod shanty on my claim.
And if fate would kindly bless us both
Now and then with an heir
To cheer our hearts with honest pride of fame
Oh, then we'd be contented
With the time we had spent
In the little old sod shanty on my claim.
Coda: last 16 bars

MB
Song Texts
3158
And when time enough had passed us by,
And all those little brays
To nobleman and womanhood had grown,
It wouldn't look half so lonely
As around us we should look
At that little old sod shanty on my claim.
****************** ***************************

No. 1047
THE LITTLE OLD SOD SHANTY II
also known as
The Reply to "The Little Old Sod Shanty”
This is a woman*s answer or reaction to the man's view
expressed in the preceding song; it appeared in the
Thomas County Cat , Colby, Kansas, December 3, 1885.
REFERENCES
Fife, 69 McMullen, 58-59
Lingenfelter, 468 Nebraska (3), 8
Nebraska (7), 13
The Little Old Sod Shanty II Tune: Little Old Log Cabin
My Sam is getting seedy now
While holding down his claim,
And his flapjacks, so he writes, are not the best,
So I’ll put my hair in papers
Ere I lay me down to rest,
While Sam is in his shanty on the claim.
Yet I rather like the novelty
Of living in this way,
For such long engagements now are rather tame;

Song Texts
5159
And I'm happy as a clam
Since I said goodbye to Sam,
When he went to seek his shanty on the claim.
Chorus: last 16 bars
The dances are so pleasant,
So delightful and so gay;
Here I have as many beau3 as I could name!
Oh, the buggy rides I'll take
While my Sam is far away
In his little old sod shanty on the claim.
Oh, let him dabble in the dough,
I'm sure it served him right
For leaving me in the futter for to roam;
Does he think me such a ninny
As to marry such a fright,
And be a slave in his dirty cabin home?
No doubt some tawny Indian miss
Will pity on him take
And help extricate him from the mess he's in;
He need not think a city belle
The sacrifice will make,
For there's many men to wed with lots of tin.
He says he'll make his fortune,
But I fear he'll lose his hair
'Way out among the wild Indians, frogs and sloughs;
He'd better get some other lass
To mother him an heir,
For I'm determined some other man to choose.
\
And if she is a vixen
She will make him toe the mark,
And thresh and thump and pound him till he's lame;

MB
Song Texts
3160
I think I’ll wed the owner
Of the stone front near the park,
And leave Sam in his shnaty on the claim.
****************************■************.****.

No. 1048
THE LITTLE OLD SOD SHANTY III
also known as
The Little Old Sod Shanty in the West
This is another parody on Little Old Log Cabin in the Lane ,
and it comes in many versions. The version below is shorter
than the one collected by John Lomax and the text printed
in the Dakota Farmer , Aberdeen, S. D., Dec. 15, 1909.
The entire text, set to a tune collected and recorded for
the Library of Congress by Vance Randolph, is in Fife, 72-74.
The Little Old Sod Shanty III Tune: Little Old Log Cabin
You may sing about
Your little old log cabin in the lane,
Or of little German homes across the sea,
But I’ll take my old shanty
That is standing on my claim,
For it is the dearest spot on earth to me.
I built it while in poverty
There on my prairie claim,
And within it I found much peace and rest;
I was sheltered from the blizzards
And all the storms that came
In my little old sod shanty in the Wests
Chorus: last 16 bars
It makes a pleasant memory, one I shall not forget;
Of all the homes I’ve known it suits me best.

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Song Texts
3161
Quite often now I wish that I was living in it yet—
In my little old sod shanty in the West,
Where once the cabin graced the gulch
Our shanties mark the plain,
With signs of wealth the homes and mansions rise;
The wigwam, too, has vanished now,
The braves are with the slain,
In their happy hunting grounds above the skies.
But we have save a little cash,
So we will not complain,
Tho* others of our fruits shall reap the best;
But we hope they will remember
Not to treat us with disdain
Because we built the shanties in the West,
***********************************
No. 104-9
LITTLE SPARROW
also known as
All Ye Pair and Tender Maidens
Come All Ye Pair and Tender
Ladies, or Maidens
Come All Ye Pair Maidens
Come All Ye Maids and Pretty
Pair Maidens
Come All You Pair and Tender
Ladies
Come All You Pair Maidens
Compounded of age-old elements
with singers and listeners
Scotland
Pair and Tender Ladies
Palse Lover
I Wish I Was a Little
Sparrow
Lora Williams
0 Waly, Waly
Say Oh! Beware
Warning
You Fair and Pretty Ladies
Young Ladies
this song is still popular
The original version came from
but American versions have since taken on lines

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Song Texts
3162
and meanings of their own. According to Cox (FSS),
"This piece is somehow related to the celebrated '0
Waly, Waly, gin love he Bonny» (Child, IV, 92 ), print
ed in the early part of the eighteenth century, but
even then regarded as old,”
For a variation, see the Come, Roll ^ound the Wheel of
Fortune in Henry (FSSH), 260-261.
For a different song with a common title, see the Come
All Ye Fair and Tender Ladies in Smrich (FAL), 529-531
and Fuson, 71-72.
REFERENCES
Agay ( 1 ), 35
Belden (B5), 477-478
Brewster (BSI), 328
Brown, III, 274, 290; V,
173-175
Cambiaire, 61
Campbell & Sharp, No. 65
Cazden, II, 16-17
Cox (FSS), 419-421, 530
Edwards (CHSB), 9
Emrich (FAL), 531-532
Gainer, 142-143
Gainer (100), No. 21
Hudson (FSSH), 257-260
Hudson (FSM), 167
Jour (AFL), XXIX, 183,
200; XXXIX, 119;
XLIV, 101-102
Kincaid No. 1 , 29
Lomax (FSNA), 205
Lomax (USA), 58-59
McGill, 23-25
Moore (BFSS), 208-209
Morris, 366-368
Okun, 25-26
Owens (TFS), 136-137, 52-53
Pub (TFLS), XXIII, 136-137
Quarterly (SFL), VIII, 172
Raine, 124
Randolph, I, 315-317
Ritchie (FS), 24
Ritchie (SFC), 203-204
Scarborough (SC), 312, 440
Scott (FSS), 40
Seeger ( 6 ), 24
Sharp, II, 128-136
Sharp (AEFS), 27-31
Shearin (SKFS), 26
Silber (HS3), 31
Silverman, I, 104
Thomas (BD), 82-83
Wilgus (FSUS), 72, 227
Wyman (LT), 55-57
Little Snarrow

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Song Texts
3163
Come all you fair and tender ladies,
Take warning how you court young men;
They are like a star in the cloudy morning.
They’ll appear, and then, they’re gone.
They’ll tell to you some lovely story,
They will swear to you that their love is true;
Then away they will go and court some other—
And that is the love they have for you.
I wish I were a little sparrow,
Wish I had wings so I could fly;
I would fly away to my false lover,
And while he talked, I’d sit and cry.
But I am not a little sparrow,
And have no wings with which to fly;
So I'll sit right here, in grief and sorrow,
And bear my troubles until I die.
I wish I had known before I courted
That love would be such a killing crime;
I’d have locked my heart with a key of gold,
And tied it down with a silver line.
Young man, never cast your eyes on beauty—
Beauty is a thing that will decay!—
The prettiest flowers in yonder garden
All too soon will wither and fade away.
*******************************************

No. 1030
THE LIVERPOOL GIRLS
also known as
Fondly I Went
The Liverpool Judies
Roll, Bullies, Roll
Firs to California, Oh
Roll, Julia, Roll
Row, Bullies, Row
Row, Row, Row, Eullies, Row
The Towrope Girls

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Song Texts
3164
This is called a capstan shanty. In his notes, Hugill
says: M There are two regular patterns to this shanty...,
one from the 1840s (when the shanty probably came into
being) and one from the 1860s, or '70s. There are many
versions, some with widely varying texts and some with
different tunes. Two versions are given below, and the
first is the older of the two.
REFERENCES
Bone, 118-120 Harlow, 198-199
Colcord, 176 Hugill (1), 401-403
Creighton (SBNS), 272-273 Hugill (2), 158-160
Doerflinger, 106 Jour (FSS), V, 301
Eckstorm, 239-240 Lomax (FSNA), 58
Toye, 13
The Liverpool Girls ( Version A)
When I was a young man I sailed with the rest
On a Liverpool packet bound out to the West.
We anchored one day in the Harbor of Cork,
Then sailed out to sea for the port of Hew York.
Chorus
0 it's row! ho! row, bullies, row!
The Liverpool girls have got us in tow.
For more than a month we were hungry and sore,
The wind was against us, the gales they did roar;
At Battery Point we did anchor at last,
With jib-boom hove in and the canvas all fast.
The boarding house masters were rollin' the dice,
An* shoutin' and promising all that was nice;
An 1 one fat old crimp he sidled up to me,
An' said I was foolish to follow the sea.

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Song Texts
3165
The best of intentions they never go far.
An* after ten days at the door of the bar
I tossed down me whiskey—an' what do you think?
That son-of-a-bitch had put drugs in my drink!
The next I remember, I woke in the morn
On board a skysail yarder and bound round the Horn.
With an old suit of oilskins, and two pair of socks,
A floorin' of bricks at the foot of my box.
Now all you young sailors take warning from me:
Beware of your drink when the whiskey is free!
An' pay no attention to runner or whore,
Keep hat on your head and both feet on shore!
VERSION B
Prom Liverpool to Frisco a-roving I went.
And to stay in that country was my full intent;
But girls and strong whiskey, like other damn fools,
I soon was transported back to Liverpool.
Chorus
Singing, row, row, bullies, row!
The Liverpool girls they have got us in tow!
The Alaska of Boston lay out in the Bay,
Waiting for a fair wind to get under way.
The sailors on board were all sick and sore,
With whiskey all gone, and they can't get no more.
Along comes the mate with his jacket so blue,
A-looking for work that the sailors could do.
Then "Jib tops'1 halliards!" he loudly did roar,
Calling "Lay aloft, Paddy, you sen of a whore!"
It's one night off Cape Horn, I'll never forget.
And 0 God! don't I sigh when I think of it yet!

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Song Texts
3166
She was divin’ bow under and the sailors all wet;
She was doin’ twelve knots with her main skysail
set.
Here’s to our ol’ captain where’er he may be:
He’s a friend to the sailor on land or at sea;
But as for the chief mate, that dirty ol’ brute,
I hope when he dies straight to hell he will shoot!
******************************
No._ 1051
LIZA JANE
also known as
Eliza Jane
Farewell, Liza Jane
Get Along, Liza
Git Along Home
Git Along, Liza Jane
Going Down to Cairo
Goodbye, Liza Jane
Goodbye, Liza, Poor Gal
Goodbye, Susan Jane
I Gave My Horn a Blow
I Went Up On the Mountain
Top
Let’s Go, Eliza Jane
Li’l, £r Little Liza Jane
Liza in the Summertime
Mountain Top
My Liza Jane
Oh, Eliza!
Oh, Miss Liza
Po* Little Lizy Jane
Po’ Liza Jane
Rejected By Eliza Jane
She Died On the Train
Shoopee, Liza Jane
Steal, Miss Liza
Sugartown
Sweet Liza Jane
Up, Eliza, Poor Girl
Went Up On the Mountain
Whoa, Mule!
Liza, which is folk for Eliza , is a popular gal in
American tradition. Being Southern, she usually has
a middle name, such as Anne or Jane, but never a last
name. Sometimes she is referred to in the polite,
formal manner, and becomes ’’Miss Liza** or "Miss Eliza,"

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Song Texts
3167
but mostly it's the common "Li'l Liza” or "Po' Liza,”
She is generally greeted with ”Hello, Liza,” or excused
with “Farewell, Liza,” "Goodbye, Liza,” or “So long,
Liza,” Sometimes she is dismissed with "Git Along, Liza,"
which i3 something of an order,, She is praised, ridiculed
and mourned for: She died on a train,. But whether going
or coming, praised or ridiculed, Liza is always accompanied
by a lively, toe-tapping tune.
One of the more important things about Liza is this: She
is forever young and always interesting. Nobody seems to
know how old she is. And if versions and variants were
clothes, she would have an extensive wardrobe. We know,
for example, that she was around before the Civil War.
A Texan who remembered those days, Judge W. R. Boyd, told
Scarborough (NFS), 227: "...about sunset the Negroes on
the plantation, before the war, would sing” the follow
ing lines:
Oh, Miss Liza, Oh, mah darlin’!—hoo ah hoo!
Gwine away to leave you—hoo ah hoo!
And that particular form is as sorrowful as any song about
Liza ever gets.
Professional songwriters found Liza too alluring to ignore.
Harry Von Tilzer courted her in 1903 and gave the world
Goodbye , Liza Jane — A song containing the second line of
Judge Boyd's version (above) and a tune partially taken,
from the old minstrel song. That's Where My Money Goes.
In 1916, Miller Music, Inc., New York, published Li 1 1
Liza Jane, with words and music credited to (Countess)
Ada De Lachau. There are so many versions of Liza in
circulation that it is difficult to sort them out. Most
collectors tried to distinguish between variants and
versions, but the tradition of interchange—and most Liza
songs are interchangeable—compels them to refer to all
such songs as being related. The terminology employed
is generally "Family of songs,” or "Form A, B, C,” and
so on. Thus the pattern cf reference has long been estab-

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Song Texts
3168
listed, with the result that today we have variants
and versions all over the place, and under so many
different titles that isolation and specific identi
fication of any particular Liza song practically im
possible. In this case, therefore, it was decided that
the best course would be to bring together under one
title as many versions and variants of the Liza songs
as possible, separating them by Roman numerals as a
simple matter of convenience*
Even so, one must be cognizant of the dozens of songs
similar to Liza Jane . Those songs borrow as well as con
tribute lines and stanzas from and to one another as well
as from and to Liza Jane, As examples, the reader is
invited to see and compare the following songs: Ain't JC
Goin' in Piper (SPPG), 271-272; Black the Boots in
Botkin (APPS), 239, Dudley & Payne, 31-32, Randolph, III,
359, and Y/olford, 25-26; Get Alon^ Home in Southwest
Review , XVIII , 171; Go On, Liza in Clarke, 290; Hawk
Caught a Chicken in Botkin (APPS), 240; High , Low, Jack
an* the Game in Douthitt, 35-36; ' Lasses Cane in Thede,
38-39; Oh^ Ain't I G one in Ames (HP?), 299-300; Shiloh
in Blair, 97-98; The Squirrel in this Master Book;
Standing on a Platform in Botkin (APPS), 238; ffhoop Law ,
Lizzie in Botkin (APPS), 242.
For an interesting variation, see So Goodbye , Susan Jane
in Hamilton, 296.
Other songs that deserve comparison, though not related,
are: The Bronc Peeler *s Song in Lomax (CS-1919), 377-
379 & (CS-1938), 83-85; Liza Anne in Sharp, II, 355;
and Scraping Up Sand Prom the Bottom of the Sea in
Seeger (1), 96-97.
REFERENCES
Agay (2), 187
Armitage, II, 42
Best, 138
Blair, 98

MB
Song Texts
3169
Botkin (APPS), 235-24-2
Botkin (MRP), 591-592
Brown, III, 522, 530-531;
V, 292-294
Bulletin (TPS), V, 39-40
Burlin, IV, 41-43
Edmands, 131
Ford (TEA), 293-294
Puson, 159-172
Hamilton, 291-292
Henry (FSSH), 430-433
Johnson (EAS), 45
Jour (API), III, 290; VI,
131; XXVIII, 178;
XL, 97; XLI, 575;
XLV, 165-167
Reach, 26
Kincaid No. 2, 29
Leisy (LAS), 25-26
Loesser, 58-59
Lomax (ABPS), 284-286
Lomax (PSNA), 501
Luther, 227
McIntosh (PSSG), 68-79
Minstrel, 112-114
Oberndorfer, 31
Perrow, XXVIII, 178-180
Randolph, III, 183-185
Rayburn, 55
Richardson (AMS), 50
Sandburg (AS), 51, 132-
133, 308-309
Scarborough (NFS), 7-8, 227
Sharp, II, 356
Silverman, I, 355, 372, 373
Spaeth (RE7, r ), 230
Talley, 134
Thede, 41, 44-45
Thomas (BMMK), 127
Thomas (DD), 91-93
Thomas (SG), 22
Truitt, 378-379
Weavers, 50-51
White, 172-175, of 247
Liza Jane ( Version A)
You got a gal an* I got none,
Li'l Liza Jane!
Come, my love, an* be my one,
Li'l Liza Jane!
Chorus
Oh, Eliza! Li'l Liza Jane!
Oh, Eliza! Li'l Liza Jane!
I got a house in Baltimore, etc.
Street-car runnin' by my door, etc.

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Song Texts
3170
Persian carpet on my floor, etc
Silver plate upon my door, etc.
Oh, won’t you come an’ marry me, etc .
Think how happy we would be, etc,
VERSION B
Oh, when I think of travel,
I think about a train;
But when I think of loving,
I think of Liza Jane!
Chorus
Liza, sweet Liza! Oh, my Liza Jane!
Liza, sweet Liza! She died on the train!
Miss Liza she's so handsome,
Of that there ain't no doubt;
Her face looks like a coffee-pot,
Her nose looks like the spout!
I told her we should marry,
And this is what she said:
"I wouldn't marry you, big man,
If ev'rybody else was dead!
The hardest work I have done
Was strippin' sugar-cane;
The easiest work upon this earth
Is kissin' Liza Jane!
Now when I go a-fishin',
I take a hook and line,
But when I go a-courtin', boys,
.1 take that gal of mine.

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Song Texts
3171
You climb up the oak tree,
And I'll climb up the gum;
I never see a pretty girl
But what I court her some.
You ride that ol' gray horse,
And I will ride the roan;
You hug and kiss some other girl,
And leave my gal alone.
VERSION C
Liza in the Summertime,
Liza in the Pall;
If I can't see Liza all the time,
I won't see her at all!
Chorus
Po* little Liza, Po' gal,
Po' little Liza Jane!
Po' little Liza, Po' gal,
She died on the train.
Liza's got a rosy face,
Hair of chestnut brown;
And her eyes are like a thunder-cloud
Before the rain comes down.
Went up on the mountain top,
Gave my horn a blow;
And I thought I heard Miss Liza say:
"Oh, yonder comes my beau!”
Up there on the mountain top
Got my moonshine still;
I will make a quart of mountain-dew
For just a dollar bill.

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Song Texts
3172
Yonder in the far-most field
Got some sugar-cane,
And I'll make a jug of 'lasses sweet
To give to Liza Jane.
VERSION D
Went down to the depot,
Waited for the train;
Liza bought a ticket,
Oh! goodbye, Liza Jane!
Chorus
Whoo-ee, Liza, pretty little girl,
Whoo-ee, Liza Jane!
Whoo-ee, Liza, pretty little girl,
Goodbye, Liza Jane!
I ran down the mountain,
Running in the rain;
I got there just in time
For "goodbye, Liza Jane!"
She went up the post road,
I went down the lane;
She rode an old gray mule,
Oh! goodbye, Liza Jane!
Last time I saw Liza,
She got on the train;
No smile, no hug, no kiss—
Just "goodbye, Liza Jane!"
Climb back up the mountain,
Stay there 'til I die;
Liza’s gone forever—
The sun has left the sky!
• *********■»-*-*-**•***•*--*-* *******

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Song Texts
3173

Ho. 1052
LIZIE LINDSAY
also known as
Bonnie Lizie Lindsay
Donald MacDonald
Donald of the Isles
Leesie Lindsay
Will Ye Gang to the High-
Lizzie, or Lizzy Lindsay
Hew Yealand
lands, Leezie Lindsay?
We have here an Americanized version of an old Scottish
ballad. Early versions tell of a girl who is courted by
a noble suitor disguised as a shepherd. He begs her to
"go to the Highlands" with him. The girl’s doubts are
overcome by her maid’s advice, and she accepts the invi
tation. When she arrives at her new home, the girl
learns the truth-her lover is a rich nobleman. The
details of the story have all but vanished from American
versions, but several Scottish texts are available in
print.
A derivative, The Blaeberry Courtship , is in Mackenzie,
69 and Toldman & Eddy, 545.
REFERENCES
Aytoun, I, 277
Barry (BBM), 297-299
Brewster (BSI), 135
Buchan (ABS), II, 102
Child, IV, 255-266; V,
Hopekirk, 180-181
Jamieson, II, 149
Johnson (SMM), No. 434
Kinloch MSS, I, 237, 253
Kinsley, 258-262
Laws (A3), 212
Macfarren, 172-173
Mackenzie (QB), 230-234
Moore (BFSS), 110-111
Muir, 221
Randolph, I, 165
Rogers, 107-108
Smith (SM), II, 100-101
Whitelaw, 51
421
Christie, I, 150-151;
II, 88
Coffin, 135-136
Cole, 178-179
Cox (TBFS), 46
Flanders, III, 269-271
Graham, II, 82
Greig & Keith, 164

MB
Song Text3
3174
Lizie Lindsay
Will ye go to the Highlands, Lizie .Lindsay?
Will ye go to the Highlands wi' me?
Will ye go to the Highlands, Lizie Lindsay,
And dine on fresh curds and green whey?
0 how can I gae to the Highlands,
And how can I gae wi' thee,
When I don't know where I'm going,
Nor what my life would he?
Down came fair Lizie*s old father,
A fine rich noble was her;
If ye steal away my daughter,
It's hanged high you shall be!
Guard well your daughter and keep her,
Keep well your daughter from me;
I care as little for your daughter
As ye can care for me.
Then up bespake Lizie's best woman,
A bonnie young lass was she:
"Were I but the heir to a kingdom
Awa wi' young donald I'd be."
0 say you so to me, Nelly?
And does my Nelly say so?
Must I leave my father and mother,
Awa' wi' young Donald to go?
He must be a witch or a warlock,
Or something of that low degree,
Por I'll go awa' wi' young Donald,
Whatever my fortune may be.
She has kilted her coats o' green silk
A little below her knee,
And she's awa* to the Highlands wi' Donald,
To bear him company.
*************
***************

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Song Texts
3175

No. 1033
LOLOTTE
also known as
Pov* Piti Lolotte
This is a Creole song derived from a Negro song that
came to New Orleans by way of the Caribbean Islands.
It was published first in Allen (SSUS), 112, or 171,
depending upon the edition used. Later versions are
in Krehbiel, 136-137 and Lloyd, 150-151.
Lolotte
Pov* piti, Lolotte a mouin,
Pov* piti, Lolotte a mouin,
Li gagnin bobo, bobo,
Li gagnin doule y .
- ; — repeat above lines
Calalou pote madrasse, li pot! jipon garni.
Calalou pot! madrasse, li pote jipon garni.
D*amour quand pote la chalne,
Adieu courri tout bonheur.
D*amour quand pote la chame,
Adieu courri tout bonheur.
Pov* piti, Lolotte a mouin,
Pov* piti, Lolotte a ,ouin,
Li gagnin bobo, bobo,
Li gagnin doule'*, doule^, doule,
Li gagnin doule" dans ker %. li©
***************************

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Song Texts
3176,

No. 1054
LONDON BRIDGE
also known as
Charleston Bridge
Fallen Bridge
London Bridge Is Broken
Down
London Bridge Is Falling
Down
London Bridge Is Washed
Away
Rock-a-by Ladies
This is a game song that dates back at least to the
Middle Ages. In 1553, however, it was known under the
more general title, Fallen Bridge (according to Rabelais,
who was writing at that time).
The song was first printed in Gammer Gurton 1 s Garland
in the 18th century. A version in Gentleman's Magazine ,
September, 1823, was contributed by "an aged informant,"
who learned it from "a lady born in the reign of Charles
XI. Another version was published in The Critic , <Jano
15, 1857.
English folklorists tell us that the song is derived from
the belief that the Devil had an especial antipathy for
bridges, and that he (or his demons) would destroy any
such structure unless frightened away or bought off.
Bridges, the most important land structures in early times,
were places of festivity, rituals, dances, trials and exe
cutions. They were places of sacrifice, too, for it was
believed the only way to protect them was to immure a
living man in the foundation of the structure. This
ancient practice evolved into the ritual of "laying" or
dedicating" the corner-stone, which is usually done, in
our time, by some well known citizen or public official.
Folklore is loaded with stories of the Devil and his
hatred for bridges and how he was bribed or frightened
into letting them stand. That superstition is related
to an even older religious belief that the soul, separated

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Song Texts
3177
from the body, had to cross a dangerous bridge, and
subsequently undergo a literal weighing in the balance,
the result of which decided its destiny. In time, children
took these ideas and dramatized them and kept them alive
in the form of a game. In America, the game is played
in the same manner as another old English game, The
Needle* s Eye (see in MB).
The song below is, of course, widely known and still sungo
For a different game song sung to the same tune, see MY
FAIR LADY in this Master Book.
REFERENCES
Balfour, 113-114
Bancroft, 360-362
Bertail, 37
Bett, 35-37
Brown,'I, 137-139; V,
522-533
Brown (OEAG), 12, 37
Burne, 518-519
Cambiaire, 135
Chase (AFTS), 189
Collins, 24
Creighton (FSNB), 173
Durlacher, 106
Farnsworth, 84-85
Flanders (VFSB), 45
Forbush, 63-65
Ford (TMA), 262
Gardner (FSK), 233
Gomme, I, 353-350; II,
441-442
Hofer (CSG), 13
Hornby, 130
Jour (AFL), XXVI, 356; XXVII,
303; XXXI, 146; XXXIII,
110; XXXIV, 38; XXXVIII,
243; XL, 38; XLVII, 339;
LX, 24-25
Linscott, 34-36
Maclagen, 237-238
Moffat (LSLA), 25
Newell, 204-211, 253-254
Northall, 365-366
Parsons, 202
Pub (TFLS), I, 20
Quarterly (SFL), VI, 231-232
Randolph, III, 338
Ritchie (FS), 14
Smith (GGL), 20
Spenney, 111-112
Wier (YAM), I, 138
Winn (2), 134
Wolford, 64-65
London Bridge

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Song Texts
3178
London Bridge is falling down,
Palling down, falling down,
London Bridge is falling down,
My fair lady.
How shall we build it up again,
Up again, up again,
How shall we build it up again.
My fair lady?
Build it up with lime and stone, etc,
Lime and stone would wash away, etc.
Build it up with iron bars, etc.
Iron bars would bend and break, etc .
0 what has this prisoner done, etc. ?
Broke my box and stole my keys, etc.
******** ******* *****************

No. 1055
THE LONELY GLENS OF YARROW
also known as
The Banks of Yarrow
The Braes o' Yarrow
The Dens of Yarrow
The Dewy Dells of Yarrow
The Dewy Dens of Darrow
The Dewy, or Dowie Dens of
Yarrow
The Dowie Downs o' Yarrow
The Dreary Dream
In the Lonely Glens of Yarrow
The Lady and the Shepherd
This ancient Scottish ballad was first published in
Scott (MSB), 72, in 1803. It is much older than its
date of publication, however, but how much older is a
matter of speculation and conjecture.

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Song Texts
3179
In the United States, this Ballad became mired down in
a swamp of scholastic confusion. Each additional attempt
at clarification caused it to sink a little deeper in
that swamp* This happened because the ballad became
mixed-in with another Scottish ballad, Hare Willie
Drowned in Yarrow. This resulted in a mass of printed
conjecture that produced an area of confusion so wide
that one ventures into it at his or her own risk.
The two ballads were published by Child as separate items,
but with much discussion regarding their relationship. It
was suggested that both are split versions of one and the
same ballad. It is also claimed that they are actually
two distinct ballads, and that their relationship is the
result of fusion through oral transmission. To complicate
matters even more, there is all the early influence of
William Hamilton 1 s admitted imitation, published in an
edition of his poems in Edinburgh, in 1760. Hamilton’s
imitation was again printed in Percy (RAEP), II, 362.
So the Hamilton ballad brought the number of fusions to
three, making clairification even more difficult. The
fusion of lines and, sometimes, entire stanzas that
occurred between the three ballads, all from Scotland
and all with comparable themes, made it impossible for
American collectors to determine exactly which ballad
they were publishing.
A considerable number of collectors identified their
finds with Child No. 214 ( The Brae s o Yarrow)o Others
elected to identify their discoveries with Child No. 215
(Rare Willie Drowned in Yarrow). A few collectors elected
to play it safe and identified their versions with both
ballads. Here, I have elected to follow Child *3 example
and present the two ballads as distinct items (see Hare
Willie Drowned in Yarrow in this Master Book) .
For an excellent attempt at clarification of the all the
confusion surrounding the two ballads, see an article by

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Song Texts
3180
Coffin in Jour (API), LXIII (1950), pp. 328-335.
For a close analogue of the ballad below, see Sir
Helper Bias and His Bride * s Brothers in Leach (BB),
570 and Prior, III, 371.
The variety of tunes used with this ballad is quite
extensive. Por example, Bronson, III, has 42 different
airs used for Child No. 14 ( The Braes o Yarrow), a text
of which is given below,
reper:
Barry (BBM), 291-293
Bronson, III, 314
Buchan (ABS), II, 203
Cazden, I, 40-41
Child, IV, 160-177
Coffin, 129-132
Cox (PSS), 137-138
Cromek, II, 196
Dixon, 68
Eddy, 69
Edwards, 171
Planders, III, 255-260
Planders (BMNE), 235-237
Powke (TSSO), No. 23
Friedman, 99-101
Gainer, 77
Greig & Duncan, No. 215
Greig & Keith, 141-144
INCES
Herd, I, 145
Herd MSS, I, 35; II, 181
Houseman, 131-133
Jour (APL), LXVIII, 201-209
Karpeles, 95-96, 269-270
Kinsley, 590-592
Leach (BB), 568-570
MacColl & Seeger, 95-102
Moore (BFSS), 104-106
Motherwell, II, 126-129, 252
Niles (BB), 426
Ord, 426
Quiller-Couch, 786-788
Scott (MSB-1803), III, 72 ;
(1833), III, 143
Sedley, 189-190
Silverman, I, 277
Whiting (TBB), 35-37
The Lone 1 7 / Glens of Yarrow
There lived a lady in the West,
A maid that lived in sorrow;
She was courted by nine gentlemen,
And a farmer lad in Yarrow.

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Song Texts
3181
These nine sat dinking blood-red wine,
And planning for the sorrow;
They made a vow among themselves
To fight for her in Yarrow.
The lady stood and combed his hair
And tried to ease his sorrow;
She made him like a knight so bright,
To fight for her in Yarrow.
The farmer lad walked o’er the hills,
And down the way so narrow;
He saw before him nine armed men,
All in the glens of Yarrow.
"There's nine of you and one of me,
But still I feel no horror;
I'll fight you all, one by one,
In the lonely glens of Yarrow."
He bravely stood and fought them all,
And wounded many sorely;
Her brother John approached behind
And pierced his heart most foully.
"Go home, go home, you cowardly man,
And tell your sister, Laura,
That her true lover you have slain
In the lonely glens of Yarrow."
As she walked up the same high hill,
And down the way so narrow,
She saw there her cwn true love,
And he was dead on Yarrow.
"0, father, you have seven sons,
And each may wed tomorrow;

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Song Texts
3182
But none is fairer than the lad
I loved the most in Yarrow."
This fair maid, "being great with child,
Her heart was filled with sorrow;
She died within her lover's arms
In the lonely glens of Yarrow.
*•»•»**-»*•»**■*•**•»****•»*****•»**********

No. 1036
THE LONE PILGRIM
also known as
White Pilgrim
This old religious ballad is known under two slightly
different titles and it is sung to two distinct tunes:
Lily Dale and Braes o 1 Balquhidder. Authorship is in
doubt, but in The Southern Harmon?/ - and Musical Companion ,
published in 1835, the words are credited to William
Walker. In White & King the words are attributed to
B. P. White. William Walker said the final stanza was
written by J. J. Hicks of North Carolina. In the
Christian Harp, 1858, the author is listed as Rev.
Jonathan Ellis, who, according to Helen Flanders "was
himself the subject of a ballad, Pretty Polly of Top -
sham, 11 a version of which is in Bulletin (FSSN), II,
16-17.
The Ellis version is set to the air of Lily Dale and
entitled, White Pilgrim. 7/alker's version is set to
the tune of Braes o' Balouhldder,
A broadside copy published by Andrews (New York) is
mentioned in Robertson's Checklist of California Songs ,
p. 134, and a manuscript copy is in the Archive of
Vermont Folk-Songs (Proceedings of the Vermont Histori
cal Society, VII, June, 1939, p. 82). A copy of the

MB
Song Text 3
3183
Andrews broadside, The White Pilgrim , is on file in
the California State Library, Sacramento.
A Scottish version of the song. Braes o> Balquhidder .
see Gilchrist (PE), 77. An American version of song's
text is in Shoemaker (MMP), 101. For a version of the
air of Lilly Dale, see elsewhere in this Master Book.
The tune for our text is that of Braes o' Balquhidder.
REFERENCES
Allsopp, II, 205
Brewster (BSI), 358-359
Brown, III, 599-600; V,
338-340
Cobb (SH), 208
Flanders (NGMS), 187-189
Henry (GH), 89-90
Hudson (FSM), 209
Jackson (SFS), 47-48
McCurry, 163
Randolph, IV, 56-57
Walker (CH), 341
Walker (SH), 256
White & King, 341
The Lone Pilgrim
I came to the place where the lone pilgrim lay,
And pensively stood by the tomb,
When in a low whisper I heard something say,
"How sweetly I sleep here alone.
"The tempest may howl and the loud thunder roar,
And gathering storms may arise,
Yet calm is my feeling, at rest is my soul
For there are no tears in my eyes.
"The cause of my master compelled me from home,
I bade my companions farewell;
I blessed my dear children who now for me mourn_
In far distant regions they dwell.
"I wandered an exile and stranger from home,
No kindred or relative nigh;
I met the contagion and sank to the tomb,
My soul flew to mansions on high.

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Song Texts
3184
"And there is a crown that doth glitter and shine,
That I shall forevermore wear;
Then turn to the Saviour, his love's all divine,
All you who would dwell with me there."
**** ***********************
No^ 1257
THE LONESOME DOVE
also known as
The Dove The Lonesome Grove
The Little Dove The Minister's Lamentation
The Lone Dove Newberry
Origin of this song is not known. A version is in the
Social Harp , published at Philadelphia in 1885, where
it is credited to William C. Davis. However, it is not
like that Davis created this song. According to Jack-
son (SPS), "The first stanza was evidently inspired by
the lines in the traditional English ballad entitled
Giles Collins (see George Collins in M3) . Jackson's
statement should be read with emphasis put upon the
words "evidently inspired," for there is no evidence
to show that the lines referred to originated with the
English ballad. For a discussion of said lines, see
The Floaters , an article given in this Master Book .
For other songs containing these "lonesome dove" lines
see Turtle Dove tin MB) , True Lover's Farewell (in MB),
and Lass of Roch Royal in Davis (TBV), 277.
Actually, there is less variation in the texts recover
ed than there is in the tunes accompanying them. For
example, Thomas (DD) prints a text almost identical to
that given by Jackson (SFS) and other collectors, but
her tune is quite different. The version given below
also has a slightly different air from most reported
versions, but, again, the text shows little variation.

MB
Song Texts
3185
For an example of distinct variation, see version B
below: We * 1 11 Press for Canaan* s Shore from McCurry,
97 .
REFERENCES
Arnold, 46
Barry (SAFS), 276
Belden (BS), 486
Brown, III, 339-360; V,
217
Cambiaire, 77
Davis (FSV), 113
Downes (1940), 191
Downes (1943), 225
Henry (FSSH), 267-269
Jackson (SFS), 63-64
Jour (AFL), XLV, 81, 83-85
LII, 13-14
Lloyd, 78
McCurry, 131
Randolph, IV, 39-40
Sharp, II, 197-198
Shearin (SKFS), 22
Thomas (DD), 162-163
Yolen, 124-125
The Lonesome Dove
One day while in a lonesome grove,
Sat o'er my head a little dove,
And her lost mate began to coo.
Which made me think of my mate, too.
Oh, little dove, you're not alone,
For with you I'm constrained to mourn.
I once, like you, did have a mate
And now, like you, am desolate.
Consumption siezed her lungs severe,
And pressed on her for one long year;
When death did come at close of day—
Oh! my dear darling he did slay!
Her blooming cheeks, her sparkling eyes,
They withered like the rose that dies;
Her arms that once embraced me round
Lie moldering now in yon cold ground.

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Song Texts
3166
VERSION B
Ye weary, heavy laden souls,
Who are oppressed sore,
Ye travlers thro' the wilderness
To Canaan 1 s peaceful shore.
Thro' chilling winds and beating rains,
The waters deep and cold,
And enemies surrounding you,
Take courage and be bold,
Tho storms and hurricanes arise,
The desert all around,
And fiery serpents oft appear
Thro' the enchanted ground.
Dark nights, and clouds, and gloomy fear,
And dragons often roar,
But while the gospel trump we hear,
We’ll press for Canaan's shore.
*****************************

No, 1058
LONESOME VALLEY I
also known as
I Must Walk My Lonesome That Lonesome Valley
Valley Walk That Lonesome Valley
I Must Walk That Lonesome You've Got To Go There Ey
Valley Yourself
This is a campground spiritual of uncertain origin and
date, but it definitely dates back to the turn of the
century and is probably much older. It is related to
the spiritual Got To Cross Jordan , or You Got To Cross
II Yourself in Brown, V, 435 and Sandburg (AS), 486.

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Song Texts
3187
There are enough similarities between it and Lonesome
Valley II , which follows it, to assume some sort of
relationship, if only by the “lonesome valley” lines.
For a labor union adaptation, see You*ve Got To Go
Down in Fowke (SWF), 25.
Also see and compare Valley of the Shadows elsewhere
in this Master Book.
REFERENCES
Botkin (SFL), 762
Grissom, 2
Jackson (SFS), 215-216
Lomax (USA), 352-353
Work (ANSS), 108
Work (FSAN), 53
Lonesome Valley I
You got to walk that lonesome valley,
You got to go there by yourself.
No one here can go there for you.
You got to go there,
You got to walk there by yourself.
You got to lie in that lonesome graveyard,
You got to lie there by yourself.
No one here can lie there for you,
You got to go there,
You got to lie there by yourself.
You got to stand before God at Judgment,
You got to stand there by yourself.
No one here can stand there for you,
You got to go there,
You got to stand there by yourself.
*********************

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Song Texts
3188

No, 1039
LONESOME VALLEY II
also known as
Go Down in the Lonesome Valley
This is an American slave spiritual; it was first pub
lished in 1867. For other versions, see Allen (SSUS)
5, or 30-31 (depending upon edition used), Kennedy
(M-l), 98-99 ana Mackenzie (SH), 122-123.
Lonesome Valley II
My brother, if you want religion,
Go down in the lonesome valley.
My brother, if you want salvation,
Go down in the lonesome valley.
Chorus
Go down in the lonesome valley,
Go down in the lonesome valley, 0 Lord!
Go down in the lonesome valley,
. And meet my Saviour there.
Want to live yonder in the kingdom?
Go down in the lonesome valley.
Want Jesus to build you a mansion?
Go down in the lonesome valley.
Want to sit at the welcome table?
Go down in the lonesome valley.
And feed your soul on milk and honey?
Go down in the lonesome valley.
My brother, want to meet your Saviour?
Go down in the lonesome valley.
You better change your earth behavior!
Go down in the lonesome valley.

MB
Song Texts
3139

No. 1060
LONG TIME AGO I
This is a song with a common title, with most songs using
it being related, sometimes by text, sometimes by tune,
and sometimes by both. This song was originally publish
ed in sheet music form in 1833 and immediately achieved
popularity as a minstrel show favorite. It 1835 the tune
was borrowed for a hymn, which appeared in the Southern
Harmony . Later, came the shanties, all of which, accord
ing to Doerflinger and others, are derived from the song
given below.
For a nursery song adapted from this, see Long Time
Ago III in this Master Book . For a Presidential campaign
song using this melody, see Harrison vs Van Buren II in
this Master Book.
The version below is also in Nathan, 162.
Long Time Ago I.
. As I was a gwine down Shinbone Alley,
Long time ago,
To buy a bonnet for miss Sally,
Long time ago.
I rolled the dice and lost my money,
Long time ago,
Then I went home to see my honey,
Long time ago.
I asked my gal if she would marry,
Long time ago,
And she replied, M Not you, but Harry, H
Long time ago.

MB
Song Texts
3190

No, 1061
LONG TIMS AGO II
Originally a love song, this piece is now used for old
time country or square dancing.
For a similar version, see Ford (TMA), 355.
Long Time Ago II
Near the lake where drooped the willow,
Long time ago!
Where the rock threw back the billow,
Whiter than snow!
Dwelt a maid belov’d and cherished
By high and low!
But with autumn’s leaf she perished.
Long time ago!
Rock and tree and flowing water,
Long time ago!
Bird and bee and blossom taught her
Love's spell to know!
While to my fond wors she listened,
Murmering low!
Tenderly her blue eyes glistened,
Long time ago!
Mingled were our hearts forever,
Long time ago!
Can I now forget her? Never!
No, never, no!
To her grave these tears were given,
Ever to flow!
She’s the star I missed from heaven,
Long time ago!

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Song Texts
3191
No. 12§2
LONG TIME AGO III
This is the nursery song adaptation. In Bertail, 146,
the words are credited to Elizabeth Prentiss. Another
version is in Lomax (ABPS), 306-37.
Long Time Ago III Tune: Long Time Ago II
Once there was a little kitty.
White as the snow;
In a barn she used to frolic,
Long time ago.
In the barn ran little mousic,
Ran to and fro;
For she heard the kitty coming,
Long time ago.
Two sharp eyes had little kitty
Black as a sloe;
And they spied the little mousie,
Long time ago.
Pour small paws had little kitty,
Paws soft as dough;
And they caught the little mousie,
Long time ago.
Nine white teeth had little kitty,
All in a row;
And they bit the little mousie,
Long time ago.
When the teeth bit little mousie,
Mousie cried, "Oh!"
But she got away from kitty,
Long time ago.

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Song Texts
3192

No. 1063
LONG TIME AGO IV
also known as
Around Cape Horn
Away Down South
Bully, Long Time Ago
A Hundred Years on the
Eastern Shore
This is a shanty based on the minstrel song, Long Time
Ago There are several versions of the shanty in
circulation and in print, four of which are given below
as A, B, C, and D.
Por a West Indies version, see Beck (PLS), 149-150. Por
a German version, see Be Hoffnung in Hugill (1), 104.
Por an American variation and the only shanty which can
be identified with the Baltimore clippers, see A Hundred
Years on the Eastern Shore in Sharp (EFC-2), 57.
REFERENCES
Eckstorm, 237
Harlow, 62-63
Boerflinger, 37-43
Colcord, 65-68
Hugill (1), 97-105
Linscott, 141-142
Lomax (PSNA), 55
Sharp (EFC-2), 49, 59
Shay (ASSC), 40
Long Time Ago IV ( Version A) Halyard shanty
Away down South where I was born
To me way hay-i-Oh!
Among the fields of golden corn,
A long time ago.
Made up my mind to go to sea, etc .
And it will be the death of me, etc

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Song Texts
3193
I wish to God I hadn’t been born, etc♦
To go rambling around Cape Horn, etc.
Around Cape Horn where the wild winds blow, etc .
Around Cape Horn thro' sleet and snow, etc. .
Oh, I put to sea to round Cape Horn, etc .
How I miss the fields of golden corn, etc.
VERSION B
It’s up aloft this yard must go,
To me way, ay, ay, yah!
It’s up aloft this yard must go,
For it’s a long time ago!
When I was young and in my prime, etc.
I thought I’d go and join the line, etc.
I placed my hand upon her knee, etc.
She said, ’’Young man, you’re rather free!”, etc.
It’s one more pull and that will do, etc.
It’s one more pul and then we’re thro’, etc.
VERSION 0
(Long Drag Shanty. Harlow, 60-61, credits words to Captain
J. L. Botterill.)
A long time ago, I remember it well,
To me way, hey, hi-o!
I had an old wife, oh, I wished her in hell,
A long time ago!
She gave me some money, she gave me some clothes, etc.
And then she turned on me and broke my nose, etc.

MB
Song Texts
3194
0 my life with her was more than I could stand, etc.
So I shipped away for a distant land, etc .
We sailed all the way around Cape Horn, etc♦
But I had no clothes for to keep me ?/arm, etc .
We "braced, we squared, and we tacked and we
swore, etc,
The mate gave us hell worse than ever before, etc.
0 never again will I ramble and roam, etc.
For the sea is worse than the hell at home, etc .
VERSION D
also known as
The ’Frisco Ship In 'Frisco Bay
0-ho, three ships they lay in Frisco Bay,
Timme way, hay, ho, high, ho!
Three ships they lay in Frisco Bay,
Oh, a long tine ago!
These smart Yankee packets lay out in the Bay, etc.
All a-waiting a fair wind to get under way, etc.
With all their poor sailors so weak an' so sad, etc.
They'd drunk all their limejuice, no more could be
had, etc.
Oh, I sailed out of 'Frisco in a full rigged ship, etc .
I sailed out of 'Frisco for a long, rugged trip, etc.
We wur. bound for New York with a cargo of gold, etc♦
Bound south 'round the Horn thro' ice and cold, etc«
Oh, a long, long time, and a very long time, etc,
A long, long time ago I made this rhyme, etc.
**'*-***********-****************#

MB
Song Texts
5195

No. 1064
LONG TIME AGO V
also known as
Hoosen Johnny The Little Black Bull Long, Long Time
Ago
This is another of the many songs patterned on Long
Time Ago _I (in MB). For a spiritual patterned on the
same song, see Bound to Go, elsewhere in this Master Book.
According to Sandburg, who gives a version of this song,
Long Time Ago V was known to Abraham Lincoln who "heard
it often. It was a favorite of his singing friend with
the banjo, Ward Hill Lamon."
See and compare Out of the Wilderness II in this Master
Book.
REFERENCES
Lomax (PB), 33
Roberts (IP), 296-297
Sandburg (AS), 164-165
Seeger (3), 54-55
Silverman, I, 310
Yolen, 46—47
Long Time Ago V
The little black bull came down the meadow,
Hoosen Johnny,
The little black bull came down the meadow,
Long time ago.
Chorus
Long time ago, long time ago,
The little black bull came down the meadow,
Long time agol
First he pawed and then he bellowed, etc .
He whet his horn on a white oak saplin*, etc.
He shake his tail, he jar the river, etc.
He pawed the dirt in the heifers* faces, etc,
**********************-***

MB
Song Texts
3196

Ho, 1065
LOOK AWAY BEYOND THE BLUE
also known as
Look Away Beyond the Sun
This is a compounded song, with lines and stanzas and
tune taken from other religious pieces. The tune was
taken from the spiritual, Lord, Remember Me (see in
Master Book ).
The version below is from memory, because I used to
sing the song on radio programs during the 1930s and
* 40s.
Look Away Beyond the Blue
Your days are numbered, no matter what you do!
Your days are numbered, no matter what you do!
Your days are numbered, no matter what you do!
Look away beyond the blue.
Get ready, sinner, he's coming after you! (3)
Look away beyond the blue.
0 Lord, forgive us, forgive us one and all! (3)
Look away beyond the blue.
********************** ***** *

No. 1066
LOOK DOWN THAT LONESOME ROAD
also known as
The Lonesome Road Look Up, Look Down that
Look Down Lonesome Road
This song was first printed by Dorothy Scarborough in
1925. Other versions of "lonesome road" songs have been
in oral circulation since pre-Civil War days. For example,

MB
Song Texts
3197
there is the two stanza piece in Talley, 128, which
begins:
Look down dat lonesome Road! Look down!
De way are dark an* col’,
Ley makes me weep, dey makes me mourn,
All ’cause my love are sol*.
A similar song. Don’t Go Down That Lonesome Road , is in
Odum (FtfS), 37, 46 and in White, 300-301.
The song below was rewritten in part and promoted as a
"pop" song in the 1930s.
REFERENCES
Agay (1), 42
Agay (2), 175
Best, 152
Brown, III, 347-348; V
Lomax (OSC), 404
Sandburg (AS), 322-323
Scarborough (NFS), 73
Silverman, I, 149
Whitman, 106
210
Look Down That Lonesome Road
Look down, look down that lonesome road,
Hang down your head and cry.
The best of friends have been known to part,
And why not, why not you and I?
I’m weary totin’ this ol' load,
But I keep trav'lin down, down, down that
lonesome road.
It’s down, ’way down that ol' lonesome road,
And hang your head and .cry.
True love, true love, what have I done
To make you treat me so?
Come home, come home, ease my broken heart
Just like you done some time ago.
I’m weary totin', etc,
*******************************

MB
Song Texts
3198

No. 1067
LORD LOVEL
also known as
Lady Nancibel
Lady Ouncebell
Lord Lavel
Lord Leven
Lord Lovel and Lady Nanca
Lord Lovel and Lady Nancy
Lord Lord and Nancy Bell
Lord Lover
Lord Lovinder
Lord Revel
Lord Tavell
Nancy Bell and Lord Lover
St. Patrick’s Bells
St. Varnie’s Bell
Bell
Here we have one of the traditional giants of American
folk song. Like most old popular ballads it is from Eng
land, and probably came with the first wave of settlers.
According to Child, "there are several sets of ballads,
very common in Germany and in Scadninavia, which, whether
they are or are not variations of the same original, at
least have a great deal in common with Lord Lovel. w The
popular versions in the United States are derived from
an English broadside of 1846. The versions recovered
vary only slightly, w'hich indicates that earlier versions
were forgotten or replaced. The text has been frequently
parodied and the tune has been used for several other songs.
For example, a parody, Sukey Soassuds , is in Hadaway's
Select Songster , 75-76. For a Confederate parody, see
Abraham Lincoln VIII (in this SIB)* For a political cam
paign adaptation, see Harrison vs Van Buren X (in this MB).
The tune was used for a hymn, Land of Rest , that is in
the Olive Leaf , Philadelphia, 1878, p. 117.
REFERENCES
Arnold, 124-125
Barry (B3M), 139-149, 482
Belden (BS), 52-54
Bell (EB), 134
43-47
Brown (BLNC), 9
Brewster (BSI), 79-91
Brown, II, 84-88; IV,

MB
Song Texts
Bulletin (FSSN), I, 4-5
Bulletin (TPS), III, 92
Campbell & Sharp, No. 18
Child, II, 204-213; V,
416
Coffin, 78-79
Cox (PSS), 78-82
Cox (TBPS), 32-37
Creighton (TSNS), 41-43
Davis (MTBV), 146-151
Davis (TBV), 240-258, 573-
574
Dean-Smith, 85
Dixon, 78-80
Eddy, 39-45
Flanders, II, 148-173
Flanders (VPSB), 215-216
Friedman, 97-99
Gainer, 45-46
Gardner (BSSM), 43-45
Gardner (PSH), 203-204
Greig, II, art* 159
Greig & Keith, 57-58
Hubbard, 17-18
Hudson (FSM), 90-91
Johnson (V/TS), 225
Jones, 301
Jour (API), XVIII, 291-292;
XIX, 283; XXIV, 337;
XXVI, 352; XXIX, 160;
XXXI, 352; XXXV, 342
Jour (PSS), II, 209; HI,
64; VI, 31
Kinloch MSS, VII, 83
Kirkland, 69
3199
Leach (B3), 250-252
Leisy, 219-221
Linscott, 233-235
Lomax (PSNA), 401
McGill, 9-13
Moore (BPSS), 56-58
Morris, 273-277
Niles (BB), 163-165
Oberndorfer, 87
Pound, 4-7
Pound (SPSN), I, 2
Quarterly (SPL), II, 69-
70; VIII, 150; XI,
124
Quiller-Couch, 796-797
Randolph, I, 112-115
Randolph (OKF), 193-195
Ritchie (PS), 22-23
Roberts (IP), 43-45
Sandburg (AS), 70
Scarborough (NFS), 55-56
Scarborough (SC), 98-103,
389-390
Sharp, I, 146-149
Sharp (100), 60-61
Shay (DF'ff), 134-136
Shearin (BBCM), 3
Shearin (SKPS), 8
Shoemaker (MMP), 146-147
Shoemaker (NPM), 140-141
Silverman, I, 221
Smith (AA), 20
Smith (SCB), 121-124
Smith (TBSCS), No. 6
Songster (10), 145-147

MB
Song Texts
3200
Songster (82), 13
Songster (117), 86-88
Thomas (SG), 38-39
Wells, 108-109
Wells (ANA), 326
Williams (PSUT), 145-146
Lord Lovel
Lord Lovel stood at his castle gate
And combed his milk-white steed;
When along came Lady Nancy Bell
And she wished her lover God speed,
And she wished her lover God speed.
"0 where are you going, Lord Lovel?'* she said,
"0 where are you going?" said she.
"I’m going, my dear Nancy Bell,
Strange countries for to see, etc."
"0 when will you return, Lord Lovel?" she said,
"0 when will you return?” said she.
"In a year or two, or three, at least,
I'll return to my Lady Nancy, etc. "
He hadn't been gone but a year and a day,
Strange countries for to see,
When a languishing thought came into his mind,
Lady Nancy Bell he must see, etc. "
He rode and he rode upon his white steed,
Till he came to London Town;
And there he heard St. Varney's bell.,
And the people all mourning 'round, etc."
"Has anybody died?" Lord Lovel he said,
Has anybody died?" said he.
"A lord's daughter, sir," a lady replied,
•"And they call her Lady Nancy, etc."

M3
Song Texts
3201
He ordered the grave to be opened forthwith,
And the shroud to be folded down;
And there he kissed the earth-cold lips,
While tears came trickling down, etc.
0 Nancy died as it were today,
Lord Lovel he died tomorrow;
Lady Nancy died of pure, pure love,
Lord Lovel died of sorrow, etc .
They buried her in the old churchyard,
And they buried him beside her;
And from her grave there grew a rose,
And from his grave a briar, etc»
They grew and grew up the old church wall
Until they could grow no higher;
They entwined in a lovers' knot,
The rose bush and the briar, etc.
***********************************

No. 1068
LORD, REMEMBJSR ME
also known as
Do Lord, Do Lord 0 Lord, Remember Me
Oh, Do Lord, Remember Me When My Blood Runs Chilly
Oh, Lord, Remember Me and Col'
This spiritual belongs to "a family of songs,” which
began with a campground hymn called Pisgah , the chorus
of which begins:
0 Lord, remember me!
0 Lord, remember me!
Now in the bowels of Thy love,
0 Lord, remember me!

MB
Song Texts
3202
/ Versions of Pisgah are in Burdett, 250; Jackson (SFS),
144; and McCurry, 205. For a variation, Remember Me,
Remember Me, see White, 105-106.
Two versions are given below. The first (A) was obtained
from the singing of black slaves in the South. A doctored
version, When My Blood Runs Chilly and Col *, is in Lomax
(ABFS). Version B, the more recent, is sung to the air
of Look Away Beyond the Blue _£see in MB).
REFERENCES
Allen (SSUS), 12, or 42 Lomax (ABFS), 610-611
Botkin (AFL), 915-916 Odum (MRS), 92
Scott (FSS), 27
Lord, Remember Me ( Version A)
0 death he is a little man,
And he goes along the way;
He kill some souls and he wounded some,
And he left some souls to pray.
Chorus
0 Lord, remember me!
Do, Lord, remember me!
Remember me as the year roll ’round.
Lord, remember me.
I want to die like Jesus died,
And He died with free, good will;
I lay out in the grave so cold
With arms out-stetched an' still.
I want to pray like Moses prayed,
And he prayed with faith so true;
I want to live the Christian way,
And love my Saviour, too.

MB
Song Texts
3203
VERSION B
Tune: Look Away Beyond the Blue
Do,
Lord,
Pi
o
Lord,
do
remember
me!
Do,
Lord,
do,
Lord,
do
remember
me!
Do,
Lord,
do,
Lord,
do
remember
me!
0, do, Lord, remember me!
When I’m in trouble, do remember me! (3)
0, do, Lord, remember me!
When I am dying, do remember me! (3)
0, do, Lord, remember me!
When this world’s on fire, do remember me! (3)
0, do, Lord, remember me!
When you call the roll, do remember me! (3)
0, do, Lord, remember me!
**************************************

No. 1069
LORD, TAKE ME TO HEAVEN WHEN I DIE
also known as
I Wish I Could Pray Like Daniel Did
I Wish I Gould Pray Like Mary Magdalene
I V/ish I could Pray Like Moses Prayed
This is a song of many titles. Almost any Biblical
character’s name will fit the song and many of the better
known ones have been included in the title from time to
time. The line "I wish I could pray like" is found in
several old spirituals. For example, see the final stanza
of Lord, Remember Me ( version A) in the preceding song.
Lord, Take Me To Heaven When I Die

MB
Song Texts
3204
I wish I could pray like Mary Magdalene, (2).
I wish I could pray, I wish I could pray,
lord, I wish I could pray like Mary Magdalene 0
Chorus
Oh, Lord! take me to heaven when I die, (2)
Oh, take me up there! Oh, take me up there!
Oh, My Lord! take me to heaven when I die.
I wish I could pray like Daniel prayed, etc.
I wish I could pray like Moses prayed, etc.
-*******************************

No, 1070
LORD THOMAS AND FAIR ELEANOR
also known as
The Brown Bride and Lord
Thomas
The Brown Girl
Fair Annie and Sweet Willie
Fair Eleanor and the Brown
Girl
Fair Elendar and the Brown
Girl
Fair Elinor and Lloyd Thomas
Fair Ellen
Fair Ellendar, or Ellender
and the Brown Girl
Fair Ellener, or Ellenger,
or Ellinore
This ballad, often known as
Fair Riilander
Little Eleanor
Lord Thomas and Fair Annet
Lord Thomas and Fair Eli-
nore, Ellen, Ellendar,
Ellender, or Ellinor
Lord Thomas and the Brown
Girl
Lord Thomas’s Wedding
Loyd Thomas
The Nut-Brown Bride
Sweet Willie and Fair Annie
Thomas and Ellen
The Three True Lovers
has not suf-
other Brown
this Master
The Brown Girl ,
fered through the confusion surrounding the
Girl (Child No. 295), which is also given in
Book
There has never been any doubt concerning the

MB
Song Texts
3205
identity of lord Thomas. There is a Scottish as well
as an English form in circulation, but the Scottish
versions are rarely encountered in American tradition.
Lord Thomas dates back to the reign of Charles II, in
England, and perhaps is older. Certainly it is one of
the most widely distributed ballads of the English-
speaking world.
REFERENCES
Arnold, 108-109
Baring-Gould EFSS), 28-29
Barry (BBM), 128-134
Belden (BS), 37-38
Brewster (BSI), 58-70
Broadwood (ECS), 42-43
Brown, II, 69-79; IV,
30-40
Burne, 545, 651
Cambiaire, 34-36, 115-116
Campbell & Sharp, No. 16
Chappell (FSRA), 23-24
Child, II, 179-199
Coffin, 74-76
Cox (FSS), 45-64
Creighton (MFS), 9-10
Creighton (SENS), 8-11
Creighton (TSNS), 40-41
Davis (MTBV), 123-137
Davis (TBV), 191-220,
568-570
Dean-Smith, 85
Dobie (TBE), 144-146
Eddy, 29-34
Fawcett, 68
Flanders, II, 89-121
Flanders (VFSB), 209-213
Friedman, 84-88
Fuson, 49-51
Gainer, 39-41
Gardner (BSSM), 37-39
Greenleaf, 18-20
Greig & Duncan, No. 212
Greig & Keith, 54-57
Halpert (GIF), 10
Henry (BMFB), No. 8
Henry (FSSH), 60-65
Henry (SSSA), 41
Herd, I, 246
Houseman, 121-125
Hubbard, 16
Hudson (FSM), 78-87
Ives (SB), 62-63
Jamieson, I, 22
Johnson (SMM), No. 535
Jour (AFL), XVIII, 128, 295
XIX, 235; XX, 254;
XXVII, 62, 71; XXIX,
154, 159; XXXIX, 94;
XLII, 262-265
Jour (FSS), II, 105-103; V,
130
Kidson (TT), 40-42
Kincaid No. 1, 36
Kinloch MSS, I, 1; III, 127
V, 339

MB
Song Texts
3206
Kinsley, 178-182
Kirkland, 69
Leach (BB), 239-246
Leather, 200
Luther, 23-24
MacColl & Seeger, 70-72
Mackenzie, 20-24, 392
Mackenzie (QB), 97-99
McGill, 26-33
Moore (SPSS), 51-53
Morris, 265-272
Motherwell MS., 157
Neely, 136-137
Neely (PBB), 75-76
Niles (BB), 147-155
Niles (SKKT), No. 7
Owens (TPS), 17-20
Peacock, III, 617-619
Percy (RASP), II, 250;
III, 234-238
Perrow, XXVIII, 152
Pound, 27-31
Pound (SPSN), I, 11
Pub (TPLS), X, 144-146
Quarterly (SPL), IV, 25;
VIII, 147-150; XI,
122-123
Quiller-Couch, 247-253
Raine, 112
Randolph, I, 93-108
Rimbault (MIPR), 94
Ritchie (PS), 66-67
Ritchie (SPC), 18-21
Ritson (SS), IV, 228
Roberts (IP), 37-40
Rollins (PB), III, 316
Sandburg (AS), 156-157
Scarborough (SC), 105-114,
391-392
Sedley, 206-208
Sharp, I, 115-131
Sharp (EFSC), 6
Sharp (NSPS), 8-13
Sharp (100), 65-67
Shearin (BBCM), 3
Shearin (SKFS), 8
Shoemaker (NPM), 155-157
Silber (HSB), 85
Silverman, I, 176
Smith (AA), 17
Smith (SCB), 109-120
Stout, 5-7
Thomas (DD), 88-90
Wells, 106-107
Whiting (TBB), 48-52
Williams (EPS), 62
Williams (FSUT), 135-137
Wyman (TKMS), 14-15
Lord Thomas and Pair Eleanor
Lord Thomas he was a fair young man,
No finer man was known,
But should he marry fair Eleanor,
Or bring the brown girl home?

MB
Song Texts
3207
Oh, should he marry fair Eleanor,
Or bring the brown girl home?
"Come, riddle my riddle, dear mother,”
he said,
"Although it is my own:
Now should I marry fair Eleanor,
Or bring the brown girl home?, etc ,"
"The brown girl has both houses and land,
Pair Eleanor has none;
Therefore, I say to you, my son,
Go bring the brown girl home., etc ."
When summer brought on a holiday,
Lord Thomas took a ride;
Who should he meet but fair Eleanor,
That should have been his bride., etc.
"Sit down, sit down, Lord Thomas," she said.
"What news have you brought to me?”
"I bring you news of a wedding," said he;
"I've come to set you free., etc. "
"0, God forbid such a thing!" she cried,
"And may it bring you strife.
You know I've waited for three long years
To be your loving wife., etc ."
She dressed herself in her finest clothes,
No finer could be - seen;
And as she rode from place to place,
She looked just like a queen., etc.
She came at last to Lord Thomas' home,
And knocked and knocked again;
And down the stairs came Thomas himself,
To let fair Eleanor in., etc.

MB
Song Texts
3208
"Is this your bride?" fair Eleanor said,
"This woman who looks so brown?
I've heard them say she’s very rich,
And owns near all the town., etc
"Despise her not," Lord Thomas then said,
"For she is kind to me;
And I care more for your finger-tip
Than for her whole body., etc. "
The brown girl drew forth a little pen-knife,
And it was keen and sharp;
She raised it high and brought it down,
And pierced fair Eleanor's heart., etc.
Lord Thomas held Eleanor in his arms,
And said, "My love is gone.
The fairest woman in all the world—
0 God! what have I done?, etc ."
Lord Thomas took down a long, sharp sword,
And walked about the hall;
In anger he cut off the bro?/n girl's head
And flung it against the wall 0 * etc.
He set the sword down upon the ground,
The point against his heart,
And on it fell with all his strength—
And felt his life depart., etc.
********************************

MB
Song Texts
3209

No. 1071
LORENA
also known as
Lorena and Paul Vane
This mid-19th century love song was the most popular
song of its time. The words were written by H. D. L.
Webster, a trappist monk and Universalist preacher. The
air was composed by a Racine, Wisconsin musician, <J• P.
Webster. The two Websters were not related. When first
published in 1857, the song got nov/here; it remained
practically unknown for six years. During the Civil War
the song caught the public's attention, and by 1863 it
was popular in the South as well as in the Northo Abra
ham Lincoln stipulated that it was one of his favorite
songs. Thousands of mothers named their daughters Lorena.
The name was also bestowed upon several pioneer settle
ments and to a steamboat on the Ohio River.
REFERENCES
Luther, 177-178
McCaskey, VII, 24
Moore (BESS), 367-368
Pound (SFSN), XIV, No. 11
Randolph, IV, 257-258
Shoemaker (MMP), 193-194
Shoemaker (NPM), 189-190
Silverman, I, 160
Staton, 59-60
Arnett, 90
Belden (BS), 222
Chappie (HS), 242-243
Dolph, 335-337
Glass (SS-2), 222-224
Hubbard, 130-132
Jour (AFL), XXXIX, 186;
XLIX, 228-229
Lair (SLL), 80
Lorena
The years creep slowly by, Lorena,
The snow is on the grass again;
And winter's here once more, Lorena,
The frost gleams where the flow'rs have been.
Even tho' I know that we're apart,
There's always summer in my heart,

its
Song Texts
3210
For you’re still in my heart, Lorena—
It knows no other love hut you.
Someday we'll meet again, Lorena,
Somewhere up there beyond the blue.
A hundred months have passed, Lorena,
Since last I held that hand in mine
And felt that pulse beat fast, Lorena,
Tho’ mine beat faster far then thine.
A hundred months 'twas flow'ry May,
When up the hilly slope we clinbed,
To watch the dying of the day
And hear the distant church bells chime,
To watch the dying of the day
And hear the distant church bells chime.
We loved each other then, Lorena,
More than we ever dared to tell;
And what we might have been, Lorena,
Had but our lovings prosper'd well.
But then, 'tis past—the years are gone—
I 1 11 not call up their shadowy forms;
I'll say to them, "Lost years, sleep on!
Sleep on! nor heed life's pelting storms.
It matters little now, Lorena,
The past is in the eternal past;
Our heads will soon lie low, Lorena,
Life's tide is ebbing out so fast.
There is a future! 0 thnak God—
Of life this so small a part.
'Tis dust to dust beneath the sod,
But there, up there, ’tis heart to heart.
****** ************************

KB
Song Texts
3211
LORENA'S ANSWER
also known as
Lorena's Answer to Paul
Vane
Lorena's Reply
Paul Vane
The popularity of Lorena (see preceding song) was so
immense that the same author and composer issued this
follow-up. The version below is from the original sheet
music, published in 1863 in Webster's Western Gems ,
Ditson & Co., Boston, For a version recovered from
traditional oral sources, see Randolph, IV, 258-259.
REFERENCES
Lorena's Answer
The years are creeping slowly by, dear Paul,
The winter's come and go;
The wind sweeps past with mournful cry, dear Paul,
And pelts my face with snow.
But there's no snow upon the heart, dear Paul,
*Tis summer always there;
Those early loves throw sunshine over all
And sweet mem’ries dear.
I thought it easy to forget, dear Paul,
Life glow'd with youthful hope;
The glorious future gleamed yet, dear Paul,
And bade us clamber up.
They frowning said, "It must not—cannot be;
Break now, the hopeless bands!"
And, Paul, you know how well that bitter day
I bent to their commands.
I've kept you ever in my heart, dear Paul,
Thro' years of good and ill;
Our souls could not be torn apart, dear Paul,
They're bound together still.

MB
Song Texts
3212
I never knew how dear you were to me,
'Till I was left alone:
I thought my poor, poor heart would break,
The day they told me you were gone.
Perhaps we'll never, never meet, dear Paul,
Upon this earth again;
But there where happy angels greet, dear Paul,
You'll meet Lorena there.
Together up the ever shining way
We'll press with hoping heart,
Together thro' the bright eternal day,
And never more to part.
******************************

No, 1073
loss OP THE CENTRAL AMERICA
A California gold mining era song by John Stone, pub
lished in Put's Golden Songster , San Francisco, 1858.
For another version, see Dwyer, 36-37
Loss of the Central America
Tune: Carry Me Back To Old Virginny
The Central America , painted so fine,
Went down like a thousand of brick,
And all the old tubs that are now on the line
7/ill follow two at a lick,
'Twould be very fine were the owners aboard,
And sink where they never would rise;
'Twould any amount of amusement afford,
And cancel a million lies.
Chorus

MB
Song Texts
3213
'Twould be very fine were the owners aboard,
And sink where they never would rise;
'Twould any amount of amusement afford,
And cancel a million lies.
These murdering villains will ne'er be forgot,
As long as America stands;
Their bones should be left in the ocean to rot,
And their souls be at Satan's commands.
They've murdered and swindled the people for years,
And never will be satisfied
Till death puts an end to their earthly careers!
* *
***********************************

No. 1074
THE LOST LOVER
also known as
California Boy
Captain, Can You Tell Me?
Captain, Captain, Tell
Me True
Captain, Tell Me True
Careless Love
The Deep Blue Sea
Down By the River Side
The Drowned Lover
Father, Build Me A Boat
The Forsaken Lover
Lost Willie
Moment's River Side
My Boy Willie
My Sailor Lad
My Sweet Sailor Boy
My True Sailor Boy
0 Captain, Tell Me True
Oh, Bring Me Back the One
I Love
Oh, Captain, Can You Tell Me?
Oh, Captain, Captain, Tell
Me True
Oh, Father, Father, Go Build
Me a Boat
Oh, Father, Go Build Me a
Boat
The Prentice Boy
Sailor Bold
The Sailor Boy
The Sailor Boy and His
Faithful Mary
The Sailor Lad
The Sailor's Life

MB
Song Texts
3214
The Sailor’s Sweetheart
The Sailor’s Trade
The Sailor’s Trade Is a
Weary Life
Soldier Lever
The Soldier's Life
The Soldier’s Sweetheart
A Song of the Sea
Susie '3 Search For Her Lover
Sweet Lost Willie
Sweet William
Sweet William the Sailor Boy
Sweet Willie
There Is a Town Where I Bid
Dwell
True Sailor Boy
A broadside that first gained popularity in England and
Scotland, then repeated its rise to general acclaim in
Canada and the United States#
Although there are many versions, the basic story told by
the song is always the same: A young woman pleads for a
boat, asking her father to build one, so she can sail it
in search of her lover, usually a sailor but sometimes a
soldier. Whenever she comes upon a ship, the girl asks
about her lover, generally addressing the captain. She
is told that her lover is either drowned or lost at an
island (the name of which varies). Frustrated, ohe gi^l
then sails her boat upon a rock or throws herself over
board. Some versions use an ending borrowed from The
Butcher Boy (see in MB).
Since the appearance of the earliest broaaside versions,
such as The Sailor Bov and His Faithful Mary , many songs
sung in Canada and the United States have borrowed lines
from the ballad. As a result, there has been some con
fusion where references concerning it are concerned. -cr
songs using lines taken from The Lost Lover , see Careless
Love in Henry (BKFS), 24-25 and The Lumberman's Life in
this Master Book .
Songs related to The Lost Lover through reference lists
due to similar stories are numerous. For examples, see
The Drowned Lover in this Master Book and Tne Solj^ier ♦
or The Soldier’s Letter , in Arnold, 49; Cambiaire, 20;
Cox (FSWV), 29; Cox (T3FS), 145; Fuscn, 61; ana Randolph,
II, 314-317.

MB
Song Texts
3215
Sometimes two ballads are combined, fused together, so
that one must refer to both in order to explain the true
situation. A good example of this is The Prentice Boy
in Brown, II, 328-329, in which lines and stanzas taken
from Apprentice Boy _I, II. & III (see in MB) are combined
with lines and stanzas of The Lost Lover , thus creating
a new song. Also see and compare The Deep Blue Sea in
Randolph, IV, 308-309, in which we found two stanzas be
longing to The Lost Lover .
An American version in which the girl seeks a soldier
instead of the usual sailor was taken from the MS. of a
Confederate soldier and published in Prank Moore's
Anecdotes, Poetry , and Incidents of th e War , New York,
1866, p. 180.
REFERENCES
Ashton (RSS), 63
Henry (PSSH), 188-190
Barry (MWS), 56-59
Henry (SNC), 145-146
Belden (BS), 186-191
Henry (SSSA), 177-178
Brewster (BSI), 269-270
Hubbard, 90-91
Broadwood (ECS), 74-75
Hughes, IV, 13
Brown, .11, 323-328; IV,
Huntington, 272-273
187-190
Jour (APL), XXIV, 399; XXIX
Campbell & Sharp, No. 106
199; XXX, 363; XXXI, 162
Carey, 99
170; XXXV, 410; XL, 235;
Chappie (HS), 67
XLV, 79
Christie, I, 248-249
Jour (IPSS), XVII, 18-19
Cox (FSS), 353-357
Karpeles, 156-160
Creighton (SENS), 89-91
Karpeles (EPS), II, 320-
Davis (FSV), 108-111,
323
118
Karpeles (PSN), I, 59-62
Eddy, 97-103
Kidson (GEPS), 92-93
Gainer, 135-136
Laws K 12, 146
Gardner (BSSM), 94
Leach (BB), 736-737
Greig, I, art. 64
MacColl & Seeger, 122-126

KB
Song Texts
3216
Moeran, 26
Moore (BFSS), 174-175
Morton, 11-12
O'Lochlainn, No. 56, 112
Owens (TFS), 88
Pound ( SFSN), XII, 42;
XXVII, 69
Pub (TFLS), XXIII, 134
Quarterly (SFL), V, 186-137
Randolph, I, 269-300
Reeves (EC), 254-255
Scarborough (SC), 318, 441
Seeger & MacColl, 28
Sharp, II, 84-89
Sharp (EPS), II, No. 20
Sharp (100), 162-163
Stone, 174
The Lost Lover
A sailor leads a dreary life,
But never so dreary as his wife;
I loved Willie and he loved me,
But he went; sailing on the deep blue sea.
Chorus
Oh, bring me back the one I love,
For he's fairer than the stars above.
They say our love can bever be,
That he does not really care for me.
"0 father, father, build me a boat,
That on the ocean I may float;
And ev'ry vessel I'll hail, ahoy!
And then inquire of my sweet sailor boy.
”0 captain, captain, tell me true—
Does my sweet Willie sail with you?
0, answer quick and bring me joy,
For I love none but my sweet sailor boy.”
"0 no, fair maiden, he is not here.
Your Willie drowned sometime last year.
Forget a love that cannot be—
For he lies sleeping in the deep, blue sea.
ti

MB
Song Texts
3217
With broken heart she wrote a song,
She wrote it large, she wrote it long;
On ev'ry line she shed a tear,
And ev'ry verse cried out "0, my dear!
"0 dig my grave both wide and deep,
And place a stone at my head and feet;
And on my breast put a snow-white dove,
To show the world that I died for love c n
********************************

No. 1073
LOVE-PEAST IN HEAVEN
A slave spiritual that has survived the years and is
yet being performed. For a Creole-dialect version, see
Cohen (LS), 75-76. Source of the version below is the
Original Fisk Jubilee Singers . See Marsh (SJS), 182 and
Pike, 264.
Love-Feast in Heaven
Oh! run up, children, get your
There's a love-feast in heaven
And by your Saviour's side sit
There's a love-feast in heaven
crown,
by-and-by,
down,
by-and-by.
Chorus
There's a love-feast in heaven by-and-by,
Children,
There's a love-feast in heaven by-and-by.
Yes, there's a love-feast in heaven by-and-by,
Children,
There's a love-feast in heaven by-and-by.
Old Satan told me not to pray, etc.
He wants my soul at Judgment day, etc.

MB
Song Texts
3218
Oh, brothers 'n sisters, how do you do, etc.
And does your love continue true?, etc.
Oh, brothers, brothers, how do you know?, etc.
Because my Jesus told me so!, etc.
********************************

No. 1076
LOVE IS PLEASING
also known as
Oh, Love Is Teasin'
• This song is obviously derived from the old Scottish
"0 Waly , Waly " (see in MB). There are several extracted
variations, including Must I Go Bound in Leisy, 235 and
Okun, 185. Also see and compare Love Is Lovely (version
5 of 0 Waly , Waly in MB) . For other versions, see Lomax
(PSNA), 136; Peacock, II, 475-476; Reeves (EC), 179;
Ritchie (FS), 30; Sedley, 150-151; and Silverman, I, 91
Love Is Pleasing
0 Love is pleasing, so warm and pleasing,
And such a pleasure when it's young and true;
But love grows older, and it grows colder,
And fades away like the morning dew.
I left my mother, I left my father,
I left my brother arid my sister too;
I left my friends and my relations, '
Left ev’rything for the love of you.
If I had known that love would flower
Only to wither, I'd be home today;
But love is pleasing, so warm and pleasing,
So pleasing I gave my heart away.
**********************

MB
Song Texts
3219

Ko. 1077
LOVELY MAISIE
also known as
Bonnie Susie Cleland
Janet
Lady Maisry
Lady Margery, or Marjory
Lord Dillard and Lady Flora
Susie Cleland
Sweet Maisry
Young Prince James
A Scottish ballad with a common story-line. The ballad
has been recovered more often in Europe, where the story
is widespread. In all versions the important points are
similar: (1) all local suitors are rejected by the lady,
(2) someone, usually an employee on her father's estate,
reports that she is pregnant, (3), as a result, she is
put to death in some violent manner, (4) her true lover
arrives too late to save her, and (5) he proceeds to
avenge her death with sword and fire. In American
versions, however, the complete story is never told.
REFERENCES
Barry (BBU), 448-449
Buchan (ABS), I, 103
Bulletin (VFS), XI, 5
Child, II, 112-126
Davis (TBV), 180-181
Friedman, 74-78
Jamieson-Brown MS., 24ff
Jour (FSS), I, 43; III,
74, 304
Kinsley, 295-300
Leach (BB), 208-213
Motherwell, 221, 234
Motherwell MS., 179, 235,
422, 472
Muir, 148, 168-169, 171
Niles (BB), 137-142
Notes (2d Series), IX, 193
Quiller-Couch, 320-325
Scarborough (SC), 137-139
Sharp, I, 97-100
Sharp (FSE), I, 36
Sharp (100), 26-28
Lovely Maisie

MB
Song Texts
3220
Her father came into the room,
And he walked over the floor.
"Well! how do you do, lovely Maisie,"
said he,
M Since you became a whore?"
"0 father dear, I am no whore,
Nor will I ever be;
But I am with child by the man I love,
And hope he * 11 marry me.
"My father was the first good man
Who tied me to a stake;
My mother was the first good woman
Who lit it with a match.
"They blew the fire and kindled it
Till it did reach my knee:
0 mother, mother, quench the fire!
The smoke will smother me.
"I wish I had but one good friend,
Someone to favor me;
I'd send him to my lover's house,
Who'd come and set me free."
No one at all would heed her plea,
Tho' loudly Maisie did call;
They stood and watched until, at last,
She made no sound at all.
********************************

No. 1078
LOVE SOMEBODY
also known as
Love Somebody Tall and Handsome Love Somebody, Yes I Do
This song is an adaptation of an adaptation of an old
Scottish song, I'm Far Too Young To Marry Yet (see in MB).

MB
Song Texts
3221
The melody of the Scottish song was arranged for orchestra
by Beethoven. The melody is also used for a country dance
known as The Cumberland Square Bight . For a fiddle version,
see Thede, 47, who says it is known as Old Lady Tucker in
Illinois, Indiana, and Missouri. Chase (AFTS) relates it
to My Love Is But a Lassie Yet — which is.a song adapted
from the song mention above, I’m Far Too Young To Marry
Yet.
A similar song,' Somebody , in Sandburg (AS), 464-465, may
be a spin-off of the song below, but there is no evidence
to support such a supposition. Except for the first line,
the song, _I Love Somebody , in Talley, 51, is not related
to ours.
The song below dates from at least the 1880s.
REFERENCES
Chase (AFTS), 206 Ritchie (FS), 70
Randolph, III, 94-95 Sandburg (AS), 140-141
Silverman, I, 369
Love Somebody
Love somebody, yes, I do,
Love somebody, yes, I do,
Love somebody, yes, I do,
Love somebody,
But I won’t say who.
Love somebody, yes, I do,
Love somebody, yes, I do,
Love somebody, yes, I do,
And I hope
Somebody loves me too.
********■****-*-**************

MB
Song Texts
3222

No. 1079
LOVING HENRY
Anne Marie and Henry
Clyde’s Water
Come In, Loving Henry
Earl Richard
The Paulse Laaye
Lady Margot and Love
Henry
Little Scotch-ee
Lord Banyan
Lord Barnet and Pair
Eleonder
Lord Bonnie
also known as
Lord Heneary, or Henry
Lord Henry and Lauy Margaret
Lord Henry and Lydie
Margaret
Lord John
Lord William
Love Heneary, or Henry
Loving Heneary
Proud Lady Margaret
Sir Henry and Lady Margaret
Young Henry, £r Hunting
Young Redin, or Riedan
This is an Americanized version of the English ballad,
Young Hunting ( Child No, 68). Under various titles, the
ballad has been reported from every section of the United
States. As is usual with European ballads preserved by
oral tradition in America, Loving Henry omits much of the
original text. The story is an ancient one, dealing with
the love triangle: one man and two women. The rejected
woman kills her lover. The crime is witnessed by a bird,
and the bird talks. The victim's body is found. His new
love is suspected but her innocence is established by "a
test of fire.” When the guilty woman is tested, the flames
consume her. "The test by fire" never appears in American
versions, but the talking bird remains.
REFERENC
Anderson (AESB), 72
Arnold, 60-61
Barry (BBM), 122-128
Belden (BS), 34-37
Brewster (BSI), 166-169
Brown, II, 67-68; IV,
29-30
Bulletin (TPLS), VIII, 71

MB
Song Texts
3223
Cambiaire, 28-29
Campbell & Sharp, No. 15
Child, II, 142-145; V,
416
Coffin, 73-74
Cox (FSS), 42-44
Creighton (TSNS), 36-39
Davis (MTBV), 111-122
Davis (TBV), 182-190, 566-
568
Dobie (TBE), 143
Flanders, II, 87-88
Friedman, 190-194
Gainer, 37-38
Henry (FSSH), 145-146
Herd, I, 148; II, 67
Herd MSS, I, 34, 182-185
Hudson (FSM), 77-78
Hudson (SMFL), No. 9
Jour (AFL), XVIII, 295; XX,
252; XLIV, 67
Kinloch (ASB), 1
Kinloch MSS, VII, 7
Kinsley, 87-91
Kittredge (BS), 297
Leach (BB), 232-234
Moore (BFSS), 47-51
Morris, 263-265
Motherwell MS., 189, 377
Niles (BB), 143-146
Owens (TFS), 16-17
Pub (TFLS), XXIII, 44-45
Quarterly (SFL), VIII, 146
Quiller-Couch, 129-134
Randolph, I, 90-93
Roberts (IP), 34-37
Sandburg (AS), 64-65
Scarborough (SC), 134-136,
398
Scott (MSB-1802), II, 42;
(1803), III, 265
Sharp, I, 101-114
Shearin (BBCM), 3
Shearin (SKFS), 8
Smith (SCB), 107-108
Smith (TBSCS), No. 4
Treat, 30
Wells, 152-154
Loving Henry
As Anne Marie was going to bed
She heard the sound of a horn;
It made her heart very, very glad,
For Henry had come home,
Love Henry had come home.

Song Texts
3224
"Come into my arms, love Henry,
You're welcome as can be„
0, it has been a long, long time,
Since you have been with me, (2). "
"I will not stay, I dare not stay,
I don't love you at all;
I go to meet a fairer maid,
Who waits at Bannon's hall, (2);"
"A fairer maid than me, Henry?.
How could that ever be?
A fairer maid than me, Henry,
Your eyes did never see, (2)."
He leaned toward her upturned face,
And thought to kiss and part;
She raised the penknife in her hand
And pierced him through the heart, (2).
"Why stab me deep, 0 Anne Marie?
Why do this thing to me?
There's none in all the land around,
That I love more than thee, (2),"
She watched him fall and, bleeding, die,
And never did she weep;
She threw his body in the pool,
That was both cold and deep, (2).
"Lie there and sleep, dear Henry," she said,
"Till flesh departs your bones;
And may that girl at Bannon's Hall
Has lost what she did own, (2),"
"Fly down, fly down, sweet bird," she said,
And light upon my knee;
And you shall have a cage of gold
In yonder willow tree, (2)."

MB
Song Texts
5225
"I can't fly down, I won't fly down
And light upon your knee;
For you have murdered your true love,
And soon would murder me, (2). "
"I wish I had a how in hand,
With arrow to the string;
I'd shoot the dart into your heart,
So you could never sing, (2)!"
****************************************

No. 1080
THE LOW-BACKED CAR
Source Song. One of many songs written by Samuel Lover
for his Irish Evenings. He adapted the air of The Jolly
Ploughbov , or Ploughman for his lyric. His song became
widely popular in the United States during the first part
of the 19th century, and it remained popular for many
years.
For a version of The Jolly Ploughboy , see Moffat (MI),
12-13.
For a Newfoundland song called The Low-Backed Car , see
Greenleaf, 238.
For an American song set to the same melody, see Gold
Seeker IX in this Master Book.
REFERENCES
Chappie (HS), 442-443
Elson, 56-58
Johnson (FS), 404-406
Oberndorfer, 142
Songs (15), 148
Wier (LS), 92-93
Wier (SWWS), 40-41
The Low-Backed Car

MB
Song Texts
When first I saw sweet Peggy
’Twas on a market day,
A low-"backed car she drove,
And sat upon a truss of hay;
But when that hay was blooming grass,
And deck’d with flowers of spring,
No flower was there that could compare
To the blooming girl I sing!
As she sat in her low-backed cay,
The man at the turn-pike bar
Never asked for the toll,
But just rubbed his old poll,
And looked after the low-backed car.
In battle’s wild commotion,
The proud and mighty Mars,
With hostile scythes, demand his tithes
Of death, in war-like cars;
While Peggy, peaceful goddess,
Has darts in her bright eye,
That knock men down in the market-town,
As right and left they fly,
While she sits in her low-back car,—
Than battles more dangerous far,
For the doctor's art cannot cure the heart
That is hit from the low-backed car.
Sweet Peggy round her car, sir,
Has strings of ducks and geese,
But the scores of hearts she slaughters
By far out-number these;
While she among her poultry sits
Just like a turtle dove
V/ell worth the cage, I do engage,
Of the blooming god of love!
3226

MB
Song Texts
3227
While she sits in her low-backed car
The lovers come near and far
And envy the chicken that Peggy is pickin'
As she sits in the low-backed car*
I'd rather own that car, sir,
With Peggy by my side,
Than a coach-and-four and gold galore,
And a lady for my bride;
For the lady would sit forninst me
On a cushion made with taste,
While Peggy would sit beside me
With my arm around her waist,
As we drove in a low-backed car,
To be married by Father Mab'r.
0, my heart would beat high
At her glance and her sigh,
Tho' it beat in a low-backed car,
*******************************************

No. 1081
LOWLANDS I
also known as
Lowlands Away Low Lands Away, My John Lowlands Low
An inexperienced observer spotting this song in more than
one collection would probably wonder whether or not the
various collectors had ever compared notes. It is set down
by Colcord as a capstan shanty, by Smith as a halyard
shanty, and by others as a windlass shanty. Add to this
list a version sung by black dock-workers and called a
stevedore shanty (whatever that means!).
The origin of this song, in the opinion of several folk
scholars, is embodied in Edwin in the lowlands low (see
in MB), an old English song about a sailor that is murder
ed by his sweetheart' s father.

MB
Song Texts
3228
This shanty was already popular among seamen during the
1850s. Sometime later, the shanty was made over by black
stevedores at Mobile, Alabama (see Lowlands II in MB),
and became even more popular in America.
For a different Lowlands Low , see Sharp (EFC-2), 34.
Other shanties and songs are also known as Lowlands or
Lowlands Low, but these are not necessarily related. Un
fortunately, most published collections containing one
or another of the Lowlands shanties make no distinctions
in their references, which results in some confusion.
REFERENCES
Bone (CB), 124-126
Brown (SS-2), 295
Bullen & Arnold, 12
Clements, 39
Colcord, 44, 100
Davis (SSC), 20-21
Doerflinger, 80-82
Downes (1940), 86
Gilbert (100), 104
Glass (SS-1), 53-59
Grainger, No. 157
Hugill (2), 13C-131
Jour (FSS), III, 233-236;
VIII, 97
Lomax (USA), 142-143
Luce, 225-226
Masefield (SG), 348
Meloney, 16
Robinson, 44
Sampson, 20
Sedley, 175
Sharp (EFC-2), 21
Shay (ASSC), 43
Smith (BOS), 30-31
Smith (MW), 14
Terry, I, 12-15
Whall (SSS), 57
Lowlands I_
I dreamed a dream the other night,
Lowlands, lowlands, away, my John!
And it gave me an awful fright,
My lowlands, away!
I stood beneath the stars above, etc,
I dreamed I saw my own true love, etc.

MB
Song Texts
3229
She came to me all in my sleep, etc ♦
She made me promise not to weep, etc .
0, that is what my true love said, etc .
And then I knew my love was dead, etc.
I wish I had ten thousand pound, etc *
I’d sail my ship the world around, etc .
******************************************

No. 1082
LOWLANDS II
also known as
A Dollar and a Half a Five Dollars a Day
Day My Dollar an’ a Half a Day
This is an adaptation of the preceding song, Lowlands I.
According to Colcord, it was sung by Negro workers on the
docks at Mobile, Alabama*
REFERENCES
Coclcord, 45, 101
Downes (1940), 89
Downes (1943), 100
Harlow, 127-128
Hugill (1), 68-70
Mackenzie, 277
Shay (ASSC), 46-47
Shay (IMWS), 48
Smith (MY/), 15
Lowlands II
Intro
Lowlands, lowlands, away, my John,
Y.'e’re bound away to Mobile Bay,
My dollar and a half a day.
0 was you ever in Mobile Bay?
Lowlands, lowlands, away, my John!
A-screwing cotton for yo' pay?
My dollar and a half a day.

M3
Song Texts
3230
A dollar and a half is a black man’s pay, etc,
A white man could never live that way, etc .
0, my old mother she wrote to me, etc.
She wrote to me to leave the sea, etc .
The white man’s pay is kinda high, etc,
The black man’s pay escapes the eye, etc,
******************************
Ho. 10§3
' THE LOWLANDS OF HOLLAND
also known as
The Enchanted Ring The Soldier Bride’s Lament
The Low, Low Lands of Holland
One of the "Pressed-into-service" ballads that once cir
culated widely and frequently throughout the British Isles
None of these ballads became very popular in the United
States, probably because the system was not legal here.
Nevertheless, this particular one received some attention.
According to Child, II, 317, “ The Lowlands of Holland is
similar to Bonny Bee Horn (Child, No. 92), particularly
in respect to "the ring that makes a man invulnerable, and
that which indicates by the discoloration of the stone
that his love is dead or untrue." The ring motif is also
in Hind Horn (see The Magic Ring in MB) . According to
Cecil Sharp, the ballad ( Lowlands of Holland ) is in
Garlands, a collection of songs printed about 1760.
For an American variation, see Eckstorm, 138. For an Ameri
can derivative, see The Lily of Arkansas in Randolph, I,
339.
A related ballad, The Soldier Bride’s Lament , is seen in
Combs (FSMEU), 173.

MB
Song Texts
3231
REFERENCES
Allsopp, II, 213
Jour (IFSS), II, 31
Baring-Gould (SW), No. 103
Joyce (AIM), No. 68
Buchan (ABS), I, 169
Joyce (OIFMS), 214
Christie, I, 236
Karpeles (EFS), I, 108-
Combs (FSUS), 150
Kinsley, 347-348
Emrich (FAL), 570-571
Logan, 22-23
Flanders (BMNE), 113-114
MacColl & Seeger, 78-81
Ford (VSBS), 55
Ord, 328-329
Gray, 88-89
Quiller-Couch, 806
Hayward, 54
Reeves, 151-152
Herd, II, 2
Reeves (EC), 180-181
Herd MSS, I, 97
Sedley, 176-177
Hughes, II, 70-75
Sharp, I, 200
Jamieson, I, 185
Sharp (EFS), II, 16
Johnson (SMK), No. 115
Sharp (FSFS), No. 44
Jour (FSS), I, 97; III,
Sharp (100), 54-55
307; V, 170; VII,
Shay (ASSC), 45
63
The Lowlands of Holland
On the very first night of my marriage,
As I slept in the marriage bed,
There came a bold sea-captain
Who woke me up and said:
Come, rise you up, young married man,
And go along with me
To the Lowlands of Holland,
To fight for liberty.
0 the wife that I have chosen,
With her I will be content;
And may all the oceans freeze,
If ever I repent.

KB
Song Texts
3232
0 never will I sorry be
Until the day I die,
But the lowlands of Holland
Is between my love and I.
0 the lovely young bride sat a-mourning
All for her lover on the main;
"He's gone," she cried, "and they tell me
He won't come home again!
There is no man in all this land,
No other man for me;
I've loved no man but one,
And he's drowned in the deep blue sea 0
"There shall no mantle cross my back, I swear,
No comb ever touch my hair,
And neither coal nor candle-light
Shall shine in my bower fair.
Nor shall I take another love
However sad I be,
Since the Lov/lands of Holland
Lies between my love and me*"
*************************************

No. 1084 *
LUCY LOCKET
A children's rhyme and game .song with a long and interest
ing history. According to Linscott, it came to America in
1755 and "was perhaps the base of 'Yankee Doodle'." (see
latter in MB). It is claimed that Lucy locket was one
of two celebrated courtesans associated with the Court of
Charles II, king of England. The other courtesan, also
mentioned in the song, was Kitty Fisher. According to
Opie, there was another Kitty Fisher alive in the 18th
century and she, too, was a woman "of negligent virtue,

MB
Song Texts
3233
with whom attempts have been made to associate the rhyme.
This second professional beauty (her portrait by Reynolds
is at Petworth House) was at the height of her fame about
1759 and has a right to be considered if only because she
was the subject of many other verses.”
Today, however, the piece is nothing more than game-song
for children, played (in some areas) in much the same way
as the old English game known as Hunt the Squirrel (see
Itiskit, Itaskit in MB).
REFERENCES
Bertail, 38 Opie, 279-280
Linscott, 37-38 7/ier (YAM), I, 87
Lucy Locket
Lucy Locket lost her pocket,
Kitty Fisher found it;
But there was not a penny in it,
Just a ribbon 'round it.
********************************************

No. 1083
LUCY LONG
also known as
If I Had a Scolding Wife Oh, Take Your Time, Miss Lucy
Miss Lucy Long Take Your Time, Miss Lucy Long
This is an early 19th century minstrel song. According to
Botkin it was written by T. G. Booth. According to Pound
it was written by E. P. Christy. The song was so popular
that adapatations and parodies soon followed. For a Play-
Party song using a stanza from Lucy Long , see Eighteen
Pounds of Meat a Week in Botkin (APRS), 182. For an
English shanty variation, see Sharp (EFC-2), 25. For songs

MB
Song Texts
3234
containing lines from and similarities to Lucy Long ,
see Ain * t I Goin ' in Piper (SPPG), 271-272 and The Roving
Bachelor in Tolman & Eddy, 431-432. The final "If I had
a scolding wife" -tanza is a floater (see Floaters in MB),
and is found alone as well as in several songs. The tune
of Lucy Long was also used for other songs, including one
given in this Master Book : CALIFORNIA BLOOMER♦
According to Randolph "there is a similar piece in nigger-
minstrel dialect entitled, Oh Silber Shining Moon , broad
side by Andrews, N. Y., in the Los Angeles public library.
For a version of that song, see Oh, What a Happy Day in
this Master Book.
Also see and compare the Miss Lucy song in Brown, V, 547,
and the similar piece in Kit 48, 17 & 53, 19*
REFERENCES
Brown, II, 478
Chappie (HS), 289
Ford (OTFM), 11
Ford (TMA), 59, 393
Hugill (1), 396
Johnson (EAS), 35
Johnson (RAS), 134
Lair (SLL), 46
Marsh (SSM), I, 115; II, 192
Minstrel, 18, 140, 155
Perrow, XXVIII, 188
Pound (SFSN), XXIII, No. 14
Randolph, II, 360
Songster (75), I, 112
White, 449-450
Lucy Long
Oh, I came here from Georgia
To sing a little song
About a gal I know,
And her name is Lucy Long.
Chorus
Oh, take your time, Miss Lucy,
Take your time, Miss Lucy Long!
Oh, take your time, Miss Lucy,
Take your time, Miss Lucy Long!

MB
Song Texts
3235
She's a gal who's mighty pretty,
So slim and trim and tall;
And Lucy's got more fella's
Than a railroad train can haul.
0, I ask her for to marry,
She hadn't much to say;
Jus' said she'd rather tarry—
So I let her have her way.
0, the world was made in six days,
An' it was good an' strong,
But it took one day longer
To go courtin' Lucy Long.
If I had a scolding wife,
As sure as she was born
I'd take her down to New Orleans
An' trade her off for corn.
*****************************************

No. 1036
LULA I
also known as
Lula Gal Lulu My Lulu
This seems to be a composite song made up almost entirely
of floating lines and borrowed melodies. Lula exists in
many versions and variations in the Southern states (see
Lula II & III in MB).
See and compare Lula Gal in Scarborough (NFS), 104;
Seeger (1), 138 and Vrtiite, 301. Another interesting
variation is 0 Lulu , a rail-workers piece, in Botkin
HFL), 447 and Lomax (USA), 272-273. Also see and compare
My Lula Lou in Fuson, 124.
In one or another version the song below was widely known

MB
Song Texts
3236
in the United States. For example, in chapter 9 of
Owen Wister's The Virginian (1902), p. 96, the hero
sings a version of this song.
REFERENCES
Jour (AFL), XXII, 248 Lomax (FSNA), 342
Lomax (ABFS), 182-184 Sandburg (AS), 378-379
Lomax (CS-1938), 263-264 White (GALD), 35
Lula I
If you fool with my Lula,
You know v/hat I will do!
I’ll cut you up with my jacknife,
And shoot you with my pistol, too!
And shoot you with my pistol, too!
My Lula is a dandy!
She drinks jus 1 like a man;
She likes both gin and brandy,
And she drinks 'em when she can!, etc .
0, Lula had two babies,
Both born on Christmas Day;
She set them children a-workin',
And she drank up all their pay!, etc .
When Lula hugged an' kissed me,
She tore her hair and cried;
She said I was the sweetest thing
That every lived or died!, etc.
**********************************-*

No. 1087
LULA II
also known as
Lulu
Poor Little Lula
Shine, Little Lula, Shine
Shout, Little Lulu

MB
Song Texts
3237
In this form Lula contains so many floating lines it
could he called a medley. Even the tune is found in
other songs. For example, the tune given by .brown is
the same as that used for a song known as Banjo Sam , or
Catfish .
See and compare Old Corn Whiskey in Roberts (SBS), 177-
178 and the song in Perrow, XXVI, 127.
REFERENCES
Henry (FSSH), 436-437
Jour (AFL), XLV, 167-168
Brown, III, 222-223; V
129
. Lula II
Shine, pretty Lula, shine your best,
Your poor old granny's gone to rest.
Shine, pretty Lula, shine! shine!
I went a-fishin' an' caught a shad—
Best fish I've ever had,—
Jerked him up jus' like that,
An' then I caught a great big ol' cat.
Poor little Lula went to bed
An' never heard what grandma said.
Shout, little Lula, shout! shout!
My wealthy Missus once promised me
One day soon I'd be free;
Now she's dead and gone to hell,
An' I sure hope her body sizzles well!
I'll give two nickels or one dime
To see sweet Lula any time.
Shine, pretty Lula, shine! shine!
***********************

MB
Song Texts
3.238
No. 10.88.
LULA. Ill
also known as
Lulu Lula, My Darling
Although this is a "work" song, it is still a form of
Lula I & II. According to Smith SSB), 20, it is a Negro
work song, sung while digging with pick-axes.
Lula III
Lula my darling, Lula my dear,
Tell me you love me and long to be near.
Locked up in prison, six months in jail;
Sent for my Lula for to come go my bail.
Built me a cabin on a mountain so high,
See my sweet Lula as she passes by.
******************* ************

No. 1089
LULA WALLS
also known as
Aggravatin' Beauty Lula Vfalls
During the first quarter of the 20th century this song
was a big favorite with "country" singers. The most popu
lar version was one recorded by A. P, Carter (The Carter
Family) for RCA-Victor records.
REFERENCES
Brown, V, 441-442 Jour (APL), LIX, 451
Randolph, III, 101-102
Lula Walls

KB
Song Texts
3239
She is a maiden bright end fair,
She has lovely golden hair.
She’s as pretty as an angel on high!
She stole my heart away,
And I don’t know what to say—
Oh! that aggravatin' beauty Lula Walls!
Now one evening Just at dark,
She and I met in the park;
She was sitting by the fountain all alone.
To her I tipped my hat,
And we both began to chat—
Oh! that aggravatin’ beauty Lula ’/falls!
Oh, I'm going back tonight,
When the moon is shining bright,
And I'll ask her if she'll marry in the Fall.
But I know what she will say,
She will simply turn away—
Oh! that aggravatin' beauty Lula Walls!
Now if she were only mine
•I would build a house so fine,
And around it I would build a fence so tall
That no one else but me
Would ever get to see,
That dear aggravatin' beauty Lula Walls.
********************************
no ^ mo
THE LUMBERMAN COMES TO TOWN
also known as
The Lumberman in Town
This was popular in the woods, among lumber-workers, and
it appears to be a rewrite of the sea song, Jack's Disaster ,
a version of which is in Ashton's Real Sailor
Sengs.

MB
Song Texts
3240
A variation on Jack's Disaster is The Sailor in Town ,
the air of which is almost identical to that of The Lumber
man Comes To Town,
REFERENCES
Gray, 58-59
Lomax (USA), 172-173
Silverman, I, 349
Barry (MWS), 61
Eckstorm, 96-97
Glass (SFRF), 40-42
The Lumberman Comes to Town
When a lumberman comes down
With his pay to spend in town,
He goes looking for some fair girl to find;
If she is not too sly,
With her dark and rolling eye,
The lumberman is pleased in his mind.
The lumberman is pleased in his mind,
0 he will carry on
Till his money is all gone,
And his landlady turns and starts to frown;
With her sharp and beady eye,
She will come to him and cry:
"Mister Lumberman, move out of this town!" (2), .
To the woods again he'll go,
With his heart so full of woe,
And he wanders about from tree to tree;
When six months are gone and past,
He forgets it all at last,
And he feels its time to have another spree. (2).
When old age does him alarm,
He will settle on a farm,
And he'll find some young girl to be his wife;

MB
Song Texts
3241
But it’s a sad mistake,
For with him mock love she’ll make,
And kind death will take away his poor life! (2).
************************************

No. 1091
LUMBERMAN'S LIFE
also known as
The Dreary Life
The Pinery Boy
A Shanty Lad
A Shantyman’s Life
•This is one of the oldest of the lumbermen’s songs; it
came into existence sometime during the first half of
the 19th century, and was known in lumbering camps from
the Atlantic to the Great Lakes. Some collectors say the
song originated in Canada, but the earliest known print
is a De Marsan broadside (List 5, No. 98), where the
copy reads: Composed and written by George V. Stace , La
Crosse Valley , Wis.
Lumberman* s Life may have been patterned on a much older
song, probably an Irish one since the tune is certainly
old Irish.
For a cowboy adpatation, see_A Cowboy * s Life in this Master
Book . For an adaptation in which the lumberman is replaced
t>y a raftsman, see Rickaby, 85.
REFERENCES
Barry (MWS), 60
Beck (SML), 26-27
Botkin (NEF), 877-878
Carmer (SRA), 37-38
Cazden, I, 11
Dean, 87-88
Doerflinger, 211-213
Downes (1940), 242-243
Downes (1943), 280-281
Eckstorm, 33-36
Fowke & Johnson, 67, 105
Gardner (BSSM), 258
Gray, 53-57
Lomax (FSNA), 112

MB
Song Texts
3242
Mackenzie, 362
Rickaby, 43-47
Sandburg (AS), 290-291
Shoemaker (MMP), 261-263
Thompson, 256
Lumberman *s Life
Oh, a lumberman's life is a dreary, dreary life,
Tho' some people may think it void of care;
We keep swinging with an axe every morning until night,
In the midst of a forest somewhere.
Oh, we sleep in a shanty that's bleak and cold,
While the fierce, stormy night winds blow;
But at dawn when the daylight starts to appear,
We are off to the woods through the snow.
We»re transported afar from the tame haunts of man,
Up the river's wild raging stream;
' Where the mountain cat growls and the hootinf of owls
Is a part of every man's dream.
Oh, the cook rises up in the middle of night,
And shouts: "Wake up, boys, it's day!"
And we find our slumbers are broken oft-times,
As the cold winter nights pass away.
There's no whiskey or beer and no women to love—
Such things are left far behind.
There's no one to care what happens out there,
But a lumberman has peace of mind.
With the coming of spring our harships begin,
For the river is piercing cold;
And out clothes get all wet and our fingers grow numb,
And those hike-poles are sure hard to hold.
In the rocks, shoals and sand, it's hard for each hand
There's a raft for each man to steer,

3243
MB Song Texts
And the wild rapids we run hold more danger than fun,
But a lumberman laughs at all fear.
But the lumberman * s life is the best life of all,
And I’ll always tell you the same;
For I truly despise all the slick city guys,
For the think of all life as a game.
*************************************

No,, 1092
LYDIA PINKHAM
also known as
The Ballad of Lydia Pinkham Lydia Pinkham’s Compound
This is a satire on patent medicines, which is about all
I can say about this song. Even the author remains unknown
REFERENCES
Kennedy (TAB), 366 Shay (PF-1), 86-87
Loesser, 281 Shay (PF-3), 46-47
Sandburg (AS), 210 Silverman, II, 156
Lydia Pinkham
Let us drink a drink a drink
To Lydia Pink a Pink a Pink
And her love for the human race;
She invented a vegetable compound,
And the papers published her face s
Oh, it sells for a dollar a bottle,
Which is very cheap you see,
And if one, one, one it doesn't cure you,
She will sell you four for three.

ME
Song Texts
3244
Let us drink a drink a drink
To Lydia Pink a Pink a Pink
And her love for the human race;
She invented a vegetable compound,
And the papers published her face.
Misses Green could have no children,
But loved children very dear,
So she drank, drank, drank, three bottles
of compound,
And now she has them twice a year.
Let us drink a drink a drink, etc.
Missus Jones she had no,lover,
Blotchy skin had caused her plight,
So she drank, drank, drank, three bottles
of compound,
Now she gets it twice each night!
Let us drink a drink a drink, etc.
*****************************

MB
Song Texts
3245
-M-

No. 1093
MacPHERSON'S FAREWELL
also known as
Below the Gallows Tree MacPherson’s Lament
A Scottish ballad about an actual person. According to
traditional records, his name is James MacPherson, and
he was the son of a Highland gentleman and "a beautiful
gypsy woman." One report has him a leader of a gang of
cattle-rustlers operating in the province of Moray. How
ever, tradition in such cases is generally not trustworthy.
It would be just as safe to assume that his crime was
political, considering the fact that he became a folk
hero and the ballad makes no mention of robbery.
MacPherson died on the gallows November 16, 1700. Robert
Burns later wrote a version, some words of which are in
the version below.
REFERENCES
Bikel (FF), 234-235
Buchan (SS), 96-97
Lick, 292-293
Herd, I, 99-101
Knight, 130-131
MacColl (SS), 35-36
MacColl & Seeger, 276-278
Ord, 443
Seeger & MacColl, 89
Silber (HSB), 121
Silverman, I, 60
Weavers, 104-105
MacPherson' s Farewell
Farewell, ye dungeons dark and strong,
Farewell, farew T ell to thee!
MacPherson's time will not last long
On yonder gallows tree.
Chorus
Sae rantin'ly, sae wantonly, sae dauntin'ly gaed he;
He played a tune and he danced it roon'
about the gallows tree.

MB
Song Texts
3246
It was by a woman's treacherous hand
I now face the gallows tree;
Below a ledge, at a window she stood,
And threw a blanket o'er me.
Untie these bands from off my hands
And give to me my sword,
And there's no man in all this land
But I'll brave him at a word.
There are some who've come to see me hang,
And some would buy my fiddle;
Before I'd ever part with it,
I'll break it through the middle.
He took the fiddle in his hands
And broke it on a stone:
No other man will play it now,
When I am dead and gone.
The reprieve was coming o'er the hill
To set MacPherson free;
They set the clock and made it fast,
And hanged him to the tree!
*****************************

No. 1094
MADISON VS FEDERALISTS
also known as
James Madison, My Joe, Jim
This musical attack on James Madison came during the
Presidential election campaign of 1816, when the two-
term president was not a candidate. The attack was
made to discourage votes for James Monroe, who was
Madison's candidate.
There are two stanzas not given below in which Madison
and Jefferson are accused of selling out to Napoleon.

MB
Song Texts
3247
The song appeared in The Patriotic Songster (1816), and
the complete text is in Lawrence, 220.
Madison vs Federalists Tune: John Anderson , My Jo
James Madison, My Joe, Jim,
I wonder what you mean:
You proclamate, in chair of state,
A vision or a dream.
The war you did begin, Jim,—
And why did you do so?
You should have found some better ground,
James Madison, My Joe.
James Madison, my Joe, Jim,
We find your plans have failed.
Ere this you know, that deadly woe
And taxes you’ve entailed.
Upon this happy land, Jim,
You’ve brought disgrace also,
That you can’t cure, nor we endure,
James Madison, My Joe.
James Madison, my Joe, Jim,
Twas when you first began,
The world did say, and well might they,
That you were not the man.
You were a dupe of France, Jim,
And Jefferson also:
With gun-boat fleet you'd Britons beat,
James Madison, My Joe.
Our Capitol you lost, Jim,
Much wealth with it likewise;
Your fame is fled, your honor's dead,
Your minions we despise.
In wisdom you're deficient, Jim,
In energy also;

KB
Song Texts
3243
Most manfully you ran away,
James Madison, My Joe.
James Madison, my Joe, Jim,
You wing'd your flight with speed!
With courage rare, you knew not where
You drove your lank old steed;
While British troops were feasting, Jim,
On wine and ale you know,
You weary fled, to seek a bed,
James Madison, My Joe.
I fain would here advise you, Jim,
Where you must next retreat:
In Carter's mount there is a fount,
At Thomas' country seat,
Y» r here you may rest secure, Jim,
Likewise your friend Monroe,
Free from all harms and war's alarms,
James Madison, My Joe.
****************************

No. 1093
THE MAGIC RING
also known as
The Broken Ring
The Broken Token
The Golden Ring
Hind, or Hynd Horn
I Gave My Love a Gay Gold
Ring
In Scotland Town Where I Was
Born
The Jeweled Ring
The Jolly, or Old Beggar
The Old Beggar Man
The Pale Ring
This ballad is derived, apparently, from the popularity
enjoyed by the "King Horn" romances that were highly
esteemed throughout Europe from the 13th through the
15th century.

MB
Song Texts
3249
The first complete copy of Hind Horn ( The Magic F-ing )
was printed in Kinloch's collection in 1827. Buchan
printed a similar text the following year, ine entire
ballad was never collected from traditional sources in
the United States, but fragments in the romantic mold
were recovered in Canada and Northeastern U. S. A. under
various "beggar-man" titles.
Bronson, I, gives 23 tunes for this ballad.
REFERENCES
Barry (BBM), 73-80, 479-481
481
Bronson (BAS), 51
Buchan (ABS), II, 268
Child, I, 187-208; V, 413
Coffin, 47-48
Creighton (MFS), 5
Creighton (TSNS), 11-17
Cromek, II, 204
Flanders, I, 223-225
Flanders (BMNE), 47-48
Fowke (TSSO), No. 32
Friedman, 112-114
Gainer, 22-23
Greenleaf, 12-14
Greig & Keith, 17, (1925)»
20
Houseman, 138-140
Jour (AFL), XXII, 42-62
Karpeles, 30-31
Karpeles (FSN), II, No. 5
Kinloch (AS3), 135
Kinsley, 112-114
Leach (BB), 96-100
Manny, 206-208
Moore (BFSS), 25-27
Motherwell, I, 36
Motherwell MS., 91» 106,
413
Muir, 97-107
Niles (BB), 72-75
Quiller-Couch, 142-145
Sanders, 229-231
The Magic Ring
I gave my love a golden ring,
Saying, "Prize this ring above all things."
He gave to me a new gold clock,
To count the hours while he's away.

MB
Song Texts
3250
"0 while this ring retains its hue,
You'll know my love is sound and true;
But if this ring turns pale and wan,
Your love is with another gone."
Seven long years he served his king,
And never once forgot the ring.
He looked upon the ring one day
And saw the hue had gone away.
He sailed hack home with troubled mind,
The reason for his loss to find;
On food and drink he did not wait,
But hurried to her castle gate.
There he removed his costly robes,
Replacing them with beggar clothes.
"What is the news?" he did implore
Of one who stood outside the door.
He took the ring now grown so pale,
And said, "0 servant, do not fail!
But take this ring I give to thee
And say her love is home from sea."
0 see her coming down the stair!
0 see the lovely golden hair!
And see the wine-glass in her hand,
All for the waiting beggar-man.
Then as he drank the final gulp,
She dropped the ring into the cup.
"Came it to you on sea or land?
Or came it from a dead man's hand?"
"It came from beither sea nor land;
It came instead from your own hand."
His beggar clothes he quickly shed,
And took the loving bride to bed.
***-**-****■*#- ******* *-**-*

MB
Song Texts
3251

No. 1096
MAID OP EDINBURGH
also known as
Catharine Jaffery
Catherine Johnson
Catherine Johnstone
Edinburgh Town
The Green Y/edding
Hembrick Town
Katharine Jaffray, ojc
Katherine Jeffrys
The Laird of Laainton
Loch-in-var
A Scotch Ditty
The Squire of Edinboro, or
Edinborough Tov/n
The Squire of Edinburg
Jaffrey
Town
The original ballad, Katharine Jaffray (see Child No. 221),
was never widely known traditionally in the United States.
It was first published by Sir V/alter Scott under the title,
The Laird of Laainton 0 Later, he aodeled Lochinvar on the
ballad and thereby contributed to a second fora's develop
ment, This is clearly demonstrated in the two types of
the ballad recovered from Traditional sources in England
and Scotland,
The Maid of Edinburgh , as we know it, is a re-worked
version of the two forms of Katharine Jaffray .
For an Irish version popular in the 1850s that was sung
to the tune of The Fairy Troon , see The Complete Petrie
Collection of Irish Music, No. 544 . **
Another ballad, The Green Y/edding , is remarkably similar
and is, according to many, "a version or reshaping of
Katharine Jaffray .” For versions of The Green Wedding ,
see Karpeles, 97-99 and Sharp (FSFS), 40.
The result of all these forms and versions and variations
was a large number of cross-references, many of which are
quite different from the version accompanying them.
The list of works listed below cover all forms and all
versions of Katharine Jaffrav and the Maid of Edinburgh.
REFERENCES

MB
Song Texts
Barry (BBM), 400-406
Brown, II, 169-171
Buchan (GSEI), 74
Child, IV, 216-231
Christie, II, 16
Coffin, 133-134
Creighton (S3NS), 22-24
Creighton (TSNS), 78-83
Flanders, III, 261-268
Flanders (CSV), 20-21
Flanders (NGMS), 141-144
Friedman, 271-275
‘ 3252
Gerould, 40, 94, 158
Greig & Keith, 158-161
Gummere, 263-264
Herd MSS, I, 164
Houseman, 147-148
Kinsley, 300-304
Leach (BB), 578-579
Moore (3FSS), 109-110
Motherwell (1827), 225
Motherwell MS., 75
Peacock, I, 200-201
Wells, 329
Maid of Edinburgh
There was a maid in Edinburgh,
Kath'rine Jaffray was her name;
She was courted by a farmer*s son,
And he thought her love he’d gained.
He told his loving parents, then
He told her nearest kin;
But when he told the maid herself,
She would not let him in.
Her father and her mother, too,
On hearing what 3he had done,
Insisted that she apologize
And wed the farmer's son.
She wrote a letter to her love,
The one and only one,
And she told him she was forced to wed
With a nearby farmer’s son.
He mounted on his fastest steed.
And an angry man was he;
He rode till he came to Edinburgh,
And sought the bride to see.

MB
Song Texts
3253
He took her by her trembling hand,
And he led her from the hall;
He lifted her on his fastest steed,
And straightway left them all.
The drums did beat, the fife did play,
And they did so merrily sing;
She's living now in Edinburgh,
But wears no wedding ring,
**************************** *■**■*

No. 1097
MAID ON THE SHORE
also known as
The Pair Maid The Maid on the Seashore
The Pair Maid By the Seashore The Sea Captain
This ballad was first printed in fragmentary form in
Joyce (OIPMS), 152, under the title: The Mermaid. Barry
traced it back to Scandinavia and the Latin countries
of Europe. Mackenzie related it to lady Isabel and the
Elf - Knight (Child No. 4), a version of which is given
elsewhere in this Master Boo k under the title of Myra
Belle Lee.
The tune is an adaptation of the old Irish air, Cutting
Down Broom.
For a different song that shares one title in common
with this one, see The Sea Captain in Karpeles (PSE),
II, No. 194. Also see Laws Q 12, 278,
REFERENCES
Barry (MWS), 40-41 Creighton (TSNS), 64
Belden (BS), 107-109 Friedman, 403-404
Bulletin (PSSN), VII, 12-13 Gillington (SOR), 18-19
Cazden, II, 8-9 Greenleaf, 63-64
Creighton (MFS), 41 Hubbard, 94-95

MB
Song Texts
3254 .
Joyce (OIFMS), No. 327
Karpeles, 117-121
Karpeles (FSN), I, 30-38
Korson (PSL), 54-55
Laws K 27, 154
Leach (BB), 731-732
Lomax (FSNA), 142-143
Mackenzie, 74-75, 394-395
Mackenzie (QB), 129
Peacock, I. 295-297
Reeves, 191-192
Silverman, I, 199
Wells, 156-157
Williams (FSUT), 75
Maid on the Shore
There was once a maiden all crossed-up in love,
She was deep in despair, 0!
Nothing could she find to ease her sad mind
But to stray all along the seashore,
To stray all along the seashore.
There was a sea captain who sailed the seas round,
And fell very deep into love, 0!
"I shall die! I shall die!” his men heard him cry,
"If I don’t get that maid on the shore, (2)."
"Our captain has jewels, our captain has gold,
Our.captain has plenty of wealth, 0;
All these he will give, and we'll please him I know,
So let's bring him that maid on the shore, (2).”
After much persuasion on board she did go,
The captain he set her a chair, 0;
He invited her down to his cabin below,
Singing, "Pare you well, sorrow and care," (2)."
"I will sing you a song, if you think it best,"
And how she made them all stare, 0!
She sang it so sweet, so neat and complete,
That she sang all the seamen to sleep, (2).
She robbed them of jewels, she robbed them of gold,
She robbed them of costly array, 0;

MB
Song Texts
.3255
Of the captain’s broad sword she made her an oar,
And she paddled her boat to the shore, (2).
"0 were my men sleeping, or were my men mad,
Or were they all sank in despair, 0?
She deluded you all, myself also,
And again she's a maid on the shore, (2),”
*************************************

No. 1098
. MANNING THE PIRATE
also known as
Bold Manan the Pirate Manum the Pirate
Bold Manning, or Manum V/illiam Craig and Bold Manon
This song was popular as a forecastle shanty and among
lumber-workers. It is sometimes crossed with Bold Dar.lel
or Daniels (see Colcord, 149-151), but the songs are not
otherwise related.
Also see and compare The Rovin' Lizzie in Eckstorm, 257-
259.
REFERENCES
Doerflinger, 139-141 Jour (AFL), XLIV, 299
Eckstorm, 259-265 Peacock, III, 848-851
Gordon (OSMS-5/23/26), 191
Manning the Pirate
Bold Manning went off to sea one day,
And a dreary day it was, too;
As drear a day as ever could be,
All wet with fog and dew.
He spied a large and lofty ship
About three miles ahead-
"Come, hist up our main-tops'1, boys,
And after her we'll speed!"

No. 1194
MY PAIRSY AND MY POREY
also known as
Have You Any Bread and Wine?
This is a game song, and the game is played the same as
Roman Soldiers (see in MB). According to Linscott, who
recovered a version of this in New England, the song is
"probably derived from a carol of St. Mary's men (monks),
..." that ''was sung in Shetland by guisers, who went
from house to house on New Year's day to collect pro
visions for a feat."
"Guisers" are more popularly known as "mmmers." Twice
each year, at Easter and Christmas, mummers traveled
about in masks, playing and singing.
REFERENCES
Babcock, 261 Linscott, 40 Newell, 248-249
My Fairey and My Forey
Have you any bread and wine,
My Fairey and my Forey?
Have you any bread and wine,
To match the golden storey?

MB
Song Texts
3460
Yes, we have some bread and wine, etc .
To match the golden storey.
May we have a pint of it?, etc.
Yes, you may have a pint of it, etc .
May we have a gallon of it?, etc .
A Gallon you shall not have, etc.
We are King George’s fighting men, etc«
Are you ready for a fight?, etc.
Yes, we are ready for a fight, etc.
********************************

No. 1195
MY FAIR LADY
also known as
Hark! the Robbers The Robbers See the Robbers
This is an American variation of an English game song.
According to Gomme, the game ’’probably.. .dates from the
period of the prevalence of highway robbery." As time
passed, the game took on other characteristics and
gradually lost its original meaning altogether.
It may even be true, as Gomme pointed out, that this is
an altered form of the game London Bridge , for "the re
frain M^r Fair Lady occurs in both games." The tune, of
course, is exactly that of London Bridge .
For other versions, see: Brown, I, 148 & Gomme, I, 198.
My Fair Lady Tune: London Bridge
See the robbers coming through,
Coming through, coming through,
See the robbers coming through,
My fair lady.

MB Song Texts 3461
'What's the robbers done for you?, etc,
. They have stole my watch and chain, etc.
... Off to prison they must go, etc.
V Will their money set them free?, etc.
Two thin dimes will set them free, etc.
We are broke and cannot pay, etc.
Then to prison you must go, etc.
.♦♦♦♦■*'*•*♦*********■»**•«•**************

Ho. 1196
MY FAMILY
also known
Father's a Dewer of Dykes
My Daddy's a Delver of
Dykes
My Father's a Hedger and
Ditcher
My Father Was Hung for
Sheep-Stealing
My Mother Was Burned for
a Witch
as
My Sister She Works In a
Laundry
Nobody's Coming to Marry
Me
0, Dear, What Will Become
of Me?
Slighted Nancy
There's Naebody Comes to
Marry Me
This is an English song that spawned many versions in
England, Scotland, Ireland and, finally, in the United
States. Although the occupations of the families differ
from version to version, the story generally remains the
same. The version below is Irish in tone.
The American versions have been separated from the Eng
lish, and identified as M£ Family I and II.
REFERENCES

KB
Song Texts
3462
Dick, 414-415
Dixon, 398
Ford (VSBS), I, 229-230
Greig, No. 18
Herd* II » 81-83
Jour (API), XXIX, 187
Kennedy, 502
MacColl & Seeger, 162
Ritchie, 103-104
Silverman, II, 199
Thomson (OC), I, 69-71
Mt Family I
*y faither was hung for sheep-stealing,
And my mither was burned for a witch;
And my sister's a bawdy-house keeper.
And mysel 1 I'm a son-of-a-bitch.
Chorus
Come twine-a-me ine-a-me idle,
Come twine-a-me ine-a-me aye;
Come twine-a-me ine-a-me idle.
To me birse to my rossety-bye*
Por I hae a root like a cuddy
And ballocks like mountains o' brass;
I could take all the whores in Ireland
And rattle my things as they pass.
Por I am a cobbler in Dublin,
And I live at the back of the muck;
I .earn five shillin's ev'ry mornin*
Por learnin' young ladies tae buck.
Por I'm just a hedger and ditcher;
I'm up to my bottom in snow,
And the de'l took a-hold o' my pintle
And swore he'd never let go!
♦♦****-***-* ************* * * *

MB
Song Texts
3463

No. 1197
MY FAMILY II
also known as
Me Father’s a Lawyer in
England
My God, How the Money
Rolls In!
The Poor Tailor’s High
Relations
See How the Money Rolls
In
This is an American adaptation of the preceding song,
My Family I, Version A has been entirel Americanized,
but version B still retains much of its English charact
er.
REFERENCES
Brown, II, 456-457; IV, Lomax (FSNA), 134-135
244 Sandburg (AS), 381
Gardner (BSSM), 435-436
My Family II Tune; Bring Back My Bonnie To Me
My mother's an apple pie baker,
My father makes synthetic gin,
My sister makes love for a living—
My God, how the money rolls in!
Chorus
Rolls in, rolls in,
See how the money rolls in;
Rolls in, rolls in, rolls in,
My God, how the money rolls in!
. My mother ran off with a salesman,
My father died drinking his gin,
My sister's in love with a fairy—
My God, what a mess we are in!
Are in, are in,
See what a mess we are in;

MB
Song Texts
3464
Are in, are in, are in,
My God, what a mess we are in!
My brother’s a preacher in Boston,
He saves young women from sin;
He’ll save you a blonde for a dollar—
My God, how the money rolls in!
Rolls in, rolls in, etc.
VERSION B
Me -father's a lawyer in England,
Me mother's a justice of peace,
Me sister's a shaker and an apple pie
baker;
She makes ’em of tallow and grease.
Chorus
To me fang, to me fang, fang o leary,
To me fang, to me fang, fang o lay!
To me hoot tee toot, hoot tee toot, larry,
To me whack fal dee diddle al a day. (2)
Me father is a hedger and ditcher,
Me mother does nothing but spin;
Me sister is a shaker and apple pie baker,
0 how the money comes in.
Me wife she is dirty and nasty.
She's lousy and itchy and black; •
She is a devil for fighting and scolding,
Her tongue gees clickety-clack.
************************

MB
Song Texts
3465

No, . 1198
MY GOOD LORD'S BEEN HERE
also known as
Gwineter Git Down an* Pray My Good Lord's Done Been
My Good Lord Has Been Here Here
When My Good Lord Was Here
Spiritual from the slave-era, and one of those brought
to public attention by the original Fisk Jubilee Sing
ers*
REFERENCES
Brewer, 162 Pike, 217, 258
Kennedy (M-2), 28-29 White, 116
Marsh (SJS), 177 Work (ANSS), 132
My Good Lord's Been Here
0 brothers, where were you, (3)
When my good Lord was here?
Chorus
My Good Lord's been here,
been here, been here,
My good Lord's been here,
And he's blessed my soul and gone 0
0 Christians, where were you, (3)
When my good Lord was here?
0 mourners, where were you, (3)
When my good Lord was here?
0 sinners, where were you, (3)
When my good Lord was here?
**************************

MB
Song Texts
3466

No. 1199
BIT GOVERNMENT CLAIM
also known as
Bee County
Greer County
Greer County Bachelor
Greer Comity Song
Hooray for Greer County!
Hurrah for Greer County
Hurrah for Lane County
The Lane County Bachelor
Starving to Death on My
Government Claim
Various claims have been made regarding the origin of
this melodic ditty. The tune is a rewroking of an old
jig tune, The Irish 7/asher-woman (see in MB). Without
a doubt, the words are American. Just which American
wrote the words is unknown. The song can be traced to
the Homestead Bill , passed during the Civil War, under
which a man could obtain a 160-acre government claim
for practically nothing. This goes a long way toward
proving the text is typically American. Where else wcu
a person be ungracious enough to complain about living
conditions on land obtained for free?
REFERENCES
Botkin (AFL), 314-316
Clark (CS), 71
Coleman, 32
Combs (FSKH), 32-33
Fife, 53-61
Glass (SW), 34-35
Hull (CB), 52-53
Ives (SA), 164-165
Kennedy (TAB), 213-215
Koch (2), 10
Lingenfelter, 457-459
Lomax (ABFS), 434
Lomax (CS-1919), 278-279
Lomax (CS-1938), 407-408
Lomax (PB), 111
Malone (FB), 146-149
McMullen, 133-135
Moore (BESS), 282-285
Pound, 178-180
Pound (SFSN), VII, No. 14
Randolph, II, 190-191
Sandburg (AS), 120-122
Silverman, I, 12
Theae, 156-157
Warner, 91

MB
Song Texts
3467
My Government Claim
My name is Frank Bowler, a bachelor I am,
I'm keepin' myself on an elegant plan;
You'll find me out West in the county of Lane—
I'm starving to death on my government claim!
Chorus
But hurrah for Lane county! the land of the free,
the home of the grasshopper, bedbug and flea;
I'll sing loud her praises and boast of her fame
While starving to death on my government claim.
My house it is built of the national soil,
The walls are erected according to Hoyle;
The roof needs repair, but its level and plain.
And I always get wet when it happens to rain.
My clothes are all ragged, my language is rough,
My head is casehardened, both solid and tough;
The dough it is scattered all over the room,
And the floor would get scared at the sigh of a broom
My dishes are dirty and some in the bed
Covered with sorghum and government bread;
But I have a good time and live at my ease
On common sop-sorghum, old bacon and grease!
Chorus
But hurrah for Lane county, the land of the West,
Where the farmers and laborers are always at rest;
Where you've nothing to do but sweetly remain
And starve like a man on your government claim.
How happy am I when I crawl into bed
And a rattlesnake rattles his tail at my head,
And a gay little centipede, void of all fear,
Crawls over my pillow and into my ear.

MB
Song Texts
-3468
And this nice little bedbug, so cheerful and bright,
Keeps me a-scratching full half of the night;
And the gay little flea, with toes sharp as a tack,
Plays "why don't you catch me?" all over my back.
Chorus
But hurrah for lane county, where blizzards arise,
Where the winds never cease and the flea never dies;
Where the sun is so hot if in it you remain,
'Twill burn you quite black on your government claim!
How happy I am on my government claim,
Where I've nothing to lose and nothing to gain,
Nothing to eat and nothing to wear,
Nothing from nothing is honest and square.
But here I am stuck, and here I must stay,
My money's all gone and I can't get away;
There's nothing will make a man hard and profane
Like starving to death on a government claim.
Chorus
Then come to lane county, there's room for you alx,
Where the winds never cease and the rains never fall;
Come join in the chorus and boast of her fame,
While starving to death on your government claim.
Now don't get discouraged, ye poor hungry men,
We're all here free as a pig in a pen;
Just stick to your homestead and battle your fleas,
And pray to your Maker to send you a breeze.
Now a word to claim-holders who are bound for to stay,
You may chew your hardtack till you’re toothless and
gray,
But not for me, I'll no longer remain
And starve like a dog on my government claim!

MB
Song Texts
3469
Farewell to Lane county, farewell to the West,
1*11 travel hack East to the girl I love best;
I'll stop in Missouri and get me a wife,
And live on corn dodgers the rest of my life!
************** *•****•*• ******* ***.»*.#.***.***
No. 1 2 00
MY HOME IS OVER JORDAN
Revivalist spiritual with a tune and text that have
been used in other songs, usually as a chorus. An
example is Wings of Morning in Jackson (SPS), 190.
REFERENCES
Hillman (1872), 390 Jackson (SFS), 171 White, 437
My Home Is Over Jordan
My home is over Jordan,
My home is over Jordan,
My home is over Jordan,
Where pleasures never die.
Where the wicked cease from troubling,
Where the wicked cease from troubling,
Where the wicked cease from troubling,
And the weary are at rest.
Where the Saviour waits to greet us,
Where the Saviour waits to greet us,
Where the Saviour waits to greet us.
While the angels sing this song.

MB
Song Texts
3470

No. 1201
MY LOG CABIN HOME
California gold-miners sang this and other songs by
J. A. ( Old Put) Stone, who published this particular
piece in his Original California Songster .
For another version, see Dwyer, 97-98.
My Log Cabin Home Time: My Old Kentucky Home
The tall pines wave, and the winds loudly roar,
No matter, keep digging away!
The wild flowers blossom round the log cabin door,
Where we sit after mining all the day.
A few more days and our mining all will end,
the canyon so rich will be dry;
The tools on the bank shall be left for a friend,
Then, my log cabin home, goodbye.
Chorus
Mine no more. Oh, never no more, but play!
We will always remember the log cabin home,
The log cabin home far away.
We’ll hunt no more for the grizzly in the nook,
The diggers we'll soon leave behind;
We'll drink no more from the clear crystal brook,
As around the log cabin it winds.
The old oak tree, under which the cabin stands,
All shady at noon where we lie;
A fond look at the old oak so grand,
The, my log cabin home, goodbye.
****************** **********

MB
Song Texts
3471

No. 1202
MY LONG TAIL BLUE
also known as
Sugar Hill
This is one of the earliest blackface minstrel songs,
and the very first about the Negro dandy. George Wash
ington Dixon, who sang it on stage as early as 1S27,
claimed authorship. The tune, of course, is that of
Jenny’s Babee, and older Scottish song.
REFERENCES
Agay (2), 65 Nathan, 170
Brown, III, 502 Songster (38), 149-150
Levy, 300 Williams (FSUT), 218
My Long Tail Blue
I've come to town to see you all;
I ask you how d'ye do?
I'll sing a song not very long
About my long tail blue.
Chorus
Oh! for the long tail blue!
Oh! for the long tail blue!
Some darkies has but one ol' coat,
But you see I's got two;
I wears my jacket all the week,
And Sunday my long tail blue.
If you want to win a lady's heart,
I'll tell you what to do:
Go down to a tiptop tailor shop
And buy you a long tail blue.
************************

Song Texts
3472
MB

No* 1203
KY LOVE IS A RIDER
also known as
The Broncho Buster
Bucking Bronco
The Cowboy’s Hat
The Cowgirl
Johnny Ringo
My Lover’s a Rider
Who wrote this song? Almost every collector who pub
lished a version ascribes authorship to a different
person. Both Larkin and Thorp said it was written by
Belle Starr. Based upon many years of research on
the lives and careers of Western-type outlaws, I say
it is highly unlikely that Belle Starr wrote My, Love
Is A Rider or any other song. Both Dobie and Lomax
credit a man named Hatch with writing the words, and
Dobie’s Hatch said another "cowboy named Billie Davis"
composed the tune. This may be true, but it would take
more than these reports to firmly convince me.
For an interesting variation, see Lover* s a Rider
in Fife, 166 and Hull, 57. For a song which begins the
same but is an entirely different song, see The Cowgirl
in Lee (TTGC), 205 and in' Lomax (CS-1919), 251.
Several stanzas of the song below are in Stewart Edward
White’s sory The Rawhide, McClure’s Magazine, Dec. 24,
1904, pp. 175-176.
For a parody, see Beware of a Cowboy Who Wears a White
Hat, or The Cowboy With the White Hat in the Hobo News ,
folio 28 and Thorp & Fife, p. 128.
REFERENCES
Allen (CL-1933), 157-158
Arkansas, 29-30
Barnes (CHS), 15-16, 122
Big, 89-90
Blue Grass, 32-33
Buck Jones, 5
Caldwell (GBO), 45-46
Clark (CS), 7
Cowboy, 16
Cowboy Tom, 33

MB
Song Texts
3473
Davis (TTS), 10
Dobie (MBS), 170-172
Fife, 165-166
Fife (FAC), III, 270, 592
Frey, 82-83
Hendren, 542
Larkin (1931), 58-60
Larkin (1963), 46-47
Laws (NAB), 140
Lee (CSB), 42-43
Lingenf elter, 401
Lomax (ABFS), 417-418
Lomax (CS-1919), 367-368
Lomax (CS-1938), 267-268
Lomax (FSNA), 210-211
Lone Ranger, 33
Luther, 210-211
Ohrlin, 34-35
Randolph, II, 228-230
Rogers (FCS), 46-47
Silverman, I, 43
Sing, 62-63
Sires, 40-41
Thorp (1904), 26-27
Thorp (1921), 14-15
Thorp & Fife, 121-132
Treasure, 22
White (AN), 321-322, 325
My Love Is A Rider
My love is a rider, wild bronchos he breaks,
But he promised to quit it just for my sake;
He ties up one foot and the saddle puts on,
With a swing and a jump he is mounted and gone.
Chorus
Whoopee tydee-i ay-o-i-ee-dle-ee-ay-i-ee-oh,
Whoopee-ti-ay, and a fiddle-ee I ay oh.
The first time I met him was early last spring,
He was riding a bronco, a high-headed thing,
He tipped me a wink as he gaily did go,
For he wished me to notice his bucking bronco.
.The next time I saw him was early last fall,
He was swinging the ladies at Tomlinson's ball;
We laughed and we talked as we danced to and fro,
And he promised he'd never ride Another bronco.

MB
Song Texts
3474
He made me some presents, among them a ring;
The return that I made him was a far better thing.
• Twas a young maiden's heart I would have you all know,
He won it by riding his bucking bronco.
Now listen you maidens where ever .you reside,
Never heed the cowboy who swings the rawhide:
He'll court you and pet you and leave you and go
Up the trail in the spring on his bucking bronco.
***********************************

No. 1204
MY MARY ANN
also known as
Pare You Well, My Own Mary Ann My Martha Ann
Mary Ann The Yankee Girl's Song
Barney Williams wrote this as a comedy song for his
wife to sing. He based it on The True Lover's Parewe11
(see in MB), a popular ballad adapted from an English
broadside of the 17th century.
My Mary Ann was published in 1856, at Baltimore, Md.,
under the title My Mary Ann, The Yankee Girl's Song .
The sheet music credits read: Words by Barney Williams,
music by M. Tyte.
It was published again as Our Mary Ann, in a folio col
lection of songs sung by Mrs. W. J. Florence, Songs of
the Florences , New York, 1860, p. 12. It is also in
Bryant's Programme and Songs , II, No. 4, New York,
1859, p. 7; The G eneral Lee Song Book , p. 36; and The
Shilling Song Book , 1860, p. 39.
Not related to this is a song of a similar title, the
popular calypso piece Marian, or Mary Ann 0
REFERENCES

MB
Song Texts
3475
Brown, III, 355
Chappie (HS), 246
Fowke (FSC), 142
Jour (AFL), XXXI, 175
Lomax (FSNA)., 145-146
Sedley, 131
Songster (177), 61
My Mary Ann
Oh, fare thee well, my own true love,
Oh, fare thee well, my dear!
For the ship is waiting, the wind blows high,
And I am bound away for the sea, Mary Ann.
And I am bound away for the sea, Mary Ann.
Oh, don't you see that little dove?
Like me, he's feeling blue.
He is mourning the loss of hiw own true love,
As I mourn now for you, my dear Mary Ann. (2)
A lobster boiling in the pot,
A blue fish on the hook,
They are suffering long, but it's nothing like
The ache I bear for you, my dear Mary Ann. (2)
Oh, had I but a flask of gin,
With sugar here for two,
And a great big bowl to mix it in,
I'd pour a drink for you, my dear Mary Ann. (2)
Oh, if I had a pair of wings,
I know just what I'd do;
I would fly away from this lonely place
And search till I found you, my dear Mary Ann. (2)
*********************-*******

MB
Song Texts
3476

No. 1203
MY MOTHER TOLD ME
also known as
My Mammy Told Me
This is what is known as ”a rounder” song, a term “bestowed
upon such songs “by saloon singers. The version “below was
obtained from Criswell (of Criswell Predicts) in Holly
wood, Ca. He said he learned the song during his child
hood years in Indiana. I have seen only one other version
in a folk song collection, and that is in Brown, V, 225-
226 .
My Mother Told Me
My mother told me a long time ago,
Never to marry no man I know;
He will take all your money
And he'll take all your clothes,
And when he's gonna leave you,
The Lord only knows.
There's only one thing I can't understand,
And that's a no good rambling man;
He will take all your loving
And keep you on your toes,
But when he's gonna leave you,
The Lord only knows.
*************************************

No. 1206
MY OLD BEAVER CAP
also known as
The Beaver Cap
Although the words probably had something to do with
the song's original popularity, this piece is around
today because of its catchy tune.

MB
Song Texts
3477
The text is patterned after that ancient folk favorite,
The Darby Ram (see in MB).
REFERENCES
Belden (BS), 435
Henry (SSSA), 32
Moore (BFSS), 375
Randolph, III, 45
My Old Beaver Cap
0 when I was a great big lad,
I never wore a hat, sir;
The greatest friend I ever had
Was my old beaver cap, sir.
La tul da rol, la tul da ray,
La tul da rol da day.
I thought so much of my old cap,
I wore the thing to bed, sir;
And every morn when I woke up
I popped it on my head, sir.
I went to town the other day,
And hoped to buy a hat, sir;
And while away a kitten made
A bed of my old cap, sir.
Another time my mommy had
A hen that made a nest, sir;
And made it in my beaver cap,
The thing I love the best, sir.
I took them eggs out, one by one,
You bet I had some fun, sir;
I threw them at my mommy's head,
And really made her run, sir.
But when my Pa came home that night,
He really made me jump,, sir;

MB
Song Texts
3478
And with my good old beaver cap,
Put blisters on my rump, sir!
******** ***************************

No. 1207
MY OLD GRANNY
also known as
Die an Old Maid
Grandma’s Advice
Grandma's Song
Grandma Would Have Died
My Grandma Lives on Yonder
Little Green
My Grandma’s Advice
My Grandmother Lived on Yon
an Old Maid
der Little Green
Little Johnny Green
As Cox (PSS) pointed out in his headnotes, this song
probably derives from an 18th century song called Die
An Old Maid. Cox also found a version of this song in
The Virginia Centinel and Gazette , March 2, 1795 and
in The Lover's Harmony, No. 17, p. 134, London, 1840,
Obviously, the tune was taken from Zip Coon (see in MB),
which was taken in turn from the Irish song, The Old
Rose Tree, or The Rose Tree in Full Bearing.
Other popular folk songs set to the same tune in this
Master Book are Natchez Under the Hill and Turkey in
the Straw.
REFERENCES
Allsopp, II, 209
Brewster (BSI), 243-245
Brown, II, 467-469; IV,
Chappie (HS), 302-303
Creighton (MFS), 36
Cox (FSS), 469
Cox (TBPS), 101
250-252
Davis (FSV), 176
Eddy, 300-301
Ford (TMA), 316-317
Gardner (FSH), 206-207
Grigg (1832), 95
Haynes, I, 115
Hubbard, 161-162
Jackson (WSSU), 166

MB
Song Texts
3479
Jour (API), XXXII, 498-499;
XXXV, 401-402; XXXIX,
157-158
Levy, 337
Linscott, 243-245
Luther, 166
Mackenzie, 379, 408
Morris, 363-364
Pound (SFSN), XXII, No. 20
Randolph, I, 383-384
Richardson (AMS), 46
Scarborough (SC), 374, 457
Shoemaker (MMP), 58
Spaeth (WSM), 160
Stout, 21-22
Williams (FSUT), 74
My Old Granny
My old granny lived on yonder little green,
As fine an old lady as ever was seen;
She often taught and instructed me with care,
Of all false young men to beware.
Ti di urn dum dum dum, di di di di air,
Of all false young men to beware.
These false young men will flatter and deceive,
So, dear daughter, you must not believe;
They'll flatter, they'll coax, and before you're aware,
They will leave you and no longer care.
The first came a-courtin' was little Johnny Green,
As fine a young man as ever was seen;
But the words of my granny ran thro' my head,
And I could not hear one word he said.
The next one to court me was young Jimmy Erown,
And he was the handsomest man in town;
With such a wonderful love I couldn't be afraid—
It's better to marry than die an old maid.
Said I, to myself, there's some mistake!
What a silly fuss these old folks make!
If boys and girls had all been afraid,
Then Granny herself would have died an old maid!
*************************

MB
Song Texts
3480

Ho. 1208
MY OLD KENTUCKY HOME
also known as
Old Kentucky Home
Source Song. Words and music by Stephen Poster
with many other Poster songs,
borrowed by other songwriters
Cabin Home elsewhere in this Master Book.
REFERENCES
Agay (2), 112-113
Carmer (SRA), 92-93
Chamberlain, 232-233
Chappie (HS), 162
Downes (1940), 134-136;
(1943), 164-166
Elson, 36-38
Gilbert (100), 106-107
Johnson (PS), 64-66
As
the tune of this one was
For example, see My Log
Lloyd, 88-89
Luther, 151
Mackenzie (SH), 40-41
Most (PCS), 56-57
Oberndorfer, 97
Silverman, I, 146
Songs (15), 18
Staton, 68-69
Wier (SWWS), 210-211
Wier (YAM), III, 67
5
My Old Kentucky Home
The sun shines bright in my old Kentucky home,
*Tis s umm er, the darkies are gay;
The corn top's ripe and the meadow's in the bloom,
While the birds make music all the day.
The young folks roll on the little cabin floor,
All merry, all happy, and bright.
By'n-by hard times comes a-knocking at the door,
Then my old Kentucky home, good-night!
Weep no more, my lady, oh, weep no more today!
We will sing one song for the old Kentucky home,
For the old Kentucky home far away.
**********-**-**-**-*****-********** *44*

MB
Song Texts
3481

No. 1209
MY OLD SWEETHEART
also known as
Tru Love Prom the Eastern Shore
The only other version of this song I have seen in print
is in Sharp, II, 264. However, The Parting Lovers in
Fuson, 75-76 may be nothing more than a variation of
this song.
Old Sweetheart
My old sweetheart, now fare you well!
You did me wrong, as time will tell.
If on this earth we could not agree,
I'd never treat you as you treat me.
It's time to mourn, to cry and weep;
I'm satisfied I’ll never sleep.
You turned away and broke my poor heart;
• You promised me that we'd never part.
My old sweetheart, from yonder shore
Come view my grief forever more;
When one sad day you see my grave,
Think of the true love you did not save.
My old sweetheart, it's now farewell;
You slighted me, I wish you well;
But know this truth before you depart,
You're leaving me with a broken heart.
*********************

MB
Song Texts
3482 '

No. 1210
MY ONE TRUE LOVE
also known as
Banishment
Dearest Dear
I Love You Well
The Lover's Lament
The Lover's Song
My Dearest Dear
My Dearest Pair
The Time Has Gome, My
Dearest Dear
This is obviously a compounded song, but who put it
together, and when , is not known 0 It is made-up of
texts lifted from other songs, such as The True Lover* s
Farewell and Turtle Dove.
English versions ante-date American versions, although
some American versions have been traced as far back as
the Civil War.
REFERENCES
Belden (BS), 484-486
Randolph, IV, 262-266
Sandburg (AS), 126-127
Scarborough (SC), 314, 440
Sharp, II, 13, 116 F
Campbell & Sharp, No. 77
Henry (FSSH), 269-270
Jour AFL), XXXIX, 146
My One True Love
My one true love the time is near
When you and I must part,
And you'll never know the grief and woe
Of my poor troubled heart.
Don't cry, my love, you'll break my heart;
Just smile and say goodbye.
You know the best of friends must someday part,
And so must you and I.

MB
Song Texts
3483
My mother dear is hard to leave,
My father's on my mind;
But for your sake I'll go with you
And leave them both behind.
I wish your breast was made of glass,
That I might there behold;
I'd write your name in secret, dear,
In letters of bright gold.
0, you are like some turtle dove
That flies from tree to tree;
It flies away and mourns for its true love,
The same as you and me.
When you are on some distant shore.
So far across the sea,
How little will you know the grief and woe
That you are causing me.
**********************************

No. 1211
MYRA BELLE LEE
also known as
White Ocean
The Cage of Ivory and Gold
The Castle By the Sea
The Courting of Armalee
The Dapple Grey
The Daughter of Old England
Doors of Ivory
The Errant Knight
The False-Hearted Knight
The False Knight Outwitted
Billy Came Over the Main
The False Lover
False Sir John
The Gates of Ivory
Go Steal to Me Your
Father's Gold
The Gowans Sae Gay
He Followed Me Up, He
Followed Me Down
The King's Daughter
The King's Daughter Fair
The King's Seven Daughters

MB
Song Texts
King William’s Son
The Knight of the North
land
Lady Isabel
Lady Isabel and the Elf-
knight
Lady Ishebl and Her Parrot
Le Mechant Guillon
Little Golden
A Man In the Land
May Collin
May Colven, or Colvin
Miss Mary’s Parrot
My Colleen
My Pretty Cold Rain
My Pretty Colinn
The Ocean Wave
The Old Beau
The Outlandish Knight
Polly and William
The Prating Parrot
Pretty Cold Rain
3484
The Pretty Colin, or Collee
The Pretty.Golden Queen
The Pretty Gold Leaf
Pretty Nancy
Pretty Polly
Pretty Polly Ann
The Salt Water Sea
The Seven Daughters
The Seven Kings’ Daughters
The Seven Sisters
The Seventh King's Daughter
The Six Pair Maids
The Six Kings’ Daughters
Sweet Nellie
Sweet William
The 7/ater o Wearie’s Well
The Wicked Knight
Willie Came Over the Main
White Ocean
Willie Came Over the Ocean
Willie Came Over the Sea
Willow Tree
This song is known to practically all European countries
with ballad traditions. Anglo-American versions of the
song are not as lehgthy as those in other places and
languages. Generally, the American versions are minus
the supernatural character of the lover. Aside from this,
however, all versions are basically the same story. The
parrot of some versions, including A below, poses some
reference problems, usually in connection with the parrot
in most all known versions of Loving Henry (see in MB)#
There are three versions below, the first being American,
the second being English, and the third being French with
translation. The differences between these three versions

MB
Song Texts
3485
are sufficient to show at least some of what happens to
a ballad story as it travels from one century to another
and from country to country.
REFERENCES
Anderson (AESB), 65
Arnold, 54-55
Baring-Gould (EFSS), 26-27
Barbeau (FFC), 22-29
Barry (BBM), 14-34
Belden (BS), 5-16
Bell (APBS), 61
Best, 8
Brewster (BSI), 31-36
Broadwood (ECS), 164-165
Bronson, I, 39-100
Brown, II, 15-26; IV,
4-8
Brown (BLNC), 9
Buchan (ABS), I, 22; II,
45
Bulletin (FSSN), I, 3-4
Bulletin (VFS), Nos 2 &
4, 6-12
Burne, 548, 652
Campbell & Sharp, No. 2
Chappell (FSRA), 12
Child, I, 22-62
Coffin, 32-35
Cox (FSS), 3-17, 521
Cox (TBFS), 5-8
Davis (MTBV), 16-25
Davis (TBV), 62-85, 549-
551
Dean-Smith, 97
Dixon (1846), 74
Dobie (TBE), 138-140
Ebsworth (RB), III, 449;
VII, 383-384
Eddy, 6-13
Fauset (FINS), 109
Flanders, I, 82-123
Flanders (BMNE), 4-7, 109-
III, 129-131
Flanders (VFSB), 190-192
Friedman, 10-13
Gainer, 6-7
Gardner (BSSM), 29-31
Greenleaf, 3-6
Greig, II, art. 106
Greig & Duncan, No. 225
Greig & Keith, 2
Henry (FSSH), 32-36
Herd, I, 153
Herd MSS, I, 166-168
Houseman, 94-95
Hubbard, 1-4
Hudson (FSM), 61-66
Jour (AFL), XVIII, 132; XIX,
232; XXII, 65; XXIII,
375; XXIV, 333; XXVII,
90; XXIX, 156; XXX, 286
XXXV, 338; XLII, 254;
XLVIII, 305; XLIX, 213
Jour (FSS), I, 246; II, 282;
IV, 116-123
Karpeles, 23-24
Kiason (TT), 27, 172
Kinsley, 49-51

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Song Texts
3486
Korson (PSL), 30-32
Leach (BB), 53-59
Leisy (SPS), 38-39
Lomax (PS1TA), 18-19
MacColl & Seeger, 50-57
Mackenzie, 3-8, 391
Mackenzie (QB), 93-95
Manny, 202-203
Moore (SPSS), 12-15
Morris, 237-241
Motherwell, I, 67
Muir, 135, 181
Niles (BB), 24-30
Owens (TFS), 6-10
Peacock, I, 206-207
Perrow, XXVIII, 148
Pub (TPLS), X, 138-140
Quiller-Couch, 43, 47
Randolph, I, 41-47
Randolph (OMF), 216
Ritchie (PS)> 8-9
Roberts (IP), 8-12
Sandburg (AS), 60-61
Sanders, 117-120
Scarborough (NFS), 43-45
Scarborough (SC), 126-128
Sharp, I, 5-13
Sharp (100), 29-31
Sharpe (BB), 45
Shearin (3BCM), 3
Shearin (SKFS), 7
Silverman, I, 211
Smith (SCB), 97-100
Smith (SM), III, 92
Stokoe, 130-131
Treat, 16
Whiting (TBB), 119-112
Williams (EPS), 80
Williams (FSUT), 159
Wyman (LT), 82-87
Myra Belle Lee ( Version A)
0 listen to me and a tale I will tell;
Just listen awhile to me.
I'll tell you about young Willie Bell,
Who courted Myra Belle Lee, Lee, Lee,
Who courted Myra Belle Lee.
Young Willie came over the ocean so wide,
Young Willie he sailed the sea;
He came ashore and crossed the hills,
And called on Myra Belle Lee, etc.
He followed her up and he followed her down,
He followed he all the day;

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Song Texts
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She had never thought of loving him,
But she did not tell him nay, etc.
Go bring me a bag of your father's old gold,
And some of your mother's fee;
I will marry you on yonder shore
And take you o'er the sea, etc.
She brought him a bag of her's old gold,
And some of her mother's fee;
She then took him to her father's barn,
The horses for him to see, etc.
Pair Myra Belle mounted the brownie bay,
He mounted the dapple gray;
Then into the lonesome woods they rode
Before the break of day, etc. '
They galloped all over the distant hills,
Your Willie and Myra Belle Lee;
They rode and they rode all through the night,
Until they came to the sea, etc.
"Stand down, stand down," young Willie then said,
"For soon it will be day.
It's six pretty maids that I've drowned here,
The seventh maid now must pay, etc ."
"0 hold your tongue!" said Myra Belle Lee,
"0 hold your tongue!" said she,
"You said we'd ride to yonder shore
And there you'd marry me, etc. "
"Take off, take off your fine clothing.
Remove them all," said he;
"They're too costly and they're far too fine
To rot in yonder sea, etc. "
"0 turn your body all around and about,
And look away," said she;

Song Texts
"1*11 never allow the likes of you
My naked charms to see, etc, ”
He turned his body all around and about,
As pleased as he could be;
She clasped him all in her arms so white
And plunged him into the sea, etc ,
"lie there! Lie there! you villain,” she cried,
"Lie there instead of me!
It*s six pretty maids that you've•drowned here,
The seventh one shall go free, etc, ”
Pair Myra Belle leaped on the brownie bay
And led the dapple gray;
And straight she rode to her father's house
Before the breaking of day, etc.
"Don't speak! Don't speak! you sweet Polly bird
Don't ever tell tales on me!
I'll make you a cage of glittering gold,
Instead of the greenwood tree, etc.
VERSION B
An Outlandish knight from the North lands came,
And he came a-wooing to me;
He promised he'd take me to the North lands,
And there he'd marry me,
"Come, fetch me some of your father's gold,
And some of your mother's fee,
And two of the best nags out of the stable,
Where they stand thirty and three,”
She fetched him some of her father's gold,
And some of her mother's fee,

Song Texts
3489
And two of the best nags out of the stable,
Where they stood thirty and three.
She mounted on her milk-white steed,
He on the dapple gray;
They rode till they came unto the sea-side
Three hours before it was day,
"Light off, light off thy milkwhite steed,
And deliver it unto me;
Six pretty maids have I drowned here,
And you the seventh will be!
"Pull off, pull off thy silken gown,
And deliver it unto me;
Methinks it looks too rich and gay
To rot in the salt sea,"
"If I must pull off my silken gown,
Pray, turn thy back on me;
For it is not fitting that such a ruffian
A naked woman should see."
He turned his back towards her,
And viewed the leaves so green;
She catched him round the middle so small,
And tumbled him into the stream.
He dropped high, and he dropped low,
Until he came to the side:
"Catch hold of my hand, my pretty maiden,
And I will make you my bride."
"Lie there, lie there, thou false-hearted man,
Lie there instead of me;
Six pretty maids hast thou drowned here,
And the seventh has drowned thee."
VERSION C

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Song Texts
3490
Le Mechant GullIon ( French )
"Allonsy, 13611’, nous promener
Tout le long de la mer coulante,
Alloney, hell', nous promener,
En attendant le dejeuner,"
Mais quand ils fur’nt dedans le bois;
"Mon beau Guillon, que j'ai done soif!
- w Tu ne mangeras ni boiras
Avant d'y voir couler ton sand."
Mais quand ils fur’nt sortis du bois,
Le beau galant dit a la belle:
—"Tu coucheras dans la rivier'
Ou seize femmes sont noye's.
"Car c’est ice, bell' Jeanneton,
Qu'll faudra t’y deshabiller."
La belle 5ta son blanc jupon
Pour aller voir la mer au fond.
• / /•
Quand ell’ s'y fut deshabille',
Le beau galant s’approcha d'elle;
C’est pour tirer son bas du pied.
Dedans la mer ell’ la pousse y .
Dedans la mer a s'y noyer
Une branche il a-t attrapee.
La belle a pris son grand couteau,
A coupe la branche a fleur d'eau.
"Tends-moi la main, bell' Jeanneton!"-
A A
"Peche, Guillon, peche poissons!
Si tu en prends, n'en mangerons;
A nos parents en porterons."
-"Ne veux-tu pas, bell' Jeanneton,
Que ;j'aille revoir mon pere?
-"Non! non! Guillon, mechant garcjon!
Va-t'en dcnc voir la mer au fond."

MB
Song Texts
"Comment vont tous ces gens parler
En te voyant arriver seuie?”
-"Ils apprendront la verit/,
Mais que tu voulais m'y noyer.”
"Qui dans le bois te conduira?"-
"C'est ton cheval, mon beau Guillen!
A grand tourment nous emmena,
A pas lents me ramenera.”
"Void, la bell*, voici les clefs
Be mon chateau, de mes richesses."
-"Je n'en ai que fair* de chateau,
Hi de chateau, ni de Guillon!”
"Retourne-t•en, bell* Jeanneton,
Tout droit au logis de mon pere.
Tu lui diras que je suis mort;
Bell' Jeanneton n'a pas de tort*”
- ENGLISH TRANSLATION -
From; Barbeau (FFC) , 22-29
"Beautiful girl, come walk with me
Along the length of the rolling sea*
Come, beautiful girl, and walk with me,
Breakfast still will waiting be.”
When they were come v/ithin the wood:
"My handsome Guillon, I’m athirst.”
"You shall not eat, you shall not drink
You'll see your own blood flowing first
"Here it is, fair Jeanneton,
That I will have you to undress.”
The maid took off her petticoat
To go to the sea-floor's wilderness.
And when the maiden was undressed,
The handsome knight fell on his knee
3491
♦
♦

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Song Texts
3432
To pull her stocking from her feet,
Quick she pushed him into the sea.
To stay his drowning under the wave,
He seized a "bough that drooped below;
She took her knife and cut it off
At the level of the water’s flow.
"Give me your hand, sweet Jeanneton!"
"Pish, Guillon! There’s many a fish.
Catch a few and let us eat,
And bring our folks a savory dish!"
"And will you not, sweet Jeanneton,
My father I should see again?"
"No, no, Guillon, you're a wicked knight!
Go down deep to the watery plain."
"But what will your people say to you,
When it's all alone they see you come?"
"The truth is what they will learn from me;
Who tried to drown me will ne'er come home."
"And who's to take you through the wood?"
"It is your horse, my handsome knight.
Slow will be his homeward steps
Who brought us here in galloping flight."
"Beautiful girl, here are the keys
Of castle and treasure, silver and gold,"
"Of castle and treasure, silver and gold
No more than of lying knight I hold."
"Return, my beautiful Jeanneton,
To my father's mansion straightaway;
And you shall tell him I am dead
And Jeanneton's net wronged today."

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Song Texts
3493

Ho. 1212
MY SARAH JANE
also known as
Rockabout My Saro Jane Saro Jane
Many musicians and singers with whom I worked during
the 1930s and 40s played and sang this song 0 Lomax
obtained a version from Lave Macon, the banjo pickin’,
fatback eatin', tune racin' star of Nashville's Grand
Ole Opry.
When I asked Uncle Dave where he first heard the song,
he told me he couldn't remember.
For an obvious adaptation, see Come Along , My Julie Ann
in this Master Book.
REFERENCES
Botkin (SEL), 747-748 Lomax (USA), 151-153
Leisy, 281 Okun, 139-141
Lomax (FSNA), 528-529 Silber (HSB), 48
Silverman, I, 368
My Sarah Jane
I got a wife, five little children.
Gonna take a trip on the Big MacMillan.
Oh, Sarah! Talk about my Sarah Jane.
Chorus
Talk about my Sarah Jane,
Talk about my Sarah Jane,
Got nothin* to do but hang around with you,
Talk about my Sarah Jane.
I got no money but I'll get some.
Gotta have the rent when the landlord come!
Oh, Sarah! Talk about my Sarah Jane.

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Song Text 3
3494 .
No. 1213.
MY SHIP IS ON THE OCEAN
also known as
Poor Sinner, Pare You Well
A slave spiritual that was also a campground spiritual
sung by whites. Version below is from the repertoire of
the original Fisk Jubilee Singers.
REFERENCES
Johnson (SBNS), 150-151 Marsh (SJS), 165
Jubilee (PS), 27 Pike, 205, 247
My Ship Is On The Ocean
I*m going away to see the good old Daniel,
I»m going away to see my Lord.
Chorus
My ship is on the ocean, (3)
Poor sinner, fare you well.
I*m going to see the weeping Mary,
I’m going.away to see my Lord.
Don't you want to live in that bright glory?
I’m going away to see my Lord.
************************************
NOi 1214
MY SWEETHEART'S THE MULE IN THE MINES
This is a parody from coal miners, adapted from the
nursery song The Man in the Moon»
REFERENCES
Arnett, 127
Bertail, 107

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Song Texts
3495
Botkin (AFL), 864
Emrich (GBF), 21
Korson (MP), 122-123
Lomax (FSNA), 131
Luther, 273
Perkins, II, 10
Silverman, II, 194
My Sweetheart * s the Mule in the Mines
My sweetheart's the mule in the mines,
I never require reins or lines;
On the buckboard I sit,
Chew tobacco and spit
All over my sweetheart's behind.
Way down where the sun never shines,
My sweetheart and I work in the mines;
And she don't mind one bit whever I spit
All over her pretty behind.
***************************************

No. 1215
MY SWEET HONEY LAMB
also known as
The- Best Old Feller in the World Kind Old Husband
The Good Old Man My Good Old Man
This is an old Irish-English dialogue song. 7/hatever
popularity it still has in the United States is due,
probably, to Burl Ives and several other professional
folk singers. It has also been reported as a game-song,
but I've not seen a description of the game.
Best, 21
Brown, II, 463-465
Davis (FSV), 164
Harbison, 155-156
Jour (WFSS), I, 81
Karpeles (EFS), II, No. 317
Lomax (OSC), 128-129
Lomax (PB), 46
REFERENCES

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Song Texts
3496
McIntosh (FSSG), 33-35
Moore (SPSS), 220-223
Randolph, III, 171-174
Reeves, 115-117
Reeves (EC), 125
Ritchie (SEC), 13-15
Sedley, 214-215
Sharp, II, 338-339
My Sweet Honey Lamh
Where are you goin*, my good old man?
Where are you goin*, my sweet honey lamb?
-( Spoken ): Huntin’.
And when will you come home, etc. ?
-Saturday.
And what will you want for your supper, etc . ?
-Scrambled eggs.
And how many eggs can you eat, etc . ?
-Three dozen.
Three dozen eggs will kill you, etc a
-Don’t care.
Where will I bury your body, etc. ?
-Behind the barn.
And what would you do if I didn’t, etc . ?
-Haint you.
A "haint” caint haint a "haint,” my good old man.
A "haint” caint haint a "haint,” my sweet honey lamh
*******************************
*****************************

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Song Texts
3497

No. 1216
NANCY
Also known as
Charming Nancy
The Dreams of lovely
lovely Nancy
The Streams of lovely
Nancy
Nancy
Versions of this song have been collected in Canada,
but none seem to have shown up in any of the American
collections of traditional material. Nancy is, how
ever, one of the more popular female names in folk
song on both sides of the Atlantic.
The ballad's history is discussed extensively in
Jour (FSS), IV, 310-319 by Broadwood & Gilchrist.
Broadside versions were issued by Catnach, Pitts,
Such, and others, and some of these are printed in
Jour (PSS), I, 122; III, 53 and VII, 59. A variation
entitled NELLIS is given in Creighton (MPS), 79 and,
another, entitled FAREWELL, SWEET MARY is given in
Cox (PSS), 433
This ballad is generally referred to by American col
lectors in their notes to versions of the old English
ballad. The Poor Stranger , or Sweet Europe , but this
does not establish a relationship between the two bal
lads.
The version given below came from Fred Kirby, an old-
time country singer, Charlotte, N, C., in 1938.
REFERENCES
Baring-Gould (SW), No. 93 Reeves (EC), 251-253
Creighton (MPS), 79 Sharp (SS), VII, 16-18
Karpeles, 205-207 Williams (EPS), 98
Karpeles (EPS), II, No. 375
************************
Nancy

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Song Texts
3498
The dreams of lovely Nancy divide in three parts,
Where young men and maidens go to seek their
sweethearts.
The drinking of whiskey makes my poor heart ache,
The noise in the valley caused the rocks for to
break.
A sailor and his true love were walking along,
He said to the maiden, "I’ll sing you a song.
It's a false-hearted woman that caused me to say,
Pare you well, lovely Nancy, I am going away."
"I'll go to some nunnery and there I'll abide,
And never get married," the young maiden cried.
"I'll never get married! no wedding for me
Until my dear Jimmy comes home from the sea."
I went to my captain and fell on my knees,
I begged him to let me go back to her, please.
He answered me quickly, "The truth I must tell:
Your love is unfaithful and bids you farewell."
I'll build me a castle, and build it to stand;
I'll build it by the ocean on some lonely strand.
I'll build it of ivory and diamonds so bright,
To single poor sailors on a dark stormy night.
*************************
1217
NANCY DAWSON
also known as
Dawson's Hornpipe Miss Dawson's hornpipe
Source song. The tune was named in honor of Nancy
Dawson, who, according to Chappell (OEPM), II, 186
and (PNCT), II, 718-720, "was celebrated dancer in

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Song Texts
3499.
the reign of George II* One of her portraits is at
the Garrick Club; and there are four different
prints of her, one of which, by Spooner, is in Dr.
Burney's Collection of Theatrical Portraits in the
British Museum..." Nancy Dawson died on May 27,
1767.
The time became extremely popular during Miss Dawson’s
career as a dancer, because it was the music she al
ways danced to. It has been printed in many collect
ions as a country-dance, both in England and America.
It is best known in this country as the children's
game song, Mulberry Bush , a version of which is given
elsewhere in this Master Book. Other well-known
game songs sung to the tune are All Down To Sleep ,
The Farmer in the Field and On a Cold and Frosty
Morning , or Nuts in May .
*********************
Nancy Dawson
Of all the girls around this town—
The black, the fair, the red, the brown—
That dance and prance it up and down,
There's none like Nancy Dawson.
See how she comes to give surprise
With joy and pleasure in her eyes;
To give delight she always tries,—
There's none like Nancy Dawson.
Her easy mien, her shape so neat,
She foots, she trips, she looks so sweet;
Her every motion's so complete,—
I'd die for Nancy Dawson.
**********************

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Song Texts
3500

Ho.. 1218
NANCY HANKS
This is the only song I have ever seen about Abraham
Lincoln's mother. It is from Abe, the Rail Splitter
a musical narrative by Dickson Hall and Gary Romero,
and is given here by permission of the composers.
************ ********
Nancy Hanks
When Nancy Eanks was twenty-three
Young Thomas Lincoln said:
"Oh, Nancy, if you'll marry me,
This summer we'll be wed.”
The two were wed one day in June,
And from their marriage came
A daughter first and then a son—
Abe Lincoln was his name.
When Nancy Hanks was thirty-one,
Young Thomas he did say:
"We'll take our daughter and our son
And journey far away.”
She did not smile, she did not cry,
But she prepared to go;
They left the old Kentucky hills
And crossed the Ohio.
When Nancy Hanks was thirty-four
There came a day of dread,
For death came knocking at her door
And Nancy Hanks was dead.
Tho' Nancy's gone she still lives on
In hist'ry's hall of fame—
She gave this earth a child of worth:
Abe Lincoln was his name.
*#♦*-** **-*-** ****************

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Song Texts
3501

No, 1219
NAPOLEON I
also known as
Boney John Francois
Boney Was a Warrior John Franswar
• ♦
Napoleon Bonaparte (1769-1821) is one of those
internationally known individuals celebrated by
name in history books, novels and songs. Only four
of the songs are given in this Master Book , and the
first is traditional as a shanty and as country
dance and fiddle tune.
According to Hayet, the English borrowed their ver
sions of this halyard shanty from the French song,
which begins:
C’est Jean-Frangois de Nantes,
Oue! Oue! Oue!
According to Colcord, however, it happened the other
way around: the French borrowed from the English. I
leave the accuracy of the opposing claims to any one
who is interested enough to make a determination.
The tune became popular on its own, in rural America,
as a dance and fiddle piece. A version of the shanty
appeared in Harper♦s Monthly , July 1882, 283, 285.
For an interesting song about Napoleon recovered from
traditional sources in Canada, see Napoleon* s Fare
well to Paris in Creighton (SBNS), 148; Greenleaf,
167, and Peacock, III, 1009. For earlier versions,
reproduced from broadsides and entitled Bonaparte 1 s
Farewell , see: Jour (FSS), I, 14; II, 183; Songster
(10), 165; Wehman (ISB-1887), 112.
REFERENCES

MB:
Song Texts
3502
Adams, 315
Bone, 42
Bullen & Arnold, 26
Coclcord, 40-41
Davis (SSC), 49-49
Doerflinger, 6-7
Harlow (C), 27-28
Hugill (1), 445-446
Hugill (2), 194-195
King, 4
Masefield (SG), 351
Meloney, 13 .
Reeves (EG), 62
Robinson, 124
Sampson, 42
Sharp (EFC-2), 54
Shay (ASSC), 29
Shay (IMWS), 29
Silverman, II, 262
Smith (BOS), 32
Smith (MW), 37, 53
Terry, I, 54
Whall (SSS), 96
Williams (SC), 80
***************************
Napoleon I
Boney was a warrior, Away ay-yah!
A warrior and a tarrier, John Franswor!
Boney fought the Prushians, Away ay-yah!
The Prushians and the Rushians, John
Franswor!
Moscow was a-blazing, Away ay-yah!
The warfare was a-raging, John Franswor!
Boney went to Elba, Oh! Away ay-yah!
And then he struck another blow, John Franswor!
Boney fought at Waterloo, Away ay-yah!
A foolish thing for him to do, John Franswor!
0 they shipped him off again. Away ay-yah!
Aboard the Billy Ruffian, John Franswor!
Boney broke his heart and died, Away ay-yah!
They say his widow never cried, John Franswor!
************************

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Song Texts
3503
No^. 1220
NAPOLEON II
also
Bonaparte on St. Helena
Bonaparte's Exile
Bone Part
Boney
Boney’s Defeat
known as
Buonaparte
The Isle of St. Helena
Lonely Louisa
Napoleon Bonaparte
Napoleon's Exile
Versions of this ballad have been reported from tra
ditional sources all over the English-speaking world
REFERENCES
Belden (BS), 146-147
Brown, II, 385; IV, 214
Chappell (FSRA) , 186-187
Eddy, 220
Flanders (VFSB), 111-112
Greenleaf, 168-169
Jackson (WSSU), 182
Jour (AFL), XIV, 140;
XXXV, 358
Jour (FSS), II, 88-89
McCurry, 159
Scott (BA), 102-104
Sharp, II, 245
**************************
Napoleon II
Oh! Boney he had gone from the wars of all fighting;
He has gone to the place where he takes ns delight in,
And there he may sit down and tell the scenes that
he has seen of.
While forlorn, he does mourn on the Island of St.
Helena.
Now no more in the clouds he'll be seen in such
splendor.
Nor go on with his crowds like the Great Alexander;
But the young king of Rome and the Prince of Gabona
Said he'd bring his father home from the Island
of St. Helena.
***************************

JIB Song Texts 3 504 .

Ho. 1221
NAPOLEON III
also known as
Bonaparte’s Retreat Bonyparte
This is an instrumental tune celebration of Napoleon
at the Battle of Waterloo ; it came into being shortly
after his defeat and second exile. During the 1950s,
the tune was borrowed for a country-pop song ( Bona
parte’s Retreat ) by Pee-Wee King and Redd Stewart.
For other instremental dance versions of this tune,
see: Ford (TMA), 129; Lomax (OSC), 54; Thede, 36.
********•*•*-*■*■*■*•*•**■*-**
Napoleon III -Tune without words. See mucis section,
TUNES.
**************** ******

No. 1222
NAPOLEON IV
also known as
The Green Linnet Lady Bonaparte's Lamentation
Irish Ode to Napoleon Mrs. Boney's Lamentation
This song (set to the Irish tune, Villeagan Dubh 0? )
is not as well known in America as are the first three,
but it has been reported here from trational sources.
For another song dealing with the same subject, see:
The Grand Conversation of Napoleon in Barry (MWS), 90.
REFERENCES
Bulletin (FSSN), I, 9-10 Peacock, II, 458-459
Joyce (OIFMS), 175 Songster (100), 45
******* * ** * ******* * ** * * *

••If. ' «••**• •
MB
Song Texts
3505
Napoleon IV
Curiosity caused a young native of Erin
To view the gay banks of the Rhine,
When an Empress he saw—and the robes she
was wearing
All over with diamonds did shine*
A goddess of splendor was never yet seen
Who'd equal this fair one so mild and serene;
In soft murmers she said, "My sweet linnet so
green,
When you're gone I'll never see you no more.
"The cold stormy Alps you freely went over,
Which nature placed there in your way;
Marengo Salone around you did hover,
And Paris rejoiced the next day.
It grieves me the hardship you did undergo,
Over mountains you travelled all covered
with snow;
The balance of power your courage laid low,
Are you gone? Will I ne'er see you more?
"The crowned heads of Europe, when you were
in splendor,
Pain would have had you to submit;
But the Goddess of Freedom soon bid them sur
render,
And lowered their standard of wit.
Like ravens for blood their wild passions
did burn,
The orphans they slew and caused widows to
mourn;
They say my linnet is gone and will ne'er return
Is he gone? Will I ne'er see him more?

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Song Texts
3506
"At famed Waterloo where thousands lay sprawling
On every field, high or low,
Fame on her trumpet true Frenchmen were calling.
Fresh laurels to place on her "brow.
Usurpers did tremble to hear the loud call,
The third old age building around you did fall.
And the Spaniards their fleet in the harbor
did call.
Are you gone? Will I ne’er see you no more?
**********************

Ho. 1223
HATCEEZ UNDER THE HILL
also known as
Hatchez on the Hill
This is a classic folk melody with a long tradition.
It apparently began in Ireland as The Old Rose Tree,
or The Rose Tree in Full Bearing^ In the American
South, that Irish reel became a popular jig tune.
The number of texts set to it, or to a close variation
of it, is quite high and at least two of these be
came nationwide hits. The first was a minstrel piece,
ZIP COON (see elsewhere in MB), and the second, still
popular^ was TURKEY IN THE STRAW (also given elsewhere
in MB). The second piece served as the melodic base
for dozens of songs, including: ALL BOUND ROUND WITr^
A WOOLEN g THING , ANOTHER LITTLE DRINK , THE DUL^Y LINE,
MY OLD GRANNY , THERE WAS AN OLD SOLDIER , or Tri-RE HA~
A~ LITTLE HEN, TOUGH LUCK and WE» LL ALL PULL THR0UGH_j_
English"variations are THE HAYMAKERS DANCE and OLD
-MOTHER O XFORD . In Scotland, we find THE GiASGOw
HORNPIPE and THE POST OFFICE. For additional infor
mation, see headnotes to TURKEY IN THE STM and ZIP
COON elsewhere in this Master Boog^.

MB
Song Texts
3507
Versions of this tune appear in many commercial folios
and song-books issued by the various music publishing
companies. For other versions from traditional sources,
see: Chase (AFTS), 208 and Ford (TMA), 56.
****************************
Natchez Under the Hill mo. See music under, TUNES.
****************************

No. 1224
NATURAL HISTORY I
also known as
What Are Little Babies What Are We Made Of?
Made Of? What Folks Are Made Of?
What Are Little Boys, or
Girls Made Of?
This old song generally shows up in a fragmented form.
In various versions it takes into account boys, girls,
adults and, sometimes, occupations and professions.
The fragmented versions are those used to amuse young
children and as a nursery song. A version was used in
the motion picture, BEDTIME FOR 30NZ0 (early 1950s),
which starred Ronald Reagan, Dianna Lynn and Walter
Slezak. Mias Lynn sang the song as a lullaby to the
chimp, Bonzo.
Jackson (ESUS), 162 and Loesser, 98 give an obvious
adaptation, ANALIZATION , which begins:
What are mortals made of?
By analization I’ve tried all the nation,
Define each gradation, in every station,
With Sir Humphry’s best new chemical test,
And found what mortals are made of.
The song orginated in England. The exact date of its
origin is not known, but versions were in print by

MB:
Song Texts
< 3508
the middle of the 19th century.
REFERENCES
Bertail, 133
Brown, III, 193
Davis (FSV), 193
Rimbault (ONR), 16
Sharp, II, 334-335
Wier (YAM), I, 69
Moorat, 28
Rimbault (NR), 72-73
Halliwell (NRE), 119
Jour (AFL), XXXI, 92
Lomax (ABFS), 303-304
*********-* ***■**•» •****•*•*■**
Natural History !_
What are we made of, made of?
Oh, what are we made of?
This and that, both lean and fat,
And that's what we are made of.
What's little babies made of, made of?
Oh, what are babies made of?
Cry and suck and petted up,
And that's what babies are made of.
What are boys made of, made of?
Oh, what are boys made of?
Pigs and snails and puppy tails,
And that's what boys are made of.
What are girls made of, made of?
Oh, what are girls made of?
Sugar, spice, and all things nice.
And that's what girls are made of.
What are old folks made of, made of?
Oh, what are old folks made of?
Moans and groans and aching bones,
And that's what old folks are made of.
******* **** ********* *****

MB:
Song Textp
3509
ffo. 1225
BATURA -j HISTORY II
also known as
Song of all Nations
This is a form of the above song that was recovered
from a traditional source in Canada, see: Creighton
(FSNB), 171-172.
*************************
Natural History II
1*11 sing you a song of all nations,
Complete with a few reservations.
If some are left out you’ll find them
no doubt
In a different classification.
Can you tell me what an Irishman's made of?
Can you tell me what an Irishman's made of?
His shamrock so green and a jug of poteen—
And that's what an Irishman's made of!
Can you tell me what a Scotsman's made of? (2)
His bagpipes to squeal and a bowl of oatmeal—
And that's what a Scotsman's made of!
Can you tell me what an Englishman's made of? (2)
His tight-legged pants and his half and half—
And that's what an Englishman's made of!
And what is a Frenchman made of? (2)
He’ll loop the loop and dive in pea soup, etc.
And what is a Dutchman made of? (2)
His limburgher cheese and big wooden shoes, etc.
And what are old men made of? (2)
Chills and sprains and rhematic pains, etc;

KB
Song Texts
3510
And what are old ladies made of? (2)
0 "bonnet and shawl and youth to recall, etc.
What are the big boys made of? (2)
Drink and fight and stay out all night, etc.
What are the big girl3 made of? (2)
Powder and paint and laced to a faint, etc.

No. 1226
THE NEEDLE’S EYE
also known as
Cat After Mouse Thread My Grandmother's Needle
Threading the Needle Thread the Needle
Game song. Widely known in England and Prance, where
it is thought to be a relic of some ancient rite. In
England it represents a game called Cat After ..louse.
According to Gomme, the game is played in a similar
way wherever it i 3 encountered. Many traditional
versions and variants have been recovered from various
parts of the United States.
REFERENCES
Beckwith (FGJ), 38
Bertail, 75
Brown, I, 108; V, 54
Burne, 321
Cox (SG), 206-208
Folklore Record, III, 170
Forbush, 72-73
Gardner (FSH), 234
Gardner (S?PG), 115-116
Gomme, I, 64; II, 228
Hamilton, 297-298
Hofer (CSG), 17
Hudson (FSM), 291-292
Jour (AFL), XXVII, 297;
XLII, 228; XLIV, 18;
XLIX, 247
Linscott, 43-44
McDowell (FDT), 62-63
McIntosh (F3SG), 94
Newell, 91-92, 241

MB
Song Texts
3511
Northall, 397
Owens (ST), 9
Piper (SPPG), 263
Pub (TPIS), I, 23
Quarterly (SPL), VIII, 217
Randolph, III, 351-352
Shearin (SKPS), 37
Wamick, 165
Wolford, 72
********************************
The Needle 1 s Eye ( version A)
The needle's eye that doth supply
The thread that runs so truly;
There's many a lass that I let pass,
Because I wanted you.
Because I wanted you, because I wanted you.
With a bow so neat, and a kiss so sweet,
We do intend, before we end,
To have this couple meet.
Version B
Thread my. grandmother's needle.
Thread my grandmother's needle.
It is too dark, we cannot see
To thread my grandmother's needle.
************************

No. 1227
NEGRO POLK SONGS
Racial conflict, which has always been a major
problem in America, is readily apparent in folk
song. Any one paying attention can see and hear
■the differences that exist between songs sung by
black and white Americans, especially when the
older, more traditional songs are considered.

MB:
.Song Tests
3512
Generally speaking, ballad—makers have been white;
and white people have been little inclined to cele
brate events of people whose pigmentation differed
from their own. For example, they have been extreme
ly quiet about their part in conflicts with blacks.
They were even more silent about the Chinese. Of
course, the Chinese did not sing about their suffer
ings at the hands of white people. The blacks did.
However, the blacks tended to voice their problems
as a whole rather than those of any one individual.
There may have been songs about the conflicts
between whites and blacks that were written by white
people, but I have not seen them. The reason, per
haps, is because a ballad-maker would not have a
sympathetic audience for such songs. Yet the white
man’s conflict with the Indians was treated often
in songs. In thinking about the reason, I came to
the conclusion that it was because the Indian was
not a humble adversary-he fought back. TThatever
the explanation, ballads dealing with Indian con
flicts are fairly easy to come by. And they were
created by white people, not Indians. The Indians
apparently did not make ballads about their con
flicts with the white amn from their point of view.
In this respect, the black people were different:
they made their own songs, and by the thousands.
The folk songs of all people are expressions of
their environment and way of life, including their
attitudes and beliefs. For these reasons the folk
songs of American blacks have a definite character.
Exactly when that character was first assumed is,
however, almost impossible to determine. There
are two important reasons for this:
1, No successful attempts were made to
collect the songs of black Americans
prior to 184-0, and

MB
Song Texts
-3513
2* early letters and texts describing
the singing of blacks in America
were not carefully preserved.
Unlike the folk songs of white people, those of blacks
have not experienced a long, unhindered growth. The
period of growth is course limited to the time black
people have spent in America, roughly 300 years. The
astonishing fact is that Negro song in America could,
in so short a time, develop and retain its unique
racial character and, at the same time, become so
prolific. Brought here as slaves, introduced into
an alien culture—a culture they were constantly mod
ifying and being modified by—the blacks had little
control over their own lives and environment. Add
to this the fact that they were assembled from many
tribes and many places, that their customs, habits,
languages, and types of music were diverse, and you
will realize how remarkable it is that they have de
veloped such an identifiable body of song.
Unlike whites, the blacks did not arrive on these
shores with a uniform type of song. Whatever uni
formity we find on a national scale today was de
veloped here, in America. Unfortunately, we do not
know to any great extent what black people actually
think of their folk music. Very blacks entered the
field of folklore. With one or two exceptions, all
the major collections were compiled by white people.
I have sometimes wondered what a black person would
have collected for publication. Perhaps the same songs,
perhaps not—we will never know. I am certain, however,
that the editorial comments would have been quite
different from those in the white collections. It
is very easy to see that the black people the white
people talk about in their theoretical discussions
has little to do with the blacks who walk, eat, wear

MB
Song Texts
35 14
shirts, go to work, listen to the radio and watch
television.
There are a great variety of Negro folk songs.
We have the blues, the field hollers, the spirituals,
the work songs, and the entertainment pieces that
come in various forms and styles. There are obvious
similarities between white gospel hymns and black
spirituals, and such similarities cannot (and should
not) be ignored. For it is preposterous to assume
that blacks, or any other group, could live in an
environment rich in song and not be influenced by
it. This probably explains the traces of white
gospel songs in black spirituals, which make-up
the largest number of Negro folk songs. But this
means only that musically sensitive slaves made
many obvious, conscious attepts to reproduce the
songs they heard around them. Yet the black spirit
uals are quite different from the gospel songs of
the whites; and this difference is probably of
African origin. We certainly know that the "call
and response chant” retained in many Negro songs
is of African origin. Another type of Negro song
with an Afro-American character is the '’blues”—
and there is no evidence to show that it was copied
from any other kind of music. (For additional com
ments on this song-form, see the artitle: THE
BLUES elsewhere in this Master Book. )
The ”blues” differ radically from the spirituals,
for they are solo and individual whereas the spirit
uals are choral and communal. Spirituals were created
in church; blues arose from everyday life. The
latter are intensely worldly, the former are intense
ly religious. Spirituals were performed without
instrumental accompaniment, something unthinkable
when we look at the blues. Prom the standpoint of

MB:
Song Texts
3515
from, melodic variety and emotional expressiveness,
the spiritual is the most highly developed of the
Negro folk songs. (For additional comments about
spirituals, see the article: RELIGIOUS SONGS else
where in this Master Book ).
The work songs of the Negro form a clear reflection
of life during Reconstruction days. These work songs
portray vividly the conditions under which blacks
found themselves living and working. And, like
sailors, black laborers usually sang while working.
(For additional comment, see the article: OCCUPATIONAL
AND WORK SONGS elsewhere in this Master Book) .
Black Americans also had their share of " social"
songs—the songs used for dancing and which were
generally sung by musicians. Unlike spirituals and
work songs, the social songs were primarily instru
mental. All Negro songs had one thing in common:
Improvisation. Not only did improvisation play an
important part in all Negro folk songs, it was also
an art developed very highly by successful black
performers. If we listen carefully to authentic
performances of these social songs, or to the folk
blues, we learn that, while the singer and accompan
ist are in perfect accord, each succeeding verse of
the song is- a variation of the music of the first—
an employment of different idioms. The larger the
supply, the more complex the idioms, the more
interesting is the performance. These idioms are
both vocal and instrumental.
The social songs, which can be almost anything,
can hardly be considered as rich and distinctive
in melodic content as are the spirituals and the
blues. On the other hand, the improvised accompani-
may show harmonic feeling superior to that of the

MB
Song Texts
3516
spirituals and a development in rhythmic figures
comparable only to that revealed in the blues.
But all types of Negro folk song are represented
in this Master Book , though each type is merely
a percentage of the total.

No. 1228
NEW RIVER SHORE
also known
By the Red River Shore
Farewell to Girls
The Greenbrier Shore
The Green Brier Shore
as
I Can Love Sally
The Low River Shore
On the Red River Shore
The Red River Shore
This song originated in England. Given below are
two Americanized versions, with the second (B)
being a cowboy adaptation of the first (A). Both
versions were recovered from traditional sources.
REFERENCES
Brown, II, 286-287; IV,
158
Bulletin (TFS), VI, 158
Carmer (SRA), 175-176
Compleat, 105
Dobie (BSPF), 158-159
Fife, 160-161
Hubbard, 176-177
Lomax (ABES), 412
***************
Lomax (CS-1938), 181-183
Lomax (FSNA), 398-399
Mackenzie, 137-138
Mackenzie (QB), 161-162
Moore (API), 180-181
Owens (TFS), 56-57
Patterson (SRR), 36-37
Sharp, II, 188
Shearin (SKFS), 27
*******
New River Shore (version A)

MB
Song. Texts
_ 3517
0 I*m a happy lover, and I can love strong;
I can love an old sweetheart till another
comes along.
I hug them and kiss them and I set them at
ease.
Then I’ll turn my back on them and love whom
I please.
In old North Carolina, where I lived long ago,
I met a fair damsel and she set my heart aglow;
I loved her more dearly than any girl before,
Together we strolled along the New River
Shore.
It grieved my heart to leave her, and it
always will;
She told me that she loved me and I know
she loves me still.
But her dear old father he barred me from
their door,
And robbed me of my pleasure on New River
Shore.
I lifted up my broadsword and it glittered
all ’round;
And soon there was seven all stretched out
on the ground.
Some bleeding, some dying, all wounded full
sore.
All to regain my true love on New River
Shore.
0 how hard is the fortune of all womankind,
They're always controlled and forever con
fined ;
Controlled by their parents until they are
wives,

MB
Song Texts
3518
And then slaves to their husbands the rest
of their lives.
Version B
(Red River Shore)
At the foot of yon mountain where often lay snow,
The greatest creation, where soft wind doth blow,
There lived a fair maiden, she’s the one I adore;
She’s the woman I'll marry on the Red River
Shore.
I said, ’’Pretty fair miss, can you fancy me?
I don’t have a fortune.” "Nor do I,” said she.
"You're tall and you're handsome and it's you
I adore,
And it's you I will marry on the Red River
Shore."
But the moment her father he happened to hear,
He swore he would part me from my darling
dear;
I jumped on my bronco and away I did ride,
And I left my poor darling on the Red River
side.
She wrote me a letter, a letter so kind,
She wrote it to tell me "I'm losing my mind!
Come back to me, darling, you're the one I
adore—
You’re the one I will marry on the Red River
Shore."
So I saddled my bronco and away I did ride,
To marry my true lover on Red River side;

MB
Song Texts
3519
Her father learned of it and with seven
or more,
He rode out to stop me on the Red River
Shore.
I pulled my six-shooter, spun around and
around,
Till six men were wounded and seven were
down.
Not even an army kept me from her door,
And 1*11 marry my darling on the Red River
Shore.
******* ******** *****■*•»■*•** *** *

go. 1229
HEW RIVER TRAIN
also known
Dariin•
Darling, You Can’t love
But One
I’m leaving on That New
River Train
as
leaving on the New
River Train
That New River Train
You Can’t Love But One
You Can’t Love Two
I learned this song from my father, when I was only
nine years old. All the "country” performers I ever
met were familiar with the song and most of them
sang it.
REFERENCES
Brown, III, 137; V, 74
Davis (FSV), 249
Leisy, 239
Lomax (ABFS), 158-159
Lomax (PB), 54
Roberts (IP), 241-242
Seeger (6), 74
Silverman, II, 14S
*•*- ************* ***■**•■*•** *
New River Train

MB
Song Texts
3520
Dariin', remember what you said.
0 darlin', remember what you said.
0 remember what you said,
You would rather see me dead
Than leavin’ on that New River Train.
Chorus
Leavin' on that New River Train,
I’m leavin' on that New River Train;
You have caused me so much pain
That my tears fall down like rain,
And I'm leavin' on that New River Train.
Darlin', you know you can't love two!
0 darlin', you know you can't love two!
0 you know you can't love two
And still have a love that's true.
0 darlin', you can't love two!
Darlin', just look at what you've done!
0 darlin', just look at what you've done!
You've been havin' lots of fun
Poolin' 'round with more than one!
0 darlin', just look at what you've done!
********************

No. 1230
THE NIGHTINGALE I
also known as
As I Was Walking
The Banks of Champlain
The Banks of Low Lee
The Bold Grenadier
The Brave Volunteer
I Was Out Walking
The Nightingale Sings
One Morning in May
One Morning, One Morning
in May
See the 7faters A-gliding
The Soldier and His Lady

HB
Song Texts
3521
Soldier’s Rare Musik and
Maid's Recreation
The Troubled Soldier
The Water's Gliding
The Wild Rippling
Water
The double-entendre theme of this song is an ancient
one in folklore and poetry. In balladry the theme has
been in use since the 17th century. The tune is ex
tremely melodic and invariably popular wherever it
is found. Of English origin, the song has been wide
ly known in America since the Civil War. Some editors
have designated it as a Confederate piece, but others
identify it as a Union song. It many areas it is known
only as a dance and fiddle tune.
REFERENCES
Baring-Gould (SW), No. 15
Belden (BS), 239-244
Broadwood (ECS), 125
Brown, III, 24; V, 11-15
Bulletin (TFS), V, 34-35
Cambiaire, 92
Cazden, II, 92-93
Cazden (MB), 92-93
Combs (FSKH), 20-21
Cox (TBPS), 94
Cox (TBWV), 78-82
Bobie (MBS), 167
Ebsworth (RB), IX, 170
Eddy, 230-231
Fife, 6-7
Flanders (BMNE), 164-165
Gainer, 122-123
Harbison, 154-155
Henry (FSSH), 200
Jour (AFL), VI, 5-6
Jour (FSS), VIII, 194
Joyce (OIFMS), No. 78
Karpeles, 232-233
Karpeles (EPS), I, 645
Kennedy, 414-415
Laws, P 14, 255
Leach (BB), 744-745
Lomax (CS-1938), 183-184
Lomax (FSNA), 382-383
MacColl & Seeger, 170
Moore (BPSS), 211-212
Morris, 360-361
Niles (SHP), 22-23
Owens (TFS), 60-61
Peacock, II, 594-595
Quarterly (SPL), VIII,
171-172
Randolph, I, 266-269
Reeves, 85-86
Ritchie (FS), 46-47

KB
Seng Texts
3522
Sandburg (AS), 136-138
Scarborough (SC), 310-311,
438-439
Sedley, 16-17
Sharp, II, 192-194
Thomas (DD), 112-113
Wells, 222
Wyman (LT), 68-71
************** *****•«■•»*****
The Nightingale I
As I was a-walking one morning in May,
I spied a young couple a wending their way;
One was a lady, a lady so fair,
The other was a soldier, a brave volunteer*
"Oh, where are you going?" said the lady so
fair;
"Where are you going, my brave volunteer?"
I'm goin* yonder, to Lattimore Spring,
To see the waters glide and hear the
Nightingale sing.
Now they had not been there but an hour or two,
When from his knapsack a fiddle he drew.
He played a tune that made the hills ring.
The lady cried, "Hark! I hear the Nightingale
sing!"
"Oh, sir," said the lady, "will you marry me?"
"Oh, no," said the soldier, "that never can be.
I've got a wife and we've children twice three.
Two wives in the army are too many for me!"
Now all you young maids take warning from me,
Don't waste your affections on a soldier too
free;
He may leave you by some mountain spring,
To see the waters glide and hear the Nightingale
sing. . -
********************-***

MB
dong Texts
3523

No. 123
-1
«L
THE NIGHTINGALE II
also known as
Lost in the Nightingale
This is a song about a ship, not a bird, and it origi
nated in England, possibly dating from the late 18th
century. I’ve seen no copies or references that date
earlier than the first quarter of the 19th century.
But the possibility of the song’s origin in the 18th
century is determined by the fact that the text tells
of a time when ”press gangs” and songs aboux them were
quite common. These ’’press gang” songs, as Kidson
tells us in Sailor Songs , Jour (ESS), I, £1: ”In
nearly every case, the story is to the effect that
a farmer's son in love with a squire's daughter is,
by the father's contrivance, pressed for sea...”
REFERENCES
Korson (PSL), 49
Marsh (NB), 107
Songster (57), 122
Songster (126), 107
Barrett, 47
Doerflinger, 304
Kidson (FSNC), 40
Kidson (TT), 61
*****************************
The Nightingale II
Come hear the truth that I declare
About a maid in deep- dispair,
With a loving heart that nearly failed
When her love sailed in the Nightingale.
My parents were of high degree,
My true love not so rich as me,
So the press gang came and did not fail
To press my love in the Nightingale.

MB
Song Texts
‘ 3524
As I that night so quietly lay,
A form appeared and these words did say:
"Tell your parents it's time to quail;
Your love is lost in the Nightingale, "
I then awoke in awful fright,
And saw the time was twelve at night;
And I saw his ghost so cold and pale,
Just as he’d drowned in the Nightingale.
These words he spoke with heavy sighs:
"In deep water my body lies,
To become the prey of shark or whale
With my shipmates of the Nightingale. ”
***********************

No. 1252
NINE HUNDRED MILES
also known as
I Hate to Hear that Lone- I’m Nine Hundred Miles
some Whistle Blow from My Home
' s •
One of the rash of railroad songs that appeared
following the expansion of railways in America,
which took place after the Civil War. According
to Botkin, this song is related to the old mountain
banjo tune Old Reuben *s Train (elsewhere in MB).
The more popular version extant today is one adapted
and arranged by John and Alan Lomax and Woody Guthrie.
The version below is one I learned as a boy in North
Carolina. See and compare: Odum (NWS), 66.
REFERENCES
Agay (1), 27
Botkin (RFL), 464-465
Brown, III, 264-265
Edwards (CHSB), 113
Leisy, 240-241
Lomax (USA), 254-255
Okun, 190-191
Roberts (IP), 220-221
Silber (HSB), 29
Silverman, II, 365
**********-******-***-** *****

MB
Song Texts
3525
Nine Hundred Miles
I'm on this lonesome train with tears in my eyes,
Tryin’ once again to reach my home;
If it turns out alright. I’ll he there tomorrow
night,
Lord, I’m nine hundred miles from my home.
Lord! I hate to hear that lonesome whistle blow.
This ol’ train I’m ridin* on is fifteen coaches
long,
Rollin’ down the track to take me home;
Most mournful of all is that lonesome whistle
call,
Por I’m nine hundred miles from my home.
Lord! I hate to hear that lonesome whistle blow.
*****#****■*****-*■#••*•*■#•**

No. 1255
NINETY-NINE BLUE BOTTLES
also known as
Porty-nine Bottles Porty-nine ’Possums
Age of this social song is uncertain, but if a Ran
dolph contributor is correct it dates back to the
1860s or early 1870s. A version in The Most Popular
College Sons9, 1906, informs us that it was popular
among college students at the turn of the century.
It is supposed that the "blue bottles" in the text
are "blue bottle" flies.
REFERENCES
Armitage, I, 70
Brown, III, 226
Chamberlain, 129
Most (PCS), 57
Randolph, III, 210
Shay (PF-1), 41
Shay (PF-5), 17
Songs (15), 85
Wier (SWWS), 158
*****************-**********

MB
Song Texts
3526
Ninety-Nine Blue Bottles
Ninety-nine blue bottles a-hanging on the wall.
Take one blue bottle away from them all,
leaves ninety-eight blue bottles a-hanging on
the wall.
Ninety-eight blue bottles a-hanging on the wall.
Take one blue bottle away from them all,
Leaves ninety-seven blue bottles a-hanging on
the wall.
Ninety-seven blue bottles, etc.
Ninety-six blue bottles, etc.
Ninety-five blue bottles, etc. *
♦And so on, and on, until there are no blue bottles
"a-hanging on the wall," or until the singer is out
of breath or patience.
***************************

No. 1234
NIPPIN* ROUND
also known as
Sacramento Gals
This is a California "gold rush" era parody on the
eastern stage song, Bobbin * Around (see elsewhere
in MB). The text of the parody was written by J.
A. Stone ( Old Put), who published it in Put 1 s
Golden Songster , San Francisco, 1858.
***** ************ *
Nippin’ Round Time: Bobbin* Around
They’re pretty girls, I must confess,
Nippln* round, around, around;
And Lordy-mercy, how they dress
As they go nippin' round.

MB
Song Texts
- 3527
Upon the street they can he found, etc.
Their hustles lift them off the ground, etc.
There*s many a gal from Arkansaw, etc.
Who well remembers hollering "haw", etc.
Their faces covered with paint and chalk, etc.
Their hoops take up the whole sidewalk, etc.
They*re here and there, like Santa Ana, etc.
As fresh and mellow as a ripe hanana, etc.
But of all the gals I ever see, etc.
It’s Sacramento gals for me, etc.
**********************

No, 1235
NOAH AND THE WINE
A drinking song, and one that predates the Revolution;
it comes down to us from the Dutch colony of New
Amsterdam, now New York City, and was translated into
English for the Holland Society of New York hy Miss
Maude Fortescue. Both text and tune, as given here,
were taken from the Holland Societv's Year Book,
18-90-1891, p. 97.
**************************
Noah and the Wine
When Noah hid the ark farewell,
And pensive sat to think a spell,
An unknown figure met his eyes—
Perchance a herald from the skies—
Who said, "Since you have done your best,
The Gods will grant you one request."
Who said, "Since you have done your best,
The Gods will grant you one request." •

MB
Song Texts
3528
"My dearest, Sir," good Noah said,
"The water here affects my head,
Because the sinners, great or small.
Were in it drowned, both one and all;
And so my wish will be, I think,
To have some other-better drink."
His wish was granted in a trice;
The wine was sent from paradise,
With lessons how to make it grow,
And counsel good for him to know.
And Noah, filled with grateful mirth,
Bowed down, delighted, to the earth.
Against this you can nothing say,
He took his wine in pious way;
Like upright Dutchmen later born,
To the honor of Heaven he drained
his horn.
And after the deluge, it appears,
He lived three hundred and fifty years.
So each of you can plainly see
That wine is good for you and me,
And also that a righteous man
Ne’er mixes water in his can,
Because the sinners, great and small,
Therein were drowned, both one and all.
*********************
Nh. 1236
NOAH’S ARK I
also known as
One More Ribber for to Gross There’s One More
One More River to Cross River to Cross
This is a 19th century "revival" song. There are many
different versions in circulation, both in printed

HB
Song Texts
3529
form and on phonograph records.
This song is not related to the campground spiritual,
One More River to Cross , or Victoria , which is in
Jackson (SFS), 226.
REFERENCES
Best, 155
Brown, III, 530
Chamberlain, 123
Lewis, 95
Loesser, 120-121
Luther, 257
Most (PCS), 39
Oberndorfer, 125
Randolph, II, 379-382
Scarborough (NFS), 181
Wehman (COTS), III, 31
White, 141-143
Winn (2), 42-43
***************************
Noah* e Ark _I
Old Noah built himself an ark,
There’s one more river to cross!
He built that ark of hick’ry bark,
There’s one more river to cross!
Chorus
One more river to cross! One more river to cross!
Way over yonder in Jordan, there’s one more river
to cross!
The animals went in two by two, etc.
The elephant and the kangaroo, etc.
When Noah found he had no sail, etc.
He up and used his old coat tail, etc.
While Noah talked of this and that, etc.
The ark got stuck on Ararat, etc.
Old Noah had himself a spree, etc.
He banish Ham to Afrikee, etc.

MB Song Texts 3530
Another verse may come your way, etc.
But I’ve said all I have to say, etc.
************* ***********

No. 1237
NOAH’S ARK II
also known as
Noah Built the Ark Old Uncle Noah
In this particular form of the Biblical story of Noah
and the flood, we have an obvious intent to parody
the form of the foregoing song and Noah’s Ark III.
The text was set to the secular tune, Then Johnny
Comes Marching Home (see in MB). Song was popular
among and probably kept alive by college students.
There are several variations in print that were col
lected from traditional sources, and some of them
are related through subject matter only. Examples:
Brown, III, 601-606 has a Noah’s Ark aka Gideon* s
Band , which begins:
A
Do you belong to Gideon's Band?
Do you belong to Gideon’s Band?
Here’s my heart and here's my hand,—
Do you belong to Gideon’s Band?
Old Noah did build an ark,
Old Noah did build an ark.
Out of hickory sticks and poplar
bark.
Both Scarborough (NES), 22-223 and Seeger (1), 128-
129 print versions of a "hammer song", Norah , which
begins:
Norah' was a hundred and twenty years
buildin’ the ark of God,
And ev'ry time his hammer ring,
Norah cried, "Amen!"

MB Song Texts - 3531
Well, who build de ark? Norah build it.
Who build de ark? Norah build it.
Who build de ark? Norah build it,
Cut his timber down.
Other versions of the same piece are in Creighton
(FSNB), 164-165 and White, 99-100. For yet another
hymn, Noah Built the Ark , see: Thomas (BMMK), 212.
Sharp, II, 216 gives a one stanza piece, No-e in
the Ark , but gives no information concerning it in
his notes. For yet another approach to the same
theme, see Niles (SMM), 137.
REFERENCES
Eddy, 191 Oberndorfer, 105
Hubbard, 339-340 White, 100
*************************
Noah 1 s Ark II Tune: When Johnny Comes Marching Home
Old man Noah he built an ark.
Hurrah, hurrah!
He built it like a patriarch,
Hurrah, hurrah!
With pitch he made it dry and dark,
And covered it over with hick*ry bark,
And they all felt better that day
When Noah came marching in.
When Noah began the ark to cram,
Hurrah, hurrah!
With help from Japthez, Shem and Ham,
Hurrah, hurrah!
The animal9 walked in two by two,
The horse, the cow, and the kangaroo,
And they all felt jolly and gay
When Noah came marching in.

MB
Song Texts
3532
In cane dogs and cats, wolves and bats,
Hurrah, hurrah!
Mosquitoes, and beetles, and mice and rats,
Hurrah, hurrah!
The hipopotamus and the flea,
The elephant and the bumblebee,
And they all were happy and gay
When Noah came marching in.
Well, all these animals had a wife.
Hurrah, hurrah!
And they led Noah a terrible life.
Hurrah, hurrah!
One day he said, with the crack of his
whip,
If you don't behave I'll scuttle the ship,
And they all felt sadder that day
When Noah came marching in.
**********************.**#***.**.

No. 1238
NOAH'S ARK III
also known as
01* Ark's A-Moverin* Old Ark's A-Moverin» an' I»
Along goin' Home
The Ole Ark
This form of the Biblical story is probably wider
known today than the previous songs, Noah's Ark I &
II. This one, too, has spawned several adaptations
including Keep the Ark A-Movin ' in Korson (?SL), 61,
which begins:
Now, fathers, if you're willing,
We'll keep the ark a-moving,
And we'll pass over Jurdan by and by.
Soldiers in WWI sang a parody that is given in

MB
Song Texts
3533
Biles (SS), 80-81, which begins:
Sol' my mammy down at New Orleans,
Now we got to cook our own ham and
greens.
Oh, de ole ark's a-moverin', a-moverin',
a-moverin', etc.
The spiritual given below is available in countless
song folios, phonograph recordings and takes.
REFERENCES
Benziger, 94
Best, 151
Dett, 58
Johnson (SBNS), 25
leisy (SPS), 203
Lomax (FSNA), 475
Oberndorfer, 29
Odum (NHS), 129
Scarborough (NFS), 28
Silverman, II, 83
Thomas (BMMK), 213
Whitman, 199
Work (ANSS), 175
Work (FSAN), 73
* **•*•**■ ■**•** ■**■*•* *********
Noah* e Ark III
How long a time did the water fall?
Forty days and nights, that's all!
Old ark she reel, old ark she rock,
And then she landed on a mountain top.
Chorus
The old ark's a-moverin', a-moverin*, a-moverin',
The old ark's a-moverin' by the spirit of God!
The old ark's a-moverin', a-moverin', a-moverin',
The old ark's a-moverin', and praise the Lord.
Old Noah's sons, on the deck one day,
Stood and talked and lost their way;
For as they spoke of this and that,
The ark got stuck on Ararat!
******************* *********

MB
Song Texts
5534

No. 1239
NOBODY CARES ABOUT ME
also known as
Free Little Bird
I*m As Free a Little Bird
Bird
Nobody Cares for Me
I Wish I Was a Little
As I Gan Be
Songs of the ”1 wish I were a bird” variety are quite
numerous in folklore. Sometimes it is difficult to
determine whether or not they are related. There are
many version extant of this particular song, and no
one is in the position to state with any certainty
which came first. Therefore, it should be stated here
that the works referred to below contain differing
variants and versions, and that some of them have
only the theme in common. It should be noted also
that the airs to which the various texts are set
bear little resemblance to one another.
REFERENCES
Baring-G-ould (S¥), No. 92
Belden (B3), 489
Christie, I, 223
Fuson, 110
Jour (AFL), XXII, 240
Jour (FSS), I, 25
Randolph, 17, 188
Sandburg (AS), 338
Seeger (3), 120
* *********•*•**•***•**■#■■*-•*•*■
Nobody Cares About Me
Oh, I wish I were a little bird,
I would fly to the top of a tree
And sing my sad and sorrowful song:
Nobody cares about me.
I wish I was a little fish,
I would swim all around in the sea
And sing my sad and sorrowful song:
Nobody cares about me.

MB
Song Texts
3535
But since I am a little girl (boy),
And a woman (man) soon 1*11 be,
1*11 sit alone and sing my song:
Nobody cares about me.
****************************

No. 1240
NOBODY KNOWS BUT JESUS
Nobody
Nobody
also known as
Knows the Trouble Nobody Knows the Trouble
I See I*ve seen
Knows the Trouble Oh, Nobody Knows the
I*ve Had Trouble I See
This is a campground "revival" song that was adapted
by slaves in the South. Two versions are given be
low, and A appears to be older than B. I say appears
because the only evidence is in the fact that A was
printed first. References are given for both versions.
REFERENCES
Allen (SSUS), 55, 102
Arnett, 110
Best, 153
Brewer, 164
Brown, III, 655
Chambers (TNS), 65
Gainer, 211
Jackson (WNS), 159
Johnson (BANS), 140
Johnson (SBNS), 34
Jubilee (PS), 9
Krehbiel, 96
leisy, 242
Lloyd, 137
Lomax (PB), 80
Mackenzie (SH), 106
Marsh (SJS), 125
Pike, 165, 207
Silverman, II, 102
Whitman, 76
Work (FSAN), 50, 57
******************************
Nobody Knows But Jesus ( Version A)

MB
Song Texts
3536
Brothers, will you pray for me? (3)
And help me to drive old Satan away?
Chorus
Nobody knows the trouble I see, lord,
Nobody knows the trouble I see,
Nobody knows the trouble I see, Lord,
Nobody knows but Jesus.
Slaters, will you pray for me? (3)
And help me to drive old Satan Away?
Sinners, I will pray for you (3)
And help you to drive old Satan away.
Jeaus, will you pity me? (3)
And help me to drive my troubles away?
***********************
Version B
Por other versions of this form, see: Agay (1), 54;
Agay (2), 179: Batt, 232; Greenway, 97; Ives (SA),
292; Jubilee (?S), 22; Krehbiel, 75; leisy (LAS),
141; Leiay (SPS), 205; Luther, 220; Oberndorfer, 25;
Wier (YAM), III, 76.
*****■•*•*••*•*•■#■■*■*■*•■*•■#•**•*■*■•**■*■
Some times I’m up, some times I’m down. Oh, yes,
Lord!
Some times I’m almost to the ground, Oh, yes, Lord!
Chorus
Nobody knows the trouble I’ve seen, nobody knows but
Jesus!
%
Nobody knows the trouble I’ve seen, Glory Hallelujah!
Although I smile where e'er I go, Oh, yes, Lord!
I’ve had my troubles here below, Oh, yes, Lord!

MB
Song Texts
3537
I never will forget that day, Oh, yes, Lord!
When Jesus washed my sins away, Oh, yes, Lord!
********************************

No, 1241
NO DYING THERE
also known as
I’m So Glad
Mid-19th century spiritual, and one of those featured
by the original Fisk Jubilee Singers. Similar spirit
ual, I’m So Glad , is in Jubilee (PS), 18 and Work
(ANSS), 142. The version below is also in Marsh
(SJS), 155 and Pike, 195, 237.
**********************
No Dying There
I»ll tell you how I found the Lord,
No dying there!
With a hung down head and aching heart.
No dying there!
Chorus
I’m so glad, I’m so glad,
I’m so glad there's no dying there!
I hope I'll meet
No dying there!
She used to join
No dying there!
I hope I'll meet
I hope I’ll meet
I hope I'll meet
I know I'll meet
my mother there,
me in prayer,
my father there, etc.
my brother there, etc.
my sister there, etc.
my Saviour there, etc.
************************

Song Texts
3538
MB

No, 1242
NO HIDING PLACE I
also known as
Dere's No Hidin’ Place Sinners Y/ill Call For the
No Hiding Place Down Rocks and the Mountains
There There's No Hiding Place Down
Rocks and Mountain There
Sinner Man Where Shall I Be?
The "sinner man" with "no hiding place" is a staple theme
in religious songs, and especially in the spiritual types
This particular spiritual comes down to us in several
versions. For an amusing adaptation, or parody, given
in this Master Book , see: No Hiding Place II,
Also see and compare the slave spiritual, No Hiding Place
in Parrish, 151.
REFERENCES
Brown, III, 655-656; V,
381-383
Jackson (ASWS), 13
Johnson (BANS), 74-75
Parrish, I, 143, 151
Roberts (SBS), 140-141
Silber (HSB), 47
Silverman, II, 109
White, 121-122
Whitman, 143
Work (ANSS), 149
No Hiding Place I
Went to the rocks for to hide my face,
Rocks cried out, "No hiding place!
There’s no hiding place down here!
There’s no hiding place down here!
Sinner-man sits on the gates of hell,
Gates flew open and in he fell!
There’s no hiding place down there! (2)

MB
Song Texts
. 3539
Boatman, boatman, row on one side;
Can’t get to heaven against the tide.
There's no hiding place down here! (2)
Sinner-man, sinner-man, better repent!
God's gonna call you to his judgment!
There’s no hiding place up there! (2)
*********************************
No. 1 ill
NO HIDING PLAGE II
also known as
Sinner Man Sister Emmy Lou Sister Lucy
This is obviously a secular parody of No Hiding Place I f
which is just about all I know about it. Except, of course
that it seemed to have been popular among college students
See: Best, 150.
No Hiding Place II
Sister Emmy Lou wears a low-necked dress,
Low-necked dress,
Sister Emmy Lou wears a low-necked dress,
Low-necked dress,
Sister Emmy Lou wears a low-necked dress—
And much too low I must confess!
There’s no hiding place down therel
Chorus
No hiding place down there! Hallelujah, brothers!
No hiding place down there! Praise the Lord!
Oh, I went to the rocks to hide my face,
The rocks cried out "Ho hiding place!
There’s no hiding place down there."

Song Texts
9 3540
MB
Sister Julie Ann lias a wooden leg, wooden leg (2)
Sister Julie Ann has a wooden leg,
She hangs her garter on a peg,
There's no hiding place down there!
Sister Jennifer's teeth are made of zinc, made of zinc, (2)
Sister Jennifer's teeth are made of zinc,
She cleans them in the kitchen sink,
There's no hiding place down there!
* ********************** •*****•*■ *

No, 1244
NO IRISH NEED APPLY
This is a social hatred song that, like others of its
type, expressed the attitude of the times. The version
here is from Greenway, 41,
No Irish Need Aonly
I'm a decent boy just landed
Prom the town of Ballyfad;
I want a situation, yes,
And I want it very bad,
I have seen employment advertised,
"It's just the thing," says I,
But the dirty spalpeen ended
With "No Irish Need Apply,"
"Whoa," says I, "that's an insult,
But to get the place I'll try,"
So I went to see the blackguard
With his "No Irish Need Apply,"
Some do count it a misfortune
To be christened Pat or Dan,

MB
Song Texts
3541
But to me it is an honor
To he horn an Irishman*
I started out to find the house,
I got it mighty soon;
There I found the old chap seated,
He was reading the Tribune.
I told him what I came for,
And in a rage he did fly;
"No," he says, "You are a Paddy,
And no Irish need apply,”
Then I gets my dander rising
And I‘d like to black his yee,
To tell an Irish gentleman
"No Irish need apply."
Some do count it a misfortune
To be christened Pat or Dan,
But to me it is an honor
To be born an Irishman.
I couldn’t stand it longer
So a hold of him I took,
And gave him such a welting
As he’d get at Donnybrook.
He hollered, "Milia murther,”
And to get away did try,
And swore he’d never write again
"No Irish need apply."
Well, he made a big apology,
I told him then goodbye,
Saying, "V/hen next you want a beating,
Write "No Irish need apply."
Some do count it a misfortune.
To be christened Pat or Dan,
But to me it is an honor
To be born an Irishman.
********************

MB
Song Texts
3542

No. 1245
NO MAN CAN HINDER HIM
also known as
No Man Can Hinder Me
Ride On. King Jesus
This mid-19th century spiritual is still being performed
hy professional entertainers. There are similar spirit
uals in circulation, and some may be related through
■text or tune or both, but this one is the most popular.
For similar songs, see: He is_ King of Kings in ffork
(FSAN), 68; Ride On , Conquering King in Parrish, 182;
and Ride On, Jesus in Dett, 148.
Two versions (A & B) are given below,.
REFERENCES
Marsh (SJS), 168
Pike, 208, 250
Work (ANSS), 49
Allen (SSUS), 11, 40
Arnold, 184-185
Chambers (TNS), 111-115
No Man Can Hinder Him ( Version A)
King Jesus rides on a milk-white horse,
No man can-hinder him!
The River of Jordan he did cross.
No man can hinder him!
Chorus
Ride on, King Jesus! No man can hinder him!
Ride on, King Jesus! No man can hinder him!
Now if you hope for a home with God, etc .
That Gospel Highway it must be trod, etc.
They nailed my Lord Jesus on a tree, etc.
He cleansed my soul and set me free, etc.

MB
Song Texts
: 3543
VERSION B
I was but young when I begun,
No man can hinder me!
But now my race is almost nan,
No man can hinder me!
Chorus
Ride on. King Jesus, no man can hinder me!
Ride on. King Jesus, no man can hinder me!
I walk the straight and narrow way, etc .
1*11 face my Lord on Judgment Day, etc.
King Jesus rides on a milk-white hoss, etc .
The river of Jordan he did cross, etc«
********************************

No. 1246
NO MORE ARMY
also known as
I Don't Want No More Army
This is a cleaned-up version of a soldier song from
World War I. For a similar piece sung by black sol
diers, see I Don't Want Any More France in Niles (SS),
69-71.
For versions of the song below, see Dolph, 10-11 and
Loesser, 174.
No More Army
The officers live on top of the hill,
We live down in the slop and swill—
I don't want no more army!
Lordy, how I want to go home!

MB
Song Texts
3544
We've got a kitchen on four wheels,
Just a-warming beans for our meals—
I don't want no more army, etc ,
I've learned a lot, more or less,
And I know why they call it ''mess"—
I don't want no more army, etc ,
We work for the lieutenant, and then,
The captain makes us do it over again—
I don't want no more army, etc,
The officers they don't work a bit;
I wonder how they get away with it?
I don't want no more army, etc .
#*****•***********■*■*■*■*■»••*• *****•*•***•*••**•*•* *

No, 1247
NO MORE CANE ON THE BRAZOS
also known as
Ain' No Mo' Cane on dis Brazis
According to Lomax, this song is from Texas and probably
originated among Negro prisoners. Other than this, I
know nothing about the song.
REFERENCES
Arnett, 144 Lomax (USA), 320—321
Edwards (CHSB), 197 Scott (BA), 305-306
Lomax (ABES), 58-59 Silverman, II, 337
4
No More Cane On the Brazos
There ain't no more cane on the Brazos,
0 lawdy! 0, lawdy! 0, lawd!
They done used it all for molasses,
0, my lawd! 0, lawd!

MB
Song Texts
.3545
It's rise up at daybreak and toil all day, etc.
I done told the cap'n I jus* can’t stay, etc.
"Well, roll on! Keep on rolling,” the man
done said, etc.
"You may go free or you may drop dead, etc,
*****************************************

No, 1248
NONE CAN LOVE LIKE AN IRISHMAN
This song was first published early in the 19th century,
A version appeared in print as early as 1826 at London,
in The Universal Songster, It must have arrived in the
United States shortly thereafter, because Dennis Hanks,
a cousin of Abraham Lincoln's, when answering questions
concerning Lincoln's musical tastes in the 1820s, made
mention of this song and identified it by quoting the
first line,
REFERENCES
Kennedy (TAB), 71 Lair (SLL), 19-20 Silverman, I, 92
None Can Love Like An Irishman
The turban'd Turk who scorns the world
May strut about with his whiskers curled,
Keep a hundred wives under lock and key,
For nobody else but himself to see;
Yet long may he pray with his Alcoran
Before he can love like an Irishman,
The gay Monsieur, a slave no more.
The solemn Don and the soft Signor,
And the Dutch Mynheer who's so full of pride,
The Russian, the Prussian, the Swede beside,

MB
Song Texts
3546
They may do their loving the best they can.
But they’ll never love like an Irishman!
The Englishman may brag awhile,
How he makes love in a proper style,
But if he would ask in a way discreet
Most any young lady that he should meet,
I know she would tell him, as best she can,
That no man can love like an Irishman!
******************************

No. 1249
NORTH AMSRIKAY I
also known as
The Sons of Liberty
This is an Irish song, and it deals with the conscription
of unwilling Irishmen, who were drafted into the British
armed forces and sent to fight against “The Sons of
Liberty” in North America.
Several songs share the Sons of Liberty line and title,
including The Liberty Song I_, LI, III & IV in this Master
Book. The ’’North Amerikay, or Amerikee” line and title
are also found in other songs, including American Tax
ation in this Master Book.
Also see and compare: 7/ild Americay in Cazden, 44-45
and Rich Amerikay in Greenleaf, 195.
For other versions of this song, see Sharp, II, 224-225
and Silber (SI), 147-148.
North Amerikay I
0 fare you well, sweet Ireland, whom I shall see no more,
My heart is almost breaking to leave this native shore.
The king he has commanded that we shall sail away,
To fight the boys of liberty in North Amerikay.

MB
Song Texts
3547
The fifteenth day of June, boys, just at the break of
day.
We hoisted British colors and anchored in New York Bay.
Our sails were wet and soggy, we spread them out to dry;
The Irish heroes landing, but the Lord knows who must die
The French, the Dutch, the Spanish behaved so cruelly;
They treated Irish heroes with such barbarity.
They sent on their grapeshot, to blow us all away,
With the sword in hand they no quarters gave in North
Amerikay.
Thro' fields of blood we waded where cannons loudly roar,
And many gallant soldiers lay bleeding in their gore.
0 gallant the commanders that on the field did lay,
That were both killed and wounded there in North Amerikay
Now to conclude my ditty, and bring it to an end,
I drink to Gen'ral Washington and all of his brave men;
God prosper and pretect them on land and on the sea,
And here’s to boys who feared no noise, the Sons of
Liberty.
************************************

No. 1250
NORTH AMERIKAY II
also known as
The Gown of Green
This, like the preceding song, is about'British soldiers
sent to fight in North America. The ballad could date
from the latter part of the 18th or the first part of
the 19th century. Kidson referred to it as a broadside
and said it was "also in a very scarce song book...en
titled, The Vocal Library , dated 1818.” I’ll take his
word for it, but haven’t seen the song book.
See Kidson (TT), 61-63.

MB
Song Texts
3548
North Amerikay II
As my love and I were out walking to view the meadows
around,
A gathering of sweet flowers as they spring from the
ground;
She turned her head, and smiling, said, "Somebody here
is mean.
Or else some charming shepherdess has won the Gown of
green.”
Oh, fare you well, sweet Polly, for we may meet never
more;
And how I dread the leaving of this my native shore!
The King he has commanded, and I must sail away,
To fight the Sons of Liberty in North Amerikay.
Oh, Polly, love! Oh, Polly, love! I'll write to you,
my dear;
And when you read my letters you'll shed many a tear.
To know such pain and sorrow will grieve your heart
full sore;
For we were doomed to lose the fight on Freedom's burn
ing shore.
Thro* fields of blood we ranged, love, as shot and shell
did roar,
And many valiant sailors upon the deck did lay—
We were both killed and wounded, love, in North Amerikay.
T'would grieve your heart with pity to hear the sailors*
wives
Lamenting for their husbands who went and lost their
lives.
The children cried out, "Momma, we'll make them rue the
day
They came and took our father to North Amerikay!"
**********************

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No. 1251
NOW WE TAKE THIS FEEBLE BODY
An early 19th century spiritual known as a "funeral
hymn.” It was sung in the slave states, usually while
hearing the body and lowering it into the grave.
It was popularized by the original Fisk Jubilee Singers.
REFERENCES
Jubilee (PS), 38 Marsh (SJS), 219 Work (FSAN), 59
Row We Take This Feeble Body
Now we take this feeble body,
And we carry it to the grave,
And we will leave it there, hallelujah!
And a hallelujah! And a hallelujah!
And we will leave it there, hallelujah!
And a hallelujah! And a hallelujah!
And we will leave it there, hallelujah!
Now we take this dear old father,
And we carry him to the grave,
And we will leave him there, hallelujah!
And a hallelujah!, etc.
Now we lift our mournful voices.
And we gather around the grave,
And we weep as we sing, hallelujah!
And a hallelujah!, etc.
****************************
^1252
NUT BROWN MAIDEN
An old English song with a splendid melody, which probably
accounts for its popularity among college students and

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barbershop quartettes.
This is not related to the Nut Brown Maid, another
English song, which may be seen in: John Edmunds'
A Williamsburg; Son^book (Y/illiamsburg, Va., 1964),
107-108 and Quiller-Couch, 295-307.
REFERENCES
Most (PCS), 7
Oberndorfer, 124
Songs (15), 43
Best, 70-71
Chamberlain, 241
Chappie (HS), 30
Nut Brown Maiden
Nut brown maiden.
Nut brown maiden,
A bright blue eye
mine, love,
Nut brown maiden.
Nut brown maiden.
thou hast a bright blue eye for love,
thou hast a bright blue eye;
is thine, love, the glance in it is
thou hast a bright blue eye for love,
thou hast a bright blue eye.
Nut brown maiden, thou hast a ruby lip to kiss,
Nut brown maiden, thou hast a ruby lip;
A ruby lip is thine, love, the kissing of it's mine, love,
Nut brown maiden, etc.
Nut brown maiden, thou hast a slender waist to clasp,
Nut brown maiden, thou hast a slender waist;
A slender waist is thine, love, the arm around it's
mine, love.
Nut brown maiden, etc.
Nut brown maiden, thou hast such pearly, pearly teeth,
Nut brown maiden, thou hast such pearly teeth;
The pearly teeth are false, love! they rattle when you
waltz, love!
Nut brown maiden, etc.
******************* ***** ******

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No. 1253
THE OAK AND THE ASH
also known as
I Would I Were In My
Own Country
The North Country lass
North Country Maid
Northern Lasses Lamentation
0 the Oak and the Ash, and the
Bonny Ivy Tree
Quodling’s Delight
The Unhappy Maid’s Misfortune
We know that the tune of this song goes back to the be
ginning of the 17th century, because it is in the Fitz-
william Virginal Book (circa 16-08-1616) e The same tune
is in The Dancing Master (1650-1701) under GODESSES
and in Roxburghe Ballads, II, 367 as I_ WOULD _I WERE IN
MY OWN COUNTRY. 0
Despite its traditional value and popularity, however,
it does not appear in any of the recognized folk song
collections.
REFERENCES
Bantock, 4-4-45
Broadwood (ECS), 18
Chappell (OEPM), I, 276-277
Chappell (PMOT), II, 456-458
Cole, 34-35
Evans, I, 115
Johnson (PS), 80-82
Pepys, I, 266
Stokoe, 14-15
The Oak and the Ash
A north country maid up to London had strayed,
Although with her nature it did not agree,
Which made her repent, and so often lament,
Still wishing again in the North for to be«
Chorus
0 the oak and the ash, and the bonny ivy tree,
They flourish at home in my own country.

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0 fain would I "be in ny own north country,
Where lads and the lasses are making of hay;
There I would see what is pleasant to me;
I»m hoping quite soon to be going, that way.
A maiden I am, and a maid 1*11 remain
Until my own country again I do see;
Por here in this place I shall ne'er see the face
Of him that's allotted my love for to be*
***************** ************

No. 1254
OATS AND BEANS AND BARLEY
How Oats and Beans
Barley Grow
Oats and Beans
Oats, Peas, Beans,
Barley Grows
also known as
and 0 Sweet Beans and Barley Grows
Peas, Beans, Oats, and the
Barley
and Wu Hawwer un Buhne un Gaschde
wachse
In Europe, this is a dance song for young adults. In
the United States, where it became popular with children,
it is usually classified as a game song. Linscott, 46-47
has a related item. On the Green Carpet , which is more
nearly like the original in practice, perserving, as it
does, the romantic element.
This song is world-wide and world-old. The words are
generally the same wherever encountered. According to
Newell, the game was played by Froissart (born 1337)
and by Rabelais (born 1483). It is, say some, perhaps
the last relic of a very ancient agricultural rite.
See and compare: X Like Coffee and 1^ Like Tea in Babcock,
251-252; Thus the Farmer Sows His Seed in Wolford, 94-
95; and We're On the Way To Baltimore in Rourke (E>C),
27-28.
REFERENCES

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Arnold, 135
Bancroft, 369-371
Bertail, 60
Bolton (CRC), 119
Botkin (APPS), 254-255
Boyer, 105-106
Broadwood (ECS), 87
Brown, I, 87-89; V,
514-515
Brown & Boyd, 22
Burne, 508
Champlin, 508
Chase (OSSG), 37
Collins, 17
Eggleston (CR), 22
Farnsworth, 80—82
Forbush, 75-76
Gardner (PSH), 235
Gomme, II, 1-13
Hofer, 22
Hoke, 118
Hornby, 102
Jour (API), XI, 12; XII,
73; XL, 14? LX, 16
Jour (PSS), I, 67
McIntosh (PSSG), 95-96
Newell, 80-84
Northall, 370-372
Notes, I, 163-164; II, 161
Piper (SPPG), 273
Pound (SPSN), XXVIII, No. 18
Quarterly (SPL), VI, 192-194
Van Boren, 494
Walter, 26-27
Whitney & Bullock, 147
Wier (SCLS), 107
Wier (YAM), I, 133
Winn fl), 181
Oats and Beans and Barley
Oats and beans and barley grow,
Oats and beams and barley grow;
Neither you nor I can know
How oats and beans and barley grow.
Thus the farmer sows his seed,
Thus he stands and takes his ease,
Stamps his foot and claps his hands.
And turns around to view his lands.
Waiting for a partner,
Waiting for a partner,
Slip the ring and let her in,
And kiss her quick and then again.

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Married now, you must obey;
Must be true to all you say;
Must be kind and must be good,
And help your wife to chop the wood*
♦fc***********************************'**

Ho. 1255
OCCUPATIONAL AND WORK SONGS
Occupational and work songs cover a wide variety of
subjects and a lot of territory, but I have here divided
them into two distinct categories. "Occupational songs"
are songs of entertainment "about the kinds of work
people do." "Work Songs" are those songs used as a
tool of labor—songs that people "work with and to."
Various groups of working men developed their own
special songs, which, if we pay attention, tell us a
great deal about the men who sang them and the about
the work they do. This kind of song development re
quired a certain amount of isolation to result in genuine
traditional material.
Working in isolation, a group of workers had to rely
on themselves for entertainment; and a large measure of
that entertainment consisted of singing. The typical
songs of the various trades were generally ballads of
the "come-all-ye" kind. These ballads were developed
with an American approach and personal involvement
usually missing from the European ballads.
As a rule, the American "occupational songs" deal
with some specialized work, including its harships
and the deaths of the workers. These songs were patterned
on the English and Irish street ballads that were ex
ceedingly popular throughout the 18th century. All
these songs have one thing in common—the way in which

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they tell their stories. They are mostly journalistic,
with little little conversation, but with a running
revelation of names, dates, places, and other details.
If the story has a moral, that moral is usually stated
directly, at the end, rather than inferred, as in the
older classical ballads.
"Work songs", i. e., songs to which men worked,
served a vital and definite purpose—though that pur
pose is not always understood today. Modern workers
are not acquainted with physical labor done strictly
on a team basis. The kind of "work" songs with which
we deal can best be illustrated by "shanties" sung by
seamen at work and the Negro songs, sung in the fields,
along railway roads while laying track, and in prison
camps.
These songs are old, and necessarily so. Singing
at work would not be tolerated in modern factories and
shops, though they may enjoy "piped in" music. Workers
are no longer isolated for long periods of time, and
they have a wide variety of entertainments ready to hand
and always available. Therefore, most of the old work
songs have gone out of use, and a great number has been
forgotten. Those that remain are seldom found in their
original state; and most of them lie in books on library
shelves, occassionally revived by professional singers
and writers who searched yesterday’s music for something
that may be legally changed and claimed as original
material.
COAL MINERS were singers and creators of songs, many
of which are included in this Master Book. George
Korson, the pioneer collector in this field, tells us:
"All classes of mine workers participated in spontaneous
communal gatherings which were usually held on the green,
part of every mine patch." Their songs gave perpetual
voice to their hopes, their deepest yearnings, and their
worst fears. These were, however, mostly social songs,

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meant for entertainment. They differed from the
"work” songs of sailors and field hands, in that
they were not sung as an accompaniment to the work
"being done. In building their body of song, the
coal miners came up with a song for practically every
thing that happened—mine disaster, strike, and even
personal feuds. Therefore, they left us a large tra
ditional number of songs that can, in most instances,
be classified as '’occupational,”
Unlike the lumberjack, the steamboater, the rail
roader, and the cowboy, the coal miner inspired no one;
he was neither envied by men or worshipped by boys. For
coal mining was not romantic—it was just hard, dirty,
dangerous work. The only dreams in the coalmines were
the dreams of those who wanted to escape them. Neverthe
less, some of the songs they left behind are musical
diamonds. And what is a diamond after all but a lump
of coal that stuck with it?
The number one legendary American hero is the Cowboy .
Therefore it should surpirse no one that cowboy songs
are the most popular "occupational” songs we have in
this country. They are not as popular today as they
were yesterday, and they will steadily declaine as we
rush into the Space Age, The machine played havoc with
the cowboy, the open range, and the Old West in general.
The frontier is gone, yet the myth lives on—in cheap
novels, motion pictures, television programs and in the
songs.
At first, of course, the cowboy was just a poor work
ing man on horseback. It wasn't until the newspaper and
magazine writers entered his world that the cowboy be
came something more than he ever really was. Then he
became an American myth; and the myth was sustained by
romanticists, hero worshippers, and arm-chair adventurers.
Even though most of it was manufactured nonsense, the
"cowboy” proved himself to be indestructible in legend.
In reality, of course, he is gene.

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The cowboy was the biggest American hero, but he
was not the first: the lumberjack was. Today, too,
the lumberjack is in the background, but once he was
considered to be quite important. His importance was
natural, because in the beginning America was trees.
To the first settlers who reached these shores, the
forests from which they hewed their cabin-logs seemed
to be without end. Everywhere they looked, the land
was covered with trees.
The first major problem facing our pioneer ancestors
was not preserving the forests, but to get rid of them
in the swiftest possible way. They needed to make room
for villages, to let in sunlight for crops and provide
pasture for horses and cattle. Trees were an obstacle
and a menace. For those dark, silent forests gave
shelter to hostile Indians and to beasts that preyed
on stock. So, with fire and axe. Pilgrims and Puritans
alike forced back the boundary of the forests as rapidly
and as far as they were able.
Thus was born the lumberjack. An aristocrat of
laborers, the lumberjack made more real and lasting
conquests than the swordsmen of any warlike nation.
Working long, hard hours, he was the man who cleared
the land, made the roads, and housed the people. By
1662, when the word lumber first appeared in writing,
American timber workers had given "lumber” its present
meaning; and American lumber products were world famous.
The forests that helped bring on then win the Revolution,
began and finally subsidized a century of American pro
gress.
At first, the workers were mostly farmers and villa
gers who labored for the lumber barons in winter. To
many a poor immigrant, camp life was a sure step up.
Young boys were eager to become lumberjacks just, as
later, they were eager to become railroad men and cow
boys.

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The oldest surviving songs of the lumberjack date
from about 1830, and these are quite different from
the later songs. The first songs simply describe the
lumberjack’s life in a general way. These songs seldom
deal with accidents or heroes. They have the cheerful
spirit of the pioneer and the independent craftsman.
Prom the beginning of the 19th century, through 1910,
lumberjacks cut their way through New England, New York,
Pennsylvania, on to Michigan and Wisconsin, and then
leaped the Great Plains to cut their way through the
forests of Washington and Oregon. They made and sang
songs every step of the way. So when you hear one of
the many lumberjack songs, you are listening to American
history.
The greatest rival of the cowboy and the lumberjack
in song and dream were the men who built America’s rail
ways, laid the tracks, and operated the trains. For each
boy who dreamed of cutting trees and punching cows there
was one who dreamed of being a railroad engineer.
Without question the best known American railroad
song is CASEY JONES . Casey was an engineer and is now
a legend. But before he or anyone else could run a
train, the tracks had to be laid. It seems only fair
that the second most popular song in the railway reper
toire should be a working builder— JOHN HENRY, the black
man who competer with a steam-driven machine, beat it,
and died with his hammer in his hand. John Henry stands
even today as an unrivaled fighter for human dignity and
importance as opposed to machine economy.
The amazing thing is not the number of railroad songs
for that was to be expected; it was the absence of
certain songs. The Chinese played a major part in
America’s railway history, and yet no Chinese song has
ever been recovered. At least, not to my knowledge; and
I think it's a shame.
Before railroads, Americans used rivers as highways
for hauling both people and freight. The rivermen—

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3559
the workers whose job it was to operate the boats and
load and unload the cargo in cooperation with dock-
workers (stevedores)——developed a body of song among
themselves. The number is minute, however, when com
pared to the songs developed by the deep-water sailors.
Some sailor songs date back beyond written records.
The first mention in literature of the sing-out
of sailors appears in a manuscript in the year 1400,
during the reign of England's Henry VI. The chronicler
describes in detail the passage of a ship loaded with
pilgrims making their way to the shrine of St. James
in Compostella, Spain, and prints the words of a sing-
out by seamen as they worked:
" Y-how ! talia! ” the remenaute cryen. ♦.
This refers to the sing-out:
" Yo Ho! tail on the fall! "
The earliest work giving actual shanty versions of songs
is the COMPLAYNT OF SCOTLAND , published in 1549* Two
anchor songs are given, one bowline shanty, and three
hauling songs for hoisting the lower yard. The form
and language of these early shanties, aside from the
fact that the English is Chaucerian, are very much like
what sailors sang three hundred years later.
There is a difference between a sea-song and a shanty.
Many of the early sea-songs were occupational in theme,
and were mostly compositions created ashore for use in
the theater, or were broadsides hawked in the streets.
Sailors also sang these songs at sea, but called ohem
"fo'castle songs.” None of these songs are shanties.
Sailors sang shanties while actually engaged in work;
and they sang them because such songs rendered the tasks
easier by coordinating the muscular powers of all the
workers. Therefore, these are "work” as opposed to "occu
pational” songs.
Todav's sailors have no need of shanties. Machines
have replaced men at sea as well as in factories. No one

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sings about machinery—it’s too lifeless, too cold®
But it was "blood and sweat" before the engines came.
Another kind of work song was developed by Negro
field hands and construction workers. Black laborers
usually sang while working, and their songs had a defi
nite functions that of coordinating their efforts. For
ordinary labor any song would suffice, though, for the
most part, they sang spirituals. Where rhythmic group
action made'the work easier, then a special type of
song became necessary. When the group was "whuppin’
steel”, "hammerin’”, or "drillin’", the work usually
was coordinated by one of those songs—and it was sung
by the leader only. Thus the leader made the work
easier and entertained the group at the same time.
Other "occupations" represented in folk tradition
are: Canal workers, farmers, outlaws, preachers,
politicians, soldiers, tailors, and wagoners. All of
these are represented in this Master Book .
*****************************
1256
THE OCEAN BURIAL
also known as
0 Bury Me Not In the Deep The Sailor’s Grave
Blue Sea
Source song. This was originally a poem, not a song.
Authorship has been the subject of some controversy,
probably because the poem served as a foundation for
one of America's most popular and traditional cowboy
ballads (see The Cowboy* s T.ast Request in this Master
Book ).
Phillips Barry (SAPS), 278-280 pointed out the relation
ship between The Ocean Burial and the cowboy ballad,

143
Song Texts
.3561
and said that the text of The Ocean Burial was probably
written by Rev. Edwin Chapin, because "I have in a
volume of his sermons a 'Discourse of the Burning of
the Lexington'...which contains passages reported with
little change in 'The Ocean Burial.'" He also stated
that it may have been written by Captain William H.
Saunders.
Belden (BS), 387, says The Ocean Burial was "w±itten
by Captain 7/illiam H. Saunders and sung...to a tune com
posed by G. N. Allen." Pound (POB), 207, also ascribed
authorship to Saunders. Dobie, in Bulletin (PSSN), VII,
p. 7, says The Ocean Burial was "one of Ossian E. Dodge's
songs" —meaning, probably, that Dodge sang rather than
wrote the song, since he was a very popular American
singer of the 19th century. According to Saunders'
brother, quoted in Pulton and Trueblood's Choice Read
ings (June 26, 1883, p. 169), Saunders wrote The Ocean
Burial "nearly forty years ago." None of this is proof
that Saunders wrote the text, because the poem is credit
ed to Reverend Edwin Chapin in The Southern Literary
Messenger , V, 1839, p. 615.
A different poem, Oh, Bury Me Not (but obviously in
fluenced by Capin's earlier poem), written by W. P,
Wrightman, was published in The Southern Literary
Messenger , XXIII , 1857, p. 56.
The cowboy adaptation is also credited to several in
dividuals by various collectors. For example, Thorp, 62,
says it was written by H. Clemons, Deadwood, South
Dakota, in 1872. For additional information about the
cowboy adaptation, see headnotes to Cowboy's Last Re
quest in this Master Book.
Much closer to The Ocean Burial is The Ocean Dead , a
song by M. Beck in George P. Morris' American Melodies
(c, 1841), P. 179, which begins:
How calmly they sleep on the ocean floor
By the sparkling gem and the gilded ore,

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The shining sand and the glittering stone,
With the wealth of the ocean deep gone down.
Youth and beauty, and age and care,
Have lain them down in chambers there;
And the opening bud and spreading flower
Bloom side by side in the coral bower.
Whether the words of The Ocean Burial were written by
Chapin, Saunders, or someone else is a question that
will not be answered here. 7/hat is certain is this:
The Ocean Burial , with melody by George N. Allen, was
published in sheet music form by the Oliver Ditson Co.,
Boston, c. 1850.
For an unrelated song entitled The Ocean Burial, see
Beck (FLM), 176 & (FLS), 179.
REFERENCES
Barry (FMA), 19» 41
Beadle (1), No. 5, 61
Brown, II, 611-613
Coffin & Cohen, 61-62
DeMarsan (SJ), I, 55
Ditson (SSB), 126
Doerflinger, 162-163
Friedman, 437-439
Cox (FSS), 250-251
Delaney No. 17, 23
Gordon (0SI.1S) 9-30-23, 191
Hubbard, 178-179
Jour (AF1), III, 29-31, 822
Linscott, 245-248
Luther, 195
Peacock, I, 151-152
Pound (SFSN), XII, No. 6
Shearin (SKFS), 16
Songster (123), 28
Wehman (CS), No. 10, 11
The Ocean Burial
Oh, bury me not in the deep blue sea!
These words came low and mournfully
From the pallid ips of a youth who lay
On his cabin bunk at the close of day.
He'd wasted and pined until on his brow
The death shade slowly passed, and now

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When home and fond loved ones all nigh.
Who had gathered around to 3ee him die.
Oh, "bury me not in the deep, deep sea!
Where the Billowy shrouds shall roll o'er me,
Where no light shall come 'neath the cold,
dark wave
And no sunbeams smile upon my grave.
It matters not, I have oft been told,
Where the body sleeps when the heart is cold;
Yet grant ye —0 grant this boon to me:
Oh, bury me not in the deep, blue sea!
In fancy I've listened to well known word,
To free, wild winds and the songs of birds;
I have thought of my home, of cot and bower,
The scenes that I loved in childhood's hour.
I have always wished that when I died,
I*d be buried at home 'neath the green hillside;
By the tombs of my fathers my grave should be—
Oh, bury me not in the deep, blue seal
Oh, there is another whose tears will be shed
For him who lies low in the ocean's bed;
In hours that it pains me to think of now,
She has twined these locks and pressed this
brow.
In the hair she has touched shall the sea-snake
hiss,
And the brow she has pressed shall the cold wave
kiss;
For the sake of that loved one who waits for me—
Oh, bury me not in the deep, blue sea!
She has been in my dreams—, his voice failed there.
They heeded not his dying prayer;
And they lowered him slow o'er the vessel's side,
And over him closed the cold, dark tide!
* **•*•*■**■*•*••*-*■*•****•****•* *

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-3564
— 1257
OH, FREEDOM!
also known as
Before I'll Be a Slave 0 Freedom
This is a "freedom" song in spiritual form and style,
and is apparently made up of ""borrowed" thoughts and
lines. Where the song came from, who wrote the words
and composed the music are things I do not know.
REFERENCES
Dett, 110 Scott (BA), 239-240
Lloyd, 138 Silverman, II, 99
Lomax (SA), 370 Weavers, 16-17
Whitman, 17
Oh. Freedom!
Oh, freedom! Oh, freedom!
Oh, freedom over me;
And before I'll be a slave,
I'll lie buried in my grave,
And go home to my Lord and be free.
No more weeping, no more weeping,
No weeping over me;
And before I'll be a slave,
I'll lie buried in my grave,
And go home to my Lord and be free.
Oh, what a singing! Oh, what a singing!
What singing over me;
And before I'll be a slave,
I'll lie buried in my grave,
And go home to my Lord and be free.
****** ************************

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- No. 1258
OH, MAMA., HOW I WISH I WAS THEBE
also known as
Chain Gang Song If I Had A-Listened
This song had wide circulation in the Southern states
when I was a boy. Arnold, 41, has the only version I
have seen in print, though many other songs contain
parts of it.
See If Trouble Eon*t Kill Me in this Master Book.
Oh, Mama , How 1^ Wish I Was There
If I had jus’ listen'd to what mama said,
I*d be home sleepin' on a feather bed.
Oh, mama, how I wish I was there!
Oh, mama, how I wish I was there!
Policeman he came a-knockin' on my door,
He said, "It seems like I been here before."
Oh, mama, how I wish I was there! (2)
It*s one hundred dollafs or it's sixty days,
And I don't stand a chance unless mama pays.
Oh, mama, how I wish I was there! (2)
Well now, boys, boys, I am going home,
To stay with mama, never again to roam.
Oh, mama, how I wish I was there! (2)
***#■***■*•* ■*••*•**•■****•■*•**•**■*■*■•*■-*•*■•*■* •*•#•*••*•*

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3566

No. 1259
OH! SUSANNA!
also known as
Susanna, Don't You Cry
Source song. Every American probably knows that this
song was written by Stephen C. Poster. It is still very
popular and is easily obtained. The tune has been often
borrowed for other songs (see G-old Seeker 1^ & IV else
where in this Master Book) . For a parody, see Hugill (1)
116 • REFERENCES
Agay (2), 108-109
Best, 49
Boyer, 180-181
Brown, III, 488-491; V,
271-272
Bulletin (TFS), V, 47-48
Chappie (HS), 172-173
Downes, 132-133, 162-163
Ford (OTFM), 21
Henry (SSSA), 198
Jour (AFL), LVI, 104
Kennedy (AB), 225-226
Kennedy (TAB), 72-73
Leisy (LAS), 31
Loesser, 112-113
Lloyd, 94-95
Luther, 119, 131-133
Mackenzie (SH), 43
Oberndorfer, 103
Seeger (6), 46
Shay (PF-1), 25-26
Shay (PF-3), 8-9
Shoemaker (NPM), 79
Silverman, I, 357
Turner (CS), 18
White, 178-179
Whitman, 115-116
Wilder, 46-47
Oh! Susanna!
I come from Alabama with my banjo on my knee,
I'm gwine to Louisiana, my true love for to see;
It rained all night the day I left,
The weather it was dry,
The sun so hot I froze to death,
Susanna, don't you cry.
Chorus

MB
Song Texts
3567
Oh, Susanna! Oh, don't you cry for me;
I've come from Alabama with my banjo on my knee.
I had a dream the other night
When everything was still,
I thought I saw Susanna
A-coming down the hill.
The buckwheat cake was in her mouth,
The tear was in her eye;
Says I, "I'm coming from the South,
Susanna, don't you cry."
I soon will be in New Orleans,
And then I'll look around,
And when I find Susanna,
I will fall upon the ground.
And if I do not find her,
This darkie'll surely die.
And when I'm dead and buried,
Susanna, don't you cry.
** *************** *•**■*■* •**•*•** *********
No. 1^60
OH, YES! OH, YES!
also known as
Wait Till I Get On My Robe
Thise is an early 19th century slave spiritual from the
repertoire of the original Risk Jubilee Singers.
REFERENCES
Dett, 210-211 Johnson (SENS), 105 Marsh (SJS), 212
Oh. Yes! Oh. Yes!
I come this night to sing and pray, Oh, yes! Oh, yes!
To drive old Satan far away, Oh, yes! Oh, yes!

MB
Song Texts
3568 •
That heavenly hone is bright and fair, Oh, yes! Oh, yes!
But very few can enter there, Oh, yes! Oh, yes!
Chorus
Oh, wait till I get on my robe, wait till I get on my
robe,
Wait till I get on my robe, Oh, yes! Oh, yes!
As I went down in the valley to pray, etc .
I met old Satan on the way, etc,
And what do you think he said to me? etc
You’re never too young to let me be, etc,
If you wanna feel that heav’nly breeze, etc.
Go down in the valley on your knees, etc .
Go, bend your knees upon the ground, etc«
And pray for God to turn you round, etc.
t
*********************************

No, 1261
OH! YOU NEW YORK GIRLS
also known as
Away, Susanna! Oh! You New York Gals,
Can* t They Dance the Polka? Can't You Dance the
Can’t You Dance the Polka? Polka?
The New York Gals
The polka , a type of dance from Bohemia, first appeared
in the United States around 1830. Thereafter, polkas
became the rage from one end of the country to the other
The song given here was among the earliest polka songs
to become popular. Its popularity was helped along by
the fact that the melody was already well known, having
been borrowed from Larry Doolan, an Irish favorite.
The song was a big favorite with sailors, who took it
to sea and used it for work as well as for entertainment

MB
Song Texts
3569
According to Doerflinger, the Martin Churchill that
is mentioned in the final stanza was a boarding master
at New York "about the time of the Civil War*"
REFERENCES
Colcord, 108-109
Davis (SSC), 12-13
Doerf linger, 58, 62
Glass (SS-1), 54-55
Harlow (C), 37-38
Hugill (1), 369-373
Ives (SA), 150-151
Silverman, II, 257
Smith (BOS), 67
Whall (SSS), 47-48
Oh! You New York Girls
Oh, ship-mates, listen unto me:
1*11 tell you in my song
Of things that happened to me
When I came back from Hong Kong.
Chorus
And away, you Santy, my dear honey!
Oh! you New York girls,
can*t you dance the polka?
As I came down the River park,
This girl I chanced to meet;
She asked me if I would see her home,
Somewhere on Bleeker street.
She ushered me into her house
And passed the drinks around;
It was the strongest whiskey, boys,
This sailor ever; found!
#
When I awoke next morning, boys,
I had an aching head;
And there I was stark naked
Upon a feather bed!

MB
Song Texts
3570
My gold watch and my pocketbook
And lady friend were gone;
Alone was I, and naked,
With nothing to put on!
I wrapped myself all in a sheet,
And feeling quite forlorn,
I went to Martin Churchill,
Who sent me 'round Cape Horn!
************************************

No. 1262
OLD ADAM
also known as
Adam Poor Adam
This humorous song was popular among various college
students, one of whom may have written it. Information
about its origin has eldued me, and I have only seen it
in three published collections. I learned it from the
screen and stage star Kay Francis in the late 1930a.
REFERENCES
Best, 53 Leisy (SPS), 144 Sandburg (AS), 339
Old Adam
It's a pity 'bout old Adam,
And I'm sorry as can be,
For he never had no mammy
Who cculd bounce him on her knee.
And he never had no pappy
For to tell him all he knov/ed,
And he never had nobody
To point out the narrow road.

MB
Song Texts
3571
And he never had no childhood,
Playin' round the cabin door.
And he never had a mammy
Who would snatch him off the floor.
And he never had that feeling,
When at night he lay to rest,
Of chicken and sweet potatoes
Tucked away beneath his vest.
And I've always had the feeling
He'd have let that apple be,
If he'd only had a mammy
Who would bounce him on her knee.
*******************************

No. 1263
OLD AUNT KATE
also known as
Aunt Kate Kate
This song, said Scarborough's informant, "was elabo
rated from Juba" (see in MB). There are several
variations, however, and one is the Old Aunt Kate in
Talley, 179. Also, there is the Old Aunt Katy given
in Brown, III, 374-375. One might also see the Old
Kate, Git Over in White, 161-162.
REFERENCES
Scarborough (NFS), 99 Seeger (1), 139
Silverman, I, 366
Old Aunt Kate
Old aunt Kate she baked a cake,
She baked it by the garden gate;
She sift the meal, she gimme the dust,

MB
Song Texts
3572
She baked the bread, she gimme the crust,
She eat the meal, she gimme the skin,
And that's the way she took me in.
**********************************

No. 1264
OLD BILL
also known as
Bill's ol' Wife Tell ol' Bill
Ms Homin', Ms Evenin', This Morning, This Evening,
So Soon So Soon
Author and composer of this old Negro song are unknown.
In fact, none of the collectors who printed it seemed
to know much about it at all# If they did, they didn't
say so.
For a parody, see Lomax (ABES), 101#
REFERENCES
Edward (CHS3), 188
Leisy, 318-319
Lomax (ABFS), 100
Odum (NHS), 214-215
Sandburg (AS), 18-19
Shay (PF-2), 135-136
Shay (PF-3), 200-201
Silverman, II, 389
Old Bill
Tell ol' Bill when he comes home this mornin',
Tell ol' Bill when he comes home this evenin',
Tell ol' Bill when he comes home
Leave them city gals alone,
This mornin', this evenin', so soon.
Bill's po' wife was bakin' bread this mornin',
Bill's po' wife was bakin' bread this evenin',
Bill's po' wife was bakin' bread
When they told her Bill was dead,
This mornin', this evenin', so soon*

MB
Song Texts
3573
"0 no!'* she cried, "that can’t he true this momin’,
0 no!" she cried, "that can’t be true this evenin',
0 no!" she cried, "that can’t be true,
That ain't a thing ol' Bill would do,
This mornin’, this evenin', so soon!"
***************■*■*■•*•*■****•*•**■*•*#••*■#•***•**

No, 1265
OLD BINGO
also known as
Bingo Johnny Had a Little Dog
Bobby Bingo Little Bingo
According to Linscott, Old Bingo "has a Scotch back
ground and was first published in 1780," Gomme, how
ever, says the song is English. We know that it is old,
that it came to America from England, and that it is
a game song in some places and a novelty song in others.
Since American and English versions differ in many re
spects, we give one of each below. Version A is American
version B is English.
REFERENCE S
Ber'tail, 131
Botkin (APPS), 34
Broadwood (OES), 32
Brown, I, 154-155; III,
187; V, 537
Burne, 513
Dearmer (ST), 66-67
Folklore Journal, V, 58
Gardner (SPPG), 93-94
Gilbert (100), 6
Gomme, I, 29-33
Grahame, 60-61
Hornby, 76
Jour (AFL), XL, 37
Jour (FSS), I, 242; V, 219
Karpeles (EFS), II, No. 262
Kit, P 15-16, 57; R 81
Linscott, 168-169
Price, 10
Sharp (FSFS), I, 14-16
Songs (15), 71
Waite, 54-55
Walter (OESG), 9
Wier (YAK), II, 45
Winn (1), 54-55

MB
Song Texts
3574
Old Bingo (Version A)
A farmer had a little dog, called his name "Old Bingo,"
B-I-N-G-0!
Called his name "Old Bingo." B with an I, I with N,
N with a G, G with an 0, B-I-N-G-0!
Called his name "Old Bingo!"
This farmer liked a cup of good ale, called it rare
good stingo, S-T-I-N-G-0!
S-T with an I, I with an N, N with a G, G with an 0,
S-T-I-N-G-0!
Caled it rare good stingo!
This farmer went to town one day, bought a wedding
Ring-0, R-I-N-G-0!
R with an I, I with an N, N with a G, G with an 0,
R-I-N-G-0!
Bought a wedding ring-0!
Now isn't this a pretty good song? Yes, it is, by jingo,
J-I-N-G-0!
J with an I, I with an N, N with a G, G with an 0,
J-I-N-G-0!
Yes, it is, by hingo!
VERSION B
There was an old do
Lay at the mill door
And Bingo was his name, sir—
B-I-N-G-0!
Bang her and bop her
And kick her and cop; her,
And Bingo was his name, sir.
****** *-***•*•*•* ************* ****** *****

MB
Song Texts
3575

Bo. 1266
OLD BLUE
also known as
Blue . — I Had a Log and His
Come On, Blue Name Was Blue
Good Old Blue Oh, Blue
This song has been described as "a minstrel piece,*
"a Begro folk song,” and as "a work song." It is said
to date from the 1840s. No additional information is
available, but I suspect it was a poem before it became
a song.
REFERENCES
Best, 38
Botkin (SFL), 738-739
Brown, III, 252-253
Hudson (FSM), 201-202
Ives (SA), 118-119
Ives (SB), 182-183
Jour (AFL), XXVI, 128
XXXIX, 177
Leisy (LAS), 38-39
Lomax (FSNA), 310
Lomax (OSC), 111-112
Lomax (PB), 42
Lomax (USA), 24-25
Randolph, II, 382-383
Seeger (1), 18
Seeger (3), 30-31
Silverman, I, 166
Warner, 147
White, 207-208
Winn (1), 55
Tolen, 72
Old Blue
Well, I had an old dog and his name was Blue,
And I betcha five dollars he's a good one, too.
I'd say, "Come on, Blue."
(Whistle):-Boy, he'd come runnin', too!
Ev'ry single night 'round about dark,
I would hear old Blue begin to bark.
Old Blue, good old Blue!

MB
Song Texts
3576
Well, I’d light my lantern and I’d go see,
An’ he's got a possum up a 'simmon tree.
Old Blue, good old Blue.
Well, I'd grab the tree and I'd shake him down;
I'd take him home and I'd bake him brown.
Old Blue, have some, too.
How early one mornin' old Blue took sick;
I Bent for the doctor to come right quick.
Old Blue, poor old Blue.
The doctor he came, and he came on the run,
And he say, "Old Blue, your huntin' days are done."
Old Blue, poor old Blue.
When old Blue died he died so hard,
He dug little holes all over the yard.
Poor Blue, poor old Blue.
When I get to heaven first thing I'll do
Is look around and call old Blue.
Old .Blue, good old Blue.
I'll say, "Hello, Blue!
Pin'ly got here, too!"
************************************

No. 1267
OLD BRASS WAGON
also known as
Lead Her Up and Down the Little Brass Wagon
Aisle You're the One, My Darling
This is both a game song for children and a dance song
for adults. According to Botkin and others, the tune is

M3
Song Texta
3577
like Skip To Mv Lou. Ford, on the other hand, tells
ub that the tune is a variation of What Shall We Do
With a Drunken Sailor.
For additional information about the game, the time,
and relationships, see The Duke of Marlborough in this
Master Book.
REFERENCES
Lair, 29
Morris, 216
Owens (TFS), 153
Piper ( SPPG ), 282-283
Randolph (OPP), 216-217
Randolph (Ozaiks), 159
Sandburg (AS), 159
Wolford, 76-77
Ames (MPP), 307-308
Ball, 13
Blair, 97
Botkin (APPS), 258-260
Dudley & Payne, 17
Ford (TMA), 248-249
Hamilton, 293-294
Old Brass Wagon
All join hands, old brass wagon.
Circle to the left, old brass wagon,
Circle to the left, old brass wagon.
You're the one, my darling.
Swing your partners, old brass wagon.
Alamande left, old brass wagon.
Grand right and left, old brass wagon.
You're the one, my darling.
Grand right and left, old brass wagon.
Promenade home, old brass wagon,
Promenade home, old brass wagon.
You're the one, my darling.
Dance her up and down, old brass wagon.
Polka up and down, old brass wagon,
Polka up and down, old brass wagon.
You're the one, my darling.
*************

MB
Song Texts
3578

So. 1268
OLD CAPE PEAR RIVER
also known as
Ohio River, She's So Deep and Wide
This song was obtained from Wilbur Brown, Wilmington,
H. C., in 1936. I have seen only one other version in
print and that was about a different river. Despite
the title difference and several other variations,
there is no doubt that that both are versions of the
same song. For other version, see Wheeler (SD), 82-83.
Old Cape Fear River
Old Cape Fear River,
It's so deep and wide,
I can't even see my gal
On the other side.
The blues done got me
Since she said goodbye;
Make8 me feel so awful bad
I wish I could die!
Old Cape Fear River,
It's a-rollin' on down;
If I don't lose these blues,
Think I'm gonna drown.
I miss my woman,
Lord, I miss her bad;
Miss her lovin' all the time.
Best I ever had.
Old Cape Fear River,
Hear me weep and pray:
Bring me back my lovin' gal.
Bring her back to stay.
********************* *******

MB
Song Texts 3579

No* 1269
OLD DAN TUCKER
also known as
Dan Tucker Get Out of th.8 Way, Old Dan
Tucker
This American song was copyrighted in 1840 and is ascrib
ed to Dan D. Emmett, author-composer of Dixe (see in MB).
Dan Tucker was so popular that his name began to show-up
in other songs. For example:
The purtiest gal I ever saw
Was old Dan Tucker's daughter-in-law;
Her eyes bugged out and her nose bugged in,
And her lip hung down over her chin.
And there’s an English adaptation in Williams (FSUT),
142-143, which begins:
Old Ann Tucker and my Aunt Sal,
They both lived down at Camberwell;
The name of the house I can’t tell you at all,
-It’s in the first and gaudiest hall.
Por some similar and possibly related songs, see: Captain
Dime in Talley, 5; Old Man Baker Was a Good Old Man in
White, 160-161; Sam , Sam , Dirty Old Man in Douglas (LSG),
55? and Son John Is a Nice Old Man in Johnson (WTS),
183-184.
Por Old Dan Tucker as a legendary figure, see Rourke (AH)
85.
An obvious rewrite, Get Out Of The Way , Old Johnny Tucker
is in Negro Minstrel’s Song Book , 1850, 318.
Por a song set to the tune of Old Dan Tucker , see J. A.
Stone's Striking A Lead in Dwyer, 73.
REFERENCES
Agay (2), 68-69
Ames (MPP), 309-310
Ball, 16
Blair, 96-97
Bolton (CRC), 123
Bolton (MCR), 321

MB
Song Texts
Botkin (APPS), 260-266
Brewster (BSI), 340-341
Brown, III, 114-118; V,
59-60
Burchenal (ACD), I, 62-63
Cambiaire, 140
Chappie (HS), 174-175
Coleman, 28
Damon, No. 37
Davis (PSV), 154
Douthitt, 37
Downes (1940), 113-115
Downes (1943), 140-142
Dudley & Payne, 14-15
Duncan (PPHC), 9-10
Ford (OTFM), 32
Ford (TMA), 55, 207, 412
Fuson, 163
Gainer, 176-177
Gaines (SP), 132
Gardner (PSH), 236
Gardner (SPPG), 116-117
Heck, 23
Hofer (PPG), 58
Hubbard, 382-383
Ives (SB), 202-204
Ives (TA), 289-290
Johnson (EAS), 36
Jour (API), XXVII, 131;
XL, 97; XLIV, 428
Keach, 150-151
Kennedy (AB), 217-218
Kennedy (TAB), 112-114
Lair, 15
Lair (SLL), 52
-3580
Lloyd, 84-85
Lomax (ABPS), 258-262
Lomax (USA), 92-93
Luther, 111
Mahan, 54-56
Marsh (SSM), II, 1-3
McLendon, 218-219
Minstrel, 150-151
Nathan, 454-456
Oberndorfer, 84
Owens (ST), 39
Owens (TPS), 155
Paskman, 42-44
Perrow, XXVII, 131
Piper (SPPG), 284
Pound (SFSN), XXVIII, No. 6
Randolph, III, 301-304
Randolph (OPP), 209-210
Randolph (Ozarks), 149-151
Roberts (SBS), 184-185
Scarborough (NPS), 199
Scott (FSS), 34
Seeger (6), 52
Shearin (SKPS), 38
Silverman, I, 362
Sullivan, II, 165-167
Thede, 74-75
Van Doren, 488-489
Warnick, 164
Wedgwood, 272-273
Wehman (GOTS), No. 2, 43
White, 8, 446-44*
Wilder, 66-67
Wier ( IHMC ), 273
Wilson (SHP), 59
Wolford, 78-80

MB
Song Texts
...3581
Old Dan Tucker
Come to town the other night,
I heard the noise and saw the fight;
The watchman was a-runnin* *round,
Cryin', "Old Dan Tucker's come to town!"
Chorus
Hey! get out the way, old Dan Tucker!
Get out the way, old Dan Tucker!
Get out the way, old Dan Tucker!
You're too late to come to supper!
Tucker is a nice old man.
He used to ride our Darby ram;
He sent him whizzin' down de hill.
If he hadn't got up, he'd laid dar still*
Tucker he had cash a plenty,
Dressed to death—his old trunk empty;
To kiss de gals he thot was useless,
'Cept he kissed wid a sway-back-looseness*
Here's my razor in good order.
Magnum bonum—jis has bought 'er.
Sheep shell de oats, old Tucker shell de corn,
I'll shabe you all when de water gets warm.
**********************************

Ho* 1270
OLD DOG TRAY
Within 18 months of publication this song had sold
125»000 copies. It was written and composed by Stephen
C. Poster, which helped get it off to a good start.

KB
Song Texts
3582
Like most of Poster’s tunes, this one was borrowed for
another song: see Gold Seeker XVII in this Master Book ,
JLleo like Poster's songs, this one is not found in any
of the scholastic-type folk collections.
REFERENCES
Chappie (HS), 156-157
Ford (OTFM), 13
Johnson (PS), 156-157
Mackenzie (SH), 77
Oberndorfer, 102-103
Staton, 74
Wier (SWWS), 201
Wier (YAM), III, 70
Yolen, 67-69
Old Dog Tray
The morn of life is past, and evening comes at last,
It brings me a dream of a once happy day,
Of merry forms I've seen upon the village green,
Sporting with my old dog Tray.
Chorus
Old dog Trey's ever faithful.
Grief cannot drive him away,
He'8 gentle, he is kind;
1*11 never, never find a better friend
Than old dog Tray.
The forms I call'd my own have vanished one by one,
The lov'd ones, the dear ones have all pass'd away;
Their happy smiles have flown, their gentle voices gone,
I've nothing left but old dog Tray.
When thoughts recall the past, his eyes are on me cast,
I know that he feels what my poor heart would 3ay;
Altho' he cannot speak, I should vainly try to seek
A better friend than old dog Tray,
*************************

MB
Song Texts
- 3-583
Ho. im
OK) POLKS AT HOME
also known as
Swanee River Way Down Upon the Swanee River
Source Song. One of Stephen C. Poster’s more popular
songs. Tune was used by J. A. Stone for a California
gold rush Bong (see Gold Seeker VIII in this Master Book )
REFERENCES
Agay (2), 110-111
Botsford, I, 3-5
Carmer (SRA), 126-127
Chamberlain, 238-239
Chappie (HS), 120-121
Elson, 33-35
Gilbert (100), 107
Johnson (PS), 69-71
Kobbe, 39-40
Krythe, 99
Leisy (LAS), 115-116
Old Folks at Home
Way down upon the Swanee River,
Par, far away.
There’s where my heart is turning ever,
There’s where the old folks stay.
All up and down the whole creation
Sadly I roam,
Still longing for the old plantation,
And for the old folks at home.
Chorus
All the world is sad and dreary, everywhere I roam;
Oh, darkies, how my heart grows weary, far from the
old folks at home.
Luther, 142, 144
Mackenzie (SH), 44-45
Most (PCS), 52-53
Oberndorfer, 96
Seeger (6), 83
Silverman, I, 149
Songs (15), 24
Staton, 75
Whitman, 97,
Wier (SWWS), 9-10
Wier (YAM), III, 64

KB
Song Texts
,3584
One little hut among the bushes,
One dat I love.
Still sadly to my mem'ry rushes.
No matter where I rove.
When will I see the bees a-humming
All round de comb?
When will I hear de banjo strumming,
Down in my good old home?
*********************************

No. 1272
OLD FOLKS, YOUNG FOLKS
also known as
Old Jim Crow
Old Virginny Never Tire
Clare de Kitchen
Clear the Kitchen
Bar Was A Gal in Our Town There Was a Gal in Our Town
A song with a long and somewhat cloudy history. Accord
ing to some experts, as we know the song now it is based
on Clar Be Kitchen by Thomas D. Rice, published in the
1830s.- The tune is a combination of two older Iri3h songs
The Star of County Down and Lady Shaftabury*s Reel.
Tom Rice was a well-known minstrel show operator and
performer who • authored several popular songs that he
adapted from old slave creations. This song was report
ed in A Second Visit to the United States by Sir Charles
Lyell, 1849, as sung by black slaves in Williamsburg, Va.
Recovered slave versions are generally known as Old
Virginny Never Tire, which, some say, is the basis for
Rice’s minstrel piece, Clar de Kitchen. Of course, it is
possible that the slave versions are merely adaptations
of Rice's stage song.
The stanza or refrain "Old Virginny never tire" is a
floater. For example, it is the title and chorus of

MB
Song Texts
3585
of a version of Down in Alabama recovered by Van Doren
in Illinois and printed in Jour (AFL), XXXII, 492-493.
Old Folks, Young Folks also shows up in versions con
taining lines taken from spirituals.Scarborough (NFS),
110, has a version with a borrowed spiritual refrain.
A version called Poor Old Man was published in England
in Song Book of San Hague’s Minstrels . Liverpool, 1873,
p. 12.
The line "I went to the creek (or river), I couldn’t
get across” is another floater; it is found in several
songs, including: Hook and Line in Perrow XXVI, 127;
The Old Gray Horse in Perrow XXVI, 124; Polly Wolly
Doodle in Spaeth (REW), 93; Run , Nigger , Run in Lomax
(ABFS), 231; and Went to the River in Randolph (Ozarks),
205-206 and Scarborough (NFS), 184-185.
Two versions are given below. The A version below is
from traditional sources. The B version is the song at
tributed to Thomas Rice, published in the early 1830s.
REFERENCES
Botkin (APPS), 285-287
Brown,. Ill, 494-496; V,
276-277
Coleman, 98
Damon, No. 16
Ford (TMA), 105, 407-408
Keach, 40
Marsh (SSM), II, 153-154
Minstrel, 152-153
Nathan, 164
Negro, 323
Scarborough (NFS), 109-112
Songster (115), 149
White, 459
Old Folks , Young Folks ( Version A)
There’s a woman down in our town.
And she wears a yellod stripe-ed gown,
And when she goes out walking ’round.
The hollow of her feet makes a hole in
the ground!

MB
Song Texts
3586
Chorus
Old folks, young folks, clear the kitchen!
Old folks, young folks, clear the kitchen!
Old Virginny never tire.
Got to the creek and couldn’t get across;
Hobody there but my ol’ blind hoss.
Veil, ol* Jim Crow came Tidin' by—
Says he, ’’Young fella, your hoss will die!"
I wrote a letter to my true love,
To ask her what she is thinking of;
Her answer filled my heart with dread:
"You better find another" is what she said.
Jaybird sat on a hick'ry limb.
He winked at me and I winked at him.
I threw a stone and hit his shin—
Says he, "You better not do that again!"
Bullfrog dressed up in soldier clothes,
He went to the field to shoot some crows;
The crows got scared and flew away—
The bullfrog got mighty mad that day!
VERSION B
In old Kentuck in de arternoon.
We sweep de floor wid a bran’ new broom,
And arter day we form a rine.
And dis de song dat we do sing:
Chorus
Clare de kitchen, old folks, young folks,
Clare de kitchen, old folks, young folks,
Old Virginny never tire.

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Song Texts
3587
I went to de creek, I couldn’t git across,
I*d nobody wid me but an old blind horse;
But old Jim Crow came riding by.
Says he, Old fellow, your horse will die.
«y horse fell down upon de spot;
Says he. Don’t you see his eyes is sot?
So I took out my knife and off wid his skin,
And when he comes to life I’ll ride him again.
A jaybird sot on a hickory limb.
He winked at me and I wink’d at him;
I pick’d up a stone and I hit his shin,
Says he. You better not do dat agin.
**********************************

Ho. 1273
OLD GRAMPS IS DEAD
also known as
Apples Are Ripe
Bumpy Was Dead and Lay in
Old Grampus
Old Granddaady’s Dead
His Grave
Cock Robin is Dead
Cronie is Dead
Father Adam
Granddaddy
Growler
Little Johnny Wattles
Old Abram Brown
Old Adam
Old Billy Apple Tree
Old Bumpy
Old Crompy
Old Cronie, or Crony
Old Grimes
Old Growler
Old Grumble, or Grumbler
Old Grumly
Old Grump’s Dead and in
His Grave
Old Grundy
Old Humphrey
Old Pompey is Dead
Old Ponto is Dead
Old Humpty
Old Johnny
Old Kramer

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Song Texts
3588
Old Robin
Old Roger (s)
Old Roger is Dead
Old Rover
Oliver Cromwell
Pompey
Poor Johnnie, or Johnny
Poor Robin
Poor Toby
Sir Roger
Tommy
The Tommy Song
This song is known in all areas of the United States.
The game that has come down to us along with the song
is ancient; it represents the belief that a tree grow
ing over a grave might absorb the soul of the person
buried beneath it. Once the spirit of a dead person
enters a tree it thereafter resents any attempt by the
living to take fruit away from the tree.
REFERENCES
Arnold, 131
Belden (BS), 509-511
Broadwood (ECS), 94-95
Brown, I, 46-48
Brown (BLNC), 11
Eddy, 176-177
Flanders (YFSB), 182-183
Focus, III, 155-156
Folklore Journal, I, 385
Fuson, 186
Gomme, II, 16-24
Henry (FSSH), 408-409
Henry (SSSA), 94-95
Hornby, 62
Hubbard, 381
Hudson (FSM), 284-285
Jour (AFL), XIII, 230; XXVIII,
20; XXXIV, 113; XXXV, 407;
IXXIX, 167; XL, 120
Jour (FSS), V, 295-296
Moore (BFSS), 255-256
Morris, 425-427
Heely, 195-197
Hewell, 100-101
Perrow, XXVI, 144
Pound, 232-233
Pound (SFSN), XXI, No.
4, 57
Quarterly (SFL), VI, 208
210
Randolph, III, 381-382
Ritchie (SSB), 32-33
Sandburg (AS), 339
Scarborough (NFS), 136
Sharp, II, 370
Shoemaker (NPM), 303
Taylor (BR), 68
Whitney & Bullock, 147

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Song Texts
3589
Old Gramps Is Bead
Old Gramps is dead and in his grave.
In his grave, in his grave,
Old Qramps is dead and in his grave—
And isn't that a shame!
An apple tree grows over his head, etc .
The apples grew ripe and all fell off, etc .
A woman started picking them up, etc.
Old Gramps jumped up, gave her a scare, etc .
There'8 bread and cheese upon the shelf,
Upon the shelf, upon the shelf.
There's bread and cheese upon the shelf.
If you want more, then sing it yourself!
And isn't that a shame!
******************************

No. 1274
THE OLD GRAY GOOSE IS BEAD
also known as
Aunt Abby
Aunt Dinah
Aunt Rate
Aunt Nancy
Aunt Patsy
Aunt Rhody
Aunt Tabbie (Tabby)
Go Tell Aunt Abby
Go Tell Aunt Dinah
Go tell Aunt Nancy
Go Tell Aunt Patsy
Go Tell Aunt Rhodie (Rhody)
Go Tell Aunt Tabbie (Tabby)
The Old Gray Goose
The Old Grey Goose
The Old Grey Goose is Dead
This song is widely known and has one of the most popular
times in the United States. In instrumental form, the air

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Song Texts
3590
is sometimes known as Greenville and/or Rousseau* s
Dream, It was published as a piano solo under those
titles about 1818, The piano solo was published in
England after one J. B. Cramer ’’got hold of it," ac
cording to James T. lightwood, Hymn - Tunes and Their
Story , 1905, p. 366.
The song has been adapted as a game-song, a hymn, and
the tune has been borrowed by several writers for their
modern compositions. The origin of the time is uncertain
We find it in William Hauser's Olive Leaf, 1878, p. 223»
as Rousseau* s Dream , a title derived from the belief
that the tune was composed by Jean Jacques Rousseau.
REFERENCES
Arnett, 39
Bertail, 104
Best, 19
Brown, I, 204-206; III,
177; V, 106-107
Chase (AFTS), 176-177
Chase (OSSG), 3-4
Ford (OFTM), 25
Gardner (BSSM), 466
Grafman, 105
Ives (SB), 197-199
Jackson (WSSU), 173-174
Jour (AFL), XXVI, 130;
Leisy, 125
Linscott, 207
Lomax (ABFS), 305-306
Lomax (PB), 58
Lomax (USA), 16-17
Randolph, II, 347-349
Scarborough (NFS), 8, 95
96
XLVI, 110; XLVII,
336; LVI, 10
Scott (FSS), 38
Seeger (6), 45
Sharp, II, 345
Silverman, I, 300
White, 177
Winn (1), 69
Yolen, 150-151
The Old Gray Goose is Dead
Go tell aunt Rhody,
Go tell aunt Rhody,
Go tell aunt Rhody,
The old gray goose is dead

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Song Texts
3591
The one she was saving (3),
To make a feather bed.
She died in the mill-pond (3),
A-standing on her head.
The goslins are crying (3)»
Because their mammy's dead.
We'll have a funeral (3)»
Just like the preacher said.
Go tell our neighbors (3),
The old gray goose is dead.
*******************************

Ho. 1275
THE OLD GRAY MARE
ALSO KNOWN AS
Once I Had an Old
Gray Mare
The Gray, £r Grey Mare
The Old Gray Horse
This old English song carved a niche for itself in
traditional song in the South, but it is rarely en
countered elsewhere in America.
REFERENCES
Brown, III, 217; V*
126-127
Jour (AFL), XXVI, 123
Lunsford, 36
Ford (OTFM), 16
Henry (FSSH), 410-412
Roberts (SBS), 190
Sharp, II, 326-328
Silverman, I, 370
The Old Gray Mare

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Song Texts
3592
Once I had an old gray mare,
Once I had an old gray mare,
Once I had an old gray mare,
Rode her here and rode her there.
Rode her here and rode her hard (3)»
She lay down in my front yard.
laid so still I thought she’d died (3),
Pelt so bad I damn near cried.
Polks in church began to pray (3),
She jumped up and ran away.
Then I quickly took her track (3)»
Thought I'd better bring her back.
Pound her on the edge of town (3),
In a mudhole upside down.
Rolled my sleeves and gave a shout (3),
Seized her tail and jerked her out.
Thinking it was not a sin (3),
Took my knife and began to skin.
Put her hide up in the loft (3),
Some rogue came and packed it off!
************* *-**•*■* ************ ********

Ho. 1276
OLD GRIMES IS DEAD
also known as
Old Father Grimes Tobacas and Hohunkas
Roll, Johnny Booger Turn, Sally Sunday, Turn
Due to a similarity in their titles, this song is
sometimes confused with the game song. Old Gramps

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Song Texts
3593
ia Bead (see No. 1274 in this Master Book ). However,
the two songs are not related.
The song given here was written by Albert Gorton Greene,
Hhode Island, in 1820, when he was sixteen. The song
was not published for general circulation until 1841,
when it appeared with other poems in The Rhode Island
Book . The text was eventually set to the tune of Auld
Lang Syne (see in this Master Book) . Later, the song
was rewritten as a minstrel show piece (see version B
below).
For an English song that is similar, see James Morrell
is Bead in Karpeles (EPS), II, No. 328.
REFERENCES
Belden (BS), 258-259
Botkin (NEP), 886-887
Bryant, 878-879
Cox (PSS), 490
Gardner (BSSM), 467
Hubbard, 384
Kennedy (TAB), 122-123
Luther, 224
Morris, 198-200
Neely, 217-219
Pound (SPSN), IX, No. 1
Randolph, III, 177-178
Spaeth (WSM), 150-151
Wilder, 68-69
Old Grimes is Bead Tunet Auld Lang Syne
Old Grimes is dead, that good old man
We never shall see more;
He used to wear a long black coat
All buttoned down before.
His heart was open as the day,
His feelings all were true;
His hair was some inclined to gray—
He wore it in a queue.

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Song Texts
3594
Whene’er he heard the voice of pain,
His "breast with pity burn'd;
The large, round head upon his cane
Proa ivory was turned.
He lived in peace with all mankind,
In friendship he was true;
His coat had pocket-holes behind.
His pantaloons were blue.
But good old Grimes is now at rest,
Hor fears misfortune's frown;
He wore a double-breasted vest—
The stripes ran up and down.
He modest merit sought to find.
And pay it its dessert;
He had no malice in his mind,
Ho ruffles on his shirt.
His knowledge hid from public gaze,
He did not bring to view;
Hor made a noise town-meeting days,
As many people do.
His worldly good he never threw
In trust to fortune's chances,
But lived—as all his brothers do—
In easy circumstances.
Thus undisturbed by anxious cares,
His peaceful moments ran;
And everybody said he was
A fine old gentleman.
VERSION B

KB
Song Texts
3.595'
Old Mister Grimes, that good old man
Was always kind to me;
Hie eyes looked like two auger holes
Bored in a tall pine tree.
Chorus
Turn, Sally Sunday, turn!
Turn, Sally Sunday, turn!
Turn, Sally Sunday, turn!
We’ll leave the hoys behind,
I wish I had a load of wood.
To fence my garden ’round;
My neighbor's pig they do get in
And root up all my ground.
Somebody stole my old hound dog,
I wish they'd bring him back;
He chased the big hogs o'er the fence.
And the little ones thro' the crack.
Somebody stole my banty hen,
I wish they'd left her be;
On Saturdays’ she laid two eggs,
On Sundays' she laid three,
*************************************

No. 1277
OLD HUNDRED
also known as
Jehovah, He is God
Old Hundredth
Praise God Prom Whom All
Blessings Plow
Sing We to Our God
Above
Thy Glory Pills the
Sky
We give four 1 stanza versions here because Old Hundred

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Song Texts
3596
is merely the name of a tune used for several doxologies
and other religious and secular songs.
Who actually composed this world famous melody? We can
only report what research has revealed. From Brown (SET),
15, we learn: "This grand Gregorian harmony ha3 been
claimed to be Luther’s production, while some have be
lieved that Louis Bourgeois, editor of the French Genevan
Psalter, who perished in the Massacre of St. Bartholomew,
composed the tune, but the weight of evidence seems to
indicate that it was the work of Guillaume le Franc,
(William Franck or William the Frenchman), of Rouen,
in France, who founded a music school in Geneva, 1541."
Old Hundred is in this Master Book for three reasons:
1. It is one of the first hymns sung by the
first settlers in New England,
2* the words appeared in the Bay Psalm Book ,
published in 1640 by the Puritans in Massa
chusetts, the first book printed in America,
and
3« the tune has been "borrowed" and adapted and
used for many songs sung by people generally.
Despite the conclusion drawn by Brown, as set down above,
the tune is said by some to have originated in a French
chanson called There Is None Here Without His Fair One.
Perhaps. But I've seen no evidence to support any of the
various claims.
However, we do know that the tune is older than the Pom
ologies, that it was first used with sacred words written
by Louis Bourgeois in the Genevan Psalter , in 1551; and
that it wae brought to America in the Ainsworth Psalter ,
a book of hymns derived from Bourgeois' book and printed
in Amsterdam, in 1612, for the pilgrim Separatists who
had taken refuge in Holland.
The four Doxologies set to the tune and given below, are:

M3
Song Texts
3597
Version A from the Ainsworth Psalter , version B from
a sixteen line hymn attributed to Nahum Tate; version
C, written in 1692 by Thomas Ken (a British bishop),
and version D from the Methodist Hymnal , p. 510, where
the words are ascribed to Charles Wesley. Version E
is not one of the Doxologies, but a hymn by Isaac Watts
and Goudimel and titled Old Hundred.
REFERENCES
Agay (2), 9
Benziger, 107
Brown (SHT), 11-15
Chappie (HS), 369
Elson, 42
Ives (SB), 14-15
leisy (LAS), 129-130
Lloyd, 12
Luther, 2
Mackenzie (SH), 167
McCurry, 17
Oberndorfer, 38
Silverman, II, 83
Songs (15), 190
Whitman, 103
Wier (YAM), III, 152
White & King, 49
Old Hundred : Jehovah, He i_s God ( Version A)
Showt to Jehovah, al the earth;
Serv ye Jehovah with gladness;
Before Him come with singing mirth;
Know that Jehovah, He God is.
Thy Glory Fills the Sky ( Version B)
Be Thou, 0 God, exalted high,
And as Thy glory fills the sky
So let it be on earth displayed
Till Thou art here as there obeyed.

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Song Texts
3598
Praise God Prom Whom All Blessings Flow ( Version C)
Praise God from whom all blessings flow,
Praise Him all creatures here below,
Praise Him above, ye heavenly host,
Praise Father, Son and Holy Ghost.
Sing We To Our God Above ( Version D)
Sing we to our God above,
Praise eternal as His love;
Praise Him, all ye heavenly host—
Father, Son, and Holy Ghost.
Prom All That Dwell Below the Skies ( Version E)
From all that dwell below the skies,
Let the Creator's praise arise;
Let the Redeemer's name be sung
Through ev'ry land, by ev'ry tongue.
Eternal are Thy mercies, Lord;
Eternal truth attends Thy word;
Thy praise shall sound from shore to shore,
Till suns shall rise and set no more.

No. 1278
OLD JOE CLARK
also known as
Joe Clark Round and Round, Old Joe Clark
This song is probably known to every fiddler and banjo-
picker in the United States. It is claimed that Old

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Song Texts
3599
Joe Clark was originally a play-party song, but all
references to it in play-party and game-song literature
usually accompany a similar piece, Liza Jane (see in
this Master Book ). Such references are understandable
if not always clear, because Liza Jane is often sung to
the tune of Old Joe Clark*
Por similar songs, see Stay Till the Sim Goes Down in
this Master Book and Old Joe Camp in Cox (PSS), 285 and
Jour (APL), XXXI, 277. Also compare the Old Joe Clog
in Cox (PSS), 495.
REFERENCES
Agay (1), 30
Best, 135-136
Botkin (APL), 814-818
Botkin (APPS), 269-285
Brown, III, 120-124; V,
61-67
Bulletin (TPS), V, 23
Davis (PSV), 244-245
Downes (1940), 206-207
Downes (1943), 246-247
Dudley & Payne, 32-34
Gainer, 171-172
Ives (SA), 110-112
Johnson (EAS), No. 40
Jour (APL), VI, 131; XL,
97
Langstaff (1), 46
Loesser, 52-53
Lomax (ABPS), 277-280
Lomax (PB), 70
Lomax (USA), 86-87
Luther, 209
McDowell (PDT), 76
McLendon, 219
Owens (ST), 56-61
Owens (TPS), 157-159
Perrow, XXY, 152; XXVIII,
176
Quarterly (SPL), IV, 192
Randolph, III, 324-330
Randolph (OPP), 221
Roberts (IP), 289-291
Scarborough (NPS), 8, 125,
169, 192 & 227
Scarborough (SC), 65
Seeger (1), 84-85
Seeger (6), 35
Sharp, II, 259
Shay (PP-2), 70-71
Shay (PP-3), 149
Silber (HSB), 18
Silverman, I, 346
Thede, 28-29
Thomas (DD), 106-107
White, 28, 337

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Song Texts
3600
Old Joe Clark
Old Joe Clark, the preacher’s son.
He preached his way to fame;
The only text he ever preached
Was high, low. Jack and game.
Chorus
Round and round, old Joe Clark,
Round and round, I say!
Round and round, old Joe Clark,
And stay 'til break of day!
Old Joe Clark is dead and gone,
I hope he's doing well;
Hade me wear the hall and chain
Till my whole ankle swelled!
I went down to old Joe's house,
He was eating supper;
Stubbed my toe on the table leg,
Rammed my nose in the butter!
Someone stole my old coon dog—
Wish they'd bring him back;
He chased the big hogs thro the fence,
The little ones thro the crack.
Went down to Dinah's house,
She was standing in the doer;
Shoes and stockings in her hand
And feet all over the floor!
I wish I had a nickel,
I wish I had a dime,
I wish I had a pretty gal
To kiss and call her mine!

MB
Song Texts
3601
Old Joe Clark killed a man,
Killed him with a knife;
I'm so glad he killed that man—
low I'll get his wife!
Wish I had a needle and thread,
As fine as I could sew;
I'd sew the girls to my coat-tail
And down the road I'd go#
Peaches in the summertime.
Apples in the fall.
If I can't get the girl I want,
I won't have none at all!
If I had a sweetheart,
I'd set her upon a shelf.
And ev'ry time she'd grin at me,
I'd get up there myself.
I wish I had a candy box
To put my sweetheart in;
I'd take her out, kiss her twice,
And put her back again!
♦•a************************************

Ho. 1279
OLD KING COLE
also known as
Old King Cole and His Fiddlers Three Old King Coul
In ancient Britain, they say, there was a ruler named
King Cole. Tradition places him in the 3rd century.
It'8 pure myth, of course. However, there was a cloth-
manufacturer in Reading, England, whose nickname of
King Cole became proverbial through a popular story
book of the 16th century. But to say that this song

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Song Texts
3602
specifically relates to the cloth-manufacturer would
be nothing more than raw speculation.
We know that "Old Cole" was a standing nickname among
Elizabethan dramatists, and that they made frequent
use of it. Therefore it should surpirse no one that
the name should he celebrated in song.
Part of the song has become a popular nursery rhyme.
I learned in in grade school. But the song, too, re
mained alive. It was quite popular among soldiers dur
ing World War II. It has also been updated and modernized
as well as parodied in America. For example, see the
Old Kincaid in Owens (TFS), 117-118.
The version below is from Johnson's Familiar Songs.
REFERENCES
Bertail, 28
Best, 24
Chappell (OEPM), II, 171
Chappell (PMOT), 633
Creighton (SBNS), 197-199
Dolph, 45-48
Halliwell (NRE), V, No. 77
Johnson (FS), 439-440
Johnson (S?4M), V, 473
Leisy (SPS), 137
Lomax (OSC), 204-205
Mackenzie (SH), 127
Moffat (LSLA), 17
Moorat, 2-3
Ritchie (FS), 87
Ritchie (SFC), 45-46
Shay (DFW), 55-57
Silverman, I, 351
Whitelaw, 19
Wier (SWWS), 190-191
Wier (TAM), I, 66
Old King Cole
Now old King Cole was a merry old soul.
And a merry old soul was he;
He called for his pipe, he called for his bowl,
And he called for his fiddlers three.
And every fiddler had a fine fiddle.
And every fiddler had a fine fiddle.
And a very fine fiddle had he,
And a very fine fiddle had he.

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Song Texts
3603
Chorus
Por old King Cole was a merry old soul,
And a merry old soul was he;
He called for his pipe, and he called for
his howl,
And he called for his fiddlers three.
How old King Cole, tho' a merry old soul,
Hor read nor write could he;
Por to read and write, 'Twere useless quite,
When he kept a secretary.
So his mark for "Rex" was a single m X n ,
And his drink was ditto double,
Por he scorned the fetters of four-and-twenty
letters,
And it saved him a vast deal of trouble.
***********************************

Ho. 1200
OLD MAID I
also known as
The Old Maid's Lament
The Spinster's Lament
Here's My Sister Betsy
I Long To Be a-Wedding
Old maids were favorite comedic subjects for song in
the olden times, Spinsterhood was a state to be pitied
or made fun of, not to be sympathized with or under
stood. This song, written in the 19th century, was a
professional's approach to a centuries old folk theme.
Por a different "old maid" song, see Levy, 69-71.
REFERENCES
Brown, V, 19-20
Cazden, II, 96-97
Cox (TBPS), 157
Planders (YFSB), 102
Hubbard, 159-160
Jour (AFL), XXX, 355

KB
Song Texts
3604
Leisy, 250-251
Owens (TPS), 218-219
Peacock, II, 461
Old Maid I
Come all you pretty maidens, some old and some younger,
You all have your sweethearts while I must wait longer;
Some sixteen, some eighteen, and some lately married.
And all well enjoying yourselves while I tarried.
I am seemly fair, if my glass do not falter.
Yet by the effects, there is something the matter;
For everyone else can have suitors a-plenty;
Host marry at sixteen, but I am past twenty.
I had a sister Sally that was younger than I am;
She had so many sweethearts she had to deny them.
But as for my own part, I never had many;
If you all knew my heart I’d be thankful for any.
I had a sister Susan that was ugly and ill-shapen,
Before she was sixteen years old she was taken;
Before she was eighteen a son and a daughter—
Here I'm some six and forty and never had an offer!
I never will be scolding, and I never will be jealous;
My husband shall have money to spend at the ale-house.
And while he’s there spending I'll be at home saving.
And I leave it to the world if I'm not worth the having.
Chorus
Come a landsman, a pinsman, a tinker or a tailor,
A fiddler or a dancer, a plowboy or a sailor,
A gentleman or a crude man, a fool or a witty—
Don't you let me die and old maid, but take me out
of pity.
Reeves (EC), 264
Sturgis (SHY), 10-13
Williams (FSUT), 297-298
Wyman (LT), 65-67
**************************

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Song Texts
3605

Ho. 1281
OLD MAID II
also known as
The Burglar Man
The Old Maid and the Burglar
This is an old Music Hall song and one not usually in
cluded in traditional folk collections. But it meets
most of the requirements; it was orally transmitted in
Horth Carolina and other states. Versions of the song
are in commercial folios and has been recorded by many
performers on phonograph records*
REFERENCES
Hudson (FSM), 249-250
Brown, II, 465; IV, 247
Old Maid II
1*11 tell you the story of a burglar man
Who went out to rob a house;
He opened the window and he crawled right in.
Quietly as a mouse.
Right thro' the window and into the room,
Then into a great big hall;
But if he had know it was an old maid's home.
He would never have called.
About nine o'clock the old maid came home,
"Oh, I’m so tired," she said;
And thinking that all was well within the house,
Forgot to look under the bed.
She took out her teeth and her big glass eye,
The hair off the top of her head;
The burglar had about ninety—nine fits
As he looked from under the bed.
The old maid reached for her great big gun,
And to the burglar said:

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Song Texts
3606
"Toung man, if you don’t agree to marry me,
1*11 shoot you in the head!”
The burglar looked quickly around the room,
But could find no place to scoot;
He looked at the teeth and the big glass eye,
And said, "Go on, and shoot!"
******************************
No^ 1282
OLD MAID III
also known as
The Maiden's Sad Complaint The Old Maid's Song
This is another of the old English imports. According
to Flanders, the first printed traditional version of
this song appeared in Johnson (SMM), No. 453. Accord
ing to Rollins ( The Repvs Ballads , III , p. 11), the
song was licensed for printing, July 1, 1678.
I have seen the 3ong in only two American collections:
Flanders (NGMS), 180-182 and Kincaid No. 2, 33.
Old Maid III
I never, I never got married,
Ah married, urn married.
Such a beautiful creature am I.
I intend to marry somebody,
Ah body, urn body,
Or at least I am going to try.
My mother has got an old cradle,
Ah cradle, um cradle,
And no pretty daughter but I;

MB
Song Texts
3607
She says if I marry to suit her,
Ah suit her, um suit her,
It*IT he mine if she happens to die*
My father has one thousand dollars,
Ah dollars, inn dollars,
And no pretty daughter but I;
He says if I marry to suit him,
It'll be mine if he happens to die.
How who would not like a fair lady,
Ah lady, um lady,
Such a beautiful creature am I,
With cradle and one thousand dollars,
Ah dollars, um dollars,
That will surely be theirs when I die?
*********************************

Ho. 1283
OLD MAN GRUMBLE
also known as
The Ancient Parmer
The Drummer and His Wife
Pather Grumble
The Grumbler's Song
John Grumlie, or Grumly
Little Phoebe
Mister Grumble
Old Cromwell
Old Crumbly Crust
Old Grumble
The Old Man and His Wife
The Old Man and Wife
The Old Man in the Wood
The Old Man That Lived In
the Wood
The Old Man Who Live in
the Wood
Old Mister Grumble
Old Summa
Old Summerfield
The Teeny Cow
There Was an Old Man
There Was an Old Man That
Lived on the Hill
Several old European ballads share the theme of the

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3608
farmer turned housewife, but it is the Scottish John
Grumlie that lies behind this and other American
versions. The oldest version of the story in English
goes back to the late 13th century. The same story is
told, though differently, in The Wife of Auchtermuchty ,
which may be seen in Herd (AMSS), II, 125 and Ramsay*s
Ever Green and in Flanders (BMNE), 191-193. Again, the
story is told in The Woman to the Plow in Roxburghe
Ballads, VII, 185-187, and the English stall ballad,
The Churlish Husband . For a strange mixture, where a
version of the English song Darby and Joan is given
as version A of Old Man Grumble, see Brown, II, 446.
Older Scottish versions appear in the 1787 edition of
the Scots Musical Museum and the 1825 edition of Alan
Cunningham^ Songs of Scotland.
REFERENCES
Baring-Gould (EFSS), 6-7
Belden (BS), 225-228
Botkin (NEF), 889-890
Brewster (BSI), 217-222
Brown, II, 445-448
Campbell & Sharp, No. 112
Cox (FSS), 455-463
Davis (FSV), 162-163
Eddy, 135-136
Flanders (GGMS), 50-51
Flanders (VFSB), 104-105
Ford (SH), 39-47
Friedman, 443-444
Gardner (BSSM), 415-416
Glass (SFRF), 26-28
Hubbard, 234-236
Hudson (BSM), 156-157
Hudson (FSM), 175-176
Jour (AFL), XXV, 366; XXVI,
364; XXIX, 173
Jour (IFSS), I, 43-44
Karpeles (FSE), II, No. 205
Laws, Q I, 273
Leach (BB), 747-748
Linscott, 248-250
Lomax (FSNA), 26
McIntosh (FSSG), 43-45
Moore (BFSS), 246-249
Owens (SC), 237-238
Owens (TFS), 119-120
Pound, 82-84
Pound (SFSN), II, 8
Randolph, I, 318-323
Ritchie (SSB), 56-57
Scarborough (SC), 243* 420
Scott (BA), 41-43
Sharp, II, 265-267

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Song Texts
3609
Old Man Grumble
There was an old man who lived in the woods.
Or somehwere near the sea;
He said he could do more work in a day
Than his wife could do in three.
"Now, is that so?" his wife replied,
"Why don’t you show me how?
You do all of my work for a day,
And I'll go work the plow!
"But you must milk the tiny cow,
lest she should go quite dry;
And you must feed the little pigs
That are within the sty.
And you must watch the speckled hen,
For she might go astray;
And don't forget the spool of yarn
That I spin every day."
The old woman took a stick in her hand
And went to follow the plow,
While the old man took the pail on his head
And went to milk the cow.
But Tiny she winked, and Tiny she blinked,
And then she tossed up her nose;
And Tiny she gave him a kick on the skin.
And the blood ran down to his toes.
It was "Ho, Tiny!" and a "Whoa, Tiny!
Nice little cow stand still!
If ever I milk you again," he said,
"It will be against my will."
Old Grumble went to feed the pigs
That were within the sty;
He knocked his head against the shed
And caused the blood to fly.

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3610
And. then he watched the speckled hen,
Lest she might lay astray;
But he quite forgot the spool of yarn
That his wife spun every day.
And when his wife came home at night,
He said he could plainly see
That she could do much more work in a day
Than he could do in three.
The dinner to get, the table to set.
The bed to make, and more;
The house to sweep, the bread to knead,
And he was tired and sore.
He swore by all the stars that shine,
And by the Lord in heaven,
His wife could do more work in a day
Than he could do in seven!
********** ********* ******** ******

No. 1284
OLD MOTHER HARE
also known as
Molly Hare
Old Molly Hare
Bra' Rabbit
Grandma Blair
Here we have a dance tune that became a song with the
help of Square Dance "callers'’ and rural field hands.
The word were largely borrowed from other songs, then
borrowed again for use in other pieces.
Por a song with many related lines, see: Bell Cow in
Richardson (AMS), 98, 118. Por similar songs in this
Master Book , see Mister Rabbit 1^ & 11^. Por a version
of this song in the gullah dialect, see Scarborough
(NPS), 175.
REFERENCES

BIB Song Texts
Brown, III, 211-213; V,
123
Davis (FSV), 250
Pord (OTFM), 15
Ford (TMA), 30, 193
Lomax (ABPS), 283-284
Old Mother Hare
"Old Mother Hare, what you doin' there,
Diggin' out a post hole an' scratchin' your hair?"
"Old farmer Brown, what you doin' here?
Can't you see I'm busy a-scratchin' my ear?"
"Old Mother Hare, what you doin' there?"
•I'm pickin' out a Briar that's stuck in my hair!"
"Old Mother Hare, dogs are cornin' through!"
"I got no talk to stay and talk to you!"
"Old Mother Hare, what you doin' there?"
"I'm goin' across the field as fast as I can tare!"
*************************************
3611
Negro (2), 32
Randolph, II, 359
Seeger (1), 99
Thede, 84
Winn (1), 44-45
Tolen, 91

No. 1285
OLD PAINT I
also known as
Cheyenne I'm A-Leavin' Cheyenne
Goodbye, Old Paint Leaving Cheyenne
This piece was often played as the final number at
dances in the Old West. First collected for publi
cation by John A. Lomax, this song has since appeared
in dozens of song books and folios issued by various

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Song Texts
3612
music firms. The song remains popular among country-
western performers and audiences, and it is one of
America's better known cowboy songs.
For a song with similar title and theme, see Cheyenne
in Lomax (CS-1938), 245-246.
REFERENCES
Allen (CL-1933), 121-123
Clark (CS), 29
Downes (1940), 234-235
Downes (1943), 276-277
Emrich (CBF), 36
Emrich (FAL), 491-492
Felton, 104-107
Fife, 227-228
Frey, 51
Larkin (1931), 176-177
Larkin (1963), 169-170
Lingenfelter, 380-381
Lomax (ABFS), 383-389
Old Paint I
-Goodbye, Old Paint, I'm a-leavin' Cheyenne!
Goodbye, Old Paint, I'm a-leavin' Cheyenne!
I'm leavin' leyenne, I'm off to Montan',
Goodbye, Old Paint, I'm a-leavin' Cheyenne!
Goodbye, Old Paint, I'm a-leavin' Cheyenne!
Goodbye, Old Paint, I'm off to Montan';
You've been a good pony, you wore a good brand.
Goodbye, Old Paint, I*m a-leavin' Cheyenee!
Goodbye, Old Paint, I'm a-leavin' Cheyenne!
Goodbye, Old Paint, I'm off to Montan*;
My foot's in the stirrup, my rein is in hand,
Good morning, young lady, ay horses won’t stand.
Lomax (CS-1919), 329-330
Lomax (CS-1938), 12-14
Lomax (FSNA), 378-379
Lomax (3GP), 133-134
Lomax (USA), 214-215
Lynn (CS), 17
Moore (BFSS), 376-377
Sackett, 70
Scott (BA), 263
Scott (FSS), 48
Seeger (1), 62-63
Siegmeister, 28-29
Thede, 128
************************

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Song Texts
• 3613

Ho, 1286
OLD PAINT II
also known as
I*m Riding Old Paint Ride Around, Little Dogie
I Ride an Old Paint Throw the Hoolihan
This and the preceding song are sometimes known by the
same title, which means they are subject to confusion
in reference lists* In seeking the one a person may
find the other and not be aware of the error. To avoid
that possibility, I have placed the two songs together,
listing them as I & II.
REFERENCES
Best, 124
Botkin (APL), 857-858
Clark (CS), 39
Downes (1940), 230-231
Downes (1943), 272-273
Pelton, 22-26
Pife, 226-227
Ives (SA), 210-211
Klickmanii, 18-19
Larkin, 17-19, or 33-35
Leisy, 175-176
Lingenfelter, 378-379
Lloyd, 154-155
Lomax (PB), 109
Lomax (USA), 216-217
Oberndorfer, 74
Okun, 54-55
Patterson (SRR), 4-5
Sackett, 41
Sandburg (AS), 12-13
Scott (BA), 260-261
Seeger (6), 25
Silber (HSB), 26
Silverman, I, 40
Yolen, 26-27
a
Old Paint II
I ride an old paint, I lead an old Dan,
I'm goin* to Montana to throw the hoolihan.
It'8 feed 'em in the coulees and water in the draw;
Their tails are all matted, their backs are all raw.
Chorus

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3614
Ride around, little dogies, ride around ’em slow,
Por the fiery and snuffy are rarin’ to go.
Bill Jones had two daughters, two daughters and a song,
And one went to Denver, the other went wrong.
His wife she got killed in a pool-room fight,
But Jones just keeps singing from morning till night.
Priends, when I die take my saddle from the wall,
Put it on old Paint and lead him from the stall;
Tie my bones to his back, turn our faces to the West,
And we’ll roam the country that we love the best.
**********************************

Ho. 1287
OLD RATTLER I
also known as
Go, Call 01* Rattler Rattler
Here, Rattler, Here! Rattler Is A Good Old Dog
This is an old rural folk song, probably created by
a Black; it is sung for entertainment and played for
dancing.
REFERENCES
Emrich (CBF), 6 Silverman, II, 346
Lomax (ABFS), 66-67 Talley, 46
White, 232
Old Rattler I
I’ll call ol' Rattler from the barn,
Here, Rattler, here!
He’ll chase them cows from out the corn,
Here, Rattler, here!
Chorus

KB
Song Texts
~v- 3615
Here, Rattler, here! Here, Rattler, here!
Here, Rattler, here! Here, Rattler, here!
Old Rattler is my hunting dog, etc.
He's good for rabbit, good for hog, etc.
He's good for possum in the dew, etc.
And sometimes gets a chicken, too, etc.
One night I thought he'd treed a coon, etc.
But he was barking at the moon, etc.
*************** ********************

Ho. 1288
OLD RATTLER II
also known as
Old Coon Dog
This is a different version of the preceding song, Old
Rattler I, though it may even be older. I obtained a
version from Daddy John Love at Radio Station WBT, at
Charlotte, N. C.
A similar version is also in Brown, V, 120-121.
Old Rattler II
My pappy had an old coon dog, he was blind as he could be;
That hound he treed the other night—I believe that dog
can see!
Old Rattler treed the other night; we thought he'd
treed a coon.
But when we went to find it out, he'd only treed the moon!
Somebody stole that old coon dog; I wish they'd bring
him back.
He chased the big hogs over the fence and the little ones
through the crack!
***********************

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Song Texts
V 3616

Ho. 1239
OLD REUBEN’S TRAIN
also known as
Old Reuben Reuben's Train
An old rural railroad song and country blues that has
been borrowed from by several modern-day writers. The
hit folk song of the 1950s-60s, Five Hundred Miles, is
nothing more than a rewritten version of Old Reuben's
Train. Also see and compare When I Hear That Whistle
Blow in Henry (FSSH), 424 and the spiritual It Ain* t No
Harm to Trust in Jesus in Ehite, 65. For a folk deriva
tive, see Nine Hundred Miles in this Master Book.
REFERENCES
Brown, III, 264-265; V, Jour (AFL), XLIV, 431; LXIII
148-150 282
Roberts (SBS), 159-160
Old Reuben's Train
You should have been in town
When Reuben's train went down;
You could hear that whistle blow
A hundred miles.
Chorus
A hundred miles, a hundred miles,
A hundred miles from my home;
You could hear that whistle blow
A hundred miles.
Old Reuben made a train
And he tracked it in the rain;
You could hear that whistle blow, etc .

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Song Texts
' 3617
The train ran off the track.
And he couldn't put it back; etc.
Old Reuben he got drunk,
And pawned his watch and trunk; etc.
Old Reuben went to town
And drank more whiskey down; etc.
Old Reuben fixed his train
And ran it clear up to Maine; etc.
Old Reuben's on the track,
And he ain't a-comin' back; etc.
*****************************

No. 1290
OLD SHIP OF ZION I
also known as
•Tis the Old Ship of Zion
There- are man "Ship of Zion" songs in circulation, and
the age of American versions vary. The date of the first
Shi£ of Zion to drop anchor on these shores is not known.
A version similar to the one below is in the 1844 edition
of the Sacred Harp. For an extensive account of such
songs, see White, 93-96, where he points to versions as
old as the 1820s.
Two versions are given below, and they are obviously
related. A is ascribed to Thomas W. Carter; it is also
closely related to The Land of Canaan. Version B is
attributed to Rev. Samuel Houser, North Carolina, and
dates from about 1800.
An early version of A is in Hauser (OL), 355 and White
& King, 79. A version is also in Jackson (SPS), 199 and
(WSSU), 235.

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Song Texts
3618
Versions of B are in Cobb (SH), 217; Denson, 388; Dett,
81; Hauser, 355; Jackson (SFS), 211-212 & (WSSU), 257-
258. Also see Scott (PSS), 52.
Old Ship of Zion I (Version A)
What ship is this that will take us all home?
0 glory hallelujah!
And safely land us on Canaan’s bright shore?
0 glory hallelujah!
Chorus
'Tis the old ship of Zion, hallelujah, hallelu!
'Tis the old ship of Zion, hallelujah!
The winds may blow and the billows may foam, etc .
But she is able to take us all home, etc.
She's landed all who’ve gone before, etc.
And yet she's able to land still more, etc.
If I arrive there before you do, etc .
I'll tell them that you are coming too, etc.
VERSION B
Come along, come along and let us go home,
0 glory hallelujah!
Come along, come along and let us go home,
0 glory hallelujah!
Chorus
Our home is over Jordan, hallelujah!
Our home is over Jordan, hallelujah!
What ship is this that will take us all home?, etc.
'Tis the old ehip of Zion, etc,

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Song Texts
3619
Do you think she’ll he able to take us all
home, etc.
I think she’ll be able, etc.
We have some friends who*re gone before, etc .
By and by we'll go and see them, etc.
What will the Christians do when their lamp
burns out?, etc.
Go shouting home to heaven, etc.
*********************************

No. 1291
OLD SHIP OP ZION II
Where I grew up, in North Carolina, the Ship of Zion
sailed under many melodies, including one well-known
secular air: She♦11 Be Coming ’Round the Mountain (see
in Master Book) .
Again, there are two versions given below. Version A
may also be seen in Borwn, III, 659-660; V, 383-384.
Version B is in Brown, III, 660; V, 384-385 and
Richardson (AMS), 71.
Old Ship of Zion II Tune: She’ll Be Coming ' Round the
Mountain
( Version A)
The old ship of Zion, when she comes, when she comes,
The old ship of Zion, when she comes, when she comes.
It’s the old ship of Zion, the old ship of Zion,
The old ship of Zion when she comes.
She rocks so level and steady, when she comes, etc.

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Song Texts
.3620
Have your lamps trimmed and burning, when she comes, etc.
It*11 be the old Ship of Zion when she comes, etc.
VERSION B
*Tis the old ship of Zion
Come a-sailing across the ocean,
Heavy-loaded with bright angels,
True believers in that band.
Chorus
Come along, my mother, and go with me (3),
And remember your dying day.
*************************************
--

No. 1222
OLD SHIP OP ZION III
also known as
Old Ship of Zion Ole Ship o' Zion Ship of Zion
This is the version of Old Ship of Zion that was sung
by the original Pisk Jubilee Singers. It is close to
Old Ship of Zion I A above, and is an adaptation by
slaves of a hymn sung at revival meetings in the South.
Variations and insertions appear in several other songs,
such as 1^ Am Seeking Por A City in Dett, 36, which uses
the air of the Old Ship of Zion* s chorus. ■
For other spirituals dealing with the Zion ship, see
Git On Board O’ Ship O' Zion in Kennedy (M-2), 141-142
and We * 11 Put John on the Island in this Master Book.
Also see and compare Kennedy (M-l), 40-41 and Jour (APL),
XLI, 566.
REFERENCES

MB
Song Texts
3621
Allen (SSUS), 102-103,
or 158-160
Brewer, 149
Cazden, I, 58-59
Dett, 81
Henry (FSSH), 419-420
Jackson (WHS), 148, 201
Jubilee (PS), 18-19
Kennedy (M-2), 126
Marsh (SJS), 152
McDowell, 47
Odum (NHS), 118
Pike, 192, or 234
Richardson (AMS), 71
Old Ship of Zion III
What ship is that a-sailing? Hallelujah!
What ship is that a-sailing? Hallelu!
*Tis the old ship of Zion, Hallelujah!
•Tis the old ship of Zion, Hallelu.
Do you think that she is able? Hallelujah!
Do you think that she is able? Hallelu!
Do you think that she is able
For to carry us all home? 0 Glory Hallelu!
She has landed many a thousand, Hallelujah!
She has landed many a thousand, Hallelu!
She has landed many a thousand,
And will land as many a more, 0 glory hallelu!
She is loaded down with angels, Hallelujah!
She is loaded down with angels, Hallelu!
And King Jesus is the Captain,
Who will carry us all home, 0 glory hallelu!
******************************

No. 1293
OLD SOLDIERS NEVER DIE
This Army song is derived from Kind Words Never Die , a
19th century popular song written, published and per
formed by the famous Hutchinson Family Singers in the

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Song Texts
3622
1850s. In the 1890s the song was adapted and intro
duced at West Point military academy by General Summer-
all. Song became a national hit in 1951* during the
war action against Korea, when the title and closing
line was referred to by General Douglas MacArthur at
the conclusion of his speech to Congress. Naturally
a parody was sung by foot soldiers, which is given be
low as version B.
The song does not appear in any of the scholastic-type
folk song collections I have seen, but a version is in
Silverman, I, 138.
Version A is the one sung by cadets at 'West Point.
Old Soldiers Never Die (Version A)
Old soldiers never die, never.die, never die;
Old soldiers never die—they simply fade away.
Old soldiers never die, never die, never die;
Old soldiers never die—young ones wish they would.
This rain will never stop, never stop, never stop;
This rain will never stop—No, oh! No, no, no!
VERSION B
Well, once I met a sailor’s wife
And she was dressed in green;
And in one corner of her funny little thing
She had a submarine 1
She had a submarine, my boys,
With a cunning tour complete;
And in the other corner
She had half the friggin’ fleet!
TAG:
Old soldiers never die,
They just smell that way!

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Song Texts
3623
Then once I met a gunner’s wife
And she was full of fun;
And in one corner of her funny little thing
She had a six-inch gun!
She had a six-inch gun, my boys.
The breech block and the sear,
And in the other corner
Ammunition for a year, etc.
Now once I met a skipper's wife.
She was dressed in black;
And in one corner of her funny little thing
She had a fishing smack!
She had a fishing smack, my boys,
The main mast and the sails,
And in the other corner
Swam a friggin' school of whales( etc.
**********************************

No. 1294
OLD TIME CONFEDERATES
also known as
We Are Old Time Confederates
This is a parody of the Protestant hymn, Old Time
Religion . See Staton, 138.
Old Time Confederates Tune: Old Time Religion
We are old time confederates.
We are old time confederates,
We are old time confederates,—
That's good enough for me!
We are a band of brothers,
We are a band of brothers,

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Song Texts
-.3624
A band of Southern brothers
Who fought for liberty!
Jeff Davis was our leader,
Jeff Davis was our leader,
Our true and faithful leader,—
He was good enough for me!
*************************************

No. 1293
OLD TIME RELIGION
also known as
Gimme That Ole Time Religion That Old Time Religion
Give Me That Old Time Religion This Old Time Religion
This popular revival hymn has a long and arguable history.
A version was copyrighted in 1891 by Charlie Tillman. But
there is plenty of solid evidence to show that the song
is much older than the 1891 copyright. I have a copy in
my possession that was published in 1800, and Tillman's
name is not on it. It was also sung by the Original Fisk
Jubilee Singers immediately following the Civil TTar, and
they learned it as slaves. Versions are available in
many hymn and other song books, sometimes with author
credits and sometimes without.
Part of the text of Old Time Religion can be found in
several religious songs, such as Sinner Man I in this
Master Book. For a different song text sung to the tune
of Old Time Religion , see the Sinner Man in Sharp, II,
291.
The tune was also borrowed in modern times and used for
the nationwide hit of the 1940s, Give Me One Dozen Roses.
Two versions are given below, with A being the Protestant
revival form and B being the spiritual form.
REFERENCES

MB
Song Texts
3625
Best, 154
Botkin (SFL), 663
Brewer, 152
Brown, III, 674; V,
397
Dett, 200
Jackson (SPS), 218
Jackson (WNS), 184-185
Johnson (BANS), 76-77
Jour (API), XXVI, 148
Kennedy (M-2), 15
leisy (LAS), 136-137
Lloyd, 165
Marsh (SJS), 158
Odum (NHS), 143-144
Pike, 198, or 240
Randolph, IV, 66-67
Silverman, II, 94
White, 91-92
Whitman, 102-103
Work (ANSS), 99
Work (PSAN), 65
Old Time Religion ( Version A)
Give me that old time religion,
Give me that old time religion,
Give me that old time religion,
It's good enough for me.
It was good for Paul and Silas, (3)
It's good enough for me.
It was good for our fathers, (3)
It's good enough for me.
It makes you love everybody, (3)
It's good enough for me.
It will take us all to heaven, (3)
It's good enough for me.
VERSION B
Oh! this old time religion, (3)
It is good enough for me.
It was good for the mourner, (3)
It is good enough for me.

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Song Texts
3626
It will carry you to heaven, (3)
And it’s good enough for me*
It brought me out of bondage, (3)
And it’s good enough for me.
*************************************

No. 1296
OLD UNCLE TOM COBLEY
also known as
Tam, or Tom Pearce Uncle Tom Cobley
Tom Cobley Widdecombe Pair
This old English import seems to have been more popular
in New England than anywhere else in America. The tune
was adapted for a 19503 song, The Little Big Horn , by
Dickson Hall, which was recorded for RCA Victor records
by The Belafonte Polk Singers.
REFERENCES
Bantock, 71-72
Baring-Gould (SW), No. 16
Farnsworth, 1-5
Karpeles (EPS), II, No. 320
Quiller-Couch, 845-846
Reeves (EC), 164
Silverman, I, 278
Yolen, 24-25
Old Uncle Tom Cobley
Tam Pearce, Tam Pearce, lend us your gray mare,
All along, down along, out along lee;
We want to go and see the State Fair:
Bill Brewer, John Strewer, Peter Gurney,
Davy Thompson, Freddy Duer, Tommy Hall,
Old uncle Tom Cobley and all,
Old uncle Tom Cobley and all.

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Song Texts
3627
Tam Peace, Tam Pearce, we’ll bring her back soon,
All along, down along, out along lee;
We’ll be back Friday or Saturday noon:, etc .
Well, Friday passed and Saturday too,
All along, down along, out along lee;
But Tam's gray mare was no where in view:, etc .
Tam Pearce he stood upon a high hill,
All along, down along, out along lee;
He saw his gray mare a-writin' her will:, etc.
Tam’s old mare took sick and she died,
All along, down along, out along lee;
And Tam sat down on a rock and he cried:, etc.
Now when the cold wind moans in the night,
All along, down along, out along lee;
They say Tam's mare appears ghstly white:, etc.
********************************

No. 1297
OLE PEE LEE
This began as a minstrel-show song, and it was written
by J. P. Carter. Sheet music was published by Keith's
Publishing House, Boston, 1844.
The Pee Lee river was popular with early American song
writers, even Stephen Foster; he originally used the
"Pee Lee” in his Swanee River , then changed it to the
latter.
For other songs about the Pee Lee river, see The Ole
Pee Lee in Brown, III, 507; Christy's Negro Songster ,
164-165; Gumbo Chaff* s Ethiopian Glee Book , 154; and
Carmer (SRA), 108.
REFERENCES
Brown, III, 506-507; V,
282
Nathan, 469-470
Parrish, 122-123

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Song Texts
3628
Ole Pee Bee
In South Carolina I was born,
I husk de wood an’ chop de corn,
De roastin' car to de house I bring,
De fo' man cotch me an' I sing.
Ring de hoop! blow de horn!
Cotch de nigger a-stealin' corn
Way down in de low groun' fiel*
Three, four mile from Pompey's heel.
Dey took me out on a tater hill,
Dey made me dance against my will;
I dance all roun' de tater hole,
De fo' man punch me wid a pole.
Ring de hoop! blow de horn!
Cotch de nigger a-stealin' corn
Way down in de low groun* fiel'
Three, four mile from Pompey's heel.
Down de riber I spied a ship,
I slid down on my under lip;
Hop on board an' cross de drink—
It make de niggers gizzard wink.
Ring de hoop! blow de horn!
Nebber felt so glad since I was born
Way down in de low groun* fiel'
Three, four mile from Pompey's heel.
To Boston port I den sail roun',
Dey said de Dickens was in town.
I ax dem who de Dickens was,
Dey said 'twas massa Pickwick Boz.
Ring de hoop! blow de horn!
Massa Dickens eat de corn,
Way down in de low groun' fiel'
Three, four mile from Pompey's heel.
*****************-******

MB
Song Texts
3629

Ho. 1298
OLE TAR RIVER
also known as
Old Tare River
This is another minstrel-show-type song about a Southern
river, the Tar River in North Carolina. It was published
by Henry Prentiss, Boston, 1840. A facsimile may be seen
in Nathan, 471-474. A different version of the same song
is in Carmer (SRA), 128. Por an entirely different song
called Ole Tar River , see Carmer (SRA), 129.
Ole Tar River
Way down in North Carolina, Ah....,
On de banks of Ole Tar River, Ah...,
I go from dar to Alabama, Ah..
Por to see my ole aunt Hannah, Ah...!
De ole houn' dog sniff'd all aroun'
An* foun' a coon jes lef' de groun';
Dog howl an' bark up at de tree,
Dat ole coon say yuh caint ketch me.
Farewell, Dinah, I got to leave you!
But when I'm gone don't let it grieve you.
Straight to de window, den to de do'
Lookin' for to fin' my banjo.
**************** *****************

No. 1299
0, MOURNER I
also known as
Oh, Mourner, Don't Weep for
Me
When the Good Lord Swts
Me Free

MB
Song Texts
3630
This seems to be more of an extract or fragment than
a complete song. It will serve, however, to establish
the form and theme of a series of "mourner" spirituals
centered on "finding a home at last" or "promises of
freedom."
For similar versions, see Henry (FSSH), 426 and Perrow,
XXVI, 160.
0, Mourner I
The doctor said, "It ain’t no lie;
Sure as sin you’re goin’ to die!"
If I die, that ain’t no sin;
And if I don’t, I’ll make it agin.
Chorus
0, Mourner, don’t weep for me!
No, Mourner, don't weep for me
When the good Lord sets me free!
#*#**************•*•*■#■•**•**•*•****•**•»•****■#•**

No. 1300
0, MOURNER II
also known as
Cuba Po' Mourner's Got a
Go, Preachers Home at Las'
A camp-ground spiritual-hymn, and one that was sung by
blacks as well as whites. For songs with similar themes,
see My Ole Mistis and Po' Mona in Scarborough (NFS),
223, 224; Promises of Freedom in Talley, 25-26; and
You Shall Be Free in this Master Book.
Words and music are ascribed to J. A. Bolen and H. S.
Reese in the 1911 edition of The Original Sacred Harp .
REFERENCES

MB
Song Texts
5631
Jackson (SFS), 172-173 Jackson (WSSU), 232
James, 401
0, Mourner II
Go,
Preachers,
and
tell
it
to
the
world!
Go,
Preachers,
and
tell
it
to
the
world!
Go,
Preachers,
and
tell
it
to
the
world!
Poor Mourner’s found a home at last.
Thro’ free grace and a dying lamb, (3)
Poor Mourner’s found a home at last.
0, Jesus he came and claimed my soul, (3)
Poor Mourner’s found a home at last.
**************************************

No. 1301
0, MOURNER III
also known as
Poor Mourner's Got a Home
This is another approach to the same theme as expressed
in the two preceding spirituals. Versions are also in
Johnson (SBNS), 78-80 and Work (ANSS), 144. The version
below is from Work's collection.
0, Mourner III
M. .. M.. my Lord!
M .. Poor Mourner's got a home at last.
0, Mourner, Mourner, ain't you tired a-mourning?
Bow down on your knees and join the band with the angels

MB
Song Texts
3632
No harm, no harm, go tell brother Elijah,
No harm, no harm, poor Mourner's got a home at last.
0, sinner, sinner, ain't you tired a-sinning?, etc.
0, preacher, preacher, ain’t you tired a-preaching?, etc.
**********************************

No. 1302
ON A COLD AND FROSTY MORNING
also known as
Gathering Nuts in May Here We Go Gathering Nuts in May
Here We Come Gathering Knots of May
Nuts in May Nuts in May
A game song rooted deep in ancient times. Gomme tells
us that "Nuts in May" was originally "Knots in May,”
which "is a term used by children, meaning bunches of
May. . .The association of May—whether the month, or the
flower, or both—with the game is very strong." Gomme
also associates the game itself to the ancient custom
of "marriage by capture, and to the marriage customs
practised at May Day festivals and gatherings."
For descriptive examples of the actual survivals in
English, Scots, 7/elsh, and Irish customs of marriage by
capture, see G. L. Gomme's Folk-lore Relics of Early
Village Life , pp. 204-210.
The tune, as we know it, is a variation of Nancy Dawson
(see in this Master Book). Other game songs using the
same tune, or slight variations thereof, are All Down
to Sleep , The Farmer in the Field, and Mulberry Bush.
REFERENCES
Bancroft, 285-288, 367-368
Beckwith (FGJ), 49

MB
Song Texts
. 3633
Bett, 16
Brown, I, 109-110; V,
521-522
Burne, 516
Douglas, 51
Folklore Journal, VII,
224-225
Folklore Record, III, 169-
170; V, 85
Forbush, 73-74
Gardner, 23
Gardner (SPPG), 99
Gomme, I, 424-433
Hornby, 66
Jour (AFL), VIII, 253;
XXXI, 47, 132,
147, 178
Linscott, 16-17
Newell, 89, 236-237
Randolph, III, 373
On a Cold and Frosty Morning Tune; Mulberry Bush
Here we go gathering Nuts in May
Nuts in May, Nuts in May,
Here we go gathering Nuts in May,
On a cold and frosty morning*
Who shall we gather for Nuts in May, etc.
On a cold and frosty morning?
We'll gather Jane for Nuts in May, etc .
On a cold and frosty morning.
****************************************

No. 1303
ON A SUNDAY AFTERNOON
also known as
Sally, Go Round the Sally, Go Round the Moon
Chimney Pot Sally, Go Round the Sunshine
This is a game song for children. For other versions,
see; Bertail, 50; Forbush, 85; Ford (TMA), 260; Lomax
(OSC), 75; and Seeger (1), 164.

MB
Song Texts
3634
On a Sunday Afternoon
Sally, go round the stars,
Sally, go round the moon,
Sally, go round the Chimney-pot
On a Sunday Afternoon, Whoo-ee!
*********************************

No, 1304
ON CANAAN'S HAPPY SHORE
also known as
Canaan's Happy Shore
Oh, Brothers, Will You Meet Me?
Say, Brothers
Say, Brothers, Will
You Meet Us?
We Are Marching On
SOURCE SONG, This revival-type spiritual, written by
William Steffe of South Carolina, is important for
two reasons: (1) It is an excellent example of the
old campground spritituals, and (2) it is a M source
song," having contributed its tune to several better
known traditional songs. First, it was popular all
through the Civil War years and for some years after
ward because the tune was used by Julia Ward Howe for
Battle Hymn of the Republic after she heard Union
soldiers sing it to John Brown's Body . Both songs are
given in this Master Book . Two parodies, John Brown's
Baby and Said I To Myself , Said ]!, are also in this
Master Book,
For an anti-drinking parody used by prohibitionists,
see Fillmore, p. 71«
REFERENCES
Benziger, 17
Dobie (TBE), 179-180
Hillman, 173
Jackson (SFS), 206-207
Kobbe, 162
Owens (TFS), 164

KB
Song Texts
3635
Thomas (BMMK), 217-218
White, 434-435
On Canaan's Happy Shore
Say, brothers, will you meet us?
Say, brothers, will you meet us?
Say, brothers, will you meet us
On Canaan's happy shore?
Chorus
Glory, glory hallelujah!
Glory, glory hallelujah!
Glory, glory hallelujah!
We are marching on!
By the grace of God we'll meet you, (3)
Where parting is no more.
There will be a happy meeting, (3)
On Canaan's happy shore.
Jesus lives and reigns forever, (3)
On Canaan's happy shore.
Glory, glory hallelujah!, (3)
Forever, evermore!
******** •**•*■**•*•***■***■* •***•****#■•***

No. 1305
ONCE MORE, MY BOY, ONCE MORE
also known as
Ben Brace, £r Breezer
Dixie Brown
Go to Sea No, or Once
Jack Wrack
Off to Sea No, or Once
More
Shanghai Brown
More
This sailor song is, in all probablility, a dervivative

HB
Song Texts
.3636
of an English original. According to Mackenzie,
"This song...seems to be derived from The Green
land Whale Fishery ." In her notes to The River
Lea, Colcord intimates a relationship between that
song and this one, saying: "The original song, portions
of which Mackenzie gives under the title Dixie Brown ,
is frequently confused with Greenland Fishery , but I
think there is no connection between the two." Well,
for what it may be worth, I see even less connection
between The River Lea and Once More, Boy , Once More.
However, this song does come in a wide variety of vari
ants and versions, some of which are barely recogniz
able. Seldom do we see two identical versions, except
for those reproduced from one collection in another.
REFERENCES
Lingenfelter, 522-523
Lomax (ABFS), 495-496
Mackenzie, 255-256
Okun, 202-203
Scott (BA), 140-141
Adventure (1-30-23), 192
Bernard, 434
Doerflinger, 107-109
Hugill (1), 582-585
Once More, M£ Boy , Once More
When first we docked at New Orleans, I went upon a spree
My money went fast, but I, at last, got drunk as drunk
could be.
With all my money spent and gone, I had to get some more
And tho' not inclined, I made up my mind to sail again
from shore.
Chorus
Once more, my boy, once more I'll sail away from shore.
For a small advance, if you'll take the chance,
I'll go to sea once more, my boy, I'll go to sea once
more.

MB
Song Texts
3637
While strolling on the waterfront, I met with Shanghai
Brown;
In speaking to me, he said, "I see you're feelin'
kinda down.”
"I'm stranded here in New Orleans, the victim of a whore;
For a small advance, if you'll take the chance, I’ll go
to sea once more."
I shipped on board a whaling ship bound for the Artie seas,
Where cold winds blow thro' frost and snow, and Jamaica
rum would freeze.
And worst of all I had no gear—I lost it all ashore!
Soon I came to dread that day when I said, I'll go to
sea once more.
Come all you brisk young sailor lads, a warning take
from me:
When voyage is o'er, and you're a shore, don't go upon
a spree.
Take my advice, drink no strong drink, and don't bed
down a whore;
Better to use your head, get married instead, and go
to sea no more!
******* ************ ***•*•*■«■**** **■**■#**•**

No. 1306
ONE FISH BALL
also known as
The Lone Fish Ball
One Meat Ball
The Lay of the One
Fishball
This humorous stage song dates from the early 1850s,
and was kept alive by college students and glee clubs.
A popular adaptation by Hy Zaret and Lou Silver, One
Meat Ball , was published by Leeds Music Corporation,
New York City, in the 1940s. The original song, The

MB
Song Texts
3638
Lone Fish Ball , was written by George Martin Lane in
1851 and first published in sheet music form in 1857.
REFERENCES
Lewis, 48-49
Loesser, 302-303
Most (PCS), 92
Waite, 15
Best, 26
Botkin (NEF), 890
Chappie (HS), 433
One Fish Ball
There was a man went up and down,
To seek his dinner thro' the town.
What wretch is he who wife forsakes,
Who best of jam and waffles makes?
He feels his cash to know his pence,
And finds he has but just six cents.
He finds at last a right cheap place,
And enters in with modest face.
The bill of fare he searches through,
To see what his six cents will do.
The cheapest viand of them all
Is twelve whole cents for two fishballs.
The waiter he to him doth call
And gently whispers: "One fish-ball."
The waiter roars it thro' the hall,
And guests all start at "one fish-ball."
The man then says, quite ill at ease,
"A piece of bread, sir, if you please."
The waiter roars all thro' the hall,
"We don’t give bread with one fish-ball!"
Moral Tag

MB
Song Texts
3639
Who would have bread with his fish-ball
Must get it first, or not at all.
Who would fish-ball with fixin's eat
Must get some friend to stand the treat.
*******************************

No. 1107
ONE MORE RIVER TO CROSS
also known as
Dere's One More River to 0 Wasn't Eat, £r That a
Cross Wide River?
This is a spiritual with a common title from the
repertoire of the original Pisk Jubilee Singers, which
means it is at least as old as the Civil War era. The
music is from Marsh (SJS), 200-201.
This song is not related to the One More River To Cross
given elsewhere in this Master Book . Por yet another
spiritual known as One More River To Cross, see Noah's
Ark I (also in this Master Book ).
REFERENCES
Chambers (TNS), 66-67 Jubilee (PS), 20
Dett, 98-99 White, 141-143
Johnson (BANS), 152-153 Work (FSAN), 47
Tolen, 206-207
One More River To Cross
Oh, the river of Jordan is so wide,
One more river to cross;
I don't know how to get on the other side,
One more river to cross.
Chorus

MB
Song Texts
3640
Oh, wasn’t that a wide river,
River of Jordan, Lord? Wide river!
There’s one more river to cross!
Oh, wasn't that a wide river,
River of Jordan, Lord? Wide river!
There's one more river to cross!
There's so many friends before me gone, etc.
By the grace of God I'll follow one, etc.
Satan ain't nothin' but a snake in the grass, etc
If you don't watch out, he'll get you at
last, etc.
*********************************

No, 1308
ONE OP THESE DAYS
also known as
God's Goin to Set This
World on Fire
Ging to Tell God How You
Treat Me
I'm Gonna Tell God How You
Treat Me
Some of These Days, God
Knows
The Welcome Table
Thi 3 appears to be one of those "put together" pieces,
using lines and stanzas from several spirituals. For
two somewhat similar and related songs, see the One-a
These Days in Parrish, 167 and the River of Jordan in
Jackson (SFS), 197. For a similar but unrelated song,
see I'm Going to Ride in Pharaoh* s Chariot in Brown,
III, 636 & V, 371-372.
Arnold, 172, 179
Benziger, 90-91
Berger, 52
REFERENCES
Brown, III, 574; V, 329
Coleman, 78-79
Creighton (MFS), 173

MB Song Texts
Sandburg (NAS), 16
White, 120
Work fANSS), 166
Creighton (TSNS), 28
Jour (API), XLIV, 424
Sandburg (AS), 478-479
One of These Days ( Version A)
Well, I’m gonna tell God how you treat me,
I'm gonna tell God how you treat me
One of these days, hallelujah!
I'm gonna tell God how you treat me,
I'm gonna tell God how you treat me
One of these days.
I'm gonna walk and talk with Jesus, (2)
One of these days, hallelujah!
I'm gonna walk and talk with Jesus,
Walk and talk with Jesus one of these days
I'm gonna cross that Jordan river, (2)
One of these days, hallelujah!
I'm gonna cross that Jordan river,
Cross that Jordan river one of these days.
I'm gonna climb up Jacob’s ladder, (2)
One of these days, hallelujah!
I'm gonna climb up Jacob's ladder,
Climb up Jacob's ladder one of these days.
I'm gonna sit at my Maker's table, (2)
One of these days, hallelujah!
I'm gonna sit at my Maker’s table,
Sit at my Maker's table one of these days.
VERSION B
3641
God’s gonna bring your sins before you,
Hallelujah!

MB
Song Texts
3642
God’s gonna bring your sins before you
One of these days, hallelujah!
God*8 gonna bring your sins before you,
God’s gonna bring your sins before you
One of these days.
God's gonna set this world on fire, etc.
I'm gonna sit at the welcome table, etc.
I’m gonna feast on milk and honey, etc .
I'm gonna tell God how your treat me, etc.
****************** ********* *

No. 1309
ON MY JOURNEY HOME I
also known as
I Peel Like I’m On My Saint’s Delight
Journey Home When I Can Read My Title
I'm On My Journey Home Clear
Campground spiritual that dates from mid-19th century.
Two stanzas, the first and second, are floaters and
appear in several songs. Both these stanzas are in
a revivalist hymn, Primrose Hill , in McCurry, 121.
The first stanza, "When I can read my title clear,” is
found in the following songs: I 7 / ant To Go To Glory in
McCurry, 30; New Indian Song in McCurry, 45; Ninety -
Fifth in McCurry, 24; and Walk and Talk with Jesus in
Jackson (SPS), 227. Also see Primrose Hill in White &
King. 43.
A version of this song is in D. H. Mansfield's The
American Vocalist, Boston, 1849, and therein words
and music are ascribed to Isaac Watts

MB
Song Texts
• 3643
For a parody from the California gold-rush era, see
Gold Seeker V in this Master Book.
REFERENCES
Agay (1), 25
Jackson (WSSTJ), 229-230
James, 498
Leisy (LAS), 149-150
Lomax (FSNA), 247
McCurry, 115
Odum (NHS), 99-100
White & King, 154, 393
On My Journey Home _I
When I can read my title clear
To mansions in the skies,
1*11 hid farewell to ev'ry fear
And wipe my weeping eyes.
Chorus
I feel like, I feel like
I*m on my journey home;
I feel like, I feel like
I*m on my journey home.
Should fate against my soul rebell
And hellish darts be unfurled,
1*11 stand and smile at Satan’s rage
And face the frowning world.
If pain and trouble come to me.
And storms of sorrow fall,
I still would pray to reach my home.
My God, my heaven, my all.
*****************************

KB
Song Texts
r - 3644

Ho. 1310 -
05 MY JOURNEY H0!£E II
also known as
0! For My Soul’s Happy Oh, Who Will Come and Go With Me?
This revivalist hymn cones in several versions, all of
which seem to have derived from Jordan’s Stormy Banks
( see in this Master Book ). For two entirely different
texts, see James, 393, 397. Also see Jackson (WSSU),
220-221.
On My Journey Home II
Oh, who will come and go with me?
I’m on my journey home;
I’m bound for Canaan’s land to see,
I’m on my journey home.
Chorus
0 come and go with me,
0 sinner, go with me!
0 come and go with me,
I’m on my journey home.
Oh, do hot think I fear to die!, etc.
I’ll be with Jesus there on high, etc.
Oh, tell my friends and let them know, etc .
Ho need for sadness when I go, etc.
*********** **■**-*♦■*•**■** *****-***

Ho. 1311
ON OUR KNEES
also known as
let Us Break Bread Together
This campground revival hymn is 3till available in a
large number of Protestant hymn-books and song folios.

MB
Song Texts
3645
Its available in print is probably why it wasn't in
cluded in any of the folk song collections#
For a different song with the same theme, see We'll
M ee ~fc 0ver Jordan elsewhere in this Master Book,
For a version of this song, see Silverman, II, 102.
On Our Knees
Let us break bread together on our knees,
Let us break bread together on our knees,
In our Saviour's holy name,
His Kingdom to proclaim,
Let us break bread together on our knees.
Let us thank God together on our knees, (2)
For the blessings we have known,
For mercy he has shown,
Let us thank God together on our kness#
Let us all pray together on our knees, (2)
Let us ask the Lord above
To fill our hearts with love,
Let us all pray together on our knees.
Let us praise God together on our knees, (2)
Let us praise him night and day,
In all we do and say,
Let us praise God together on our knees.
•if******************* ********

No. 1312
ON THAT GREAT GETTIN* UP MORNIN'
also known as
Fare Thee Well! Fare Thee Well! In That Great Gettin'
Great Gittin* Up Mornin' Up Hornin'

M3
Song Texts
3646
This spiritual originated with black slaves and is
still popular and widely sung. For an interesting com
parison, see Great Day in Jackson (SFS), 179.
BEPBRKCBS
Lomax (USA), 364-367
Marsh (SJS), 240-241
Silverman, II, 124
Dett, 154-156
Johnson (SENS), 40-43
On That Great Gettin * Up Mornin 1
Let me tell you 'bout the cornin’ of the Savior,
Fare thee well! fare thee well!
You will hear the silver trumpet of Gabriel,
Fare thee well! fare thee well!
Chorus
On that great gettin’ up mornin’,
Fare thee well! fare thee well!
God will call all of his angels,
Fare thee well! fare thee well!
You will hear the might rumble of the thunder, etc .
You will see the mighty mountains all crumble, etc.
Repeat Chorus
Let me tell you all ’bout the fiery furnace, etc.
You will hear the sinners all around prayin', etc.
Final Chorus
On that great gettin’ up mornin',
Fare thee well! fare thee well!
God will come judgin' in glory,
Fare thee well! fare thee well!
*#****•**•*•*•*•*-***•**■»■****

M3
Song Testa
3647

Ho. 1313
ON THE BRIDGE OP AVIGNON
also known as
The Bridge of Avignon Sur le Pont D’avignon
This is a French song used for a ring-type game for
children. The "bridge figures in traditional lore in
Prance as it does in most countries with an ancient
past. The bridge at Avignon was built in 1177.
In the Middle Ages bridges were the most important
structures in the land, and they served as places of
festivity and solemnity, dances, trials, and executions.
Por additional information, see headnotes to London
Bridge in this Master Book.
The English-American parallel to this song is This-a
Way , That-a Way (see in this Master Book ).
Por song sung to same tune in this Master Book , see
Our 3aby.
REFERENCES
Bancroft, 372-374 Gibbon, 16-17
Burchenal (FDOH), 20-21 Hornby, 20
Porbush, 76-77 Wier (YAM), I, 128
On The Bridge At Avignon ( French Version)
Sur le pont d’Avignon
l*on y passe, I’on danse.
Sur le pont d*Avignon
l*on y danse tout en rond.
Les messieurs font comme <?a,
Et puis encore comme 9 a.
Les belles dames font comme 9 a,
Et puis encore comme 9 a.

MB
Song Texts
3648
Les gamins font comme 9 a,
Et puis encore comme 9 a*
ENGLISH VERSION
On the bridge of Avignon
They are passing, they are dancing;
On the bridge of Avignon
They are dancing in a ring.
Gentlemen all do this way:
Then they all do this way.
Ladies all do this way:
Then they all do this way.
Street-boys all do this way:
Then they all do this way.
************************************

No. 1314
ON THE YANKEE MAN-OF-WAR
also known as
Broken Token Song
Lovely Susan
Susan and Her Sailor
Susan and Sweet William
Susan and Sweet 7/illie
Sweet Willie and Susan
The Yankee Man-of-War
Young Susan
The theme of young lovers separating due to circumstances
beyond their control, such as war, and sharing a broken
token is an old one in folk balladry. This song is act
ually an American adaptation of the English ballad, On
Board A Man—of—War , a version of which may be seen in
Kidson (FSNC), S8-89.
For a similar ballad, see I'm Going Across the Sea in
this Master Book . Also see and compare: The Yankee
Man -of- War in Harlow, 180-181 and The British Man-of-War

KB
Song Texts
3649
in Peacock, I, 181-182*
A boradside version of the song below was issued by
Partridge, No. 788.
REFERENCES
Belden (BS), 379-380 Brown, II, 311-312;
IV, 181
Scott (BA), 226-228
On the Yankee Man-of-War
Over yonder in the meadow, where I just happened to stray,
I there beheld a lady fair and her young sailor gay.
Said he, "My lovely Susan, I soon shall leave the shore,
And I'll cross the briny ocean on the Yankee Man 6' War."
Young Susan she fell weeping; to the sailor she did say,
"How can you be so venturesome and throw yourself away?
On the day that I am twenty-one I shall receive my
store,
So, Willie, don't go sailing on the Yankee Man-of-7far."
"0 Susan, lovely Susan, the truth to you I'll tell:
The South has now insulted us, the North she knows
it well;
I may be crowned with laurels just like some jolly tar,
And I’ll face the forts of rebels on the Yankee Man-of-
War."
"How can you be so venturesome as to face the Southern
foes?
Whenever they’re in battle, love, they never take a man;
And from some bloody weapon you might receive a scar—
Oh, Willie, please don't venture on the Yankee Man-of-
War!"
"Oh, Susan, lovely Susan, the time will quickly pass;
Coem with me to the ferryhouse and take a parting glass.

MB
Song Texts
3650
My shipmates there are waiting to row me from the
shore.
And it’s for our country's glory on the Yankee Man-
of-War."
Young Willie took his handkerchief and tore it into two,
Saying, "You may keep the one half, love, the other I'll
keep for you.
When bullets fly around me and the rebel cannon's roar,
I'll fight for lovely Susan on the Yankee Man-of-War."
Then a few more words together, and she let go of
his hand;
The waiting crew surrounded him and rowed him from
the land.
Young Willie waved his handkerchief when far away
from shore,
And Susan blessed her sailor on the Yankee Man-of-War.
********************************

Wo. 1315
ORANGE BLOSSOM SPECIAL
This traditional dance-and-fiddle tune is widely known
and still popular. Ervin T. Rowe wrote a set of lyrics
for the tune, but only the tune is traditional. Sheet
music version was published by Leeds Music Corporation,
New York, N. Y. in the late 1940s.
See No. 1316 in Master Book under TUNES.
*************************************

No. 1316
THE ORPHAN GIRL AND THE RICH MAN
also known as
The Little Orphan Girl
Love and Lust

MB
Song Texts
3651
Mag’s Song
No Bread for the Poor
No Home, No Home, Said a
little Girl
The Orphan, or Orphant
The Orphan Child
The Orphan, or Orphant Girl
Orphan’s, or Orphant’s Song
A sentimental parlor-type song that was popular in the
United States around the turn of 20th century and for
a decade afterwards. A version appeared in the Ala
bama edition of the Sacred Harp , 1902, p. 506, where
it is ascribed to C. G. Keith. The time is a derivative
of the old Scots ballad, The Braes of Balquidder.
Two versions are given below, but version B is merely
a shortened arrangement of version A.
Por an entirely different song of like title, see
Belden (BS), 278 and Puson, 147.
REFERENCES
Arnold, 17
Belden (BS), 277-278
Brewster (BSI), 293-297
Brown, II, 388-389; IV,
216-218
Cambiaire, 26-27
Chappell (PSRA), 196-197
Cox (PSS), 446-447
Davis (PSV), 117-118
Puson*, 106-107
Gainer, 118-119
Henry (FSSH), 373-376
Henry (SSSA), 124-125
Hubbard, 188
Jackson (SPS), 48
Jour (API), XLV, 66-68
Kennedy (AB), 87-88
Kincaid No. 2, 27
Memoirs (API), XXIX, 61
Morris, 119-120
Owens (TPS), 168
Perrow, XXVIII, 170
Quarterly (SPI), IV, 198
Randolph, IV, 194-196
Roberts (SBS), 116-117
Sandburg (AS), 316-319
Scarborough (SC), 364-
366, 454
Shearin (SKFS), 32
Thede, 59
The Orphan Girl and the Rich Man ( Version A)

MB
Song Texts
3652
"No home! No home!" cried an orphan girl
At the door of a princely hall,
As she trembling stood on the polished steps
And leaned on the marble wall.
Her clothes were torn and her head was bare,
And she tried to cover her feet
With her dress that was tattered and covered with snow
All covered with snow and sleet.
Her dress was thin and her feet were bare,
And the snow had covered her head;
"0 give me a home," she feebly cried,
"A home and a piece of bread.
"My father, alas, I never knew"—
Tears dimmed the eyes so bright;
"My mother sleeps in a new-made grave—
»Tis an orphan that begs tonight.
"I must freeze," she cried, then sank on the steps
And strove to cover her feet
With her ragged garments covered with snow,
All covered with snow and sleet.
The rich man lay on his velvet couch
And dreamed of his silver and gold
While -the orphan girl, in her bed of snow,
Was murmuring, "So cold, so cold!"
The night was dark and the snow fell fast
As the rich man closed his door;
And his proud lips curled with scorn as he said,
"No bread, no room for the poor."
The morning dawned but the orphan girl
Still lay at the rich man's door;

MS
Song Texts
3653
And her soul had fled to that home above,
Where there’s bread and room for the poor.
VERSION B
The young man played a deceitful part,
He swore his love was true;
The young girl loved him with all her heart,
And sighed, "I do! I do!”
They laughed and loved in the summertime,
In the winter he said, "Goodbye.”
He left her there with an unborn child,
And said, "Don’t cry, don't cry."
The young man took him a wife of wealth,
And ate from plates of gold;
The young girld lived in the world alone,
And cried, "So cold, so cold!"
The years went by and this young man died,
And he went straight to Hell;
The young girl lay in an angel's arms,
And sighed, "All's well! All's well!"
*************** *************

No. 1517
OUR BABY
This is a lullaby with English words and a French tune.
Song has been ignored by scholastic folk song collect
ors and is not, therefore, found in published collections
Who wrote the words is a mystery, but it does appear in
several commercially produced collections, among them
are Chappie (HS), 119 and Wier (YAM), I, 15.

MB
Song Texts
3654
Our Baby Tune: On the Bridge of Avignon
Cheeks of rose, tiny toes
Has our little baby;
Eyes of blue, fingers too.
Pretty as can be.
Sweetest dove, how I love
Darling little baby;
While I live, thee I'll give
Kisses warm as can be.
******#*■*-*•***■*-***•*■*■***-*•***.*.*

Ko. 1518
OUT OP TEE WILDERNESS I
also known as
Ain't I Glad I've Got Out Got Out of the Wilderness
of the Wilderness Leaning on the Lord
Come A-Leaning on the Lord Run Out the Wilderness
This old spiritual is just one of many "wilderness" songs,
and the text and tune of the verse contributed to the
creation of several secular songs. Por examples, see
Out of the Wilderness II and Abraham Lincoln I in this
Master Book.
The version below is from Work (ANSS), 185.
Out of the Wilderness 1^
0, come along, mourner, run out the wilderness.
Run out the wilderness, run out the wilderness,
Come along, mourner, run out the wilderness.
Leaning on the Lord.
Chorus

MB
Song Text3
5655
Come a-leaning on the Lord, come a-leaning on
the lord,
Come a-leaning on the Lamb of God
That takes away the sin of the world.
0, ain't I glad I've got out the wilderness,
Got out the wilderness, got out the wilderness,
Ain't I glad I've got out the wilderness,
Leaning on the Lord.
0, long time, mourner, coming out the wilderness,
Coming out the wilderness, coming out the wilderness,
Long time, mourner, coming out the wilderness,
Leaning on the Lord.
***********************************

No. 1319
OUT OP THE WILDERNESS II
also known as
Down in Alabam'
Get Out of the Wilderness
The Old Gray Horse, or
Hoss
Old Gray Horse Come Tearin
Out o' de W r ilderness
Roll, Riley, Roll
Tearin' Out-a Wilderness
This is a secular adaptation of the preceding spiritual,
No. 13l9» but minus its refrain. In turn, this was adapt
ed for the second political campaign of the new Republi
can Party, and became identified with Presidential candi
date Abraham Lincoln (see Abraham Lincoln _I in this
Master Book ).
A sheet music version, Down in Alabam *, was published
by William Hall & Son in 1858, and that may be the very
first adaptation of the spiritual placed in circulation.
For the most popular adaptation, see Out of the Wilder
ness III in this Master Book.

MB
Song Texts
3656
For a game song using the same time, see Galilee II
in this Master Book,
REFERENCES
Ames (MPP), 311
Botkin (PPO), 18
Brown, III, 216
Davis (FSV), 260-261
Lomax (ABFS), 336-338
McCollum, 102
Perrow, XXYI, 124
Piper (SPPG), 266
Scarborough (NFS), 13, 183
Van Doren, 492-493
Out of the Wilderness II
The old gray horse came tearin' out-a wilderness,
Tearin' out-a wilderness, tearin' out-a wilderness,
The old gray horse came tearin' out-a wilderness,
Down in Alabam'•
Tag Chorus
Roll, Riley, Roll! Roll, Riley, Roll!
Old gray horse, he came from Jerusalem, etc .
If my wife dies, I'll get me another one, etc,
Great big and fate, just like the other one, etc,
***************************************

No. 1320
OUT OF THE WILDERNESS III
also known as
Many Long Years Ago The Old Gray Mare Ain't
The Old Gray Mare What She Used to Be
This is the popular secular version of the preceding two
songs. It was parodied by soldiers of World War I, who
sang the following words:

MB
Song Texts
3657
The poor old Kaiser
Ain»t what he used to be,
Ain't what he used to be,
Ain't what he used to be,
The poor old Kaiser
Ain't what he used to be
Many long years ago.
146-148 0mPlete TerSi ° n ° f the so;ldier P«ody, see Dolph,
A sheet music version entitled The Old Gray Mere, arranged
by Prank Pamella, was published by the Pamella Music Coop-
any, April 5, 1915.
Another song that is sometimes sung to a variation of
this song's tune is Yellow-Bird Through the Window (see
REFERENCES
Botkin (APPS), 268-269
Brown, III, 216-217
Ford (TMA), 67
Jour (AFL), LVI, 102
Randolph, II, 349-350
Sandburg (AS), 102-103
Scarborough (NFS), 183
Shay (PF-1), 56
Shay (PF-3), 29
White, 230
Yolen, 22-23
Out of the Wilderness III
Oh, the old gray mare she ain't what she used to be,
Ain't what she used to be, ain't what she used to be,
The old gray mare she ain't what she used to be,
Many long years ago.
Chorus
Many long years ago, many long long years ago,
The old gray mare she ain't what she used to be
Many long years ago.

MB
Song Texts
3658
Oh, the old gray mare- came out of the wilderness,
Out of the wilderness, out of the wilderness,
The old gray mare came out of the wilderness
Many long years ago.
The old gray mare she kicked on the whiffletree, etc .
The old gray mare she swam in the water pond, etc.
The old gray mare she ran in the wilderness, etc.
*****************************

No. 1321
OVER THERE
also known as
Over Here The Praties They Grows Small
Potatoes They Grow Small They Chew Their Tobacco Thin
This song is not related to the World War I song written
by George M. Cohan; it is generally believed to have
originated during the Irish potato famine, which began
in 1846. If so, the writer must have had a vision of
the future, because a version of this song was published
as early as 1844. The original Irish version was known
as Over Here, or The Praties They Grow Small (see version
B below).
The title was changed in England and in America from
Over Here to Over There. In. America, and particularly
in rural and frontier areas, the song was used to n poke
fun” at neighboring communities and states. In certain
areas the expression "over there” was dropped in favor
of a specific place name, such as jin Arkansas or In
Kansas .
For adaptations and derivatives in this Master Book ,
see In Arkansas , Way Out in Kansas , and Zamtoango.

MB
Song Texts
3659
An early American version of Over There is in Heze-
kian Butterworth's In Old New England (D. Appleton
& Co., New York, 1895), pp. 233-234. For a facsimile
of one of the first versions published, see J. F.
Atwill's The Wonderful Song of Over There, c. 1844,
in Damon’s Series of Old American Songs.
The melody was lifted by modern "country" song-writers
for at least two songs: J Asked Her If She loved Me and
Shack Number Nine.
REFERENCES
Botkin (NEF), 842-843
Hudson (FSM), 216-217
Ives (SB), 230-231
Korson (PSL), 250-251
Morris, 442-443
Scott (BA), 148-149
Silverman, II, 344
Spaeth (HEW), 33-34
Over There ( Version A)
0 the ’taters they grow small over there,
0 the 'taters they grow small over there,
0 the 'taters they grow small,
'Cause they plant 'em in the Fall,
And then eats 'em, tops an' all, over there.
0 the candles they are small over there, (2)
0 the candles they are small,
'Cause they dips 'em lean an' tall,
And then burn 'em, sticks an' all, over there.
0 they bake a possum pie over there, (2)
0 they bake a possum pie,
And the crust is made of rye,
And they eat it tho' they die, over there.
0 they say that drink's a sin over there, (2)
0 they say that drink's a sin,
But they swallow all they kin,
And then throw it up again, over there.

MB
Song Texts
3660
VERSION B
0 the praties they grow small over here,
0 the praties they grow small,
But they grow from Spring to Pall,
And we eats 'em skins an* all, over here*
0 I wish that we were geese over here, (2)
0 I wish that we were geese,
For they fly and take their ease,
And they live and die in peace over here.
0 we're trampled in the dust over here, (2)
0 we're trampled in the dust,
But the Lord, in whom we trust,
Will give us crumb for crust over here,
****************** **•***.».-a**.** ****.* *

No, 1322
0 WALY, WALY
also known as
Deep in Love
I Leaned, or Leant My
My Love and I
Wailie, Wailie (Waly, Waly)
Waly, Waly, Gin Love Be Bonny
Back Against an Oak
This is a Scots song, but not much is known concerning
its origin or history, Percy described it as "a very
ancien song” and said that "Allan Ramsay was the first
to publish” it.
According to Smith (SOB), the song dates "from about
1700." Whatever its age, we know for certain that a
version was in print as early as 1727, when Ramsay
included it in his collection. Since then the song
has shown up in many varying versions and adaptations,
four of which are given below.

MB
Song Texts
■ 3661
Version A is Scottish; version B is English; version £
is an English-American mutation; and version D is an
adaptation recovered in Canada.
For an American derivative, see Love Is Pleasing; else
where in this Master Book,
The 0 Waly , Waly in Cambiaire, 61, is a version of
the song, Little Sparrow (see in MB).
For Scottish songs that absorbed several stanzas from
this 0 Waly , Waly see Jamie Douglas in Barry (BBM),
469-474 and Child, IV, 90. Also see Lord Douglas in
Kinsley, 324-326.
REFERENCES
Cole, 22-23
Edwards, 126-128
Edwards (CHSB), 33
Emrich (FAL), 528
Farnsworth, 22-23
Friedman, 104-105
Gems (2), 151
Hudson (SC), 50-51
Kinsley, 327-328
Leach (BB), 550-551
Leisy, 235
Muir, 224, 229, 230-231
Percy (RAEP), III, 145-148
Ramsay (TTM-1927), 153-154;
(TTM-1729), 176-177;
(TTM-1750), 170-171
Ppovpo oifi.9on
Reeves (EC), 89-91
Sedley, 162-163
Silverman, I, 122
Smith (SCB), 3-4
Thomson (OC), I, 70-73
0 Waly , Waly ( Version A)
0 waly, waly up the bank,
And waly, waly dovm the brae,
And waly, waly yon burn side,
Where I and my love were wont to gae.
I lean'd my back unto an aik,
I thought it was a trusty tree;
But first it bow'd, and syne it brak,
And sae did my true love to me.

Song Texts
0 waly, waly,' but love be bonny
A little tine while it is new;
But when it’s auld it waxes cauld
And fades away like the mornin’ dew.
0 wherefore should I busk my heid,
0 wherefore should I kame my hair?
For my true love has me forsook.
And says he’ll never love me mair.
But had I wist, before I kiss'd,
That love had been sae ill to win,
I lock’d my heart in a case o' gold,
And pinn'd it wi' a silver pin.
Oh! Oh! if my young babe were born,
And set upon the nurse's knee,
And I mysel' were dead and gone.
And the green grass growin' o’er me!
VERSION B
The water is wide and I can’t get o'er
And neither have I wings to fly;
Give me a boat that will carry two,
And we shall row, my love and I.
I put my hand in a bushy vine,
Thinking the sweetest flower to find;
I pricked my finger down to the bone,
And left the sweestest flower alone.
I leaned my back up against an oak,
Thinking that he was a trusty tree;
But first he bent and then he broke,
And so did my false love to me.
A ship there is, and she sails the sea
She's loaded deep as deep can be,

MB
Song Texts
- 3663
But no so deep as the hurt I’m in—
I know not if I’ll sink or swim.
0 love is happy, and love is fine,
A spark’ling jewel while it is new;
But when it is old, it grows quite cold
And fades away like morning dew.
VERSION C
When Cockle Shells Turn Silver Bells . See Cole, 8-10 and
Sandburg (AS), 16-17.
When cockle shells turn silver bells,
Then will my love return to me;
When roses blow, in wintry snow,
Then will my love return to me.
Oh, waillie! waillie! But love is bonnie
A little while when it is new!
But it grows old and waxeth cold,
And fades away like evening dew 0
VERSION D
love Is lovely . This is a parody of A & B recovered in
in Canada. See Peacock, II, 475-476.
I laid my head on a keg of brandy,
It was my fancy, and it was fair;
But while I’m drinking I’m ofttimes thinking
’Bout who should gain the young lady there.
Chorus

MB
Song Texts
3664
0 love is lovely, 0 love is charming,
0 love is lovely when it is new;
But when love grows older, it then grows
colder
And fades away like the morning dew,
0 when I’m drunk and cast down lonely,
I rove around, 0, from town to town,
And when my frolicking days are over
This fair damsel she will lay me down.
I wish to God I had never been horn.
Or in my cradle I would have died;
There's nothing worse that is part of living
Than to love someone and he denied.
*****************************

No, 1323
OX-DRIVER’S SONG
also known as
The Ox-Driving Song
Ox teams going West from the Mississippi river faced
many odds, including Indians, washouts, and muddy
roads. The song below, versions A and B, is one that
deals with that time and those situations.
REFERENCES
Fife, 35 Lomax (OSC), 233-234
Glass (SW), 24-25 Lomax (PB), 1C2
Ives (SB), 260-261 Silverman, II, 403
Ox-Driver* s Song ( Version A)

KB
Song Texts
- 3665
Oh! I pop my whip and I bring the blood,
I make my leaders take the mud;
It*s grab the wheels and a-turn ’em round,
With a long hard pull, we're on the ground!
Chorus
To me roll, to me roll, to me rideo,
To me roll, to me roll, to me rideo,
To me roll, to me roll, to me rideo,
To me roll-dee-rol-dee rideo.
Oh, the river banks are wet and steep,
'Twould make a tender person weep;
I cuss and yell and I pop my whip,
And the oxen pull and strain and slip.
When I get b§ck home I'll make amends,
I'll take my fam'ly to my friends;
I'll say goodbye to the ship and line,
And I'll drive no more in the winter time!
VERSION B
When the springtime comes and the grass is
green,
‘And all the world seems fresh and clean,
The boss man says it's time to go
To Santa Fe, New Mexico.
Chorus
To me roll, to me roll, to me rideo!
To me roll, to me roll, to me rideo!
To me rideo, to me rideo,
I'm on my way to New Mexico!
When the wagon train is loaded high,
We hitch the team and say goodbye;

MB
Song Texts
3666
I give a yell and crack my whip,
And off we go on a long, long trip.
When the rains come down and the rivers
flood,
A man’s jus' gotta cuss the mud!
Thro' muck and mire we make our way
Across the Plains to Santa Pe.
When the coyotes howl and the redskins
ride,
A man has got to sleep one-eyed!
My gun is cocked and there's hell to pay
Along that trail to Santa Pe,
Often Injuns come to steal and mock,
And rob us of our tradin' stock;
It's face the night with weary eyes
And all day long it's fight the flies!
When I get back home I'll make amends;
It's farewell oxen, farewell friends!
I'll say goodbye to the whip and line
And drive no more in the winter time!
*************************
*********************
*****************
*************
*********
*****

MB
Song Texts
3667
P

No. 1324
PADDLE YOUR OWN CANOE
Homiletic song. According to Chappie (HS), the text
was written by Harry Clifton and the music was composed
by M. Hobson* The title is one of those "folk expres
sions" that 19th century songwriters just couldn’t seem
to resist,,
REFERENCES
Chappie (HS), 286
Davis (FSV), 129
McCaskey, III, 91
Wilder, 40-42
Paddle Your Own Canoe
I've traveled about a bit in my time
And of troubles I've seen a few.
But found it better in every clime
To paddle my own canoe.
My wants are small, I care not at all
If my debts are paid or due;
I drive away strife in the ocean of life
While I paddle my own canoe.
Chorus
Then love your neighbor as yourself,
As the world you go traveling through,
And never sit down with a tear or a frown,
But paddle your canoe.
It's all very well to depend on a friend,
That is, if you've proved him true,
But you'll find it better by far, in the end,
To paddle your own canoe.

KB
Song Texts
3668
To borrow is dearer by far than to buy,
A maxim, tho* old, still true:
You never will sigh, if you only will try
To paddly your own canoe.
***********************•**•*-****-*

No. 1325
PADDY DOYLE I
also known as
Paddy Doyle’s Boots
This is a bunt, short drag , or short haul shanty. Smith
(BOS) says the song "was consecrated to one occasion,
and one alone—namely, getting the bunt—or middle-part—
of a large sail, generally a course, but sometimes a
topsail, on to the yard.”
According to Colcord, "Paddy Doyle was a famous boarding
house master in Liverpool."
For a song with the same title, from Ireland, see Paddy
Doyle II (immediately following in this Master Book ).
REFERENCES
Armitage, I, 42
Bone, 47
Bullen & Arnold, 31
Chappie (HS), 433
Colcord, 43
Davis (SSC), 66
Doerflinger, 10
Eckstorm, 237
Emrich (FAL), 464
Frothingham (SS), 259
Grainger, No. 158
Harlow, 32
Harlow (MS), 199
Hugill (1), 331-334
Hugill (2), 207
King, 13
Langstaff (1), 76
Luce, 220
Masefield (SG), 37
Meloney, 26
Patterson (SA), 223
Sampson, 58
Scott (FSS), 5
Sharp (EFC-2), 43
Shay (ASSC), 31
Smith (BOS), 83
Terry, I, 59
Whall (SSS), 95

MB
Song Texts
3669
Paddy Doyle I
Way-ay-ay-ah!
We*11 pay Paddy Doyle for his hoots!
Way-ay-ay-ah!
We*11 all drink brandy and gin!
Way-ay-ay-ah!
We*11 all shave under the chine!
Way-ay-ay-ah!
We’ll all throw dirt at the cook!
Way-ay-ay-ah!
We’ll pay Paddy Doyle for his boots!
***********************************

No. 1326
PADDY DOYLE IT
also known as
Doran’s Ass Paddy O’Doyle Patty Doyle
An Irish ballad published in broadside form. The Harvard
College Library has English broadsides on file (25262.17,
X, 70): Bebbington, Manchester, No. 332, XI, 45; Such,
London, No. 45, and a sheet without imprint, No. 882.
For texts printed in America, see The Shamrock , or Songs
of Old Ireland , Book IV of The Universal Book of Songs ,
Dick & Fitzgerald, New York, 1864, and the Wehman broad
side, No. 413.
REFERENCES
Mackenzie, 338-339
O’Conor, 43
O'Lochlainn, 166, 217
Peacock, I, 50-52
Chase (SFTS), 150-152
Creighton (SBNS), 163-164
Dean, 38-39

MB
Song Texts
3670
Paddy Doyle II
Paddy Doyle hailed from Killarney,
love a girl named Biddy Toole;
Her tongue was tipped with a bit of blarney,
The same as Pat as a gen'ral rule.
Both day and night she was his colleen,
And to her he’d often say:
"•Arrah, what’s the use, you’re my darling
Coming to meet me on the way?”
Chorus
0 foil de airo, airo, airo,
0 foil de airo, airo aye.
One heavenly night in last November
Paddy walked out to meet his love;
The date of it I don't remember,
But the moon was bright above.
That day the boys had got some whiskey,
Which made Pat's spirits light and gay:
"0 what's the use of walking faster
When I know she'll meet me on the way?”
He strolled along in happy number,
Merry onward he gently trod,
But soon he felt a need to slumber
And he stretched upon the sod.
He was not long without a comrade,
One that could kick up and bray;
A big jackass had smelled out Paddy
And down beside him the ass did lay.
Pat hugged and snugged the fairy mesher
And flung his hat with worldy care;
”She's mine! she's mine! and heaven bless her,
But by my soul she's like a bear.”

KB
Song Texts
3671
Pat put his hand on the donkey’s nose*
At which the ass began to bray;
Pat jumped up and swore like thunder:
w 0! who served me up in such a way?”
Then Paddy ran straight home to Biddy,
At railway speed he crossed the moor;
He never stopped, and feelin* giddy,
At last he arrived at Biddy's door.
By that time it was turning daylight,
And on his knees he fell to pray:
" , Arrah, let me in, my Biddy darling,
The devil has chased me all the way!”
************ *****************

No. 1327
PALLET ON THE FLOOR
also known as
Make Me a Pallet on the Floor
This is an old country-type blues with an English-Irish
background. Blacks also sang it, and such a version is
in Odum (NHS), 183. I have not seen it in any other
collection and, therefore, give the song as I used to
sing it.
Pallet On The Floor
Make me a pallet on the floor,
Make me a pallet on the floor,
Make it soft, make it low,
So my gal will never know—
Make me a pallet on the floor.

KB
Song Texts
3672
I*m not hard to satisfy, (2)
Let the world pass me by;
^Does no good to sit and cry—
1*111 not hard to satisfy.
Soft talkin’ woman sounds so good, (2)
I*d love you if I could,
But I don’t think I should—
Soft talkin’ woman sounds so good.
**«^**« ****** ******•#• ■*•***•* •*•***•***•»■*•**

No. 1328
PAR DERRIER * CHEZ MON PilRE
also known as
The Prince’s Three Daughters Vive La Canadienne
This French song dates back to the 15th century. ?/hen
it was brought to North America, in the earliest days
of exploration and settlement, the song began almost
immediately to take on the color of its new environment.
It was popular among the French-speaking population in
southern Illinois and southeastern Missouri. In French
Canada the song has a long tradition.
For other versions, see Berry, 36-38 and Gagnon, 4-7.
Par Derrrer* Chez Mon p'ere
Par derrier' chez mon p s ere,
Vole, mon coeur, vole.
Par derrier’ chez mon pere,
L’y a-tun pommier doux,
L’y a-tun pommier doux.
Par derrier* chez mon pere.
Vole, mon coeur, vole,
Par derrier’ chez mon pere,
L’y a-tun pommier doux.

MS
Song Texts
3673
Les feuilles en sont vertes.
Vole, mon coeur, vole,
Les feuilles en sont vertes,
Et le fruit en est doux.
Et le fruit en est doux, doux, doux,
Et le fruit en est doux*
Trois filles d’un prince,
Vole, mon coeur, vole,
Trois filles d*un prince
Sont endormies dessous*
Sont endormies dessous, doux, doux,
Sont endormies sessous.
La plus jenn' se reveille,
Vole, mon coeur, vole.
La plus jenn’ se reveille:
-Ma soeur, voila le jour.
Ma soeur, voila le jour, doux, doux,
Ma soeur, voila le jour.
-ITon, ce n*est qu*une etoile,
Vole, mon coeur, vole,
Non, ce n'est qu*une etoile
Qu , e < claire nos amours*
Qu’eclaire nos amours, doux, doux,
Qu*eclaire nos amours.
Nos amants sont en guerre,
Vole, mon coeur, vole,
Nos amants sont en guerre:
Ils combattent pour nous.
Ils combattent pour nous, doux, doux,
Ils combattent pour nous.
S*ils gagnent la bataille,
Vole, mon coeur, vole,
S*ils gagnent la bataille
Ils auront nos amours.

Song Texts
5674
Ils auront nos amours, doux, doux,
lie auront nos amours.
-Qu’ils perdent ou qu’ils gagnent.
Vole, mon coeur, vole,
Qu* ils perdent ou qu’ils gagnent,
Ils les auront toujours.
Ils les auront toujours, doux, doux,
Ils les auront toujours.
ENGLISH TEXT
Back yonder at my father’s,
Ply, my heart, fly yonder,
Back yonder at my father’s,
Ie an apple tree so sweet.
Is an apple tree so sweet, sweet, sweet,
Is an apple tree so sweet.
The leaves of it are verdant, etc.
The fruit of it is sweet, etc.
And there the prince’s daughters, etc .
Are wrapt in slumber sweet, etc.
The youngest one awakens, etc.
"0 sister, it is day, etc ."
"*Tis but a star in heaven, etc,
A star to light love’s way, etc.
"Our lovers are in battle, etc.
For us the foe they meet, etc.
"And if they win the battle, etc.
They’ll have our love so rare, etc.
"And if they win or lose it, etc.
They’ll have cur love fore’er, etc."
********************

MB
Song Texts
'3675

No. 1329
THE PARLOR
An old music hall "pop” song that entered American
folk tradition years ago. A version is here because
it is a "source song." The tune is used for a Square
dance piece and is known to practically every old-
time fiddler around. For a version of the parody,
see Father* s Whiskers elsewhere in this Master Book.
For a similar song, see Sparking on a Sunday Night in
Brown, V, 454; Cheney, 156-158; Journal (AFL), LIX,
465; and Randolph, III, 228-229.
For another traditional version of this song, see
Ford (TMA), 296-298.
The Parlor
The light is in the parlor, the fire is in the grate,
The clock upon the mantle ticks out it's getting late.
The curtains at the windows are made of snowy white;
The parlor is a pleasant place to sit in Sunday night.
There's books upon the table, there's pictures on
the wall,
And there's a pretty sofa, but the sofa isn't all.
If I'm not mistaken, I'm sure that I am right,
I see somebody sitting there, this pleasant Sunday
night.
There's someone on the sofa! At first I cannot see
How many's on.the sofa, but I don't think there are
three.
The clock upon the mantle ticks out with all its might
The parlor is a pleasant place to sit in Sunday night.

MB
Song Texts
3676
The light is burning dimly, the fire is getting low,
When somebody says to somebody else, ’.'It's time for
me to go. M
And then I heard a whisper, so gentle and so light:
"Oh, don't forget to come again another Sunday night!"
**************************

No. 1330
THE PATROLMAN WILL GET YOU
also known as
Most Done Ling'rin' Here Run, Chillen, or Nigger, Run
Pateroll Song Some Polks Say a Nigger
The Patter-roller Git You Won't Steal
This song came into existence in the 1830s following
the Nat Turnery Rebellion. After that insurrection
slaves were placed under special restriction. Patrol
men were appointed to keep slaves from moving about
the countryside. A slave had to have a pass signed by
his owner, or he was whipped on the spot by the Patrol
man. This song developed out of that situation.
The tune was taken from another song, Fire in the
Mountains . For a variation, see the refrain of Jim
Along Joe in this Master Book.
Also see and compare: Some Folks Say That A Nigger
Won't Steal in Brown, III, 508-510 & V, 282-283; -
Way Down Yonder in the Cornfield in Ford (TMA), 373#
and 0, Mourner _I & II in this Master Book.
REFERENCES
Allen (SSUS), 89, 144
Arnold, 121
Bass, 425
Botkin (AFL), 906
Botkin (APPS), 299-300
Brov/n, I, 203-204; III,
331-533; V, 303
Coleman, 106

MB
Song Texts
Pauset (NFTS), 303
Pord (OTFM), 30
Pord (TMA), 37
Harris (URHF), 200-201
Jour (APL), LYIII, 125
Lomax (ABFS), 228-231
Lomax (PB), 60
Morris, 25-28
- -3677
Perrow, XXVIII, 138
Randolph, II, 338
Scarborough (NFS), 12, 23
Seeger (1), 92-93
Sharp, II, 359
Steely, 164
Talley, 34
Thede, 63
White, 169-169, 370-372
The Patrolman 7/ill Get You
Some folks say a Nigger won*t steal,
But I caught one in my cornfield.
Chorus
Run, Nigger, run! the Patrolman will
get you!
Run, Nigger, rim! it's almost day!
I chased that Nigger, run my best,
And ran into a hornet’s nest!
That Nigger run, that Nigger flew,
That Nigger ripped his shirt in two!
Nigger an’ white man run thro' the field,
Couldn’t see nothin’ but the Nigger’s heel!
White man run like a railroad car,
The Nigger run like a shootin* star!
White man say "It jus' ain't no use.
He flew away like an old wild goose!"
**********************

MB
Song Texts
3678
Bo. 1331 -:>V
PAUL AND SILAS I
also known as
All Night Long Paul and Silas Bound in Jail
0 Deliver Poor Me Who Shall Deliver Poor Me?
A semi-secular version of an old campground spiritual
that took on a tradition of its own, retaining only
the "Paul and Silas bound in Jail" stanza by which to
identify it. The tune is far removed from other songs
using the same stanza, Por two other pieces using the
line, see Scarborough (NFS), 7 and 256.
Of the two versions below, version A is probably the
more recent. Version B is more like a campground-type
spiritual.
REFERENCES
Kennedy (W-2), 116-123 Odum (NKS), 126
Lomax (FSNA), 486 Sandburg (AS), 448-449
Weavers, 13-15
Paul and Silas _I ( Version A)
Paul and Silas locked in jail, all night long,
Paul and Silas locked in jail, all night long,
Paul and Silas locked in jail, all night long—
But who will deliver poor me?
Pray so loud the jailor couldn't sleep’, all
night long, (3)
But who will deliver poor me?
THat jail-house door opened wide, all night
long, (3)
But who will deliver poor me?

MB
Song Texts
3579.
Jailor said, "Paul, what shall I do?" All night
long, (3)
But who will deliver poor me?
"Repent to me an* be baptized!" All night long, (3)
An* God will deliver poor me.
VERSION B
Paul and Silas Bound in jail, All night long;
One for to sing and the other for to pray, All night
long,
One for to sing and the other for to pray, All night
long.
Sing and pray! for Paul and Silas, 3ing and pray.
Paul and Silas got away, All night long,
One for to sing and the other for to pray, etc.
Paul and Silas both long gone, All night long,
One for to sing and the other for to pray, etc.
**************************

No, 1332
PAUL AND SILAS II
also known as
Blow de Trumpet New Jerusalem
Blow, Gabriel Paul and Silas Bound in
Blow Your Trumpet, Gabriel Jail
To the New Jerusalem
This is a slave spiritual. The only relation between
this and the foregoing song is the second stanza, which
was probably an insertion.

MB
Song Texts
3680
Por a similar song, see Run All The Way in this Master
Book, Also see: Fisher (NSS), 116; Odum (NHS), 127;
and Parrish, 87-88.
Por a hymn that shares a title in common with this song,
see the New Jerusalem in White & King, 299*
REFERENCES
Allen (SSUS), 3, 24-26 Brown, Y, 481-482
Paul and Sila3 II
The tallest tree in Paradise,
The Christians call the tree of life;
And I hope that trump* will blow me home,
To the new Jersalem,
Chorus
Blow your trumpet, Gabriel,
Blow louder, louder,
And I hope that trump* will blow me home,
To the new Jerusalem.
Well, Paul and Silas, bound in jail,
They sing an' pray an’ moan and wail;
And I hope that trump’ will blow me home,
To the new Jerusalem.
**************************************

No. 1333
THE PAW-PAW PATCH
also known as
Way Down in the Paw-
Paw Patch
Way Down Yonder in the
Paw-Paw Patch
Bouquet Patch
Pawpaw Land
Paw-Paw Peel, or
Peeling

MB
Song Texts
3681
Where, Oh Where is Dear
Little Susie?
Where, 0 Where is Pretty
Little Susie?
This is generally reported as a game song hut it is
also widely sung apart from any game. According to
Randolph the "tune is adapted from an old hymn Where
Now is Good Old Elijah? " For a version of that song,
see Safe In The Promised Land elsewhere in this Master
Book,
Randolph made his deduction upon the.tune used for an
Ozark version, and I have no quarrel with that. But
the tune I have is almost identical to that of Mulberry
Bush , which may he seen in this Master Book .
Also see: Thomas (SG), 13,
REFERENCES
Botkin (APPS), 289-290
Carmer (SRA), 191
Lomax (FSNA), 92
Morris, 203
Randolph, III, 364-365
Seeger (1), 172
Shearin (SKFS), 38
Silverman, I, 304
Thomas (SG), 11-13
Wolford, 101
The Paw-Paw Patch
Where, 0 where is poor little Susie?
Where, 0 where is poor little Susie?
Where, 0 where is poor little Susie?
*Way down yonder in the Paw-Paw patch.
Come on, hoys, let's go down and find her, etc.
Pick up the paw-paws, put ’em in a basket, etc.
Where, 0 where is sweet little Nellie?, etc.
****************************

Song Texts
3682
MB

Ho. 1334
THE PERSIAN KITTY
This song has survived, probably, because it tells a
humorous story. It was popular among college students
until quite recently. - -
BEFEBEHCES ;
Best, 111-112 Kennedy (AB), 50-51
Johnson ( BBLL), 23-24 Leisy (SPS), 157
The Persian Kitty
The Persian kitty, perfumed and fair,
She strolled on the backyard fence for air;
Then an old Tom cat, quite lean and strong,
And dirty and yeller, came a-strolling along.
He stood and he watched the Persian cat,
Who strutted about with much eclat,
And he thought to himself some time he’d pass,
And whispered, "Kiddo, you’ve sure got class!"
w, Tis fitten and proper," was her reply,
And arched her whiskers over her eye;
"For I always sleep on pillows of silk
And daily bathe in certified milk.
"I should be happy with what I’ve'got;
I should be happy, but happy I’m not.
- ' **■
I should be happy, I should indeed,
Because, you see, I’m highly pedigreed."
The Tom cat purred and said with a smile,
"Trust in your new-found friend for a while;
Abandon this silly old backyard fence,
For what you need is experience."

KB
Song Texts
3683
The joys of living he then unfurled,
And told her about the outside world;
He then suggested, with a leering laugh,
A trip for two down the Primrose path.
The morning after the night before,
The kitty came home at quarter to four;
And the innocent look se wore had went,
Replaced by a smile of sweet content.
A short time later three kittens came
To bless that kitty of pedigreed fame;
They were not Persian, but black and tan—
She told ’em their daddy was a travelin* man!
*************************************

No. 1333
PETER AMERLEY
also known as
Edward Darling Peter Emerly, or Emery
Peter Ambelay, or Amberley, Peter Emily, or Hambly
or Emberlay, or Emberlie Peter Rambelay
This was a 19th century lumberjack favorite. It is not
always sung to the same tune, and the words are not
always credited to the same author. Doerflinger says
the words were written by John Calhoun. Others ascribe
the words to Lawrence Gorman, a woods poet of Prince
Edward Island.
Eckstorm maintains the victim in the song was the author
who wrote the song when dying, after being crushed by
falling logs.
Flanders and others have versions set to the tune of
The Maid of Timahoe (see Petrie 498, 657). Creighton

MB
Song Texts
3684
gives a version set to a tune obviously borrowed from
Mary Hamilton (see in this Master Book ). This song is
also sometimes set to a tune that is a combination of
The Bonny Boy and The Jam On Gerry 1 s Rock (also in this
Master Book).
REFERENCES
Eckstorm, 98-103
Flanders (NGMS), 115-117
Gray, 6.3-69
Greenleaf, 334-335
linscott, 269-272
Mackenzie, 295-296
Mackenzie (QB), 35
Manny, 160-163
Scott (BA), 270-273
Barry (BBM), 264
Barry (MWS), 68-69
Beck (FLM), 255-257
Beck (LLC), 87-88
Beck (SMI), 32-33
Bulletin (FSSN), II, 13-14
Creighton (FSNB), 231-233
Creighton (S3NS), 301-303
Doerflinger, 227-233
Peter Amerley
My name is Peter Amerley, as you will understand,
I was born on Prince Edward Island, down by the ocean
strand;
When I was young and in my prime, and flowers bloomed
and grew,
I sailed away from my native isle, my fortune to pursue.
I landed in New Brunswick, that lumbering counteree,
And went to work in the lumber woods, which proved
my destiny*
I went to work in lumber woods, where they cut the tall
spruce down;
While loading two sleds from the yard, I received this
fatal wound.

MB
Song Texts
>685
There is danger on the ocean, when the waves roll
mountain high;
There*s danger on the battlefield, where the angry
bullets fly—
There's danger in the lumber woods, and death seems
solemn there,
And I became a victim of its most monstrous snare.
Goodbye to my old father, *twas he who drove me here,
For I could not agree with him, and he treated me
severe.
A man should never drive a boy, or try to keep him
down;
It only makes him leave his home when he is much too
young.
Goodbye to my poor mother, she was my friend so dear;
She often made me happy while in her tender care.
But little did my mother dream when I told her goodbye,
The place in which I'd end my days, or the death that
I should die.
Adieu to Prince Edward Island, the garden of the seas;
No more to roam its flowery banks, or feel the summer
breeze.
No more to watch the gallant ships as they go sailing
by.
With colors flying brightly above the canvas high.
Goodbye to all my other friends, and all the girls
I knew;
Long may they live upon the land where my first breath
I drew.
The world will go on just the same as before I passed
away:
Of what use is the life of man when his body turns to
clay?
***************************

Song Texts
3686
MB

Ho.1336
PETER GRAY
also known as
Ballad of Peter Gray Blow Ye Winds of Morning
Blow, Ye Winds Penneylvan-i-a
This song, which dates from the 1880s, was a great
favorite among college students. The comic text is
a strange partner for such a sorrowful and beautiful
melody.
REFERENCES
Agay (1), 28
Agay (2), 80
Botkin (AFL), 829-831
Carmer (SRA), 70-71
Chamberlain, 131
Chappie (HS), 359
Ives (SB), 248-249
Lewis, 91
Lomax (OSC), 252-253
Most (PCS), 75
Shay (DFW), 66-68
Silverman, II, 185
Peter Gray
Once on a time there lived a man,
His name was Peter Gray;
He lived way down in that 'ere town
Called Pennsylva-ni-a.
Chorus
Blow, ye winds of morning, blow ye winds, Hi-o!
Blow, ye winds of morning, blow, blow, blow!
How Peter Gray he fell in love,
All with a nice young girl;
The first three letters of her name
Were L. U. C. Anna Quirl.

MB
Song Texts
3687
How just they were going to wed.
Her Papa he said "No!"
And consequently she was sent
Way off to O-hi-o.
So Peter Gray he went to trade
For furs and other skins,
Till he was caught and scalp-y-ed
By the bloody Inji-ins.
When Lucy Anna heard the news,
She straightway took to bed,
And never did she get up again
Until she di-i-ed.
******** ************* ************

No. 1331
PETIT ROCHER BE LA HAUTE MONTAGUE
also known as
La Complainte de Cadieux Little Rock A-Top
The Lament of Cadieux the Mountain Crest
A French-Canadian song about the adventures of Jean
Cadieux, or Cayeux and the colonial battles that de
veloped following the discovery and invasion of Canada.
Cadieux was a fur trapper and trader; he was killed by
Iroquois tribesmen on the upper Ottawa River about
1709 .
REFERENCES
Barbeau (JSOQ), 13-21 Jour (AFL), LXVII, 147
Berry, 24-25 Gagnon, 200-208
Gibbon, 54-57
Petit Rochaer de la haute montasrne

Song Texts
3688
Petit rocher de la haute montagne,
Je viens ici finir cette campagne.
Ah! doux e'chos, entendez mes soupirs.
En languissant, je vais bientot mourir.
Petits oiseaux, vos douces harmonies,
Quand vous chantez, me rattach* \ la vie;
Ah! si j*avals des ailes comme vous,
Je s'rais henreux avant qu’il fut deux jours!
Seul en ces hois, que j*ai eu de soucis!
Pensant toujours a mes si chers amis,
Je demandais; Helas! sont-ils noyes?
Les Iroquois les auraient-ils tues?
Un de ces jours que, m*extant e'loigne,
En revenant je vis une fume's;
Je me suis dit: Ah! grand Dieu qu’est ceci?
Les Iroquois m’ont-ils pris mon logis?
Je me suis mis un peu a l’amhassade,
Afin de voir si c'etait embuscade;
Alors je vis trois visages franqais!...
M’ont mis le coeur d*une trop grande joie!
Mes genoux plient, ma faible voix s'arrete,
Je tomhe..Helas! a partir ils s’appretent:
Je reste seul...Pas un qui me console,
Quand la mort vient par un si grand desole!
Un loup hurlant vint pres de ma cabane
Voir si mon feu n'avait plus de boucane;
Je lui ai dit: Retire-toi d'ici;
Car, par ma foi, je perc’rai ton habit!
\
Un noir corbeau, volant a l'aventure,
Vient se percher tout pres de ma toiture:

MB
Song Texts
3689
Je Ini si dit: Kangeur de chair humaine,
Ta-t 'en chorcher autre visnde que mienne.
Ta— t'en la-bas, dans ces bol3 et marais,
Tu tr out eras plusieurs corp3 Iroquois;
Tn trouTeras des chairs, ausai des os;
Ta— t’en plus loin, iaisse-moi en repo 3 !
Mossignciet va dire 'a sa maitresse
A joes enfants qu'un adieu je leur laisse;
Qne j' ai garde' non amour et ra foi,
Bt desomais faut renoncer a moi!
C*est done ici que le mend’ m’abandenre!...
Mais y ai S3C0UT3 en tous Sauveur dea homes!
Tres-Sainte Yierge, ah! m’abandonnez pas,
Permettez— moi d’mourir entre vos bras!
BHGIISH TEXT
0, little rock upon this towering nountain top,
Where I’m waiting for the hour when my life will
atop.
0 tender echo, transport the lonesome sigh of him
Who waits alone and knows that he must die.
Thro* all the mountain solitude, upon a summit high,
I hear the happy-throated birds singing in the sky.
Ah! had I wings to fly the way they do,
I'd fly from here and find the joys that I once knew.
Here in the forest deep I’ve dwelled in awful fright,
Thinking of true and loyal friends far away from
sight.
Are my loved ones in some unknown watery grave,
Slain by Iroquois foes while standing so brave?

MB
Song Texts
3690
Once on a summer morn I set out along my way;
On my return I found a ruin ashen gray.
Ah! had the savage Redman come and gone?
Had angry Iroquois destroyed my dear home?
I did disguise myself and moved in carefully,
Hoping to learn if all of them were dead but me.
Tou can imagine my joy and my delight
When three live Frenchmen stood there, in my sight.
Lege weak and feeble grew, my strength is almost
gone;
I must now prepare to face whatever lies beyond.
I am alone with none to comfort me,
Knowing that death and death alone can set me free.
A raven then came near, as black as black could be,
And perched himself upon a limb, coraking over me.
I said to him, "Depart from my retreat!
Go now and seek the flesh of Indians to eat!"
Lo! and behold—a prowling wolf broke my sad repose,
Eager to see the food attractive to his nose.
I said to him, "Depart! and from me flyd
Or, on my faith, I swear, without delay you'll die!
"Go yonder, beast, in forest deep and on the plains
And feast upon the fallen Iroquois remains.
There may you gnaw upon their flesh and bone,
While here I rest and wait and die all alone.
"0 little nightingale, fly now to my darling wife—
Tell her and my children, I love them more than life
Tell them adieu-—my life has been complete,
But they must know we never more shall meet!
"Here, then, alas, forsaken by humanity,
My one salvation, 0 my Saviour, is in Thee!

MB
Song Texts
3691
JLh! leave me not, 0 holy Virgin, blest,
let me repose within Thy arms, in this last rest!"
******* **#**•***#•**•**• *********.**

No. 1338
PHARAOH*S ARMY I
also known as
Mary, Don’t You Weep, 0 Mary, Don’t You Weep
Don’t You Moan Pharaoh’s Army Got Drownded
Pre-Civil War spiritual. A version was published in
"Negro Spirituals" (an article by T. W. Higgins in the
Atlantic Monthly . June, 1867).
A parody is also given below as version B.
REFERENCES
Arnold, 143
Benziger, 87
Best, 148
Brown, III, 602-604;
V, 341-342
Edwards (CHSB), 132
Fisher (SNS), 127-129
Hille, 20
Johnson (RAS), 62
Jour (AFL), XXVI, 156
Leisy, 245-246
leisy (LAS), 142-143
Leisy (SPS), 198-199
Sandburg (AS), 476-477
Seeger (6), 78
Silverman, II, 91
White, 58-59, 406
Whitman, 91
Work (ANSS), 176
Pharaoh* s Army 1^ ( Version A)
Some of these mornings bright and fair.
I’ll take my wings and cleave the air.
Pharaoh’s army got drownded,
Oh, Mary, don't you weep!

Song Texts 3692
Chorus
0 Mary, don’t you weep, don’t you mourn,
0 Mary, don’t you weep, don’t you mourn:
Pharaoh's army got drownded,
0 Mary, don't you weep!
When I get to heaven gonna sing and shout!
Nobody there will turn me out!, etc.
If I could I surely would
Stand on the rock where Moses stood!, etc .
Let me take you by the hand,
Lead you thro' the Promised Land!, etc .
If you'd come along with me,
0, how happy I would be!, etc.
VERSION B
Mary's son fell in a well,
Mary's son fell in a well,
But Pharaoh's army got drownded—
0 Mary, don't you weep.
Chorus
0 Mary, don't you weep, don't you mourn!
Tour son's in Heaven with a harp and horn.
But Pharaoh's army got drownded,
0 Mary, don't you weep!
Pharaoh’s army got drownded in the sea,
Thanks to God, it was not me!, etc.
Way up yonder above the moon,
Where they eat with a silver spoon!, etc.
*************** ************

KB
Song Texts
3693

No. 1339
PHARAOH’S ARMY II
also known as
To Turn Back Pharaoh’s Army Turn Back Pharaoh’s Army
This is another pre-Civil War spiritual with the same
BOtif as the preceding song. This one is from the reper
toire of the original Pisk Jubilee Singers.
REFERENCES
Jubilee (PS), 10-11
Marsh (SJS), 132
Pike, 172, 214
Waite, 79
Pharaoh ’s Army II
Gonna write to my Lord Jesus,
To send some valiant soldier.
To turn back Pharaoh’s Army, Hallelu!
To turn back Pharaoh’s Army, Hallelujah!
To turn back Pharaoh's Army, Hallelu!
To turn back Pharaoh's Army, Hallelujah!
To turn back Pharaoh's Army, Hallelu!
If you want your soul converted,
You'd better be a-praying, etc.
You say you are a soldier
Fighting for your Saviour, etc.
When the children were in bondage,
They cried unto the Lord, etc,
When Moses smote the water,
The children all passed over, etc.
When Pharaoh cross'd the water,
The waters came together

MB
Song Texts
5694
And drown’d ole Pharaoh’s army, Hallelu!
And drown'd ole Pharaoh’s army, Hallelujah!
And drown’d ole Pharaoh’s army, Hallelu!
And drown'd ole Pharaoh’s army, Hallelujah!
And drown'd ole Pharaoh's army, Hallelu!
**************♦**•*■****•*■**■*•■****•*•*•■»••*■*■*•*

Ho. 1340
PHARAOH'S DAUGHTER AND THE 3AEY
also known as
By the Side of a River Moses
Little Moses Moses in the Bulrushes
This is a religious ballad that dates back to the latter
part of the 19th century, and may go back even to the
earlier part of that century.
REFERENCES
Belden (BS), 449 Randolph, IV, 97-98
Jackson (SFS), 55-56 Silverman, II, 107
Pharaoh's Daughter and the Baby
Away by the waters so blue
The ladies were wending their way,
When Pharaoh's young daughter came down to the water
To bathe in the cool of the day.
Chorus
And before it turned dark she looked in the Ark,
And found a young baby there;
Before it was dark she looked in the Ark,
And found a young baby there.
By the side of the river so clear
That baby was lonely and sad;

MB
Song Texts
3695
She took him in pity and thought him so pretty,
And made little Moses so glad.
Chorus
And she called him her son, her beautiful son,
And sent for a nurse that was near;
She called him her son, her beautiful son.
And sent for a nurse that was near.
Away from the waters so blue
They carried that beautiful child,
To his own tender mother, his sister and brother,
And Moses looked happy and smiled.
Chorus
And his mother so good did all that she could
To nurse him and teach him with care;
His mother so good did all that she could
To nurse him and teach him with care.
Away by the sea that was red
Stood Moses, the servant of God;
In God he confided, the sea was divided
While upward he lifted his rod.
Chorus
And the Jews safely crossed, but Pharaoh's brave host
Was drowned in the water and lost;
The Jews safely crossed, but Pharaoh's brave host
Was drowned in the water and lost.
Away by the mountain so high
Stood Moses with tremb'ling and awe;
With lightning and thunder, with signs and with
wonder,
The lord gave Moses His law.
Pinal Chorus

KB
Song Texts
3696
And lie wrote it all down on tablets of atone,
Before he returned to the sky;
He wrote it all down on tablets of stone,
Before he returned to the sky.
***************************************

Ho. 1341
THE PHILANDERING SOLDIER
also known as
The Bugle Boy
The Bugle Britches
The Soldier and His Lady
The Soldier and the Maid
The Soldier Lover
A Soldier Rode from East
to West
A Soldier Rode to the West
The Soldier's Farewell
The Trooper and the Maid
This is an 18th century British ballad, but merely one
of a group of such maiden-soldier songs telling more or
less the same story. This ballad is not always sung to
the same tune, so we have included two under TUNES (A
A B), with B being from the Child collection.
The Soldier's Farewell is a common title, and the Con
federate Civil War ballad of that title is not to be
confused with this piece.
REFERENCES
Baring-Gould (SBW), No. 65
Barry (BBM), 371-373
Brewster (BSI), 166-169
Brown, II, 198-199; IV,
125-126
Brown (BLNC), 9
Bulletin (FSSN), VII, 11
Buchan (ABS), I, 230
Campbell & Sharp, No. 37
Child, V, 172, 424
Christie, II, 210
Davis (MTBV), 356-360
Davis (TBV), 544-546,
606
Edwards (CHSB), 56
Gainer, 102-103
Greig & Keith, 246-248
- 278

MB
Song Texts
3697
Jamieson, II, 158
Leach (BB), 684-686
Moore (BFSS), 141-143
Miles (BB), 341-346
Ord, 365
Randolph, I, 213-214
Sedley, 18-19
Sharp, I, 305-307
Silverman, I, 94-95
The Philandering Soldier
A soldier came from Fayetteville town.
And he was tired and weary;
He knocked upon a farmer’s door
And called for Flo, his dearie,
And called for Flo, his dearie.
By chance sweet Flo was in the house,
And she was bright and cheery;
She ran downstairs to let him in
And welcome home her dearie, (2).
She ran upstairs to make the bed,
And made it fine and steady;
She then removed her petticoat,
Saying, "Soldier, are you ready?" (2)
They loved each other thro' the night,
And talked till they were weary;
They fell asleep before the dawn.
With eyes both tired and dreary, (2).
He heard the bugle call next morn
And knew he must be going;
But first he woke the charming maid,
So she could hear it blowing, (2).
"The time has come and I must go.
It grieves my heart to leave you,
But if I ever pass this way
I’ll cone again and see you, (2)."

MB
Song Texts
; ; 3698
•0 when Bhall we two meet again.
When shall we meet and marry?”
•When cockle-shells turn silver bells,
But now I must not tarry, (2)."
*♦♦*****■»**■»*****•«•*♦****■»*•»■**«•■»**■»***

Ho. 1342
PIE IN THE SKY
also known ae
The Preacher and the Slave You’ll Eat Pie Bye and Bye
This is one of the socio-economic parodies written by
Joe Hill, legendary radical "labor movement" poet of
the United States. Hill, a member of IWW (Industrial
Workers of the World), was executed in Utah in 1915.
REFERENCES
Anderson (H), 210
Lingenfelter, 544-545
Arnett, 146
Loesser, 295-296
Berger, 48-50
Lomax (PSNA), 423-424
Botkin (API), 886-887
Milburn, 83-85
Dobie (CG), 39-40
Sandburg (AS), 222
Downes, 332, or 388
Silber (SGAW), 293-301
Powke (SWF), 155-157
Silverman, I, 411
Glazer (SW), 9
Stavis, 10-11
Greenway, 185
Toelken (NTB), 14-15
Irwin (ATUS), 250
Weavers, 160-162
IWW (3d ed., 1910), 26
Webb (MTPL), 39-40
Kornbluh, 133
Whitman, 110-111
Pie in the Sky
Tune; Sweet Bye and Bye
Long-haired preachers come here every night,
And they tell you what's wrong and what's right;

MB
Song Texts
3699
When you ask about something to eat.
They all answer with voices so sweet:
Chorus
You*11 get pie, bye and bye,
In that glorious land in the sky;
Watch and pray, live on hay,
You’ll get pie in the sky when you die!
And the starvation army they play.
And they sing and they clap and they pray,
Till they get all your coin on the drum.
Then they’ll tell you when you're on the bum:
Holy rollers and jumpers come out.
And they holler and jump and they shout,
But when eating time comes around they will say,
"You'11 eat great on thatglorious day!”
********** **•*■*•** ****** ***##*****##.

No. 1343
PIG IN THE PARLOR
also known as
My. Father and Mother
Were Irish
My Mother and Father Were Irish
That Was Irish, Too
This song has enjoyed a wide circulation in America
for many years. In England it has been associated with
a game song, Bull in the Park (see Gomme, I, 50-51 &
120-121). Song has also been reported as a ring game
in America. The tune source seems to be The Lake of
Marlborough t which contributed to at least a half dozen
songs known to American tradition.
For comparative examples in this Master Book , see:
The Bear Went Over the Mountain , Drinking Song VII I,

MB Song Texts .-3700
and Christ Was Born in Bethlehem *
This song may be lengthened simply by adding different
animals and placing them in different rooms in the
r- / * r
house.
REFERENCES
Ames (MPP), 296
Ball, 12
Botkin (APPS), 290-293
Brown, I, 107-108; III,
113; V, 56-57
Burne, 519-520
Coffin & Cohen, 70-71
Gardner (FSH), 237
Gardner (SPPG), 117-118
Heck, 22
Jour (API), XXIV, 298;
.XXXI, 152; XLII,
211; XLIV, 12
Mahan, 44-46
Pig in the Parlor ,
My father and mother were Irish,
My father and mother were Irish,
My father and mother were Irish,
And I am Irish too. f
I
And I am Irish too,
And I am Irish too,
My father and mother were Irish,
And I am Irish too.
We kept a pig in the parlor, etc .
We kept a cow in the kitchen, etc.
We kept chickens under the bed, etc.
McCollum, 102
McLendon, 220
Morris, 445
Northall, 564-565
Owens (ST), 52-53
Piper (SPPG), 283-284
Pound (SFSN), XXVII, No. 10
Pub (TFLS), XIII, 327
Quarterly (SFL), VI, 196-'
Randolph, III, 305-306
Randolph (OPP), 211
Randolph (Ozarks), 151-153
Rorie, 356
Wolford, 81-82
****** ******-*************

MB
Song Texts
3701

Ho. 1344
PIG TOWN FLING
also known as
Helton's Reel Pig-town Hoedown
This is a traditional tune used for Square dancing.
If it has a text I wasn't able to find it. For a
▼ersion of the air, see TUNES, No. 1345.
For other versions, see Linscott, 71 and Shaw, 388.
*********************************

No. 1345
PILGRIM I
This the first of five numbered Pilgrim songs given
below. Like the other four, this is a folk hymn. The
tune is bettern known than the text. For songs set to
this tune, or to variations thereof, see Daniel Monroe
in Rickaby, 184, 229; Lady and the Dragoon in Sharp, I,
337 ; Rebel Soldier in Sharp, II, 215; and Sheffield
Apprentice in Sharp, II, 66.
For religious use of the tune, see Carden, 147; Eauser,
392 ; Ingalls, 54; Jackson (KH), 57; Jackson (SFS), 124;
James, 201; McCurry, 117; Western Psalmodist , 46; and
White & King, 201.
Pilgrim I
Come, all ye mourning pilgrims dear,
Who're bound for Canaan's land,
Take courage and fight valiantly—-
Stand fast with sword in hand.
Our Captain's gone before us,
Our Father’s only Son;

KB
Song Texts
3702
So pilgrims dear, pray, dc not fear.
But let us follow on.
Come, all you pilgrim travelers,
Preah courage take with me;
Keantime I'll tell you how I came
This happy land to see.
Through faith, the glorious telescope,
I view'd the worlds above,
And God the Father reconciled,
Which fills my heart with love.
******#•*****■*•»**♦■*•**-****•**•***•**■#■*

Ho. 1346
PILGRIM II
also known as
The Pilgrim of Sorrow Poor, or Po' Pilgrim
Pilgrim’s Song Sometimes I'm Almost Driven
This, the second song in the "pilgrim" series, is simi
lar in mood and theme to Wayfaring Stranger (see else
where in this Master Book ).
REFERENCES
Dett, 169 Jackson (WSSU), 271-272
Gainer, 192-193 Randolph, IV, 44-45 B
Hayes, 77-78
Pilgrim II
I am a poor pilgrim of sorrow.
Cast out in this wide world to roam;
My brothers and sisters won't own me.
They say that I'm weak and I'm poor.

KB
Song Texts
3703
But Jesus, the Father Almight
Has bade me to enter the door
Chorus
Sometimes I’m almost driven,
Till I know not where to roam.
I’ve heard of a city called Heaven—
I’ve started to make it my home.
My mother has reached the bright glory,
My father's still walking in sin;
My brothers and sisters won't own me,
Because I am trying to get in.
When friends and relations forsake me,
And troubles roll round me so high,
I think of the kind words of Jesus,
"Poor pilgrims, I am always nigh."
0, soon I shall reach the bright glory,
Where mortals no more do complain;
The ship that will take me is coming.
The Captain is calling my name.
##*********************-*•********.****.*.*
PILGRIM III
also known as
I Am a Pilgrim
I’m a Pilgrim and a Stranger
Pilgrim Stranger
According to tradition, this is the campground hymn
Ann Rutledge was singing when Abraham Lincoln first
met her.
REFERENCES
Benziger, 16-17
Chappie (HS), 170

MB
Song Texts
; 3704
Silber (HSB), 48
Silverman, II, 77
Pilgrim III
I'm a pilgrim and a stranger,
I can tarry only for a night;
Do not detain me, for I am going
Where holy fountains are ever flowing:
I’m a pilgrim and a stranger,
I can tarry only for a night.
I shall journey to a city
Where the Lord provides the only light;
There's only gladness, and there's no crying,
And there's no sadness, and there's no dying:
I'm a pilgrim and a stranger,
I can tarry only for a night.
0, the glory will be shining,
And my heart is longing to be there.
• Thro' all this country, so dark and dreary.
For years I've wandered forlorn and weary:
I'm a pilgrim and a stranger,
I can tarry only for a night.
**********************************

Ho. 1348
PILGRIM 17
also known as
I'm Going to Live Forever The Pilgrim’s Song
This folk hymn is set to a variation of an old Irish
tune, The Winter It Is Past (see Petrie, Ho. 439).
Lair (SLL), 14
Leisy, 173

KB
Song Texts
3705
Por an early version, 3ee Hillman (1868), 369 and
Jackson (SPS), 136.
Pilgrim IV
0 V sinners, I have found a land
That doth abound with fruit as sweet as honey;
The more I eat, I find the more
I am inclined to shout and sing hosanna.
Chorus
My soul doth long to go where I may fully know
Thy glories of my Savior;
And as I pass along I'll sing the Christian's song,
I'm going to live foreverl
Perhaps you think me wild, or simple as a child—
I am a child of glory;
I was born from above, my sould is filled with love
I love to tell the story.
My soul now sits and sings, and practices her wings
And contemplates the hour
When the messenger shall say: "Come quit this house
of clay,
And with bright angels tower."
***********************************

Wo. 1349
PILGRIM V
also known as
•I'm a Poor Mourning
Pilgrim
I Weep and I Mourn
Poor Mourning Pilgrim
Weeping Pilgrim
You May Tell Them, Rather

MB
Song Texts
3706
This song is classified as a '’Revival Spiritual" by
Jackson, who tells us that it first appeard "in the
1859 edition of the Sacred Haro,"
There are similarities between this song and two secular
pieces, I’m a Poor Lonesome Cowboy and Rebel Soldier*
REFERENCES
Cobb (SH), 226 Jackson (WSSTJ), 234
Jackson (SFS), 187 White & King, 417
Pilgrim V
Ton may tell them, father, when you see them,
I*m a poor mourning pilgrim, I'm bound for Canaan’s
Land.
I weep and I mourn, and move slowly on;
X*m a poor mourning pilgrim, I'm bound for Canaan's
Land.
While the sun is shining, I'm bound to say:
X'm a pour mourning pilgrim. I’m bound for Canaan's
Land.
There's no resting place as I go on my way.
I'm a poor mourning pilgrim, I'm bound for Canaan's
Land.
******************************************

No. 1350
PINK PAJAMAS
This is a parody of John Brown 1 s Body (see in MB),
probably written by some college student. All college
graduates over 40 seem to be familiar with the song.
For another version, see Beat, 117.

MB
Song Texts
7 3707
Pink Pajamas Tune: John Brown * s Body
I wear my pink pajamas
In the summer when it’s hot,
I wear my flannel nighties
In the winter when it's not;
And sometimes in the springtime,
And sometimes in the fall,
I jump right in between the sheets
With nothing on at all!
Chorus
Glory, glory, what’s it to you? (3)
If I jump in between the sheets
With nothing on at all?
*******************************

No. 1351
THE PIRATES OP SCOTLAND I
also known as
Andrew Bardan, £r: Bardeen,
Barton, Bataan, Batan,
Bateen, Battan, Batten,
Batting, Bordeen,
Briton, Marteen, Martin,
• Mar tine.
Andy Bardan, or: Bardon, or :
Bratann
The Life and Death of
Andrew Barton
Sir Andrew Bardan*
The Three Brothers
Three Brothers of Merry
Scotland
Three Loving Brothers
♦"Sir" may be affixed
to all name titles.
In the opinion of many recognized collectors, this and
the following ballad are two parts of one ballad. Most
reference lists seem to take this sameness for granted,
with many making no specific distinction between the
two ballads.

MB
Song Texts
3708
In America, however, there is a distinction of some
importance to he made: Pirates of Scotland II is far
more popular and more widely spread than Pirates of
Scotland I,
The ballad(s) spring from a historical situation. In
1474, a ship owned by John Barton was captured by the
Portuguese and its cargo confiscated. The King of
Scotland issued to John Barton letters of reprisal a-
gainst the Portuguese.. The Bartons (brothers and sons)
interpreted their letters of reprisal quite liberally,
and began preying on ships belonging to nations other
than Portugal. England's Henry VIII, angered by attacks
on English ships, sent the two sons of the Earl of Surrey
to track down Sir Andrew Barton and eliminate him.
This was done with dispatch, and Henry VIII defended his
action to the Scottish throne on the grounds that he had
rid the seas of a pirate. The affair eventually led to
war and the Battle of Plodden, where James IV, king of
Scotland, lost his life.
References to both I and II are given below
REFERENCES
Baring-Gould (EPSS), 20
Baring-Gould (SW), III, 2
Barry (BBM), 248-253, 483
Barry (MWS), 64-65
Belden (BS), 87-89
Broadwood (ETSC), 30
Child, III, 334-350; IV,
Eddy, 78-79
Farnsworth, 10-13
Flanders, IV, 15-44
Flanders (BMNE), 72-74,
Flanders (CSV), 8-9
Friedman, 348-358
Gainer, 82-83
Gardner (BSSM), 211-213
Gray, 80-81
Hales, III, 399, 403
Halliwell (ENEE), VII, 4
201-203
393-396; V, 423
Coffin, 113-114
Cox (FSS), 150-151
Creighton (TSNS), 86-87
Davis (MTBV), 290-299

Song Texts
3709
*S
Hibbard, 32-33
lW#e (SB), 46-47
JfcW (APL), XVIII, 302-
303? XXV, 171? XXX,
327? XIV, 160
liWX (PSS), I, 162; IV,
92, 301? VIII, 182
K&rpeles, 103-106
Jkrpeles (PSE), 36-37
Isxpeles (PSN), II, No. 6
Etdaon (PSNC), 4-5
Ktdson (TT), 31-32
Kinsley, 504-519
Mash (BB), 615-616
laisy, 158-159
Mackenzie, 61, 394
Moore (SPSS), 115-117
Percy (RAEP), II, 188-208
Quarterly (SP1), II, 205
Quiller-Couch, 684-697
Randolph, I, 177-178
Ritson (SCES), I, 313
Roberts (IP), 76-78
Roxburghe Ballads, I, 2
Sharp (EPS), I, No. 1
Sharp (100), 1-3
Silber (HSB), 57
Silverman, II, 256
Smith (SCB), 156-158
Williams (PSUT), 78-79
The Pirates of Scotland I^ ( Andrew Barton )
It happened in a mid-summer month,
While birds sang songs in ev'ry tree.
King Henry VIII addressed himself
To merchants who sailed the salt sea.
King Henry would a progress ride;
Over the river of Thames passed he,
Unto a mountain-top he walked
Some naturaly pleasures for to see.
Then forty merchants he espied,
Who sailed their ships upon the main;
No sooner had this group arrived
Than to the king they did complain.
"0, please, Your Grace, we cannot sail
To Prance, Holland, or anywhere;
Sir Andrew Barton makes us quail,
And robs us of our merchant-wares."

MB
Song Texts
’ 3710
flexed was the king, and turned to them,
,i ~-a$aid to the lords of high degree:
-Have I oot one lord within my realm
Who*11 fetch that traitor unto me?
Lord Charles Howard to him replied:
"I will, mj liege, with heart and hand.
- If it please you grant me leave," he said,
•I will perform what you command.
•The Scottish knight I vow to seek
In what place soever he be,
And bring ashore, with all his might.
Or, into Scotland he shall carry me.”
He had not been long upon the sea,
Ho more in days than two or three,
Till one Henry Hunt he there espeid,
A merchant of Newcastle was he.
"Canst thou show me," the lord did say,
•As thou didst sail by day and night,
A Scottish rover of the sea
By name of Andrew Barton, knight?**
"As I, my lord, did pass from Prance,
A Bordeaux voyage to take so far,
I met with Sir Andrew Barton thence,
Who robbed me of my merchant-ware.'*
The merchant set Lord Howard a glass,
So well apparent in his sight
That on the morrow, as his promise was,
He saw Andrew Barton, knight.
Sir Andrew Barton on seeing him
Chose to sail by scornfully,
As though he cared not a pin at all
Por him and all his company.

MB
Song Texts
37X1
Lord Howard then did make a shot,
And gave Sir Andrew's ship a scar;
In at his deck it came so hot, it killed
Some fifteen of his men of war.
Then Henry Hunt, with rigor hot,
Sailed bravely on the other side,
And likewise fired at the pirate's deck,
And fifty more of the pirates died.
His men being slain, then up amain
Sir Andrew did climb with speed;
Por armor of proof he had put on,
And threat of arrow did not heed.
"Come hither, Horsly," said the lord,
"See thine arrow aim aright.
Great means to thee I will afford—
If you speed, I'll make you a knight."
Then Horsly spied a private place,
With perfect eye, in a secret part.
His arrow swiftly flew apace
And smote Sir Andrew to the heart.
j
They boarded then his gallant ship.
With right good will and all their main;
Eighteen score Scots alive in it,
Besides as many more were slain.
•x - '
Lord Howard went where Andrew lay
And quickly he cut off his head;
"I should forsake England many a day,
If you were alive as you are dead."
♦♦♦♦♦♦♦♦♦♦•a-***************-*■»****

MB
Song Texts
3712

go. 1332
THE PIRATES OP SCOTLAND II
also known as
Bolender Martin
Henry Martin
Henry Martyn
The Pirates
Three Brothers of Merry Scotland
Three Brothers of Scotland
Three Loving Brothers
The Three Scotch Robbers
Por information regarding this ballad, see headnotes to
The Pirates of Scotland .1, and the list of works under
"references."
The Pirates of Scotland II ( Henry Martin )
In Scotland there lived three brothers of late.
In Scotland there lived brothers three,
And they did cast lots which should rob on the sea.
To maintain his two brothers and he.
The lot it did fall to young Henry Martin,
The fairest of all the three;
And he had to turn robber all on the salt sea,
To maintain his two brothers and he.
He'd not been sailing past a long winter’s night,
Past a long winter's night so free.
Before he espied a lofty, fine ship
Come sailing all on the salt sea.
"0, where are you bound for?" cried Henry Martin.
*0, where are you bound for?" cried he.
"I'm a rich laden ship bound for fair England,
And pray you to let me pass free."
"0, no! 0, no!" cried Henry Martin.
"0, no! that never can be,

MB
Song Texts
3713
/
Por I have turned robber all on the salt sea,
To maintain my two brothers and me.
"Heave down your main track, likewise your main tie,
And bow yourself under my lee;
Por your rich glowing gold I will take all away,
And your fair bodies drown in the salt sea.®
Then broadside to broadside they merrily fought,
Por fully two hours or three,
When, by chance, Henry gave he a braodside
And right down to the bot-tom went she.
Bad news! Bad news! unto old England,
Bad news I tell unto thee:
Por your rich glowing gold is all wasted away
And your mariners are drown’d in the salt sea!
******************************

Ho. 1353
THE PLAINS OP MEXICO
also known as
On the Plains of Mexico
Santa Anna
Santiana
Santy Ana, Anna, or Anno
A shanty with some resemblance to Stormalong (see in
MB),'but no definite relationship between the two has
been established. Por a partial adaptation, see The
Bay of Mexico in this Master Book . Por a similar work
song, see Sandy Anna in Parrish, 206. Por another land
use adaptation, see City of the Golden ♦Fifties by
Pauline Jackson (University of California Press, 1941),
pp. 85-89 and Botkin (SA), 254.
The Santy in Harlow, 39-40, is not related to this shanty
at all.
REFERENCES

MB
Song Texts
3714
Bone, 129-130
Botkin (API), 835
Briggs, 170
Bullen & Arnold, 15
Colcord, 34-35, or
84-85
Doerflinger, 78-80
Davis (SSC), 34
Farnsworth, 108
Grainger, No. 150
Harper’s (7/1882), 284
Hugill (1), 82-86
Hugill (2), 127-129
Ives (SA), 196-197
Jour (FSS), III, 236-
238; V, 33
King, 16
.Lomax (PSNA), 54
Lomax (OSC), 206-208
Lomax (USA), 136-137
Luce, 227
Luther, 95-96
Mackenzie, 262-263
Niles (SMM), 82
Patterson, 231
Robinson, 102
Samson, 14
Scott (BA), 186-187
Sharp (EFC-2), No. 1
Shay (ASSC), 79
Shay (IMWS), 91
Silber (SGAW), 52-54
Silverman, II, 275
Smith (MW), 47
Terry, I, 18-19
Tozer, 40
Trevine, 18
Weavers, 40-41
Whall (SS), 450
Whall (SSS), 65
The Plains of Mexico
0, have you heard the latest news?
Heave away, Santy Anna!
The Yankees took ol* Vera Cruz,
All on the plains of Mexico!
0, Santy Anna fought for fame, etc.
And that is how he gained his name, etc.
0, Santy had a wooden leg, etc .
He used it for a wooden peg, etc.
01* Gen’ral Taylor came one day, etc .
An’ Santy Anna ran away, etc.

MB
Song Texts
3715
We chased the Mex's up and down, etc .
We captured Santy Anna's town, etc.
0, Santy Anna’s day is o’er, etc .
And we’ll fight with him no more, etc .
The ladies fair I do adore, etc .
I love 'em when I go ashore, etc.
****************************************

Ho. 1354
THE PLAINS OP WATERLOO
also known as
Waterloo
Wellington and Waterloo
The Battle at Waterloo is one of the world's most
famous and historic battles. Ballad singers and
songwriters dealt with this battle frequently. There
are dozens of songs about Waterloo, including
Disguised Lover VIII A & B given elsewhere in this
Master Book.
For two other songs entitled The Plains of Waterloo ,
see Greenleaf, 172 and Grieg & Duncan, No. 152.
REFERENCES
Christie, I, 266-267
Dean, 118-119
Logan, 106-109
Mackenzie, 192-194
Mackenzie (QB), 29-31
Notes, 7th series, V, 106
Peacock, III, 1016
Sharp, II, 176
Ford (VSBS), I, 59-63
Hubbard, 290
Kidson (TT), 120-123
The Plains of Waterloo

MB
Song Texts
3716
Come all you boys and gather round, come listen unto me,
And 1*11 tell you of a battle fought in the wars of
Germany.
I have fought thro’ Spain, Portugal and Prance and
Russia too;
But little did I think I was reserved for the plains of
Waterloo.
At ten o’clock on Sunday the bloody fight began,
And raged from that moment to the setting of the sun;
My pen it cannot half relate the glories of that day—
We fought the French at Waterloo and made them run away.
The eighteenth of June, eighteen-hundred and fifteen,
Both horse and foot they did advance, most glorious to
be seen;
Both horse and foot they did advance, the bugle horn
it blew—
The sons of Prance were made to dance on the plains of
Waterloo.
Our cavalry advanced, and with true and valiant hearts
Our infantry and artillery both nobly played their parts
The small arms they did rattle, the great guns did roar,
And many a valiant soldier lay bleeding in his gore.
Napoleon made a bold attack in front of Mount St. Jean,
And two of his best battalions thought the village to
gain;
Our infantry first charged them and made them face about
Sir William, with his hard brigade soon out them all to
rout.
As for Sir William Ponsonby, I'm sorry for to say,
That leading the Enniskillen dragoons, he was slain that
day.
In front of his brigade he fell, which grieves me very
sore;
I saw him die as I passed by, with many thousands more.

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Song Texts
3717
Napoleon, like a fighting cock, far mounted on a car,
He much did wish to represent great Mar, the God of War.
On a high platform he did stand and, like a cock, he crew;
He dropped his wings and turned his tail to us at Waterloo.
Lord Wellington commanded us all on that glorious day,
Where many a brave soldier in death's cold arms did lay;
Where many arms did rattle, and cannons loud did roar
At Waterloo, where Frenchmen their fate did deplore.
When Buonaparte at last perceived the victory we had won,
He did lament in bitter tears, saying, "Oh! my darling
son,
I will set off for Paris straight, to have him crowned
anew
Before they hear of my defeat on the plains of Waterloo."
So let us give our praise to God, who did the victory
give.
And may we all remember Him as long as we do live;
To God above give all the praise, and we'll remember too,
That He gave to us the victory on the plains of Waterloo.
*************************************

Ho. 1335
THE POACHER
also known as
The Bold Poacher The Lincolnshire Poacher
This song dates back, supposedly, to the reign of England's
George IV. The tune is even better known than the words,
because it has been used for several other songs, includ
ing a "high class popular song" entitled the Spring of
the Year by J. R. Planche. For another folk song set to
the same tune, see The Baker *s Wife in this Master Book.
The tune was also used for the nationally popular The Thing

Song Texts
3718
KB
recorded by Phil Harris and others.
For an entirely different song with a similar title,
see Scarborough (SC), 351-352 & 451.
- p-RTreFTEKCES
Ashton (MSB), 202-203 Leisy, 216-217
Bantock, 59-60 Sh&*P (RCPS), 84-85
Chappell (PMOT), II, 732-733 Silber (HSB), 117
Silverman,1,68
The Poacher
When I was bound apprentice, in famous Lincolnshire,
Pull well I serv’d my master for more than seven year,
Till I took up to poaching, as you shall quickly hear.
Oh! ’tis my delight on a shining night, in the season
of the year.
AS me and my comrade were setting of a snare,
•Twas then we spied the gamekeeper, for whom we did not
care;
For we can wrestle and fight, my boys, and jump o er
anywhere,
Oh! 1 tis my delight on a shining night, in the season
of the year.
As me and my comrade were setting four or five,
And taking on ’em up again, we caught a hare alive.
We took the hare alive, my boys, and thro' the woods
did steer.
Oh! 'tis my delight on a shining night, in the season of
the year.
I threw him on my shoulder, and then we trudged home,
We took him to a neighbor’s house, and sold him for a
crown;

MB
Song Texts
-3719
We sold him for a crown, my hoys, but I did not tell
you where,
Oh! ’ tis my delight on a shining night, in the season
of the year.
Success to every gentleman that lives in Lincolnshire,
Success to every poacher that wants to sell a hare;
Bad luck to every gamekeeper that will not sell his
deer,
Oh! 'tis my delight on a shining night, in the season
of the year.
*******************************

No. 1356
POLITICAL AND PRESIDENTIAL CAMPAIGN SONGS
Political songs in this Master Book are generally those
songs written for and sung in political campaigns, usual
ly, but not always, at the national or Presidential level.
There are, of course, songs not associated with election
oampaigns that are quite political, and these are so identi
fied.
The number of popular elections in the United States is
greater than the total in all the rest of the world com
bined.. What concerns us here, in this work, is the musi
cal part of these elections—for what is a candidate
without a song?
American tradition is filled to the brim with songs cre
ated for and about political movements, political issues,
and Presidential campaigns. Prom the very beginning
American political movements used songs as a mean of
conveying throughts; pro and con songs were turned out
by the thousands. Labor groups, women’s groups, third,
fourth and fifth parties, and temperance people all joined
the musical fray.

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Song Texts
- - 3720
The first political songs were more laudatory than po
litical; they were not campaign songs at all. In 1789
the candidates had not yet organized effective partisan
parties, so the songs were primarily pieces "in praise
of" George Washington and John Adams. But this changed
during the summer of 1800. Then, for the first time,
America witnessed a bipartisan battle for the Presidency.
On the other hand, in those early years, Presidential
candidates did not personally electioneer— that was con
sidered bad taste. Instead, the contest was waged through
the press and with songs. John Adams was the Federalist
candidate and Thomas Jefferson was supported by the Demo
cratic-Republicans. In song after song after song the
opposing ideologies were expressed and attacked in turn.
Since all these songs were set to well-known tunes, the
public had no trouble singing them.
This was the first American "musical campaign", and
it was the deathbell for the Federalists—though they
did not realize it. Federalists were people of wealth and
class importance, well-trained economically and philoso
phically in the ways of an aristocratic society, and were
ardent supporters of what modern economists call the
"trickle down" theory. In brief, they were more interested
in protecting their money and property and class than in
allowing their fellow Americans any more liberty. Their
alogan, expressed in a few words by John Jay, was: "Those
who own the country ought to govern it."
It is an American historical fact that most wealthy
merchants, landowners, and professional people, such as
lawyers, professors, preachers, etc., were Federalists.
Naturally, they had almost complete control of the press.
They captured many votes by wrapping their projects in
the name and reputation of George Washington, who was one
of them. They pretended not to be politicians at all,
which is the biggest lie they ever told. They carried on
their organization work and made their nominations in
secret caucuses. Then they went too far: In the Congress

JCB Song Texts 3721
they passed the Alien and Sedition Acts, practically
making it a crime to he a Democratic-Republican.
Thomas Jefferson won the election, but not without a
struggle in the House of Representatives. He put an end
to the Alien and Sedition laws. From then on political
songs played an ever more important part in campaigns.
By the time of the 1840 Presidential campaign, the num
ber of songs introduced by the Whig Party alone, on be
half of their candidate, William Henry Harrison, set a
record for musical politics that was not equaled until
a new Republican Party nominated Abraham Lincoln,
The singing campaign launched by the Whigs was nourished
and replenished by a deluge of songster and sheet music*
The Whigs endlessly reiterated the simple-minded theme
that served in lieu of a platform: the virtues of Old
Tip, log cabins, and hard cider—as opposed to the de
pravities of the evil Little Magician (Martin Van Buren)
and his lawless crew.
William Henry Harrison won the election. He rode to his
inauguration on horseback, stood in freezing weather
for two hours without an overcoat, delivered an inaugural
address that was probably one of the most boring ever made,
attended three inaugural balls, and, then, exactly one
month later died.
Predating Harrison and the deluge of Whig songs was the
Presidential campaign of Andrew Jackson. There was a
river of songs praising Jackson, the hero of New Orleans.
Jackson, of course, was more popular than the songs, for
he was dearly beloved by the common people—who sent him
to the White House and kept him there for a second term.
Andrew Jackson was the first genuine ’’man of the people”
ever to seek the presidency, and the first to have control
of his own political machine organized on a national scale.
He was so popular that his campaign all but ignored his
opponent, John Q. Adams. In the 1832 campaign, the oppo
sition issued a song depicting Jackson as King Andrew.

HE
Song Texts
3722
Jackson was re-elected by a landslide*
The American propensity for political songs reached
Its highest and lowest fulfillment during the Abraham
Lincoln campaign and the years of the Civil War* More
than two thousand political song3 were published during
the first year of the Civil War*. People on both sides
of the conflict placed great reliance on the songs, and,
paradoxically, the belligerents of both sides often
adopted the selfsame tunes to express their conflicting
ideologies. Following the Civil War the use of songs
for political purposes continued, but never again were
to reach the fury and numbers that had steadily built-
up over the preceding years.
One political group turned out a continuous series of
songs, and that group was powered by the Temperance
people. Vocally speaking, during the 19th century,
liquor's enemies were much more active than its friends.
Even in our own time most songs dealing with alcoholic
consumption are of the temperance variety. Temperance
songs became a regular commercial line of music. There
even exists a temperance parody on the Star Spangled
Banner.
For many years the temperance songs enjoyed great popu
larity. And along with drinking went gambling. To judge
by the songs, drinking and gambling were the cardinal
evils in the United States. Very seldom was a gambler
not presented as a drunkard.
Nevertheless, there was an opposing view. Many songwriter
struck back, praising the consumption of wine and whiskey
While temperance folk sang Lips That Touch Liquor Will
y e ver Touch Mine the pro-alcohol folk san Pass Around
The Bottle.
Since the "temperance blitz” the nearest thing in song
activity was the modern Civil Rights movement. This
political movement, too, resorted to the old traditional
tunes, religious as well as secular, to support their

MB
Song Texts
3723
cause. Old may not be better but where causes expressed
through song are concerned it is sometimes more effective.
Unfortunately, most all folk song collectors elected
to ignore this vast body of traditional political material
just as they ignored "gold rush” and "religious" songs.
Yet, with rare exceptions, these songs were more popular
with the common people of America than any of the ballads
published in the folk collections.
The number of these songs in this Master Book is not as
high as I would have preferred, but the question of space
made it necessary to selectively give a representative
group only.
******************** *************

Ho. 1357
POLK vs CLAY I
also known as
Polk and Dallas Hew Yankee Doodle
This is one of a series of songs created for political
purposes in the Presidential campaign of 1844. Through
out that campaign the Whigs believed their candidate r
Henry Clay, was a shoo-in. Prom the beginning, the big
question was "Who is Polk?"
Compared with Clay, James Knox Polk was a political novice
a Jacksonian democract, and little know outside Tennessee
and Washington, D. C. Henry Clay, on the other hand, was
nationally known; he had been seeking the Presidency since
the campaign of 1824, when Andrew Jackson lost to John Q.
Adams. Unfortunately for Clay, however, Andrew Jackson be
came President in 1828 and thereafter dominated American
politics until he was too old and too feeble to speak out.
It was Jackson who engineered the Democratic nomination
for James K. Polk in 1844, making him the first "dark
horse" ever to win his party's nomination.

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Song Texts
3724
Polk’s victory over Clay was due to the expansionist
issue: he stood for annexing Texas and extending United
States territory to the Pacific, which’meant getting
England our of Oregon and Mexico out of California,
According to Secretary of the Navy George Bancroft,
Polk confided to him in 1845, shortly after his (Polk’s)
inauguration, that he had only four goals: M One, a
reduction of the tariff; another, the independent treasury;
a third, the settlement of the Oregon boundary question;
and, lastly, the acquisition of California,” Judging
only by his campaign promises and stated intentions, James
K. Polk became the first (and perhaps remains the only)
American President to do exactly what he claimed he would
do in office. And once he had accomplished these things,
Polk quit, refusing to run for a second term.
In addition to Clay and Polk, there was the Liberty Party
candidate, James G. Birney—and it was his influence in
New York that took votes away from Clay, giving that im
portant state to Polk,
Songs for and against all three Presidential candidates
circulated widely in 1844, but only seven of these are
given in this Master Book.
Por two Liberty Party songs promoting James G. Birney,
see Get Off the Track and We 1 re Por Freedom Through the
Land in Silber (SAVB), 53, 54.
Por other songs praising Polk and blasting Clay, see:
Hard Times ; Jimmy Polk of Tennessee ; Polk , Dallas and
Texas; That Same Old Tune ; and Two Dollars a Day and
Roast Beef in Silber (SAVB), 49-52.
The song below, which was first published as Polk and
Dallas in the Democratic Lute and Polk and Dallas Minstrel ,
was distributed by the Democratic Party* "Dallas” refers
to George M. Dallas, candidate for Vice-President. Por
a reprint of the text, see Luther, 113•

Song Texts
3725
MS
Polk vs Clay I Tune; Yankee Doodle
With Polk and Dallas in our van,
Say, what have we to fear, sirs?
Poor Henry Clay’s a used-up man,
His party’s in the rear, sirs.
The people will have better men
To execute their laws, sirs;
The magic names of Tip and Ty
To humbug folks won't do, sirs!
Their coons are dead, their cabins down.
Hard cider grown quite stale, sirs;
And at the people's with'ring frown,
Their leader grows quite pale, sirs.
*************************************

Ho. 1358
POLK vs CLAY II
also known as
Clay and Prelinghuysen Harry Clay and Frelinghuysen
Henry Clay was one of the prime-movers of the Whig Party,
which came into national prominence in 1840. Prior to
that year, the Whigs were united only one point: their
hatred of Andrew Jackson and all Jacksonians.
The Whig Party was composed of various elements, such as
friends of the U. S. Bank, which Jackson destroyed, high
tariff and anti-Masonic people in the North, and Nulli-
fiers in the South. Leaders of the Whigs were Henry Clay
and Daniel Webster, and the Party dwindled to oblivion
following the defeat of their Presidential candidate
Winfield Scott, in 1852, and the death of both Clay and
Webster that same year.
The Whig Party elected only two Presidents: William H.

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Song Texts
3726
Harrison in 1840 and Zachary Taylor in 1848. In 1844,
they rejected their own President, John Tyler, who
assumed office when Harrison died after serving
for only one month.
At their 1844 convention, the Whigs nominated Henry
Clay and Frederick T. Frelinghuysen. They felt strong
-enough to ignore Tyler and elect Clay. Then they com
pound that error in judgment by making a worse one:
They not only attacked Polk, but they were also musi-
oally vicious to John Tyler, the Whig incumbent (see
Polk vs Clay II C).
In the 1844 campaign, the coon-skin cap replaced the
log cabin and hard cider barrel as the Whig emblem,
and, as a result, the "coon" song came into existence.
The expression "coon" had only to do with a type of
head-wear; it did not refer to black people. It was
much later that the term became a racial slur.
The first in this series of songs ( Polk vs Clay II A)
was published in the Whig Banner Melodist ; the second
( Polk vs Clay II B) was issued in sheet music form; and
the third ( Polk vs Clay II C) was also published in the
Whig Melodist.
Por other reprints of these texts, see Lawrence, 308-
309, 314 and Silber (SAVE), 50.
Mote : The "Kendall" referred to in the text of Polk
vs Clay II B is Amos Kendall, a publicist and a Demo-
crack. The term "wires," as used in the same text,
means "wire-pulling."
Polk vs Clay II C aka Away With the Traitor Tyler is
what the Whigs thought of President John Tyler, who
was a member of the Whig Party*
POLK vs CLAY II A
Tune: Old Dan Tucker

MB
Song Texts
3727
A first rate rhyme was made of late,
By a Whig from the Buckeye State;
It goes to that familiar tune
Which old Ban Tucker taught the coon.
Chorus
And it's hurrah! the country's rising
Por Harry Clay and Prelinghuysen!
Hurrah! Hurrah! the country's rising
Por Harry Clay and Prelinghuysen!
There's no two names that can he found,
Altho' you search the country 'round,
More terror to that clan comprising
Than Harry Clay and Prelinghuysen.
Clay's a patriot through and through,
And so is Prelinghuysen, too;
They are men of truth and candor.
Who can't be hurt by loco slander!
Polk vs Clay II B Tune : Old Ban Tucker
The skies are bright, our hearts are light,
As one man all the Whigs unite!
We'll set our songs to good old tunes,
Por there is music in these Coons.
Chorus
Hurra! Hurra! the people's rising
Por Harry Clay and Prelinghuysen!
Hurra! Hurra! the people's rising
Por Harry Clay and Prelinghuysen!
The Loco's hearts are very sore,
To see the Whigs in Baltimore;

Song Texts
3728
MB
And they begin to think with reason,
This will be a great ”Coon" season!
0 Frelinghuysen’s Jersey blue,
A noble Whig and honest, too,
And he will make ”Hew Jersey” feel
Whigs pay respect to her broad seal.
He is a man of truth and candor,
That even Kendall dare not slander;
And when he gets into a fight,
Lord! how the Jersey Coons will bite!
Sly Matty Van’s a man of doubt,
He wires in and he wires out;
You cannot tell'When on the track,
If he’s running on, or coming back.
United heart and hand are we,
Prom nothern lake to southern sea,
Prom east to west, the people’s rising
Por Harry Clay and Prelinghuysen!
Polk vs Clay II C Tune: Away With Melancholy
aka Away With the Traitor Tyler!
Away with .the traitor Tyler!
Down with the Vetp King!
Our Party’s base reviler!
Whilst the people cheerily sing,
Hurrah!
Though for years of sorrow
We’ve cursed the traitor’s crime,
Yet we wait a glorious morrow
And sternly, sternly ”bide our time,”
Hurrah!

KB
Song Texts
3729
But as from the horizon
How breaks our triumph’s day.
Behold our Frelinghuysen,
And glorious Harry Clay,
Hurrah!
********************************

Ho. 1359
POLK va CLAY III
also known as
PARMER CLAY
Despite their 3hort existence and dismal record, it is
probable that the Whigs were responsible for more po
litical campaign songs than all other competitive
parties combined. Although he lost the election, it is
-clear that Clay won the musical battle in 1844.
Por other songs favoring Clay, see: Clear the Way for
Harry Clay , Great Harry Clay , Harry of the West , and
Workingmen's Song in Silber (SAVB), 48. Also see:
Here 1 s to You Harry Clay in Lawrenoe, 311.
The song below is from the National Clay Minstrel and,
more recently, from Luther, 113.
Polk vs Clay III Tune: Yankee Doodle
Shout Yankee Doodle! Whigs, huzza!
We’re done with Captain Tyler;
He who has been his country's flaw
Shall never more defile *er!
Por Parmer Clay then, boys, hurrah!
And proudly here proclaim him
The great, the good, the valiant Hal,
And shout whene'er you name him!

Song Texts
3730
MB
for long and loud the country calls
for the bold Ashland farmer;
Bravest when danger most appalls—
With him, no foe shall harm • er!
******************************

Ho. 1360
POLK vs CLAY IT
also known as
The Democratic Ode The Mill-Boy of the Slashes
Henry Clay had a long political career. He served as a
Senator from Kentucky in 1806—1807, 1810-1811, 1831—
1842, 1849-1852, and was in the House of Representatives
in 1811-1814, 1815-1821, and 1823-1825. Prior to the
War of 1812, he was the leader of the "war hawks." He
served as Secretary of State from 1825 to 1829. He also
formulated the national program for internal improve
ment, tariff protection, the rechartering of the Bank
of the United States, and pushed the Missouri Compromise
through the House. He was the National Republican candi-
dtae for President in 1832, and the Whig party candidate
in 1844. After that, he denounced extremists in both.
North and South, asserted the superior claims of the
Union, and sponsored the Compromise of 1850. He became
known as the Great Pacificator and the Great Compromiser.
Of the two songs below, the first is pro-Clay and the
eeoond.is pro-Polk. Both were set to the same tune,
Polk: vs Clay IV 3 appeared in the Richmond Enquirer ,
July 26, 1844. It is reprinted in Lawrence, 315.
Polk vs Clay IV A
Tunes Rosin the Bow

MB
Song Texts
3731
Come forward, you brave sons of Neptune,
Come forward without more delay,
And rally around your protector,
The Statesman, the Patriot Clay.
Chorus
We* 11 hail him our noble Commander,
Stand by him by night and by day;
At the helm of the ship of the Nation,
We'll be safe when conducted by Clay.
Polk vs Clay IV B Tune: Rosin the Bow
November election is coming.
To arms, all true Democrats, rise!
Pear not the loud braying and drumming
In which all Whig argument lies.
In which all Whig argument lies.
In which all Whig argument lies,
Pear not the loud braying and drumming
In which all Whig argument lies!
All over the country, the rally
Of Democrats gladdens the land;
They gather from mountain and valley—
Whole armies are on every hand!
Whole armies are on every hand, etc.
The Whigs obtained power and station
By thousands of promises made;
Deceived and defrauded the nation,
And its best interests betrayed.
And its best interests betrayed, etc .
To millions they promised in 'forty,
Roast beef and two dollars a day;

MB
Song Texts
3732
And many a working man thought he
Might trust in the promise of Clay.
Might trust in the promise of Clay, etc.
But when the election was over,
Hear how the duped voter laments:
The lead nags were rolling in clover—
The others outside of the fence!
The others outside of the fence, etc.
*********-*****************************

Ho. 1361
POLK vs CLAY Y
also known as
Clear the Track for Old Kentucky Henry Clay
The Whigs struck hack at the Democrats with yet more
songs, but the Democrats came right hack with the fol
lowing piece of political satire.
Por a text from traditional sources, see Hudson (FSM),
211 . *
Polk vs Clay Y Tune: Old Dan Tucker
Henry Clay, he climbed a tree
And stuck his bill in for to see!
The lizards caught him by the snout
And he hollered for the coons to pull him out!
Chorus
Get out of the way! Roll on lucky;
Clear the track for old Kentucky!

KB
Song Texts
3733
Henry Clay came a-riding a jack.
He rode on his belly to save his back!
0 , riding a goat and leading a sheep,
He won't get back till the middle of the week!
•*♦♦#*♦****♦*•»*****•»********

Ho. 1362
POLK vs CLAY 71
also known as
Hurrah for Henry Clay!
The two songs below were both known as Hurrah for Henry
Clay ! , and both of them were sung during the 1844 cam
paign for President. The text of song A is from the
Whig newspaper, That Same Old Coon , Dayton, Ohio, June
22, 1844.
In song B, the word "protection” is a pun having to do
with the high tariff that Clay proposed as a "fair pro
tection to American industry."
Polk vs Clay 71 A Tunet Bob and Joan
The loco foco’s thought, when Captain Tyler went over,
The Whigs would go to pot and they would live in clover.
They've found out their mistake: We don't care a copper
about him;
They're welcome to all they'll make, and we shall do
better without him!
Chorus
Hurrah for Henry Clay! Nobody cares for Tyler!
Van Buren is out of the way, and Polk will soon burst
his boiler!
They thought we couldn't sing because the Captain
turn'd traitor,
But now they know one thing: 01' Tyler's a small potato!

MB Song Texts 3734.
The coons are not all dead, hard cider's as plenty
as ever—
We*ve got Henry Clay at our head; he'll never desert
us f never!
We'll keep the Coons alive, to catch the loco's
chickens;
And the fourth of March, forty-five, the Captain will
leave the diggings!
Then sing and he jolly, ye Whigs! the Loco's are gettin
the colic!
But we'll he as merry as grigs, and elect Henry Clay in
a frolic1
Polk vs Clay YI B Tune: Lucy Neal
The Farmers and Mechanics,
A patriotic hand,
Will elect for President
The farmer of Ashland.
Chorus
Hurrah for Henry Clay!
Hurrah for Henry Clay!
He's "bound to he our President,
I've heard the people say!
The ladies, hless the lovely hand,
Our country's Joy and Pride,
They go for Harry hand and hand—
Maid, matron, helle and hride.
To g ain Protection for themselves,
They'll marry and marry away,
And tell their lovers, husbands, sons,
To vote for Harry Clay.
********************************

KB.
Song Texts
3735

Ho. 1363
POLK vs CLAY VII
also known as
Oh, Coony, Coony Clay
This is the last of the series of songs from the Presi
dential campaign of 1844. It is a Democratic satirical
criticism of Clay and the Whigs.
Por another reprint of the text, see Lawrence, 315.
Polk vs Clay VII
Oh, coony, coony Clay,
The rich man is your god:
You raise the manufacturer,
But doom the poor to plod.
Chorus
Oh, coony, coony Clay!
Oh, coony, coony Clay,
All for to be President—
You*11 never see the day!
Oh, coony, coony Clay,
You'd starve the working man.
Press his children to the earth
With tyrant's iron hand.
Oh, coony, coony Clay,
Your tariff’s mighty high;
You make the poor man dearly pay
Por clothes to keep him dry.
Oh, coony, coony Clay,
Your bank ain't worth a pin!
You issue promises to pay,
But never call them in.

MB
Song Texts
*3736
Oh, coony, coony Clay,
We* 11 do without you sure,
Por Polk and Dallas are the boys
Your tyranny to cure!
********-»*******•»****•»**********

No. 1364
POLLY BOND
also known as
As Jimmie Went A-Eunting
At the Setting of the Sun
Death of Molly Benden
Jimmy Ransom
Johnnie Randal, or Randle
Johnny Randle
Mollie Bender, or Bond
Mollie Vaugn, or Vaunders
Molly Banding, Baun, or
Bawn
Molly Bendon and Jimmy
Randolph
Molly Bond, Van, or Vaughn
Molly Vaunder, or Vonder
Molly Whan
Peggy Baun
Polly Band, Baun, or Bawn
Polly Bonn, Van, or Vaughn
Polly Wand
Pretty Polly
The Shooting of His Dear
An old Irish ballad that was widely circulated in the
United States throughout the 19th century. The earliest
known record of this ballad is Jamieson’s Printed Circu
lar Letter of 1799* An incomplete text, entitled Lord
Kenneth and Pair Ellinour is in Jamieson, I, 193-199.
Por an extensive history of the ballad, see the article
by Kittredge in Jour (APL), XXX, 358.
According to Cox (FSS), a variant titled Molly Whan was
issued by Pitts as a slip-song early in the 19th century
REFERENCES
Brown, II, 263-264; IV, Chappell (FSRA), 101
151-152 Cox (FSS), 339-341, 529
Bulletin (FSSN), X, 12-13 Creighton (MFS), 111

KB
Song Texts
3737
Davis (FSV), 68-69
Eddy, 194
Friedman, 26
Gardner (BSSM), 66-68
Halpert (SBFS), 56-58
Hudson (BSM), 136
Hudson (FSM), 145-146
Hudson (SMFL), 36-37
Jour (AFL), XXII, 387;
XXX, 358-360
Jour (EFDSS), VII, 241
Jour (FSS), II, 59; VII,
17
Jour (IFSS), III, 25
Joyce (AIM), 20
Joyce (OIFMS), 220
Karpeles, 113-114
Korson (PSL), 46-47
Laws (AB), 0 36, 243
Leach (BB), 700-701
Linscott, 274-276
Moore (BFSS), 169-171
Morris, 399-401
O’Lochlainn, No. 29
Petrie, Nos. 724 & 1171
Pound, 78-79
Quarterly (SFL), VIII,
176
Randolph, I, 254-257
Randolph (Ozarks), 174-175
Scarborough (SC), 116-117
Sharp, I, 328-332
Sharp (FSFS), No. 16
Treat, 32
Polly Bond
Come all you hunters who follow the gun,
And sometimes go hunting after setting of the sun,
I've a story of a hunter who went out in the dark,
And oh! and alas! he shot his sweetheart!
Chorus
She had her apron wrapped around her
And he took her for a swan,
And it's oh! and alas! he did shoot Polly Bond!
Polly was walking, a rain storm came on,
And under a tree stood she, the shower to shun;
Jimmy Randal was out hunting, even tho' it was dark
He shot at his love and he well hit his mark!

Song Texts
3738
jlm, ran to her, and to her he said:
•0 Polly, forgive me for the blood I have S * '
Tou know, dear Polly, you're the joy of my life.
I always intended to make you my wife."
father came to him, his head it was gray,
.0 Jimmy, 0 Jimmy, you must not run away,
»or the shooting of Polly was an accident, son,
tod you're not to blame-so why should you run.
jimy was taken and led off to jail,
ill bound with strong chains, his fate to bewail.
On the day of his trial, Polly's ghost did appear,
tod said to the judge, "Jimmy Randal goes clear.
Inserted Chorus
«,lth my apron wrapt around me, he mistook m
a swan;
tod he never intended to harm Polly Bond.
Come all you lovers who carry a gun,
Beware of late hunting after setting of the sun.
Or perhaps it will happen as it happened to me,
Ton'll kill your own true love out under a tree.
****************************

Ho. 1363
POLLY, PUT THE KETTLE ON
also known as
anie, or Kittle, Put
the Kettle On
Mollie, or Molly, or Sally,
Put the Kettle On
. was set to music. In
old English nursery rnyme that wa-
erica, the piece became a game song. Botkin r «° v ^ e
gam version in Oklahoma that has "a chocs ng and kiss
g formula borrowed from 'Come, Philanders'... . Also

MB
Song Texts
3739
see and compare Housekeeping in Newell, 173*
Por a version adapted by rural blacks, see Jackson ,
Put the Kettle On in Talley, 17.
REFERENCES
Armitage, I, 56
Bertail, 54
Botkin (APPS), 66-67,
293
Cambiaire, 133
Dearmer (ST), 38
Pord (TMA), 85, 399
Graham. (TNR), 40
Halliwell (NRE), No. 131
Heck, 35
Luther, 253
Mother Goose, 76
Perrow, XXVI, 138
Sullivan, II, 183
Wier ( SCLS), 235
tier (YAM), I, 116
S3
Polly . Put the Kettle On
Polly, put the kettle on,
Polly, put the kettle on,
Polly, put the kettle on,
We'll all take tea.
Slice your bread and butter thin,
Thin enough for you and me;
Choose the one you love the best
And we'll all take tea.
Mow put down the giner cake, (2)
Stir the fire and let it bake.
And we'll all take tea.
Put the muffins down to roast, (2)
Blow the fire and make it toast.
And we'll all take tea.
Polly, set the table out, (2)
Move the dishes all about,
And we'll all take tea.
************************

MB
Song Texts
3740

Bo. 1366
POILT WOLLY BOODLE
also known £3
Sing Polly Wolly Doodle
This novelty song is both well-known and easily avail
able in the United States. According to Fuld, American
Popular Music, the earliest published version was prob
ably in 1630, in William H. Hills’ Students ' Songs.
REFERENCES
Best, 35
Loesser, 114-116
Brown, II, 538; V, 307-
Luther, 253
308
Most (PCS), 72
Chamberlain, 224
Oberndorfer, 120-
Chappie (HS), 436
Silverman, I, 356
Pord (OTFM), 37
Songs (15), 96
Pord (TMA), 66, 420-421
Spaeth (REW), 92
Kennedy (AB), 167
Waite, 94-95
Kennedy (TAB), 302-303
Wier (SWWS), 172
Leisy (LAS), 40-41
Wilder, 70-71
Lewis, 113
Winn (2), 112-113
Zanzig, 97
Polly Wolly Doodle
Oh, I went down south for to see my Sal,
Sing Polly Wolly Doodle all day,
My Sally am a spunky gal,
Sing Polly Wolly Doodle all day.
Chorus
Fare thee well, fare thee well,
Pare thee well, I’m goin' away.
I'm a-goin' to Louisiana
Por to see my Susi&nna,
Sing Polly Wolly Doodle all day.

XB
Song Texts
3741
0h» I cam© to a river an* I couldn^t get across, e tc »
I jumped on a *gator; I thought he was a hoas, etc.
Oh* my Sal* she am a maiden fair, etc«
With, curly eyes and laughing hair, etc.
Oh, a grasshopper siftin' on a railroad track, etc .
A-pickin' his teeth wid a carpet tack, etc .
Oh, I went to bed but it wasn’t no use, etc.
Xy feet stuck out for a chicken roost, etc.
Behind de bam, down on my knees, etc.
I thought I heard that chicken sneeze, etc.
He sneezed so hard wid de hoopin' cough, etc .
He sneezed his head and his tail right off, etc.
♦♦♦♦****************************

Ho. 1367
POMPEY RAN AWAY
In 1775 this musical piece was published as a "Negroe
Jig," and it was and is obviously a dance tune.
Ho words are known, but that does not mean words do
not exist.
According to Nathan, this is one of the earliest ex—
am p!Q 3 of the musical blend that resulted from the
musical intercourse between the black slaves and the
white society—a blend of European and primitive
music styles.
Our version is from Nathan, 187.
See under: TUNES
++*+*+******+*+************

MB
Song Texta
374-2

Bo. 1368
POOR BOY I
also known a3
Bow Down Your Head and Cry Hang Down Your Head and
Coon Can Cry, Po' Boy
The Coon-Can Game Hung Down My Head and Cried
This is one of many "Po* Boy” 3ongs, all of which deal
with "things gone wrong." Similar songs do not use the
■po* boy" expression and do not have refrains. For an
example of this type, see Hobo Song _I in this Master
Book .
This "Poor Boy" is given in two versions—and both A
and B represent the more common type. Poor Boy II ( No.
1370) represents the non-refrain type.
Version A is a Negro treatment. Version B is a Southern
mountain adaptation.
This is not related to the Po * Boy given in Lomax (ABFS),
142-14-3. That song is merely a fragment of The Cryder -
ville Jail (see Prisoner* s Song IX in this Master Book ).
REFERENCES
Agay (1), 12-13
Best, 14
Downes (1940), 326-328
Downes (1943), 382-384
Finger (FB), 75-77
Ives (SB), 256-257
Poor Boy I ( Version A)
My mother called me to her death-bed side,
And said these words to me:
•If you don't change your evil ways,
They'll send you to the penitentiary!"
Leisy (SPS), 44-45
Lomax (CS-1938), 159-161
Sandburg (AS), 30-32,
310-311
Scarborough (NFS), 87-89
Whitman, 181

MB
Song Texts
3743
They'll send you to the penitentiary, poor boy,
They'll send you to the penitentiary;
If you don't change your evil ways,
They'll send you to the penitentiary.
I sat me down for to play coon-can,
Could barely read my hand,
Just thinkin' 'bout that gal of mine—
She ran off with another man.
She ran off with another man, poor boy, etc.
I'm standin' there at Fifth an* Main,
In front of the big department store.
Policeman taps my arm and says,
"You ain't never gonna kill no more!"
You ain't never gonna kill no more, poor boy, etc.
0 mister judge, mister judge,
What are you gonnad do with me?
"If the jury finds you guilty, poor boy,
I'll send you to the penitentiary!"
I'll send you to the penitentiary, poor boy, etc .
The jury found me guilty too,
The clerk he wrote it down,
The judge pronounced his sentence then,
"Ten long years in Raleigh town!"
Ten long years in Raleigh town, poor boy, etc.
It was a cold and a stormy night.
The clouds were dark with rain;
Ain't got a friend no where on earth.
And nobody knows my name!
And nobody knows my name, poor boy, etc.

MB
Song Texts
3744
VERSION B
As I went down to the river, poor boy,
To see the ships sail by,
Xy sweetheart stood on the deck of one,
And she didn’t wave goodbye.
Chorus
Hung down my head and cried, poor boy,
Hung down my head and cried!
0, I can't forget the woman I love,
Hung down my head and cried!
I courted her many a month, poor boy,
And fin'lly won her hand,
But just before our wedding day,
She met a gamblin' man.
He came at me with his big knife, poor boy,
I shot him full of lead;
He dropped his knife and he called her name,
And then he fell down dead.
They locked me in the jailhouse, poor boy,
And days and weeks rolled by;
They found me guilty of murder one.
The Judge said I must die.
********************************

No. 1369
POOR BOY II
also known as
The Gambler
Rim Off With Another Man
Ten Thousand Miles Away
Poor Eoy
from- Home
The Woman I Love

KB
Song Texts
3745
This song is merely a variation of the preceding one.
Sandburg's title. Ten Thousand Miles Away Prom Home,
la used for other songs and is also a floating line.
The major difference between the song below and Poor
Boy 1^ is the repetitive refrain "Hung down my head and
cried, poor boy." Other* differences are due to the folk
process and adaptation. For two adaptations, see
Botkin (RFL), 459-460 and Sandburg (AS), 456-457.
Poor Boy II
Ten thousand miles away from home
And I don't even know my name,
'Cause thinkin' about the woman I love
la drivin' me insane.
I went down to the new depot.
To see the trains go by;
The woman I loved will never come back.
And I wish that I could die.
It was right here eome months ago,
Hot far from where I stand,
I happened to see the woman I love
In the arms of another man.
The arms of another man, poor boy,
In the arms of another man;
I happened to see the woman I love
In the arms of another man.
I turned my face away, poor boy,
And I tried to hide my pain;
I stood and watched the woman I love
Get aboard that midnight train.

EB
Song Texts
* 374-6
■Good morning, mister Engineer,
I hope I'm not too late;
I*m leavin’ this town forever, poor boy,
If you’ll let me ride your freight.”
I threw my life away, poor boy,
When I started out to roam;
1*11 never forgive the woman I love
For the way she wrecked my home.
The way she wrecked my home, poor boy,
For the love another man;
I never will love a woman again,
But 1*11 do the best I can.
*****************************

Ho. 1379
POOH HOMELESS BOY
also known as
A Parmer’s Boy
The Fisherman’s Boy
The Little Soldier's Boy
The Orphan Boy
The Poor Fisherman's Boy
Poor Little Sailor, or
Soldier Boy
The Soldier's Boy
Soldier's Homeless Boy
The Soldier’s Poor Little
Boy
This is one of those ’’sentimental” songs so popular
during the 19th century. The traditional versions de
rive from broadsides published in England and the United
States: Pitts, Ryle, Such, DeMarsan and Wehman.
According to Cox this song may be an imitation of "The
Fisherman's Bov," common in English broadsides. For
a version, see Greenleaf, 200.
Another forerunner is the Poor Smuggler’s Boy in
Ashton (MSB), 240.

KB
Song Texts
3747
The song below is ascribed to Charles Bender on a
broadside issued at Philadelphia by J. H. Johnson.
REFERENCES
Belden (BS), 273-275
Brewster (BSI), 304-306
Brown, II, 396-397; IV,
221-222
Cox (FSS), 275-276
Cox (TBFS), 104
Cox (TBWV), 88
DeMarsan (SJ), I, 32
Eddy, 178-179, 297-298
Fueon, 186
Gainer, 159
Greenleaf, 200-201
Hubbard, 193-195
Jour (AFL), XXXV, 366
Jour (FSS), VIII, 38-39
Karpeles (EFS), II, 387
Kidson (EPS), 102
laws, Q 28 & Q 29
Randolph, I, 311; IV,
182-183
Shoemaker (MMP), 74
Shoemaker (NPM), 61, 71-72
Songster (124), 57
Stout, 117-118
Poor Homeless Boy
The snow is fast a-falling,
And the wind on loudly roars,
When a poor little child, quite frozen,
Came up to the rich lady's door.
He spied her from the window so high,
Which filled his heart with joy:
"For mercy sake some pity on me take,
I'm a soldier's poor little boy.
"My mama died when I was young,
And Papa went to war;
In many battles he took part,
And he wears a battle scar.
Many a mile on his knapsack
He carried me with joy,
But now he's dead and I'm alone.
Just a soldier's poor little boy.”

KB
Song Texts
3748
The lady rose from where ehe sat,
And opened wide her door:
"Come in, come in unhappy child,
For you must roam no more;
My only son in the war was slain,
My son, my pride, my joy!
And shelter will I gladly give
To a soldier's poor little boy."
************** **********************

No. 1371
POOR LONESOME COWBOY
also known as
Poor Cowboy
Soy Pobre Vaquere
I'm a Poor Lonesome
Cowboy
In the Southwest this song is known in two languages,
English and Spanish. It is also sung to variated melo
dies.
Version B is the Spanish version.
REFERENCES
Pelton, 74-78
Fife, 229-230
Lomax (CS-1919), 32-33
Lomax (CS-1938), 290-291
Sackett, 46
Larkin, 107-110, or
112-115
Lomax (ABPS), 418
Sandburg (AS), 273
Sandburg (NAS), 101
Silverman, I, 30-31
Poor Lonesome Cowboy (Version A)
I'm a poor lonesome cowboy,
I'm a poor lonesome cowboy,
I'm a poor lonesome cowboy,
And a long ways from home.

KB
Song Texts
-3749
I ain’t got no mother, (3)
To buy the clothes I wear.
I ain't got no father, (3)
To tell me how to live.
I ain’t got no sister, (3)
To sing and play with me.
I ain't got no brother, (3)
To chase the girls with me.
I ain’t got no sweetheart, (3)
To hug and kiss with me.
I’m a poor lonesome cowboy, (3)
And a long ways from home.
Soy Pobre Vaquero VERSION B Poor Cowboy
Soy pobre vaquero,
Ho tengo padre,
Hi hermana, ni hermano,
0 no, 0 no, 0 no.
Soy pobre vaquero,
Ho tengo madre,
Hi hermana, ni hermano,
0 no, 0 no, 0 no.
Soy pobre vaquero,
Ho tengo gato,
Hi perro, ni caballo,
0 no, 0 no, 0 no.
Soy pobre vaquero.
Ho tengo dinero.
Hi tequila, ni tobaco,
0 no, 0 no, 0 no.
I’m a poor cowboy,
I have no father,
Hor sister, nor brother,
0 no, 0 no, 0 no.
I'm a poor cowboy,
I have no mother,
Hor sister, nor brother,
0 no, 0 no, 0 no.
I’m a poor cowboy,
I have no cat,
Nor dog, nor horse,
0 no, 0 no, 0 no.
I'm a poor cowboy,
I have no money,
Nor tequila, nor tobacco,
0 no, 0 no, 0 no.
*******************************

MB
Song Texts
3750

Ho. 1372
POOH MARY SITS A-WEEPING
also known as
Mary Sits A-Weeping
This is an American version of an old English game—song.
Girls and boys play the game together but, sometimes, it
is played by girls without boys.
According to Hudson, Sally Walker (see in MB) is a version
of this song. I think he was perhaps misled by an Eng
lish version known as Poor Sally Sits A-Weeping, which
is in Sharp (ECPS), 18-19.
REFERENCES
Brcadwood (ECS), 76
6-omme, II, 46-62
Poor Mary Sits 4-Weening
Poor Mary sits a-weeping,
A-weeping, a-weeping,
Poor Mary sits a-weeping
All on a summer's day.
0, why are you a-weeping, etc.
All on a summer's day.
I'm weeping for my sweetheart, etc .
All on a summer's day.
0, Mary, choose your lover, etc.
All on a summer's day.
0 kiss her once, kiss her twice, etc .
Kiss her three times over.
Linscott, 47-49
Moorat, 23
Perkins , 21
♦ *#**•*■**-**** ********

MB
Song Texts
3751

Ho. 1373
POOR OLD HORSE I
also known as
Old Horse Old Hoss, Old Hoss The Sailor's Grace
This is an English sea-shanty that was adapted from a
land song, and it has several relatives and variations,
including Poor Old Man I in this Master Book.
Colcord refers to this song as "grace Before meat, when
the beef—kids came in from the galley..." Doerflinger
explains it better: "When the watch gathered in the
forecastle for the midday meal, the youngest man went
along to the galley and came back carrying the wooden
mess kit laden with boiled chunks of salt beef or salt
pork. Ships 1 salt beef, especially when of bad quality
was known as 'salt horse*
.As "grace before meat" the words were recited, not sung
and were:
Old horse, old horse, what brought you here?
Tou have been dead for many a year•
You carted stones from Ballyhack
Till you fell down and broke your back.
You put up with sore abuse;
How you're salted down for sailors' use.
Who pick your bones and suck the juice.
And if you don't believe it's true.
Look in the harness cask—you'll find a
horse and shoe!
The shanty was referred to by Dana in Two Years Before
the Mast, which means that it was -Known to American
sailors at that time.
Linscott, who recovered a Hew England version, said
the tune "seems to be an offshoot of Mulberry Bush
(see in MB) .

MB
Bong Texts
3752
Doerflinger, p. 21, gives a partial text of this shanty
set to the time of Blow the Man Down (see in MB).
For a parody, see Winn (2), 220-221.
REFERENCES
Beck (F1M), 194
Brown, III, 258
Bullen & Arnold, 25
Clements, 90
Colcord, 206
Davis (SSC), 86-87
Derby, 288
Doerflinger, 160
Eckstorm, 223-226
Flanders (BMNE), 226-227
Gray, 104-105
Harlow, 69
Hugill (1), 556-557
linscott, 142-144
Luce, 224
Sharp (EFC-2), No. 47
Whall (SSS), 119
Poor Old Horse I
Old horse, old horse, what brought you here?
"Prom here and there to Portland Pier,
I*ve hauled up stone for many a year;
And I was killed by much abuse.
Then salted down for sailors* use.
The sailors they do me despise:
They turn me over and damn my eyes,
They cut up my meat and pick my bones.
And throw the rest to Davy Jones."
********************************

No. 1374
POOR OLD HORSE II
This old English song is one of several in which the
animal tells the story. According to Sharp (100), it
"was evidently one that was sung during the ceremony

MB
Song Texts
3753
of the hobby horse.... A kindred ceremony, also associ
ated with a song. The Bead Horse , is 3till celebrated
by sailors after they have been a month at sea."
For a version of The Bead Horse, see Poor Old Man _I
In this Master Book,
HEPERENCES
Baring-Gould (EPSS), No. 20
Baring-Gould (SW), No. 77
Farnsworth, 32
Jour (PSS), I, 75, 260;
XX, 263
Karpeles (EPS), II, No. 378
Mason, 49
Reeves, 175-177
Sharp (PSE), 17, 16-17
Sharp (100), 196-197
Stokoe, 60-61
Williams (PSUT), 155-156
Poor Old Horse II
When I was young and in my prime.
And in my stable lay,
They gave to me the very best of corn
Aa well as choicest hay.
Poor old horse! You must die!
Oh, once I had a stable warmm
To keep me safe from harm,
But now, alas! they've turned me out
To roam in heat and storm.
Poor old horse! You must die!
«y master used to ride me out
O'er many gate and stile;
O'er hedge and ditch and meadow I've gone,
And borne him many a mile.
Poor old horse! You must die!
low I am old and quite done for,
And fit for naught at all;

KB
Song Texts
3754
I*ni forced to eat the weeds and grass
Around the churchyard wall.
Poor old horse! You must die!
My hide unto the huntsman give,
My shoes ju3t throw away;
The dogs can eat my rotten flesh,
Por that’s how I’ll decay.
Poor old horse! You must die!
*********■»***•»•»**■»*****■»■»**■»**

Ho. 1211
POOR OLD MAN I
also known as
Old Man, Your Horse Will
Shanty Die
Poor Old Horse
Poor Old Joe
This shanty is sometimes confused in reference lists
with Poor Old Horse 1^ (see above), but there is no dis
cernible relationship between the two.
According to Bone, this "is the only shanty” he knew
that was ’’composed definitely for entertainment.”
Colcord, who found a melodic relationship between this
shanty ana Roll the Cotton Down, says it was ”used on
American ships for halliards and sometimes capstan,”
but ”was used on British ships in connection with a
celebration which was held on board ship when one month
had passed at sea.”
The celebration referred to had to do with money ad
vanced to sailors by boarding masters or captains,
.usually the first month's pay, so they could afford
to sail. According to Doerflinger, ”Until his advance,
which went to his boarding master, had been worked off,
the old-time sailorman felt he was ’working to pay for
a dead horse.'”
The Dead Horse
The Dead Horse
I Say So

MB
Song Texts
3755
After a month at sea, the crew cane out of the fore
castle dragging a scarecrow horse and singing the shanty
below. They hoisted the dead horse up to the lee main
yard-arm, cut it free and watched it fall into the ocean
and float off. The custom faded out around the 1890s,
but sailors on both sides of the Atlantic continued to
sing the shanty.
The text is far from original. Many lines are obviously
from other songs, such as Charleston Gals and Old Polks,
Young Folks (see in MB)•
See and compare He I_s My Horse in Talley, 16.
REFERENCES
King, 5
Linscott, 134-135
Oberndorfer, 69
Robinson, 69, 71
Sandburg (AS), 406
Sharp (EFC-2), 19, 73
Shay (ASSC), 26
Terry, I, xvi, 48
Trevine, 19
Trident, 97
Whall (SSS), 119
Baltzer, I, 93
Bone, 48-50
Colcord, 63-64
Davis (SSC), 88-89
Doerf linger, 14
Finger (FB), 62-63
Grainger, No. 168
Gray, 105-106
Harlow, 68-69
Hugill (1), 554-556
Poor Old Man I
I walked out upon the road one day,
For they say so, and they know so,
I saw an old man with a load of hay—
Oh! poor old man!
Poor old man, your horse is lame, says I;
And I say so, and I know so!
It's plain to see your horse is going to die—
Oh! poor old man!

MB
Song Texts
3756
If he dies, it will be my loss,
And I say so, and I know so;
And if he lives, he will be my hoss—
Oh! poor old man!
If he dies, I will tan his skin,
And I say so, and I know so;
And if he lives, I will ride him again
Oh! poor old man!
Many days and nights I rode him hard.
And I say so, and I know so;
I plan to bury him in my backyard—
Oh! poor old man!
Growl you may, but go ahead you must!
And I say so, and I know so;
If you growl too loud your head they'll
bust!
Oh! poor old man!
**************************************

No. 1376
POOR OLD MAN II
also known as
Johnny, Come Down to Backstay Johnny, Walk Along to Hilo
Johnny, Come Down to Hilo 0 Johnny, Come to Hilo
Johnny, Come to Hilo When Johnnie Comes Down to
Hilo
This is a "put together" or compounded shanty. The first
stanza is from Poor Old Man I (above). Other lines are
from such songs as Stephen Poster's Uncle Ned in Brown,
III, 505, Carmer (SRA), 134, and Hog - Eye _I (elsewhere in
this Master Book) .

KB
Song Texts
3757
The similarities between this and other songs are to
be found in the text, not in the melody, which, as Col-
cord pointed out, "is distinctive enough,” Hugill says
the tune is of Irish origin.
For a common title but unrelated song, see Johnny[a
Gone to Hilo in Chase (APTS), 159.
REFERENCES
Brown, V, 502-503
Bullen & Arnold, 9
Colcord, 101-102
Doerflinger, 71-72
Smrich (PAL), 454
Parnsworth, 105-107
Hugill (;). 266-267, 273
Lomax (ABPS), 484
Morris, 56-57
Sampson, 30
Sharp (EPC-2), 105
Shay (ASSC), 26
Shay (IMWS), 83
Poor Old Man II
0, a poor old man came riding by,
Says I, ’’Old man, your horse will die.”
0, Johnny, come to Hilo.
0, poor old man.
Chorus
0, wake her! 0, shake her!
0, shake that gal with the blue dress on!
0, Johnny, come to Hilo!
0, poor old man,
Hever seen the like since I was born—
A big buck nigger with sea-boots on!, etc.
0, I once knew a nigger, his name was Ned,
He had no hair on the top of his head!, etc .
0, was you ever in Frisco Bay,
Where pretty gals beg you to stay?, etc.

KB
Song Texts
3758
Well, I told the captain I had to go,
Saye he, "Old man, the boat won’t row!", etc .
0, I had a dream just the other night;
I got real drunk and saw the light!, etc .
*****************************

Ho. 1377
THE POOR SAILOR BOY
also known as
The Crafty Ploughman's
Garland
Johnnie, or Johnny
The Prince of Morocco
The Prince of Spain
The Sailor Boy
The Young Parmer's Policy
to Gain a Pair Lady
An English broadside that dates back to at least 1750.
So far as we know, the song was first in Percy's Col
lection of Broadsides and Garlands, I, 23 (on file at
Harvard University Library).
For a song telling a similar story, see The Crafty Lover
in this Master Book.
REFERENCES
Brown, II, 222-224 Randolph, I, 354-356
Flanders (NGMS), 38-40
Poor Sailor Boy
I knew a poor sailor boy with a heart brave and bold;
He wooed a lady fair, and she was rich with gold.
Her father said, "Now daughter, if it is your intent
To marry that poor sailor boy, I'll never give consent."
She wrote her love a letter, and to him it was sent,
For she would have him know her father's hard intent.

MB
Song Texts
3759
My heart, she wrote, is sincere, ay love is deep and
true;
I'll never marry anyone, unless I marry you.
My father is determined, hut he objects in vain;
I'll cross the salty ocean, and live o'er in Spain.
The sailor was heart-broken, and made a quick reply:
"I will deceive your father, dear, or else I'll surely
die."
He purchased clothes of color, and homeward then did
steer;
And like a duke or prince, in pearls did appear,
With star of gold on his chest, he saw his love again.
Her father he was very pleased to greet a prince of
Spain.
.So hand in hand together, away to church they went.
And there they were married with her father's consent.
The old man was more joyous than e'er before or since,
To see his only daughter fair all married to a prince.
He beamed and told his daughter, "Twelve thousand pounds
I'll give,
And that shall be your portion as long as you live."
And while the flowing glasses were being passed around.
He counted out and gave to them the whole twelve thou
sand pounds.
"Old man, do you not know me?" the sailor then did say;
"I am the poor sailor boy you once turned away.
Tou have been fairly taken in, and I am set for life,
Jor I now have twelve thousand pounds and, also, a
lovely wife."
"Tou can go to the devil and burn for all your lies!
My daughter you have stole, and my gold likewise!

MB
Song Texts
3760
If I had once suspected that this was all a plot,
It*s not a single penny, hoy, you would have ever
got!"
********************************

Ho. 1378
POP! GOES THE WEASEL
Burl Ives reminds us that the tune of this widely known
American song was once used for Cornwallis * Country
Dance (see in MB). In fact, both the tune and the title
line was taken from an old English dance-and-game song,
which contains the follow words:
Half a pound of typ’ny rice.
Half a pound of treacle;
Mix it up and make it nice,—
Pop goes the weasel!
In the United States, with a change in words, the song
became nationally popular. The "weasel” referred to is
not the animal, but, as Randolph said, it is "a metal
tool used by hat-makers in England" in olden times, and
the weasel "was often popped (meaning pawned)." The
term, Pop ! Goes the Weasel , and the tune proved suitable
for parody and satire, so naturally both were used for
political and other kinds of songs. One such song i3
an 1855 broadside dealing with Hew York’s Mayor Wood
and his pro-temperance attitude and the trouble England
and Prance were experiencing with the Russian port of
Sevastopol during the Crimean War:
Brandy Smash and Lager Bier
Mayor Wood did wheedle,
But every night he takes a drop
Of Pop! goes the weasel.
Queen Victoria is very sick,
Napoleon’s got the measles,
Sevastopol's not taken yet.
Pop! goes the weasel.

Song Texts *
Out in San Francisco, where thousands had gone in
hopes of finding wealth in the gold fields, the song
was also parodied with a description of the hardships
endured on a trip around the Horn (see Gol d Seeker IV
in this Master Book ).
Three versions are given below, with the first being
the original popular eong and B, a game song, and 0, a
stage-type parody.
REFERENCES
Agay (2), 93
Arnett, 4-0
Ball, 23-24
Bertail, 136
Botkin (APPS), 93, 99
Brown, III, 30
Cox (SG), 246-247
Douthitt, 34
Duncan (PPHC), 10-11
Durlacher, 42
Forbush, 79-80
Ford (OTFM), 36
Ford (TMA), 40, 411, 444
Gardner (FSH), 237
Gardner (SPPG), 119
Gomme, II, 63-64
Jour (AFL), XXXIII, 119 ;
X1IV, 23
levy, 245-246
Linscott, 107-108
Lloyd, 45
Mackenzie (SH), 127
McCollum, 106
Pound (SFSN), XXVII, No.
16, 71
Quarterly (SFL), VI, 246
Randolph, III, 368-369
Shaw, 393
Silverman, I, 372
Thomas (SG), 88-89
Warnick, 164-165
Wier (YAM), I, 68
Wilder, 72-73
Winn ( 1 ), 100-101
Wolford, 83-84
Yolen, 88-89
POP* goes the Weasel ( Version A)
A penny for a spool of thread,
A penny for a needle;
That's the way the money goes,
Pop! goes the weasel.

KB
Song Texts
3762
All around the chicken house,
The monkey chased the weasel;
livery time the monkey jumps, .
Pop! goes the weasel.
Rufus caught the whooping cough,
Sally caught the measles;
That’s the way the doctor goes,
Pop* goes the weasel.
VERSION B
also known as
All Around the Vinegar Jug
All around the vinegar jug,
The monkey chased the weasel;
All around the vinegar jug,
Pop! goes the weasel.
Pive cents for a spool of thread,
A penny for a needle;
That's the way my money goes,
Pop! goes the weasel.
If you will buy the baby's clothes,
I will buy the cradle,
And the cow will give the milk,
Pop! goes the weasel.
VERSION C
also known as
Pop! Goes the Question
List to me, sweet maiden pray,
Pop! goes the question I
Will you marry me, yea, or nay?
Pop! goes the question:

MB
Song Texts
3763
I've no time to plead or sigh,
Ho patience to wait for by-and-by;
Snare me now, or I'm sure to fly.
Pop! goes the question!
Ask Papa. Oh! fiddle-de-dee,
Pop! goes the question!
Fathers and lovers ne'er agree.
Pop! goes the question!
He can't tell what I want to know,
Whether you love, sweet, or no;
To ask him, that would be very slow—
Pop! goes the question!
******************* ***********

Ho. 1379
P0‘ SHINE
Roustabout work song from the Mississippi River country
recovered by and printed in Wheeler (SD), 18.
Po' Shine
You can't do me lak you done Po' Shine;
Paid off evuhbody, an* you didn't pay Shine.
He worked all summer an' all the fall.
Celebratin' Christmas in his overalls.
"Captain, captain, is my money come?’*
"Be here today if yuh gotta have some."
Shine, you oughta be here when we get paid off;
I got mo' money than the walkin' boss.
There ain't but one man that I do fear—
Big Jack Johnson, an' he ain't 'lowed her.

MB
Song Texts
3764
You can’t do me iak you done Po’ Shine;
You took his money, "but yuh can’t take mine!
*******************************

No. 1380
THE POSSUM I
also known as
Possum Up A Gum Tree
A minstrel show song by Dan Emmett. A sheet music edition
was copyrighted in 182 a and published in London, England,
by J. Willis & Co. The song became popular in America
as a result of exposure on minstrel-show stages, and it
spawned many latei' variations, one of which is Poso X.±.
in this Master Book.
See Nathan, 47.
The Possum I
Possum up a Gum-tree, up he go, up he. go,
Raccoon in the hollow down below, down below.
Him pull him by him's long tail,
Pully hawl, pully hawl,
Then how him whoop and hallow,
Scream and bawl, scream and bawl.
Possum up a Gum-tree,
Raccoon in the hollow,
Him pull him by him’s long tail,
Then how him whoop and hallow,
***********-******** *** ************

Song Texts
MB
3765.

No. 1381
THE POSSUM II
also known as
Little Gal At Our House
Old Raccoon
Possum Up a Gum Stump
Possum Up a * Simmon Tree
Raccoon Up de ’Simmon Tree
Raccoon Up de Tree
Shake Them ’Simmons Down
Shake the Parsimmons Down
This song may be older than the preceding one, but that
is merely supposition based upon expressions like
"possum up a Gum stump" and "shake them ’simmons down."
We find the same words in many old songs. Por examples,
see: Old Rattler in Brown, V, 120-121; Karo Song in
Scarborough, 170; and Liza Anne in Sharp, II, No. 243.
The A and B versions below are closely related but yet
have significant differences.
Other songs containing lines used in versions A and B
are: Opossum in Sharp, II, 353-354, or Ding Dong Dingle
0 in this Master Book ; Brudder Eph 1 em in Bass, 330;
Cotten Field Song in Lomax (ABFS), 241; and Old Bob
Ridley in Perrow, XXVI, 131-132, Songster (115), 155-
157 and White, 138, 236-237. For version B lines, see
Shady Grove in Combs (CFBB), 242 and Uncle Joe Cut Off
Toe in Jour (AFL), XXIV, 318, XXVII, 294-295, and
Randolph, III, 133.
REFERENCES
Botkin (APPS), 295-296
Brown, III, 206-208; V,
119-120, 543
Campbell & Sharp, No. 88
Ford (OTFM), 5
Lomax (ABFS), 238
Randolph, II, 361
Shearin (SKFS), 38
Talley, 3, 34-35
The Possum II
(Version A)

MB
Song Texts
3766
Possum up the•’aimmon tree,
An’ the Raccoon in the hollow,
An* the Possum said, Wake up,' Black Snake,
June-Bug stole a half a dolla*!
Raccoon up the 'simmon tree,
An* the possum on the ground;
The raccoon spit in de possum's face.
Possum slap the raccoon down.
Possum said to the raccoon, Sir!
In' he grinned down on hie foe:
If you want these good old 'simmons now,
You can climb up where they growl
VERSIOR B
Possum in the old Gum stump,
The coonie in the holler;
A pretty girl down at our house
As fat as she can waller.
Possum up the old Gum stump,
His jaws all black an' dirty;
I'll go an * kiss that pretty gal,
An* hug her till twelve-thirty.
Possum in the old Gum stump,
But a good man's hard to find;
You better love me, pretty girl,
Or you'll get the other kina.
**■&***-&•*■*•*«■**-»** * *-■**■** « *•» ■** * ***• *

MB
Song Texts
3767

Ho. 1382
POSSUM MEAT
also known as
Carve Bat Possum An Opossum Hunt
Carve ’em to the Heart The Possum Song
This song and dance tune is ascribed to Sam Lucas
in Johnson (RA.S), 149. Randolph, II, gives three
unrelated "possum" songs under the same title and
as versions A, B and C. Talley has a "possum" version
containing elements of all three of the Randolph songs.
It is Talley’s version given below.
REFERENCES
Odum ((FSFP), 375-376 Talley, 23-24
Odum (NHS), 240-241 Thede, 69
Randolph, II, 357-358 Waite, 52-53
Wier (BTS), 90
Possum Meat
Possum meat am good an' sweet,
Carve *im to de heart,
I always finds it good to eat.
Carve *im to de heart.
Chorus
Carve dat possum! Carve dat possum!
Carve dat possum! Carve 'im to de heart!
My dog tree, I got to see, etc .
A great big possum up dat tree, etc.
I retch up an* pull him in, etc .
An* dat ole possum 'gin to grin, etc.

MB
Song Texts
3768
X took him home an* drest him off, etc .
Bat night I laid him in de fros*, etc.
Be way I cooked dat possum sound, etc .
I fust parboiled, den baked him brown, etc .
I put sweet *t&tera in de pan, etc .
•Twas de bigges* eatin' in de Ian'!, etc.
**************************************

Ho. 1383
PRAY ON X
also known as
The Union Break of Bay
Pray On, Pray On
This old American slave sprititual was first published
in Allen (SSUS), 97, in 1868 (later reprints on p. 97,
or p. 152).
Also see Sun Don't Set In De Mornin' in Dett, 23.
Pray On I
Pray on, pray on, pray ondem light us over;
Pray on, pray on, de union break of day.
My sister, you come to see baptize,
In the union break of day;
My 'loved sister, you come to see baptize.
In de union break of day.
*********** **********************

No. 1384
PRAY ON II
also known as
In the River of Jordan
Pray On, Pray On
Thio is one of the old slave spirituals sung by the

MB
Song Texts
3769
original Fisk Jubilee- Singers. The spiritual has
circulated for at least a hundred and fifty years,
and probably longer.
REFERENCES
Marsh (SJS), 153 Pike, 235 Work (ANSS), 81
On II
In the river of Jordan John baptized,
How I long to be baptized!
In the river of Jordan John baptized,
To the dying Lamb.
Chorus
Pray on! Pray on! Pray on, ye mournin' souls!
Pray on! Pray on! Unto the dying Lamb!
We baptize all that come by faith, etc.
Here's another one come to be baptized, etc .
*«•**# ****•«• *************** *#**■******■#■*

Ho. 1385
PRAY ON III
also known as
Every Day Be Sunday Bye and Bye Funeral Hymn
Since this spiritual appears in only two published
collections of the number available, neither of which
offers factual information concerning it, there is not
much that can be said. It seems to have originated in
the latter part of the 19th century.
The other versions are in Puson, 207 and Work (ANSS),
213 .

MB
Song Texts
3770
Pray On III
My Lord saw Peter by the sea!
Every day be Sunday bye and bye!
Ke said to Peter, “Follow me!”
Every day be Sunday bye and bye!
Chorus
Pray on! Pray on!
Every day be Sunday bye and bye!
Pray on! Pray on!
Every day be Sunday bye and bye!
My Lord said, “Sinner, I'm the way!" etc.
So brother, sister, kneel and pray! etc.
0 come along now—-don't get lost! etc.
A little faith is all it cost! etc.
***********************************

Fo. 1386
TEE PREACHER AND THE BEAR
also known as
The Preacher Went Out Hunting
This song, copyrighted and published in 1904, has
since assumed a place in America's traditional list
of songs. The piece is credited to "Williams and
Arizona" on the label of a phonograph record I owned
in 1928.
REFERENCES
Brown, III, 511-512; V,
283-284
Charters, 86-87
Ford (TMA), 300-302
Jour (AFL), XXXII, 360-361
Kennedy (TAB), 185-187
Kolb, 222-223
Shearin (SKFS), 31
Shellans, 80-81
White, 210

KB
Song Texts
3771
The Preacher and the Bear
A preacher he went hunting, * twas on-one Sunday morn.
Of course, it was against religion but he took hia
gun along.
»
He killed himself some very fine quail, and one little
measly hare;
And on his way, going back home, he met a great big
grizzly bear!
Spoken:
He cast his eyes to the lord in the skies and offered
up this prayer:
"Oh, Lord, you delivered Daniel from the lion's den.
An' Jonah from the belly of the whale,
An' all the Hebrew children from the fiery furnace,—
which the good book do declare.
Now, Lord, if'n you won't help me, Oh, please don't
help that bear!
The bear marched out into the middle of the road.
The better his victim to see;
The preacher got excited, climbed up a *simmon treel
That ol' bear he reared up, an* started shakin' that
tree;
The preacher held on to a limb, and rolled his eyes
To the Lord in the skies, and these words were said
by him:
Repeat:
Oh, Lord, you delivered Daniel, etc.
The Preacher sat up there a-thinking: What will my
congregation say
- If they should hear that their own parson had gone
huntin' on the sabbath day?
He climbed up higher in the tree, in hopes of some help
to call,

MB
Song Texts
3772
But the limb broke loose under hia feet, and he
started in to fall!
Repeat :
Oh, Lord, you delivered Daniel, etc.
The bear looked up and waited, as the preacher came
tumbling down;
But the preacher got out his long-knife before he hit
the ground.
The bear he growled, the preacher yelled, and they
made an awful din;
And he cast his eyes to the Lord in the skies and one
more said to him:
Repeat:
Oh, Lord, you delivered Daniel, etc.
*** ********* ********** ******************

No. 1387
PRETTY BIRDY
also known as
The Bonny Birdy The Tattletale Birdy
This is an American version of an old English ballad.
According to Child, "the main part of the action is
the same as in Little Mu3grave 11 (see Handsome Marty
Gray in this Master Book ).
The version below is from Riles (BB), 199-201. For
other versions, see Child, II, 260-261 and Jamieson,
I, 162 .
Pretty Birdy

Song Texts
3773
KB
Pretty birdy, pretty birdy,
Oh where was you hatched?
"Away down in the swamp,
Where I learned to fly and scratch.”
Tag Chorus
Oh, Rinny day, Oh, Rinny way.
Oh, Rinny, Rin-na-til-la-day.
Pretty birdy, pretty birdy,
What do you eat?
"White bread and cow’s milk
And a little sweet meat.'*
Pretty birdy, pretty birdy,
What did you then?
"I was given to a lady
What lives in the glen.”
Pretty birdy, pretty birdy,
What did you there?
"I watched my mistress,
Tour own lady fair.”
Pretty birdy, pretty birdy,
What did you see?
"Tour mistress making free
With men— one, two, three."
Pretty birdy, pretty birdy,
Tou lie and you lie!
"I couldn't lie more than
Tou lie, if I try."
Pretty birdy, pretty birdy,
Where shall I go?
"Home to shoot your mistress
For doing you so low.”
********************

MB
Song Texts
3774

Ho, 1366
THE PRETTY GIRL MILKING HER COW I
also known as
The Pretty Maid Milking Her Cow
An Irish song with a melody that became popular with
fiddle-players and square dancers.
For examples of songs using the same or like title,
see The Little Maid Milking Her Cow in Ford (TMA),
324-325; Roving in the Dew and Seventeen Come Sunday
elsewhere in this Master Book under Zestful Wooer II
& IV.
The melody used for this song was taken from an older
Irish ballad called Ccllen Phas Croothe Na Mo.
For a Gaelic version, see Breatnac, 167-168. For a
traditional American fiddle version, see Ford (OTFM),
30 or Ford (TMA), 110,
The Pretty Girl Milking Her Cow I
•Twas eve, and the stars began creeping,
Though sunset still crimsoned the west,
When sounds thro* the hushed air came creeping,
That ruffled the peace of my breast.
My form in the twilight concealing,
I sat myself down on my plough,
While sang, full of sadness and feeling,
A pretty girl milking her cow.

No, 1389
THE PRETTY GIRL MILKING HER COW II
also known as
Who's the Pretty Girl Milkin' the Cow?
Irish love song that has steadily declined in traditional
popularity in the United States. For a traditional ver-

MB
Song Texts
3775
sion, see Sandburg (AS), 40. For a professionally-
arranged version, see Wier (LS), 100.
The Pretty Girl Milking Her Cow II
•Twas on a bright mornin’ last summer,
That I first heard his voice speakin' low,
As he said to the colleen beside him,
"Who's that pretty girl milkin’ her cow?"
Och! many times often you met me,
And told me that I should be
Tour darlin* A-cushla, Alanna,
Mavourneen, Asuilish, Machree.
I have not the manners or graces
Of the girls in the world where you move;
I have not their beautiful faces,
But, oh! I’ve a heart that can love!
If it please you I’ll dress me in satin,
And jewels rare I’ll put on my brow,
But och! don’t be after forgettin’
Your pretty girl milkin’ her cow.
************************************

No. 1390
THE PRETTY GIRL MILKING HER GOAT
also known as
The Pretty Maid Milking Her Goat
This is a parody of the preceding song that seems to
have survived only in Pennsylvania. Korson printed
it at least three times, and once with music.
See Korson (MMP), 69-70, (PSL), 370-371, and (SBAM),
57-58.
The Pretty Girl Milking Her Goat Tune: Same as Above.

MB
Song Texts
3776
Once upon a cold winter’s mornin',
As I went off to work for my grub,
I heard a girl sing most charmin’
As she sat on the heel of a tub.
With a mouth that was large and commodious,
A small boy could skate down her throat;
Her loud bullfrog-bass voice was melodious,
As she sat there milking her goat.
I stood and I gazed at this creature,
And was smashed in half by surprise.
Thinks I, she’s some goddess of nature,
Or the queen of Pittsburgh in disguise.
I speaks to her, smiling and civil,
"Do you warble that poem by note?"
I was told to inquire of the Devil,
By the pretty girl milking her goat.
I says, "Dearest lady, have patience,
Till you've heard what I do propose.
Come, leave all your wealthy relations,
Come, and travel with me, my sweet rose;
Your everyday dress will be silken,
And to show how on you I dote,
I'll take holt of the tail while you're
milking,
And help you to pump your old goat."
"Don't stand there," she said, giving me taffy,
And think me a foolish galoot!
I know I could never be happy,
Not with you arid your number nine boots.
You're nothing but but a common railroader,
I can tell by the mud on your coat;
And to none but a red-ash coal loader
Will my pappy give me and this goat 0 "
#&&*****to*****************

MB
Song Text3
3777
Vo. 1391.
PRETTY PEGGY, 0!
also known as
Bonnie (Bonny) Lass o’ Fyvie Pretty Girl of Darby, 0
Pretty Peggy of Derby
Peggy, 0!
As The Bonny Lass o 1 Fyvie this song arrived in North
Carolina during colonial times, brought over by Scott
ish settlers. As Pretty Peggy of Derby the song came
to America in the form of an English broadside issued
by Pitts. A derivative of each form is given below,
with A being from England and B being from Scotland.
Americanized versions have dropped European places and
personal names from their texts, replacing them with
with local terms and places.
A version found in Indiana was used by children there
as a game song.
Thomas Moore, mistakenly thinking it was an Irish tune
used it for his Evelyn* s Bower and thereby caused
Pretty Girl of Derby 0 to be referred to in some col
lections as an Irish song.
REFERENCES
•Campbell & Sharp, No. 95
Christie, I, 276
Edwards (CHSB), 45-46
Ford (VSBS), 121
Greig, I, art. 15
Grcig & Duncan, No. 84
Belden (BS), 169
Brown, III, 456-457; Y,
254-255
Hudson (FSM), 165-166
Jour (APL), XLIX, 256-257
Ord, 304-305
Scott (BA), 20-22
Sedley, 154-155
Sewanee Review, XIX, 326
Sharp, II, 59-61
Silber (HSB), 54
Silverman, I, 120
Weavers, 106-109
Pretty Peggy , 0? ( Version A)

Song Texts
3778
As we marched down thro’ Carolina, 0,
As we inarched down thro' Carolina, 0,
Our captain fell in love with a lady like
a dove,
And she said her name was pretty Peggy, 0!
0 come along with me, pretty Peggy, 0! (2)
In coaches you shall ride, if you will he my
bride,
And I'll never leave your side, pretty Peggy, 0!
I simply can't agree, Captain 7/illy, 0! (2)
It should be plain to see why I can't go with
thee,
And leave so far behind my poor Mama, 0!
Come trippin' down the stair, pretty Peggy, 0! (2)
Come trippin' down the stair, and we'll end this
affair;
Just bid a fond, last farewell to your 7/illy, 0!
If I do not return, pretty Peggy, 0 (2)
If I do not return, in my heart I will yearn,
And long for no one but you, pretty Peggy, 0!
Our captain Willy's dead, pretty Peggy, 0! (2)
Our captain Willy's dead, he was shot through
the head,
And he is buried down in Louisiana, 0!
V ERSION B
There was a troop of Irish dragoons
That came marching through Pyvie 0;
The captain fell in love with a bonnie,
bonnie lass,
Her name it is called pretty Peggy, 0.

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"0 come down the stairs, pretty Peggy,” he said,
"0 come down the stairs, pretty Peggy, 0;
0 come down the stairs, comb aside your yellow hair,
Take the last farewell of your daddy, 0*
•It's 1*11 give ye ribbons, love, I'll give ye rings,
And I'll give ye necklaces of lammer, 0;
And I'll give ye silken gowns flounced to your knees,
If ye would come down to my chamber, 0."
"I thank you for the ribbons, love, I thank you for
your rings,
I thank you for your necklaces of lammer, 0;
I do not want gowns to suit my degree,
T would scorn to be seen in your chamber, 0.
"A soldier's wife I never shall be,
A soldier shall never enjoy me, 0;
For I never do intend to go to a foreign land.
So I never shall marry a soldier, 0,”
Early next morning we all marched away,
And 0, but the captain he was sorry, 0,
For the drums they did beat, o'er the bonnie bogs
of Gight,
And the band played the Lowlands of Fyvie, 0.
long, long ere they came to old Meldrum town,
Their captain they had to carry, 0;
And long, long are they came to bonnie Aberdeen,
They had their captain to bury, 0.
Green grow the birches on bonnie Ythanside,
And low lie the Lowlands of Fyvie, 0; _
Our captain's name was Ned, and he died for the
maid,
He died for the Chambermaid of Fyvie, 0.
*************************

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Song Texts
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Ho. 1392
PRETTY POLLY
also known as
Come, Polly, Pretty Polly
Come, Pretty Polly
Confession
The Cruel Ship’s Carpenter
Dying Polly
The Caspar!, £r Gosport
The Perjured Ship’s
Carpenter
Tragedy
Little Mollie, or Molly,
or Polly
Polly
Polly and Sweet William
Polly’s Love
Pretty Molly, or Polly
Sally Monroe
The Ship’s Carpenter
Young Beeham
This is a descendent of one of the oldest known " murd
ered girl ” ballads. All versions known to American
tradition are derived from The Gaspard , or Gosport
Tragedy , which, according to Roxburghe, dates back to
at least 1750, or to a ballad condensed from it and
issued as a broadside: Polly’s Love , or The Cruel Ship
Carpenter ,,
In the original story, a sailor stabs his mistress when
he discovers she is pregnant or learns that she is about
to have a baby. After killing her the sailor flees a-
broad ship, where he was confronted by her ghost (see
version A below). Both sailor and ghost are missing
'from most American versions (see version B below).
Because of the central character’s name, Pretty Polly
is frequently confused with the following ballads in
this Master Book: Margaret’s Ghost , Myr a' Belle Lee,
and Masquerading Woman XI.
The Gosport Tragedy was published in the United States
as a chapbook in 1816 and 1829 (sec Harvard College
Library, 25276, 43, 8 D).
Broadsides were issued by Bebbington, Manchester, No.
343; Cadman, Manchester, No. 213; Catnach; Dalton, New
York, No. 17; Gilbert, Newcastle, No. 59; and Such, No.
142.

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Acomic stage version, Molly the Betrayed , or The Fog -
Bound Vessel , was popular around the mid-19th century.
Versions of the parody are in Ebsworth (RB), VIII, 143
and Sam Cowell's Budget from Yankee Land, p. 12.
The Pretty Polly in Eddy, 159-160 is in no way related
to this one.
There are several "murdered girl" songs that bear a
strong resemblance to Pretty Polly . For example, see
The Knoxville Girl in this Master Book.
Three separate versions are given below (A, B & C).
REFERENCES
Ashton (CB), 101
Ives (SA), 6-7
Ashton (RSS), 86
Ives (SB), 66-67
Brewster (BSI), 298-299
Jour (AFL), XLII, 276-278
Brown, II, 234-240; IV,
XLIV, 107-108; XLV,
137-138; V, 53
134-135
Bulletin (TFS), III, 85
Jour (FSS), I, 172-173
Cambiaire, 74-75
Karpeles, 115-116
Campbell & Sharp, No. 39
Karpeles (FSE), I, 237-24<
Christie, II, 99
Kincaid No. 1, 35
Combs (FSKH), 35-37
Kittredge (BRK), 261-264
Combs (FSMEU), 144
Laws P 36, 268
Cox (FSS), 308-310, 528
Leach, No. 20
Cox (TBFS), 73, 78
Leach (BB), 698-700
Cox (TBWV), 62
Lomax (OSC), 172-174
Creighton (TSNS), 114-120
Lomax (PB), 44
Ebsworth (RB), VIII, 173-
Lomax (USA), 304-305
174
Luther, 45-46
Edwards (CHSB), 217
Mackenzie, 96-98, 396
Fuson, 69-70
Mackenzie (QB), 55-58
Greenleaf, 120
Moore (BFSS), 158-159
• Greig & Duncan, No. 201
Morris, 341-342
Henry (FSSH), 229-232
New (1), 69
Henry (SSSA), 53-54, 63
Niles (MSHF), 2-3
Hubbard, 60
Okun, 48-49

KB Song Texts
Peacock, II, 404-406
Randolph, II, 112-114
Roberts (IP), 108-110
Roberts (SBS), 103-104
Scarborough (SC), 128-
134, 395-398
.3782
Sharp, I, 317-327
Sharp (PSPS), IV, 8-12
Silber (HSB), 25
Silverman, I, 74
Songster (62), 232
Wyman (IT), 79-81
Wyman (TEMS), 110-115
Pretty Polly ( Version A)
In fair Worcester City and in Worcestershire,
There lived a young and pretty maid with long
and golden hair;
A handsome young man came courting her, to be
his dear,
And he followed the trade of a ship's carpenter.
The king wanted seamen for to sail on the sea,
Which caused this young and fair maiden to sigh
and to say,
"0 William, 0 William, don't you go to sea;
Remember the vows and your premises to me,"
It was early one morning, some time before day,
He came to his Polly and to her did say:
"Come, rise up, pretty Polly, and come along with me,
Before we are married my friends we shall see,"
He led her thro' groves and thro' valleys so deep,
Which caused this young damsel to wring her hands
and weep:
"0 William, 0 William, you're leading me astray
On purpose, my innocent life to betray,"
"'Tis true, 0 'tis true, every word that you say,
Por I've labored all night to have your grave
ready today!»

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Song Text8
.3783
The grave it was open and a spade was standing "by,
Which caused this fair damsel to weep and to cry.
"0 pardon, 0 pardon, 0 pardon my life!
0 William, I won’t covet for to be your loving wife;
I'll travel the country that I may set you free,—
0 pardon, 0 pardon, my baby and me."
"No pardon, no pardon! no time for to stand!"
And he pulled out a long knife, which he held all in
his hand.
He pressed it into her heart until the blood did flow,
Then into the grave her poor body did throw.
He covered her over so safe and secure,
And thought that poor, dear Polly was well-hidden,
for sure;
He went to his captain to sail the world around,
Before the truth of murder could be dug up and found.
'Twas early one morning, before it was day,
Our captain called us to him and these words he did say:
"A murderer’s on board here! and he must now be found;
Our ship's she’s in mourning, she will not sail round."
Then up spoke a sailor: "0, indeed it’s not I!"
Then up spoke another, and he made the same reply;
then up stepped young William, and he did stamp and
swear:
"Indeed it’s not me! that I vow and declare."
He turned from the captain, and he turned with great
speed.
And met his dearest Polly, which made his heart to bleed
She rent him, she stripped him, and tore him all in
three.
Because he had murdered both her and her baby!

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Song Texts
5784
VERSION B
O* once I was a gambler, I sat around in town!
0, once I was a gambler, I sat around in town!
I courted Polly Turner, and she turned my world
upside down.
0, where is pretty Polly? 0, yonder she stands! (2)
With rings on her fingers and yellow-gold bands.
He led her thro* the bushes, into the forest deep! (2)
And paid to her no never mind when she began to weep.
M 0 Willie, darlin' Willie, I'm scared of your way, (2)
All night we've roamed the mountains and I fear you'll
lead me astray.”
Another mile they traveled and Polly then did spy, (2)
A new and fresh dug grave with a shovel lying near by.
She threw her arms around him, and she began to weep; (2)
He struck her with the shovel and she fell, forever
asleep!
He covered up her body and turned away to go, (2)
He murdered Pretty Polly where the mountain waters flow.
VERSION C
Up yonder in Ashville a lady did dwell, (2)
With beauty beyond my poor words to tell.
I courted pretty Polly the live-long night, (2)
And I planned to rob her before day-light.
"Come on, pretty Polly, and go with me, (2)
Before v. r e get married some pleasure we'll see.”

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3785
•Twas over the hills and down the valley so deep, (2)
At last pretty Polly began to weep.
*0 Willy! 0 Willy! why treat me this way? (2)
I think you are leading my body astray."
A mile more or less, and fair Polly did spy (2)
A newly dug grave and a shovel near-by.
"0 Polly, 0 Polly, you're guessing just right! (2)
I*ve finished the grave I was digging last night."
She threw her arms around him and trembled with fear, (2)
"0 how can you kill one who loves you so dear?"
"No time for to talk, and no time for to stand," (2)
He said as he drew forth a knife in his hand.
He stabbed her and stabbed her, her heart's blood did
flow, (2)
And down in the grave pretty Polly did go.
He covered her body and turned to go home, (2)
And left little birds in the trees to mourn.
*****************************

No. 1393
THE PRIDE OP KILDARE I
also known as
Norah, the Pride of Kildare
Where Irish songwriters are concerned many a girl was
"the pride of Kildare." We give only two of them here,
Norah and Susan. Norah , the Pride of Kildare was com
posed by John Parry. See Ditson (100SI), 16-17 and
Universal (ISB), 146. For Susan , see The Pride of

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Song Texts
3786
Kildare II in this Master Book.
The Pride of Kildare I_
More lovely than Flora is charming young Norah,
The joy of my heart and the pride of Kildare;
I ne'er can deceive her, for sadly would grieve her
To find that I sigh for another less fair.
Her heart with truth teeming, her eyes with smile
beaming,
ffhat mortal could injure a blossom so rare
As orah, dear Norah, the pride of Kildare?
As Korah, dear Norah, the pride of Kildare?
*********************** **■*•*•*•****•*•*■***

Ho. 1394
THE PRIDE OP KILDARE II
also known as
Little Susie, the Pride of Pretty Susie, the Pride of
Kildare Kildare
Pretty Susan Susan of Kildare
This song was issued in broadside by Catnach and by
Portey, and it is obviously Irish in origin. It is
not related to The Pride of Kildare I given above.
For an unrelated Irish love song, see Jennie , The
Flower of Kildare in Dean, 71-72 and Hudson (FT’M), 45.
REFERENCES
Brown, II, 368-369
Creighton (FSNB), 108-109
Gardner (PSH), 216-217
Jour (FSS), VI, 11-12
Keyes, 3
Law3 P 6, 251
Manny, 279
O'Lochlainn (2), 164

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Song Texts
3787
The Pride of Kildare II
When first from sea I landed I had a roving mind;
Undaunted I rambled my true love to find.
When I met pretty Susan with her cheeks like the rose,
And her bosom more fair than the lily that grows.
Her fair eyes did glitter like the bright star of
night,
And the robe she was wearing was costly and white;
Her dear neck was shaded with her long raven hair—
They called her pretty Susan, the pride of Kildare.
Long time I courted her till I wasted my store;
Her love turned to hatred because I was poor.
She said, "I love another, whose fortune I’ll share,
So begone from pretty Susan, the pride of Kildarel"
Oh, my heart ached next morning, as lonely I did
stray;
I saw Susan with a man coming my way.
And as I passed by them with a mind full of care,
I sighed for pretty Susan, the pride of Kildare.
Sometimes I am jovial, sometimes I am sad,
Since my love is courted by some other lad.
Now we're at a distance, no more I'll dispair,—
My blessings on fair Susan, the pride of Kildare!
**«******************************

No. 1395
THE PRIDE OP THE PLAIN
also known as
Pattonia, or Pattonio,
the Pride of the Plains
Plantonio, the Pride of
the Plains
The words date back into the 19th century, and they

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Song Texts
3788
were set to a 17th century tune. The tune was also
used for the English ballad known as The Waggoner 1 _s_
Bo£.
A modern version wa3 recorded by Marty Rod Dins for
Columbia Records, but author-composer credits on that
record and the sheet music published as a result of
that record, are limited to that particular arrangement.
The song itself has been in the Public Domain xor half
a century, and perhaps even longer.
Margaret Larkin printed the song as early as 1931*
REFERENCES
Felton, 80-83
Fife, 184-185
Fowke, 249
Larkin, 111-113, or
116-118
Laws (NAB), 138-139
Lingenfelter, 264-265
Lomax (CS-1938), 356-358
Malone (FB), 155-159
Ohrlin, 58-60
Randolph, II, 242-243
The Pride of the Plain
I’ll tell you a story, a story I know
Of a horse I once owned back in New Mexico;
He was swift as an ant’lope, and black as a crow,
A nd the star on his forehead was whiter than snow.
His arched neck was hidden by his long, flowing mane,
And I called him Plantonio, the pride of the Plain.
His hair, like a lady’s, was glossy and fine,
He was restless ana proud, but so gentle and kind,
Plantonio, the pride of the plain,
Plantonio, the pride of the plain.
The country was new and the settlers were scarce,
But the Indians on the warpath were savage and fierce.
Oh, sixteen brave rangers were sent out from the post;
They never came back, and we knew they were lost.

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Song Texts
3789
The captain stepped up and said, "Someone must go
For the aid and protection of New Mexico."
A dozen young fellows straight forward said, "Here!"
But the captain saw me and Plantonio quite near;
Plantonio, the pride of the plain, (2).
Plantonio stood by me his nose in my hand.
Said the captain, "Your horse is the best in the land.
You're good for the riding, you're the lightest man
here;
On the back of that mustang you'll have nothing to fear
Then, proud of my pony, I answered, "You know,
Plantonio and I are both willing.to go.
Por speed and endurance I'll truth in the black."
Then they all shook my hand, and I mounted his back.
Plantonio, the pride of the plain, (2).
I rode down the pathway, turned his head to the right;
The black struck a trot, and he kept it all night.
It was early next morning we were still on tne go,
Down to the black borders of old Mexico.
When right in behind me I heard a sharp yell,
And I knew that the redskins were giving me hell!
I spoke to Plantonio, drew up on his rein,
Spoke his name softly and struck his dark mane.
Plantonio, the pride of the plain, (2).
Plantonio he answered with a nod of his head,
And his black body lengthened as faster he sped;
Then I reached the fort and tried to dismount.
But an arrow so deep I could not discount.
That arrow you see there, the one on the wall,
Had entered my foot, stirrup, saddle and all.
It pleased me to know I'd not ridden in vain—
Plantonio, Plantonio, the pride of the plain!
Plantonio, the pride of the plain, (2).
************************

M3
Song Texts
5790

No. 1595
THE PRINCESS ROYAL
also known as
The Bold Prince Royal The Pair Prince Royal
The Bold Princess Royal The Pair Princess Royal
This pirate ballad may, according to Stan Hugill, date
back to the 17th century. Many collectors associate
this song with George Aloe and the Sweepstake , an old
English ballad without tradition in the United States.
Por a variation, see The Royal P rince Regent in Eckstorm,
256-257.
REFERENCES
Barry (BBM), 415-415
Beck (PLS ), 170-171
Chappell (PSRA), 52
Clements, 61
Colcord, 148-149
Creighton (MFS), 155
Creighton (SENS), 107-109
Doerflinger, 142-145
Gordon (OSMS 6/15/27), 190
Greenleaf, 78-80
Creig & Duncan, No. 47
Hugill (1), 421
Hugill (2), 5
Jour (EFDSS), IV, 184-185
Jour (PSS), I, 62, 105; II,
145, 170
Karpeles (EPS), II, No. 284
Kidson (GEFS), 54-55
Laws, K 29, 155
leach, 196
Peacock, III, 855-856
Sharp (ECPS), II, 82-85
Sharp (EPS), I, 52
Sharp (PSE), II, 40-42
Shay (MS), 98-99
Thomas (P3PS), 225-226
The Princess Royal
On the tenth day of April we sailed from the strand,
On the bold Princess R oyal , bound to the Rio Grande.
Prom eastward to the westward, we sailed o'er the sea,
With forty brave seamen in our ship's company.

Song Texts
3791
MB
We had not been sailing but one day or two
When the man on look-out cried: "A strange ship
in view!”
A strange sail to windward, and she seemed to lay by,
And all from her mizzen black colors did fly!
"Oh, my God!" cried the captain, "Now what shall we do
If that's a black pirate, he*11 soon put us through!"
■Oh, no," said our chief mate, "That ne'er will be so!
We'll shake out our topsails and from him we'll go!"
Then this bloody bold pirate hove up alongside;
Thro’ a loud speaking-horn, "Whence came you?" he
cried.
Our captain, being witty for to answer him so,
Said, "We're from ol' London, bound down to Mexico."
•Then back your main-topsail and heave your ship to,
For I have some letters to send on by you."
"When I back my main topsail and heave my ship to.
I'll be in some harbor, not alongside of you!"
He chased us to windward an hour or two,
He chased us to loo'ard, but nothing could do;
He fired his bow-chaser, and thought to prevail.
But the bold Princess Roval soon showed him her tail.
"And now, my brave fellows, since the pirate is done,
Go down to your grog, boys, go down every one;
Go down to your grog, boys, and be of good cheer-
For while we have sea-room, no pirate we'll fear!"
*************************

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Song Texts
3792

No. 1397
PRISONER'S SONG I
also known as
Adieu to All Judges and
Juries
The Great Ship
Here's Adieu to All Judges
and Juries
If I Had the Wings of an
Angel
I Had a little Ship
I Have a Great Ship on the
Ocean
I Have a Ship on the Ocean
I'm Going to My New Jail
Tomorrow
Meet Me By Moonlight
Meet Me In the Moonlight
Meet Me Tonight In the
Moonlight
Moonlight
New Jail
Ship on the Ocean
The Prisoner's Song with which most Americans are now
familiar was first published in 1924 by Shapiro, Bern
stein & Co., Inc., New York, N. Y. That song, written
by Guy Massey, became a nationwide hit when the record
(Columbia 257D) by Vernon Dalhart was released.
The Massey text was little more than a casual rewrite
of version B below. Version B was derived, in my
opinion, from version A, an older English song.
It is only fair to point out that at least three recog
nized folk song collectors, Frank C. Brown, Vance Ran
dolph and Carl Sandburg, were of the opinion that B is
is a derivative of the popular English song, Meet Me
By Moonlight , written by J. Augustus Wade who died in
1875 at age 75. For a version of that song, see John
son (FS), 374-375, Bantock, 203-204, or Hatton, 28.
Except for the title line "meet me by moonlight,” I
fail to see any relationship between the two songs at
all.
•I agree with Dorothy Scarborough, who said of version
B, "In my opinion, the song is older than even Sandburg
thinks, and is derived from an antique mountain song

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Song Texts
3793
New Jail , which in turn is clearly traceable to an
old English song, Here * s Adieu to All Judges and
Juries . M That song is given below as version A.
Prisoner* s Song _I has three basic motives: the jail
cell, the moonlight, and the ship. One or the other
of these motives are found in many '’prisoner" songs,
but never more than two at once. For a song with
the ’jail cell' only, see Prisoner's Song II in this
Master Book , or the songs in Henry (BMPS), 50-35 and
(PSSH), 327. For a song with both ’the ship' and
’the moonlight' but minus the ’jail cell,* see Cox
FSWV), 71-72. For a song with ’the ship' only, see
Jour (AFL), XLV, 82-83 and Odum (NWS), 83-84.
REFERENCES
For version A:
Jour (FSS), I, 135
Scarborough (SC), 3*46
For version B:
Brown, III, 411-416; V
246
Cox (TBFS), 193
Fuson, 143
Randolph, IV, 226-228
Richardson (AMS), 55
Sandburg (AS), 216-217
Scarborough (SC), 347-
351, 449-450
Shellans, 74
Stout, 49
Prisoner's Song 1 ( Version A)
It's adieu to all judges and juries,
To justice and Old Baily, too;
For seven long years you’ve transported
And denied me a love that is true.
0, if I had wings like an eagle,
Wings like an eagle and could fly,
I'd soar thro* clouds 'til I found her,
For without her I surely will die.

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Song Texts
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0, hard is this place of confinement
That keeps me from my heart's delight;
It’s shackles and chains all bound round me,
And a plank for my pillow at night.
If I ever return from the ocean,
It's riches galore for my dear;
And it's all for the sake of my Molly
That I'll cross the salt sea without fear.
VERSION B
Meet me, 0! meet me, my darling,
Meet me in the moonlight alone;
I have a sad story to tell you,
A story that's never been told.
I'm going to a new jail tomorrow,
A place where I've never been before,
With those cold iron bars all around me
And a jailor with keys to the door.
I'm going to that new jail tomorrow,
And it’s there I'll have to pay my fine;
And the worst of the hurts I will suffer
Is leaving my own true love behind.
Oh, if I had wings like an angel,
Some angel wings so I could fly,
I ?;ould fly to the arms of my darling
And there I'd be willing to die.
But I have no wings like an angel,
And I know I never will fly!
I'll sit in my jail cell in sorrow,
Beep sorrow, and wait for to die.

ME
Song Texts
3795
If I had a ship on the ocean,
A ship filled with silver and gold,
Before my sweet darling should suffer,
I'd have that ship anchored and sold.
I wish I had someone to love me,
Somebody to call me their own;
Somebody to stay with me always,
Who never would leave me alone.
*«■**♦****«•** ****************** *

Ho. 1398
PRISONER’S SONG II
also known as
My**01e Home In Tennessee Seven Long Years in a Prison
Sad and Lonely Cell
Seven Long Years Seven Long Years in State
Prison
This song has a long tradition in American folk music
and was once widely known and popular. Gordon printed
a text in Adventure Magazine , Jan. 1, 1927, and several
music publishers have included versions in song folios.
There is considerable variation in the traditional
texts, but one is usually able to identify them and
properly refer to their origin.
In some reference lists, this song is associated with
Prisoner 1 s Song I B, probably because of stanzas 4 and
5, which are merely floaters.
REFERENCES
Brown, III, 416-417; V,
246-247
Cox (FSWV), 71-72
Creighton (SBNS), 309
Henry (BKFS), 54-55
Henry (FSSH), 327

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Song Texts
3796
Mackenzie, 303, 403-404
Odum (NWS), 83-84
Pound (SFSN), VIII, No. 6
Sandburg (AS), 218-219
Prisoner's Song II
I'm thinking tonight of my old home,
Among the hills of old Tennessee;
I'm thinking tonight of my old friends
And I wonder if they ever think of me.
Chorus
Sad, sad and lonely,
Here in a cell singing my song,
Thinking of the days long gone by me,
And the things that I did wrong.
I have a father and a mother—
They live in a town by the sea;
I have a brother and a sister,
But they are now gone, lost forever to me.
It's seven long years in state prison,
For seven more years I must remain;
I knocked a man down in an alley
And stole all his money, his gold v/atch
and chain.
If I had the wings of a sparrow
Across this wide world I would fly;
I'd fly to the arms of my darling, •
And in her sweet arms I'd lay me down
and die.
It's hard to be here in this prison,
Par from my heart's one true delight,
With nothing but cold bars around me,
And a stone for my pillow every night.

• #
MB Song Texts 3797
It's seven more years I must stay here,
It’s seven long years to regret;
It'8 seven long years to remember
All the bad things I'd like most to forget!
If I had it all to do over,
I'd stay at home in old Tennessee;
I'd never go ramblin' for pleasure,
And my sweet darling would still be with me.
********************************

Ho. 1299
PRISONER'S SONG III
, also known as
U V
Locked in the Walls of Locked Up, Locked Up in Prison
Prison Locked Up in the Walls of
Locked Up in Prison Prison
Poor Boy
This is a "poor boy” as well as a "prison” song, which
is a rare combination. The only printed folk version of
this song I've seen is in Randolph, II, 75» and there
the tune is different. For some reason that I cannot
comprehend, Randolph referred readers to versions of
John Hardy (B, C, L, E, P & G) in Cox (PSS), 179-185.
Prisoner's Song III
Locked up, locked up in prison,
Locked up in a narrow cell;
Locked up, locked up in prison, poor boy,
No one to go my bail.
Chorus

MB
Song Texts
3798
One foot upon the platform,
The other foot on the train.
Oh, take me hack to Baleigh, poor hoy,
To wear a hall and chain*
If I had lots of money,
I*d hury it in my trunk;
Or else I'd surely gamble, poor hoy,
And mayhe I'd get drunk.
Oh, never trust a woman,—
You'll find they are all the same!
Locked up, locked up in prison, poor ho>,
And no one knows my name.
**********************************

No. 1400
PRISONER'S SONG IV
also known as
The Convict's Lament A Prisoner for Life
This is one of several songs known as A Prisoner for
Life, or The Convict's Lament. All these songs tell a
similar story, though none are exactly the same.
A Be Marsan broadside of this song directs that it
he sung to the tune of Hunt the Buffalo (see Invitatio n
to A dventure I & II in this Master Book). A copy of
the broadside is on file in the Los Angeles Public
Library.
Mrs. Read, a Fayetteville, Arkansas newspaper editor,
told Randolph that "singers credit this song to
William Alexander, convicted murderer at Fort Smith,
Arkansas, January 21, 1890." (Alexander was one of the
many criminals sentenced to death by Isaac Parker, the
famous "hanging judge" of Western history.)

MB
Song Texts
5799
For a song containing many of the same lines as this
one, see The Dock Bishop in Jour (AFL), XXV, 151.
REFERENCES
Bulletin (FSSN), VI, 18-19 Moore (BFSS), 353-355
Lomax (CS-1919), 200-203
Lomax tCS-1938), 88-90
Randolph, II, 147-151
Silverman, I, 71
Prisoner* s Song IV
My father advised me when I was quite young,
"Don't drink or gamble and bad company shun.
These words you'll remember when I'm old and gray,
And long after I'm sleepin' down under the clay."
I kept on ramblin' with a terrible band,
Till I was attacked by the laws of the land;
Got caught and convicted for mail robbery,
And nine years they gave me far across the salt sea.
Farewell to the greenfields, to meadows adieu;
Your rocks and your mountains I now leave to you.
N6 more by your beauty shall my eyes be blest;
They're taking me from you to a place of no rest.
I met my old father a-leaving the docks,
And with tears in his eyes he tore his old locks:
"Oh, son, you are ruined! I warned you before,
And now we are parting, and I'll see you no morel"
If I were on shipboard with Molly by me,
Bound down in strong Ireland I'd feel myself free;
But bound down in prison and kept like a slave,
Because in my country I did not behave.
No change in my prison, I suffer and sigh;
My heart sinks within me-—I wish I could die!

MB
Song Texts
•3800
The cause of my ruin was me most of all,
And now I must labor behind the stone wall.
Pare you well, dear comrades, I'm willing to own,
That such a wild outcast has never been known.
Adieu to my freedom, and Molly, my wife,—
May God pardon and pity a prisoner for life.
•» **************-**•*•*-*•*•*•#■■**■***■*■»•** *
r.c. 1401
PRISONER’S SONG V
also known as
Adieu, Adieu, Hard Was
My Pate
The Flash lad
In Newry Town
The Irish Robber
I Robbed Old Nelse
I Was a Rake and Rambling
Boy
Newry Town
Rake and Rambling Boy
The Rambling Boy
Rich and Rambling Boy
The Rich Rambler
The Robber
The Wild and Wicked Youth
The Wretched Rambling Boy
Here we have an Americanized version of an English-
Irish broadside ballad, The Plash Lad , or Newrv Town.
It has a story similar in theme to The Unfortunate Rake
( see Unfortunate Life I in this Master Book ).
Broadsides of this ballad were issued by Catcnach,
Paul, T. Birt, Bebbington, Cadman, C. Croshaw, Such,
Durham, and George Walker. Pitts published it as a
stall ballad as well as a broadside.
Due to one of this song’s more popular titles, The
Rambling Boy , it has sometimes been associated with
other songs known by the same title. For example, the
Rambling Boy in Lomax (CS-1919)* 397-398 is not related
tc the song given below but is, in fact, an ancestor

ME
Song Texts
3801
of The Butcher Boy (see Unfaithful Lover 17 in this
Master Book ).
For a similar song, see The Wretched Rambling Boy in
Cambiaire, 4-3-44. Also compare The Reek and Rambling
Boy in Lomax (OSC), 314-315.
REFERENCES
Baring-Gould (GCS), 39
Barrett, No. 19
Belden (BS), 136-137
Brown, II, 355-356; IV,
204-207
Combs (FSMEU), 215-216
Combs (FSUS), 184-185
Davis (FSV), 282-283
Ford (BB), Nos. 3187-88,
3282
Fuson, 63-64
Gordon (OSMS 4/20/24),
191
Henry (FSSH), 327-328
Prisoner* s Song V
Jour (FSS), I, 114; II, 291;
III, 294; VIII, 190,
277
Karpeles (EFS), II, No. 243
Laws, L 12, 172
Lomax (FSNA), 192-193
O’Lochlainn (2), 70
Paddy, 60
Randolph, II, 83-85
Reeves, 178-179
Roberts (SBS), 105-106
Sharp (EFS), II, 79
Sharp (FSFS), No. 120
Sharp (100), 187-189
Shearin (SKFS), 17
Silverman, II, 333
Well, I'm a rake and a ramblin' boy,
There's many a city I did enjoy,
But now I've married me a pretty little wife.
And I love her dearer than I love my wife.
My love's a fair and a beautiful sight,
And seeing her happy was sheer delight;
To maintain her spirit both fine and gay,
I went out robbing on the main highway.

MB
Song Texts
3802
I never have robbed no poor man yet,
I've never been in a workingman’s debt.
But all the wealthy men who came my way,
Proved to be my victims and I made them pay,
I went to town for to have me some fun,
But as it turned out I had to run;
The sheriff's posse came, a dozen or two,
And I was captured by that stinkin* crew.
My father cried, "Oh, my darling son!"
My wife was weeping, "I am undone!"
My mother tore her gray hair and loudly cried,
"Oh, in his cradle he should have died!"
When I am dead and at long last free,
A flashy funeral I'd like for me;
Let none but bold robbers attend my wake,
And serve them whiskey for my journey's sake.
May six fair maids carry me along,
Por many a maiden has shared my song;
And later they may say, and speak the truth,
"He was wild and wicked, but a loving youth."
******* ****** ***•*■» **■■*•*■* •*■•*•******

No. 1402
PRISONER'S SONG- VI
also known as
Logan County Court House The Poor Boy
The Logan County Jail When I 7/as a Little Boy, I
Lived at Market Square
This song is made-up largely of lines and stanzas
found in other songs, but like many such pieces it
has carved its independent niche in traditional song.

MB
Song Texts
'3803
There are several variations in print but, as Cox
says in his notes, ”No doubt there were many such
songs as this made and lost concerning persons and
happenings of local interest.”
For examples of songs sharing lines and stanzas with
this one, see Hoot Hog or Die in Lomax (CS-1919)*
254-257 and the same song under the title The Bad Boy
in Lomax (CS-1938), 161-163; The Dallas County Jail
and When I 7/as a Cowboy in Randolph, II, 32-36; Bob
Sims in Combs (FSMEU), 216-217.
REFERENCES
Brown, IV, 354-355 Henry (FSSH), 329-330
Cox (FSS), 212-214 Randolph, II, 36-37 E
Prisoner's Song VI
When I was a poor boy, I stood upon the square,
And I would pocket money—I knew it wasn't fair;
But then I started gambling and rode the outlaw trail.
That's why they've got me locked up now in the Logan
oounty jail*
On a mornin' early—’twas in the month of May—
I spied a man a-ridin' slow, and not too far away;
He kept right on a-ridin', and rode straight up to me.
He said, "Come on along, my boy, there's a jail that
you must see.”
When we reached the city, he locked me in the jail,
And all my friends went back on me, no one would go
my bail*
I used to wear a big hat and thought the world was
mine ,
But here I am in this damn jail, and the sun has ceased
to shine.

KB
Song Texts
3804
Guess I've been a bad boy—-you’ve heard it all before;
But if I’m ever free again, I won’t do wrong no more.
So listen, you young fellows: Don't ride the outlaw
trail.
For if you do one day you'll be in the Logan county
jail.
******* ***********************
PRISONER'S SONG VII
also known as
Kirkdale Gaol
Kirtle Gaol
Bellevue Gaol
Boston Jail
Bridewell Mail
County Gaol, or Jail
The Town Hall
Wakefield Gaol
This English ballad apparently entered the United
States during the 1860s. Judging by the number of
times it was printed, the song must have gained some
degree of popularity; but it was also a transient
popularity, for it is only rarely encountered in U.
S. tradition.
Broadside versions were issued by Bebbington, Man
chester, No. 132; De Marsan, List 12, No. 12; Hark-
ness, Preston, Nos. 481 & 582; W. S. Fortey; and
Ryle & Co.
In the version below the American "jail” has replaced
the English "gaol,” and Boston has replaced Bellevue,
Kirkdale and Yfakefield.
REFERENCES
Belden (PLSB), No. 109
.Be Marsan (I), 167
Mackenzie, 358, 406
O'Conor, 121
Songster (113)» 58-59
Songster (126), 36-37

MB
Song Texts
3805
Songster (171), 12-13
Songster (194), 32-33
Songster (197), 48-49
Wehman (ISB), No. 3, 71
Prisoner's Song VII
Come, all you young and ramblin’ boys.
And heed the words that I now say:
I’ve known misfortunes great and small,
And I am here to tell it all.
Now once I lived a joyous life,
Devoid of care and free of strife;
I’d go to bed and fall asleep,
No evil spirits around me creep.
But then I robbed a bank in town.
And three policemen ran me down.
They cuffed my hands and kicked my tail,
Then hauled me off to Boston jail!
I walked about the prison yard
A-thinking my case was very hard,
When suddenly I heard a din
And guards yelled out, "You men, fall in!”
Oh, then it was as stiff as starch,
With "Right about! and quick-step march!"
Some moaned and groaned, some broke the lines,
And some were showing their bare behinds.
They fed us soup and cold cornbread,
And then lights out and go to bed,
Upon a bunk as hard as nail—
’Twould kill the devil in Boston jail!
Each Sunday morn it fell our lot
To scrub a cell and clean our pot;
And then about the cell we’d lurch
Till we fell in to go to church.
Oh, then such dresses you might view:

MB
Song Texts
- 3806
One leg yellow, the other blue,
One sleeve yellow, the other gray;
Then came the parson to preach and pray*
"Elijah went up in a cloud,
Old Laz’rus wore a tattered shroud,
And Jonah lived inside a whale— n
A damn sight better than Boston jail!
**********************************

No. 1404
PRISONER’S SONG VIII
also known as
The County Jail
This song was a well-known piece among hoboe3 during
the 1930s. Versions appeared on jailhouse walls and
the walls of service station rest rooms all over the
country. The language was not of an acceptaole kina,
so the text was never printed. In fact, I have seen
a text in only one folk song collection: Gardner (BSSM)
357..
The text below, with a tune, came to me from Hugh Cross
a professional singer-songwriter, Cincinnati, Ohion, in
1937.
Prisoner* s Song VIII
As I stood on a corner, not doing any harm,
Along came a big policeman and took me by the arm.
He took me to the corner and cuffed me to a rail;
Along came a new patrol car and took me off to jail.
The county jail was crowded with pimps and drunks
galore;
I got an old wool blanket and a bed on the floor.

MB
Song Texts
3807
I woke up one morning and looked upon the wall,—
Bedbugs and big cockroaches were up there playing
ball!
The score read nine to twenty, the bedbugs were ahead;
I got so damn excited, boys, I nearly lost my head.
They brought us in some breakfast, the bread was hard
and stale,
The coffee tastes like piss, boys, here in the county
jail!
***********************************

No. 1405
PRISONER'S SONG IX
also known as
Atlanta Jail
Cryderville Jail
The Durant Jail
Durham Jail
Hard, Hard Times
Hard Times
Hard Times in Mount Holly
Jail
It's Hard Times in Lan
caster Jail
Louisville Jail
Po' Boy
This song is obviously a re-write of Hard Times 17 (in
this Master Book). It is known by innumerable titles,
since a singer will usually locate the jail in his own
area. Lomax has a text placing the prison in New Or
leans. He also changes titles from collection to col
lection. In ABPS it's Cryderville Jail and in PSNA it's
Hard Times.
The A and B versions below are representative of the
many versions available, several of which are on the
vulgar side.
The tune is also used for Hard Times 17 in this Master
Book.
REFERENCES

3808
MB
Song Texts
Botkin (API), 887-888
Brown, III» 419-4-20; V,
231-233
Galvin, 192
Halpert (SBPS), 67-68
Lomax (ABFS), 133-143
Lomax (CS-1938), 176-177
Lomax (FSHA), 438-439
Lomax (USA), 316-317
Silverman, II, 349
Prisoner* s Song IX (Version A)
The Louisville jail is 3 ail at all »
The lice in that joint are chewing the wall.
There’s a Dig hull ring in the middle of the floor
And a damned old jailor just outside the door.
Chorus
It »s real hard times in the Louisville jail,
Heal hard times, 0 Lord!
The jailor’s a thief, your clothes he will sell.
Tour pockets he’ll pick,—-god damn him to hell!
Our beds are all made of rotten old rugs,
And when we lay down we’re covered with hugs.
I wrote to my mother to send me a knife,
For the lice and the hedhugs have threatened my life-
And here’s to the lawyer-he’ll come to your cell
And swear he will clear you in spite of all hell!
The lawyer gets money before all the ^.est,
Then tells you, ’’Plead guilty. I think that is best.
In court. Judge Simpkins will read out the law,
And a bigger da m n fool no one ever sawl
How look at our sheriff, a drunken old sot,
And the crooked-est rascal that e’er was begot!
And the food they serve us to the pigs should be fed,-
To hell with the sheriff! I wish he was dead!

I
MB Song Texts 3809
Weil, now I have cone to the end of my song,
And I'll leave it with you when I move along,
I'm happy to get it off of my mind,
And them that don't like it can kiss my "behind!
VERSION B
Stay away from Atlanta, whatever you do:
The city cops are bastards! the sheriff is too!
Chorus
And it's hard times in Atlanta jail!
Yes, it's hard times in Atlanta jail!
Your hands and your feet are chained down to the floor;
Oh! never was I treated so badly before!
When the judge read the verdict, he looked straight
at me
And said, "Young man, in prison is where you should be."
Oh, the food from the kitchen is heavy as lead,
And nothing but the worst of old soup and corn-bread!
If I had ol' judge Carter where he has got me,
I’d pardon him tomorrow and let hin go free!
Oh, the lice in this prison are bigger than flies!
The roaches and bedbugs are mammoth in size!
Cap’n Jack is our jailor, a very nice man,
If you ask him a favor, it’s done—if he can.
With cornin' of Sunday, I’ll have you to know,
We listen to a sermon by some holy ol' Joe!
It’s "repent, you lost sinners! or suffer in hell!"
I wonder where he thinks we, in prison, now dwell?
***************************

KB
Song Texts
3810

No. 1406
THE PROMISED LAND
also known as
I Got a Mother
Martin
1*11 Journey On to the Over in the Promised Land
•Way Over in the Promised Land
We Have Fathers Over Yonder
Promised Land
In the Promised Land
This old campground revivalist hymn has come down to
us in several variatad versions, two of which are in
cluded here.
McCurry, The Social Harp (1855) t dates his version
back to 1854 and ascribes it to himself. See version
B below.
A rewritten version, copyrighted in 1915 by W. J.
Ramsey, was published under the title, 1^ Have a Mother
in the Promised Land .
Brown, III, has an American Indian version called
Cherokee Hymn. Brown, III, 630-631 gives the text of
a song, I Am Going 7/here the Blood Flows Stronger ,
which may very well be related to this song.
For similar songs, see Over Yonders Ocean , or We Have
Fathers Over Yonder in Chase (AFTS), 170 and Dobie
(TBE), 177.
For two different songs that share a title in common
with ours, see Jordan* s Stormy Banks and Safe In the
Promised Land in this Master Book.
Also see and compare the Indian song in Belden (BS),
459 .
REFERENCES
Brown, III, 685-686
Bulletin (TFS), X, 177
Chappie (HS), 473
Coleman, 84
Jackson (SFS), 200
Jackson (WSSU), 262
McCurry, 29
White, 114-115

MB
Song Texts
3811
The Promised Land ( Version A)
I have a father in the Promised' Land,
I have a father in the Promised Land;
My father calls me, I must go
To meet him in the Promised Land,
Chorus
I*m away, I’m away, to the Promised Land!
I’m away, I’m away, to the Promised Land!
My father calls me, I must go
To meet him in the Promised Land,
I have a Saviour in the Premised Land, (2)
My Saviour calls me, I must go, etc ,
I have a crown in the Promised Land, (2)
When Jesus calls me, I must go
To wear it in the Promised Land,
I hope to meet you in the Promised Land, (2)
At Jesus* feet a joyous band!
We’ll praise Him in the Promised Land,
VERSION B
We have fathers in the Promised Land, (2)
I hope one day we’ll all get there,
•Way over in the Promised Land,
Chorus
Away over in the Promised Land, (2)
I hope one day we’ll all get there,
•Way over in the Promised Land,
We have mothers in the Promised land, etc .
We have sisters in the Promised Land, etc,
************************

Song Texts
3812
KB

So, 1407
PROMISES OP FREEDOM
also known as
My Old Marster My Old Mistis
Old Massa My Ole Mistus Promised Me
This is an old "blackface” minstrel song, circa
1850s. The stanzas beginning "my old mistis promise
me” and ”my old massa promise me" are floaters; they
appear in many 19th century songs. Sometimes, as in
the case of version £ below, the stanzas are attached
to the chorus of another song, thus creating a dual
variation. For examples, see the ring-game song from
Georgia in Jour (AFL), XXX, 220 and Picayune Butler
and Pore Mournah in Scarborough (NFS), 164-165, 194.
The three versions below (A-B-C) are all sung to the
same melody.
REFERENCES
Brown, III, 502-503 Talley, 25-26, 408
Scarborough (NFS), 223-224 White, 152
Promises of Freedom ( Version A)
My ol* Mistis promise me,
When she die I would be free;
She lived so long her head got bald—
She had no mind to die at all!
My ol* Mistis said to me,
"Sam, I'm gonna set you free.”
But when her head got slick an' bald,
Tou couldn't kill her with a maul!
That ol' woman never die;
Nose all hooked an' skin all dry!

KB
Song Texts
, 3813
But then one day she’s dead an’ gone,
An' lef’ me here a-slavin' on*
Hassa likewise promise me
When he die he’d set me free;
But then ol* Massa made a will
To keep me here a-slavin* still.
Yes, ol’ Massa promise me,
But his will don’t set me free.
A dose of poisin help’d him 'long.
An* may the devil do him wrong!
VERSION B
My ole massa promised me,
When he died he’d set me free;
But now ole massa's dead a year
An' this ole nigger still right here!
Chorus
Oh, Rufus, git the hoecake, dear!
Oh, Rufus, git the hoecake, dear!
My ole missus promised me,
When she die I would be free;
But she done die las’ Sunday morn
An' I*m still here a-hoein' corn!
All them promises they made me,
Don’t help now, 'cause I ain't free.
I hope they both went straight to hell,
An* pray to God they sizzle well!
VERSION C
Karster Jim he promise me
When he die I would go free.

MB
Song Texts
3814
An* dat's a fact dat ain't no lie,
But dat ole man's too mean to die!
Chorus
Jim crank corn, an* I don't care!
Jim crack corn, an' I don't care!
Oh, Jim crack corn, an' I don’t care!
Work like a dog an' git nowhere!
My white mistis come an' said,
"you'll he free soon as I'm dead."
I don't believe one word she say,
'Cause all she do is loaf all day.
***********************************
No. 1.4(18
THE PROTESTANT GAME
also known as
The Baptist Game Come, All Ye Young People
Come, All Ye Young Men in that's Wending You Way
Your Wicked Way3 Joggle Along
This is an American adaptation of an English game known
as Joggle Along (see Gomme, I, 285-286). It's religious
titles originated in the United States, and probably
because the game was enjoyed by pious protestants who
did not dance. For a different song containing the
first stanza of this one, see Old Maids in Backus, 297.
- REFERENCES
Ames (MPP), 314 Botkin (APPS), 170-171 Newell, 101-102
The Protestant Game

MB
Song Texts
3815
Come, all you young men,
In your evil ways.
And sow your wild oats
In your youthful days.
Tou shall be happy,
Tou shall be happy,
When you grow old.
The night is far spent,
The day’s coming on.
So give us your arm
And we’ll jog along.
You shall be happy,
You shall be happy,
When you grow old.
************************************

Ho. 1409
PUSH BOAT
A river shanty. Men sang this song as they propelled
the boat with long poles. Therefore, it has been set
down as a work song. Such songs do not, generally,
\
have a wide audience.
REFERENCES
Botkin (KEF), 567-568
Glass (SFRF), 43-44
Thomas (BMMK), 35-37
Thomas (SG), 24-25
Push Boat
Going up the river
From Catlettsburg to Pike
Working on a pushboat
For old man Jeggry’s Ike.

Song Texts
3816
MB
Working on a push-boat
For fifty cents a day?
Buy my girl a brand new dress
And throw the rest away.
Pushing mighty hard, boys,
Sandbar’s in the way;
Workin* like a sonuvabitch.
Por mighty scanty pay!
Going down the river,
I live in Buffalo;
Lordy, lordy, gal o' mine,
Don’t I hate to go!
I wish I had a nickel,
I wish I had a dime;
I»d spend it on some pretty girl
And love her mighty fine.
**********************************

No. 1410
PUSH THE BUSINESS ON
also known as
To Push the Business On
This dance-game song came to the United States in
published form from England; it was used in grammer
schools and, afterwards, by children without the aid
of the printed page.
REFERENCES
Bertail, 95
Farnsworth, 96-97
Push the Business On
Gomme, II, 86-89
Hornby, 28

MB
Song Texts
3817
1*11 buy a horse and steal a pig,
And all the world shall have a jig;
And I'll do all that ever I can
To push the business on.
To push the business on.
And I'll do all that ever I can
To push the business on.
I'll hug a girl and steal a kiss,
I'll smack her lips and never miss!
And I'll do all that ever I can
To push the business on, etc.
********** *■#******■*****•*■*■■*■* ********

No. 1411
PUT MY LITTLE SHOES AWAY
This song was written in 1873 by Samuel Mitchell and
Charles E. Pratt; it was still popular through the
1930s. Song has been printed in countless folios and
8ongbooks, usually of the country music performer kind.
REFERENCES
Arnold, 10 Randolph, IV, 178-180
Neely, 257-258 Roberts (IP), 276-277
Spaeth (WSM), 25-26
Put My Little Shoes Away
Now come bathe my forehead, mother,
For I'm growing very weak;
Let one drop of water, mother,
Fall upon my burning cheek.
Tell my loving little schoolmates
That I never mere will play;
Give them all my toys but, mother,
Put my little shoes away.

MB
Song Texts
3818
Santa Claus, he gave them to me,
With a lot of ether things.
And I think he brought an angel
With a pair of golden wings.
Tou will do this, won't you, mother?
Put my little shoes away—
Give them all my toys hut, mother.
Put my little shoes away.
Soon the baby will be larger,
And they will fit his tiny feet;
Oh, won't he look so handsome, mother,
As he walks upon the street?
I am tired now, dear mother.
So remember what I say:
Give them all my toys but, mother.
Put my little shoes away.
**********************************

No. 1412
PUTTING ON THE STYLE
This old popular satire obtained a new lease on life
during the folk craze of the 1950s. It was especially
liked by college students.
Por a similar song, see Y ou've Got to Put On Airs in
Brewster (BSI), 332 or Putting on Airs in Randolph, III
230-231, which is a folk version of Polks That Put On
Airs , by H. Angelo and W. H. Coulson, published in 1863
by Lee & 7/alker, Philadelphia.
REFERENCES
Brewster (BSI), 332-333
Cazden, I, 60-61
Cox (PSS), 514-515
Leisy (SP), 22-23
Pound (SPSN), XXII, No. 19
Randolph, III, 229-230
Seeger (6), 68
Silber (HSB), 68
Silverman, I, 343

Song Texts
3819
KB
Putting on the Style
Young man in a big car, driving like he’s mad;
It*s a brand new auro he borrowed from his dad.
He puffs upon a cigar just to make his girl friend
smile,
But she knows he’s only putting on the style.
Chorus
Putting on the agony, putting on the style,
That’s what all the young folks are doing all the while;
And as I look around me, I'm very apt to smile,
To see so many people putting on the style.
Sweet young girl goes to church just to see the boys:
Laughs and giggles at every little noise.
Then turns this way a little, then turns that way awhile
But everybody knows she's only putting on the style.
Preacher in the pulpit shouts with all his might,
Glory hallelujah! ain't he a fearsome sight!
One would think that Satan's coming up the aisle,
But it's only the preacher putting on the style.
Doctor comes to see you, sits and holds your hand;
Writes out a prescription and says you're really grand.
And all the time he is talking he wears a great big
smile,—
Thinks he'll make more money putting on the style.
Young man home from college makes a big display
With a great big jawbreak that he can hardly say;
It can't be found in Webster's, and won't be for awhile,
But everybody knows he's only putting on the style.
There's a young executive in his charcoal gray.
Talking with some union men who've come to have their
eay;

MB
Song Text 3
3820
Sitting at his office desk, wearing a toothpaste
smile,
But everybody knows he's only putting on the style.
Congressman from Washington looking mighty slick,
Wants to be elected and go back there right quick;
Waves his hands and hollers and waves the flag awhile,
But everybody knows he's only putting on the style.
Young man playing scientist, he seeks the final cause;
He asks, debates sick questions, states philosophic
laws:
On God and man, with man like God, he tries to reconcile,
But everybody knows he's only putting on the style.
*****************************

MB
Song Texts
3821
y 0t MU
J V
QUAND J’ETAIS CHEZ MON FERE
also known as
At the Well, Oh! La Fille Au Cresson
The Girl at the Fountain La Fontaine est Profonde
J*allais Cueillir du Cresson The Water-Cress Girl
_ The ]) ee p
This dance and work song dates back to the 17th century;
it was brought here by French explorers, traders and
settlers. It is more popular in French Canada than in
the United States, but versions were recovered in
Indiana and New Orleans.
For two French-Canadian variations, see La Bibournois
and Vive Napoleon in Gagnon, 74 & 76.
Other versions of the song below can be seen in
Barbeau (FFC), 140-142 and (JSOQ), 178; Gagnon, 70-
73; and Tiersot (SP), 52-58.
Quand J*/tais Chez Mon Pere
Quand j'etais chez mon pere,
Quand j'etais chez mon p^re,
A*
Petite et jeune etions,
Dondaine, don,
Petite et jeune e^tions,
Dondaine,
M*envoi* -t- x a la fontaine (2)
Pour pecher du poisson,
Dondaine, don, etc.
La fontaine est profonde, (2)
j*me suis coulee au fond,
Dondaine, don, etc

Song Texts
3822
- - r r*.
KB
Par ici-t-il y passe (2)
Trois cavaliers barons,
Dondaine, don, etc.
-Que denneriez-vous, belle, (2)
Qui vous tir'rait du fond?
Dondaine, don, etc»
-Tirez, tirez, dit-elle, (2)
Apres 9 a, nous verrons,..
Dondaine, don, etc ,
Quand la bell' fut tiree, ( 2 )
S*en fut v a la maison,
Dondaine, don, etc,
S'assit sur la fenetre, (2)
Compose line chanson,
Dondaine, don, etc,
-Ce n’est pas 9 a, la belle, (2)
Que nous vous demandons,
Dondaine, don, etc,
C’est votre coeur en gage, (2)
Savoir si nous l'aurons,
Dondaine, don, etc,
-Mon petit coeur en gage, (2)
H*est pas pour un baron,
Dondaine, don, etc ,
Ha mVre me le garde, (2)
Pour mon joli mignon,
Dondaine, don, etc,
- ENGLISH VERSION
While living with my father, (2)
And but a little thing,
Rummy turn turn,
0 such a little thing,
Rum turn turn.

MB
Song Texts
' 3823
To fill my little pitcher, (2)
1*11 go down to the spring, etc,
The spring was quite deep there, (2)
I stumbled and fell in, etc .
Now riding down the highway, (2)
There came three titled men, etc .
"What will you give us, maiden, (2)
If we should set you free?", etc,
"First lift me out," she replied, (2)
Then leave the gift to me," etc.
As soon as they had freed her, (2)
Into her house she sprang, etc .
Then looking out the window, (2)
A song to them she sang, etc,
"We want more than songs, maiden, (2)
For we are stalwart men, etc,
"It is your love so fickle (2)
That we desire to win," etc,
"My fickle heart," she answered, (2)
"Will never go to thee," etc,
"It*s guarded by my mother (2)
For one quite dear to me," etc,
******* ****************************

No, 1414
QUANTRELL
Thi3 is a song dealing with a real person's exploits,
but it is not historical in a factual sense. William

MB
Song Texts
3824
Clarke Quantrell, a school teacher who became a Civil
War free-booter, made frontier history when he and his
raiders sacked and burned Lawrence, Kansas, in 1863•
It was with Quantrell that Prank and Jesse James began
their careers of robbery and murder. For information
and songs about Prank and Jesse, see Jesse James Z &
II in this Master Book.
Several songs dealt with Quantrell and his career, some
literary and some folk. And example of a literary song,
see Call of Quantrell in Belden (BS),. 353-354. For a
different folk song, see Charlie Quantrell in Lomax
(CS-1938), 144-146; Ohrlin, 67-68; or Wells, 302-303.
Quantrell was fatally wounded in a fight with Federal
troops in Kentucky in 1865.
Also see Creighton (TSNS),*232 and Lomax (FSNA), 347-348
REFERENCES
Lingenfelter, 314-315
Lomax (ABFS), 132-133
Lomax (CS-1938), 142-143
Botkin (AFL), 113
Finger (FB), 64-65
Koch (2), 22-23
Quantrell
0 listen, bold robbers, a story you'll hear
Of Quantrell the raider whom thousands did fear.
With a band of wild rebels in double-quick time,
He rode into Kansas for pillage and crime.
Chorus
Riding and shouting the wild Rebel yell,
Shooting and looting, they followed Quantrell.
They came to burn Lawrence, to make the town pay
For blows that the Yankees had struck far away.
When the signal was given, they charged into town,
With orders from Quantrell to burn the place down!

MB
Song Texts
3825
The people of Lawrence got ready to fight.
But Quantrell's wild rebels soon filled them with
fright.
When the town-folk surrendered, the pillage began,
And Lawrence fell burning according to plan.
They came to burn Lawrence, to pillage and prey;
Jim Lane he was up at the break of the day,
He saw them a-comin' and trembled in fright,
Then crawled in a corn-crib, to get out of sight.
Oh! Quantrell’s a fighter, a bold-hearted boy,
A brave man or woman he'd never annoy;
He takes from the wealthy and gives to the poor,—
For brave men there's never a bolt to the door.
**************** *****************

No. 1415
QUEEN ELEANOR'S CONFESSION
also known as
The Confession of Queen The Lying Queen
Eleanor Queen Eleanor
This song deals with historical events of the 12th
century, but the song itself dees not date back that
far. The woman named in this song is Eleanor of
Aquitaine, wife of Louis VII, king of France, and,
later, wife of Henry II, king of England. The facts,
except for the pointing out that Eleanor was the queen
and Rosamond Clifford of Woodstock was the king's
mistress, are at considerable variance with the story
told by the song.
Eleanor was born in the south of France in 1122. She
was the daughter and heiress of William Duke of Geienne
and Count of Poitou who, as his last official act,
offered her in marriage to Louis Capet, heir to the

KB
Song Texts
3826
French throne. Eleanor and Louis were married at
Bordeaux, Sunday, July 25, 1137. On March 21, 1152,
King Louis announced a "decree of separation" from
Queen Eleanor and returned to her, in Percy's words,
•those rich provinces, which hy her marriage she had
annexed to the crown of France." About two months
later, ex-Queen Eleanor married 19-year-old Henry
Plantagent, Duke of Normandy, Count of Anjou, Tou-
raine, and Maine. She was at least ten years older
than Henry, who, in 1154, became Henry II, king of
England. As Queen of England, Eleanor bore Henry five
sons and three daughters. Two of her sons became kings
of England.
King Louis of France divorce Eleanor because of her
affairs with other men, but Henry II of England be
came disgusted because of her never-ending jealousy.
It is a matter of record that Henry II had two illegit-
mate children by Rosamond Clifford, but there is no
evidence to support the contention that Rosamond was
poisoned by Eleanor. Folklore is seldom restricted by
historical fact, and it should surprise no one to learn
that there is no evidence to support the charge made
in this song that Eleanor had an affair with the Earl
Marshal. Nor is her death, as described in the song,
related in any way to the historical facts.
Eleanor inspired her sons to rebel against Henry, which
they did; and, in an attempt to escape to them in 1173,
the queen was discovered in her male disguise and was
placed in confinement. Her confinement apparently con
tinued until Henry's death in 1189.
Eleanor died at the age of 83, March 30, 1204, in tho
6th year of the reign of her youngest son, John. Her
.tpmb is between those of Henry II, her husband, and
Richard the Lion-Heart, her son.
For a ballad dealing with the same story, see Fair
Rosamond in Linscott, 193-195.

MB
Song Texts
3827
REFERENCES
Aytoun (1859), I, 196
Barry (BBM), 462-465
Buchan (GSEI), 77
Child, III, 257-264
Collection (0), I, 18
Ebsworth (BB), II, No. 26
Flanders, III, 127-132
Greig & Duncan, No. 208
Greig & Keith, 100-101
Kinloch (ASB), 247
leach (BB), 431-433
Niles (BB), 260-263
Percy (RAEP), II, 164-168
Utterson, 22
Queen Eleanor’s Confession
The Queen is sick, and she will die!
Fa la le la, fa la le lu.
The Queen is sick, and she will die!
Send her two preachers speed-ee-lie!
Fa la le la, fa la le lu.
The King was one, the Earl the other, etc .
My first horn came by another, etc.
My daughter’s were not Henry’s get, etc .
Their beauty leaves me no regret, etc.
I like my second son the least, etc .
He looks exactly like the priest, etc.
I hid the poison in a bag, etc .
To poison those who did me bad, etc .
I poisoned sweet, fair Rosamond, etc .
She bare the king another son, etc .
The king removed his priestly gown, etc .
And gave Earl Marshal many a frown, etc .
The Queen she moaned and death obeyed, etc .
And shrieked and cried she ?/as betrayed, etc .
*************************

MB
Song Texts
3628

No. 1416
QUEEN JANE
also known as
Death of Queen Jane
The Death of Sweet Jane
Jane Was a Neighbor
Sweet Jane’s Death
This ballad tells the legendary tale of the birth of
Prince Edward and the death of Jane Seymour, in 1537.
Actually, the birth of Henry YIII's son was quite
natural, but the queen died 12 days later. There are
many versions extant, some with the royal characters
replaced, but the ballad was never very popular in
the United States.
A Scottish version in the Macmath MS., 68, is entirely
different from the version given below.
REFERENCES
Barry (BBM), 466
Bell (APBS), 113
Bulletin (FSSN), II, 7-8
Child, III, 372-376
Coffin, 115-116
Davis (TBV), 419-420
Evans, III, 92
Flanders (CSV), 12-13
Friedman, 285-286
Greig & Keith, 106-107
Herd MSS, I, 103
Hudson (SC), 6
Jamieson, I, 182
Jour (FSS), II, 221; III,
67; V, 256
Kinloch (ASB), 116
Leach (BB), 478-480
Niles (BB), 271-275
Scarborough (SC), 254, 422
Sharp, I, 230-232
Sharp (100), 68-69
Silverman, I, 223
Wells, 47
Williams (EFS), 31
Queen Jane
Queen Jane suffered labor for five days or more,
And the women all grew weary, and the mid-wife gave o'er
Her husband was sent for with horse-back and speed,
For to be with Sweet Jane in her hour of neeed.

MB
Song Texts
3829
He came to her bedside, he held her small hand,
And he spoke softly to her, and heard her demand:
"0 Henry, dear Henry, please listen to me—
I'm going to die, but save our baby."
"0 no, my sweet darling, that will never be;
I would rather lose the baby and keep you with me."
0 first she made a moan, and then a crying sound;
Then they did operate, and the baby was found.
The baby was christened that very same day,
While in the grip of death its sweet mother lay.
Five men went before her, and five more walked behind;
King Henry he wept, but could not ease his mind.
0 he wept and he mourned, and his hair he tore,
For the flower of his heart was gone forevermore.
He stood by the river where once she did stand,
And mourned for sweet Jane, fairest in the land.
**********************************

No. 1417
QUESTION AND ANSWER SONG
also known as
That's Why the Darkie Was
Born
Why Was the Darkie
Born?
Southern rural song that has been used in modern times
by the Freedom Movement , 1950s-1960s. For a version
by James Bevel and Bernice Reagon, written for Freedom
Movement . see Carawan, 58-61.
See and compare the Song About Snowball in Arnold, 102.
Question and Answer Song

MB
Song Texts
3830
Tell me, why was the darkle born?
Tell me, why was the darkie born?
Somebody had to pick the cotton.
Somebody had to 3huck the corn.
Somebody had to work for nothing,
And that’s why the darkie was born!
That's why the darkie was born!
Tell me, why was the darkie born? (2)
Somebody had to cry at midnight.
Somebody had to weep and mourn.
Somebody had to build a great nation,
And that’s why the darkie was bora!
That’s why the darkie was born!
Tell me, why was the darkie born? (2)
Somebody had to beat the drums,
Somebody had to blow the horn,
Somebody had to sing the blues.
And that’s why the darkie was born!
That’s why the darkie was born!
Tell me, why was the darkie born? (2)
Somebody had to go to jail.
Somebody had to walk a picket line,
Somebody had to fight for freedom,
And that’s why the darkie was born!
That’s why the darkie was born!
***** ***■#*■* *•■*******-***■**■***•****
No. 14-18
THE QUILTING PARTY
also known as
Aunt Dinah’s Quilting Party
Seeing Nellie Home
When I Saw Sweet
Nellie Home

MS
Song Texts
3831
A literary song that has managed to survive in oral
circulation. It was published in 1858 and words and
music are ascribed to F. Kyle and J. Fletcher. Parts
of the melody appear in several later songs, includ
ing the first few bars of Yes . We Have No Bananas.
REFERENCES
Best, 108
Brown, III, 343-344
Chamberlain, 80
Chappie (HS), 403
Levy (GN), 101
Lewis, 66
Lloyd, 48
Luther, 260
Mackenzie (SH), 56-57
Most (PCS), 17
Oberndorfer, 122
Silverman, I, 86
Songs (15), 9
Staton, 131
Waite, 88
Wier (SWWS), 171
The Quilting Party
In the sky the bright stars glittered,
On *the bank the pale moon shone,
And from Aunt Dinah's quilting party
I was seeing Nellie home.
Chorus
I was seeing Nellie home,
And from Aunt Dinah's quilting party
I was seeing Nellie home.
On my arm a soft hand rested,
Rested light as ocean foam;
And from Aunt Dinah's quilting party
I was seeing Nellie home.
On my lips a whisper trembled,
Trembled till it dared to come;
And from Aunt Dinah's quilting party
I was seeing Nellie home.

MB
Song Texts
3832
On my life new hopes were dawning,
And those hopes have lived and grown;
And from Aunt Dinah's quilting party
I was seeing Nellie home.
*******«*****-*•*•**•******■******
No. 14-19
QUIT YOUR MEANNESS
This is a "temperance" song, with words and music by
Charles M. Fillmore; it is No. 13 in Prohibition Songs ,
edited by Charles M. and J. H. Fillmore, Cincinnati and
New York, 1903.
Quit Your Meanness
I used to drink my toddy whenever I saw fit,
But when I got religion I tho't I’d better quit.
Chorus
I quit, I quit, I very quickly quit;
And when you get religion, all meanness
you will quit.
I used to vote for license, and argue, too, for it;
But when I got religion, I tho't I’d better quit.
The friends of prohibition, I used to taunt and twit;
But when I got religion, I tho't I'd better quit.
The good old style religion, will cleanse the vilest
heart,
You*re sure to quit your meanness, when once you get
that sort.
*************** ******************** **

MB
Song Texts -R-
3833

Ho. 1420
RAILROAD BILL
also known as
I’m Looking for Railroad
Bill
It*a Lookin’ for Railroad
Bill
It* s That Bad Railorad Bill
Southern Negro song. According to Burt, Railroad Bill
was a black man by the name of Morris Slater, who was
an outlaw from 1894 to March 7, 1897, when he was sur
rounded and killed. He was shot to death at Atmore,
Alabama, by sheriff E. S. McMillan.
REFERENCES
Botkin (SFL), 240-241
Burt, 200-202
Edwards (CKSB), 222
Laws (NAB), 239
Leisy, 271-272
Lomax (ABFS), 118-120
Lomax (FSNA), 568-569
Odum(NHS), 198-202
Robinson (YF), 54-55
Sandburg (AS), 384-385
Scarborough (NFS), 251-253
Shay (PF-1), 92-94
Shay (PF-3), 48-50
Silber (HSB), 105
Silverman, II, 342
Work (ANSS), 240
Railroad Bill
Railroad Bill, Railroad Bill,
He never worked, and he never will,
That bad Railroad Bill!
Railroad Bill, looked so neat,
Shot all the lights out on Main street;
That bad Railroad Bill!
Old John Bull rode the train,
He came to town in the failin’ rain,
Came lookin’ for Railroad Bill!

KB
Song Texts
3834
Polks done said, "Better turn back!
Yonder's ol' Bill, cornin' down the track,
That bad Railroad Bill!"
Railroad Bill, mean ol f son,
He shot John Bull with a big six-gun!
That bad Railroad Bill!
Ten police, dressed in blue,
Came down the street two by two,
Lookin' for Railroad Bill.
Railroad Bill said 'fore he died,
"Gonna grab me a train and ridej"
Ride on, Railraod Bill!
Shot him dead 'gainst the wall!
01* corn whiskey done caused it all.
Goodbye, Railroad Bill.
*******************************

No. 1421
THE RAILROAD CORRAL
A cowboy song that deals with driving cattle and the
end of the trail. The railroad corral was the last
8top on a cattle drive, the point at which the cattle
were shipped to waiting stockyards.
The melody is an adaptation of The Irish Washerwoman
(see in this faster Book ).
According to Fife, the words were written by Joseph
Mills Hanson and first published in Frank Leslie's
Popular Monthly, Oct. , 1904 , p. 681,
REFERENCES
Agay (1), 5
Clark (CS), 5
Downes (1940), 232-233
Downes (1943), 274-275

MB Song Texts
Fife, 208-209
Frey, 92-93
Hanson, 52-53
Leisy (LAS), 60-61
Lingenfelter, 376-377
Lomax (SC-1919), 318-319
The Railroad Corral
' 3835
Lomax (CS-1938), 42-44
Lomax (FSNA), 367
Sackett, 24-25
Sires, 22-23
Thorp (1921), 132-134
White (GALD), 38-39
We’re up in the mornin’ at dawning of day,
The chuck wagon's busy with flapjacks in play;
While the herd is a-stir over hillside and vale,
With the night-riders rounding them into the trail.
Come, take up your cinches, and shake out your reins;
Come, wake up your old bronco and break for the plains.
Come, roust out your steers from the long chapparal,
For the outfit is off to the railroad corral.
The sun circles upward, the steers, as they plod,
Are pounding to powder the hot prairie sod;
It seems, as the dust makes you dizzy and sick,
That we'll never reach noon, and the cool shady crick.
So tie up your kerchief and ply up your nag,
And dry up your grumbles, and try not to lag;
Come with your steers from the long chapparal—
We're far on the road to the railroad corral.
The longest of days must reach evening at last,
When hills are all climbed and the cricks are all passed,
And the tired herd droops in the yellowing light—
Let them loaf, if they will, for the railroad's in sight!
So flap up your holster and snap up your belt.
Come, strap up the saddle whose lap you have felt;
Goodbye to the steers and the long chapparal!
There's a town waiting there by the railroad corral!
************** *************

ME
Song Texts
5836
Nck 1422
RAISE A RUCKUS TONIGHT
also known as
Come Along, Little Children Get On Board, Little
Come On, Chillun, Won’t You Children
Come Along? Raise a Rucus, or Rukus
Tonight
This began as a minstrel-show song, and was one of the
most popular pieces in the South, There are many ver
sions, black as well as white; and lines shcw-up in
other songs. For example, see Fair Mona in Brown, III,
559 A. For a game version, see Talley, 90-91. Also
see and compare The Gospel Train in this Master Book.
REFERENCES
Brown, III, 558-560; V,
Lomax (USA), 90-91
323
Odum (NWS), 173-175
Leisy, 272-274
Okun, 66-67
Lomax (ABFS), 253-254
Silber (HSB), 89
Lomax (PB), 65
Silverman, I, 4-05
•
White, 180, 245, 409
Raise a Ruckus Tonight
T
Put them taters in that oven,
Raise a ruckus tonight!
Lordy, how I dearly love ’em,
Raise a ruckus tonight!
Put them black-eyes in that pot,
Raise a ruckus tonight!
Add some ham, and cook it hot,
Raise a ruckus tonight!
Chorus

MB
Song Texts
3837
Come along, little children, come along,
While the moon is shining bright;
Come along, little children, come along,
We’re gonna raise a ruckus tonight!
Banjo’s hangin’ upon the wall, etc .
Ain’t been tuned since way last fall, etc.
Train is cornin' down the track, etc.
Git on board and never come back, etc,
Chorus
Git aboard, little children, git aboard,
While the moon is shining bright;
Git aboard, little children, git aboard,
We’re gonna raise a ruckus tonight!
This ol* train ain’t slowin’ down, etc.
Hear dem wheels all turnin’ round, etc.
Called my honey, paid my fare, etc .
Pretty soon I'm gonna be there, etc .
***************************
Ho. MU
THE RAKES OP MALLOW
This old Irish—English tune has been used for several
songs anc two well-known dances. The melody is in
Burk Thpmoth's Twelve English and Twelve Irish Airs ,
London, circa 1745—1750 and Johnson's Two Hundred
Country Dances, VI, London, 1751, The same tune is
used in America and England for two dances: Morning
Star and The 7< ave s of Troy . It is sometimes printed
under the two dance titles and as The Rakes of London.
It is also known in England as Rakes of Marlow amd
Rakes of Mall

MB
Song Texts
3838
The "Rakes," said Moffat, "were the young gentlemen
of the last century who frequented the 'waters’ of
Mallow."
For a revivalist hymn using the tune, see Morning
Star in McCurry, 138.
REFERENCES
Burchenal (FDOH), 13 linscott, 98-99
Joyce (AIM), 262 Moffat (MI), 21
The Rakes of Mallow
Beauing, belleing, dancing, drinking.
Breaking windows, swearing, sinking,
Ever raking, never thinking
live the Rakes of Mallow.
Spending faster than it comes,
Beating waiters, bailiffs, duns,
Bacchus’ true begotten sons,
Live the Rakes of Mallow.
********************************
«

No. 1424
RANZO RAY *
also known as
The Bully Boat
The Chanty-man’s Song
Huckleberry Hunting
Oh, What Did You Give for
Your Fine Leg of Mutton?
Rando Ray
Sing Hilo, Me Ranzo Ray
We’ll Ranzo Ray, _or Way
The Wild Goose Nation, or
Shanty
According to Colcord, the best known version of this
shanty may be the result of two distinct songs coming
together. It may also be that both songs derived from
a minstrel song by Dan Emmett, D£ Wild Goose Nation .
REFERENCES

MB
Song Texts
3839
Bullen & Arnold, 18
Colcord, 23, 69
Davis (SSC), 50-51
Doerflinger, 32-33
Harper’s (7/1882), 285
Hugill (1), 247-251
Jour (FSS), V, 39
Smith (MW), 21
Terry, I, 26-27
Terry (SS), 45
Whall (SSS), 98
Mackenzie, 266, 401
Robinson, 41
Sharp (EFC-2), 17
Ranso Ray
Did you ever see a wild goose floating on the ocean?
To me way, aye, aye, away, o aye!
Oh, it’s just like the young girls when they take a
notion!
To me way aye, aye, Ranzo Ray!
Oh, the boys and girls went out huckleberry hunting,
To me way, etc.
Oh, the boys and girls went out huckleberry hunting,
To me way, etc.
Oh, a little girl ran off and the boy ran after, etc.
Oh, the girl ran away, but the boy he ran faster, etc.
"I'll be your beau,” he said, ”if you’ll let me be
your feller,” etc.
But the little girl said, ”No! My sweetheart's Johnny
Heller,” etc.
Oh, were you ever o'er yonder in the Wild Goose
Nation? etc.
With the boys and the girls on a big plantation?, etc.
****************************

MB
Song Texts
3640
No. 1425;
RARE WILLIE DROWNED IN YARROW
also known as
The Braes of Yarrow Willie’s Rare
The Water of Gamrie Yarrow
This ballad is frequently confused with The Lonely
Glens of Yarrow (see in this Master Book), but it i3
a distinct and separate song. The original story of
this ballad is apparently lost; it is now a matter
of speculation, and never quite clear. For additional
information, see headnotes to The Lonely Glens of
Yarrow.
REFERENCES
Buchan (ABS), I, 245
Child, IV, 178
Christie, I, 66
Cromek (1810), II, 196
Eddy, 69-70
Gibbs MS., 370
Herd, I, 197
Houseman, 134
Johnson (SMM), No. 525
Kinsley, 593
Leach (BB), 570-572
Ord, 454
Quarterly (NYF-1952), 243
Quiller-Couch, 416
Ramsay (TTM), 242
Ritson (SS), I, 154
Sedley, 196-197
Thomson (OC), II, 34-39
Rare Willie Drowned in Yarrow
My Willie's rare, my Willie’s fair,
And Willie'3 wondrous bonny;
And Y/illie said he'd marry me,
If ever he married any.
0 marry Jane3, or marry George,
Or marry bonny Billy;
I won't object to either cne,
If you will forsake my Willie.

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Song Texts
3841
0 what care I for James or George,
Or even bonny Billy?
Not one of them was meant for me,
And I won't forsake my Willie.
For Willie's rare, and Willie's fair,
And Willie's wondrous bonny;
There's none with him that can compare,
And I love him more than any.
She heard her brother John, who said:
0 Peg, I speak in sorrow;
The stream was strong, so very strong,
Young Willie's drowned in Yarrow.
She put her hand up to her head,
And ribbons tore with sorrow;
She loosed them all and let them fall,
And straightway ran to Yarrow.
She searched it up, she searched it down,
Till she was wet and weary;
And in the middle part of it,
She finally found her deary.
She kissed his lips so deathly pale,
And tears fell down in sorrow:
"Let both our mothers sorry be,
When they find us here in Yarrow."
************************************

No. 1426
A REAL TOUGH HOMBRE
also known as
The Boozer The Desperado
The two songs given below as version A and version B

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Song Texts
3842
are, in reality, many songs, all made-up of various
■bragging” statements common to 19th century frontiers
men, There are dozens of such combinations in circu
lation, but only a few come with music.
Version A is one of the few with a singable air, and
it was put together by someone who knew what they were
doing, For a similar text without a tune, see Lomax
(CS-1919), 304 or (CS-1938), 137-138,
Version B is from Kansas Cowboy , Dodge City, July 12,
1884. The text was reprinted as A Texas Idol in Fife,
102-107 B.
Early variations on the theme appear in Thorp (SC), 9*
and in From College to Cowboy by Melville D. Landon,
293-296 which is part of Eli Perkins' Thirty Years of
Wit , and Reminiscences of Witty , 77ise and Eloquent
Men , Cassell Publishing Company, New York, 1891.
later versions may be seen in Best, 123; Botkin (AFL),
65-66; and Mody Boatright's Folk Laughter on the Ameri
can Frontier, 38-39.
A Real Tough Hombre ( Version A)
I*m a howler from the prairies of the West,
And I'm faster than chain-lightning when I’m pressed;
I'm a hater and a killer—everyone's afraid of me:
I'm a terror from the mountains to the sea!
He's a killer and a hater,
He's the great annihilater,
He's a terror from the mountains to the sea!
I'm a double-jawed hyena way out 7/est,
A high-f lyin' eagle, wilder than the rest;
I'm a devastatin' blizzard, and among my other traits
I can snatch a man bald-headed while he waits!
He's a double-jawed hyena,

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And there's no one living meaner—
He can snatch a man bald-headed while
he waits.
I'm an old rip-snorter and I'm trouble-bent!
I'm a celebrated one, two-fisted gent!
I've been known to slap a grizzly, and to kick a
mountain cat—
I'm a real tough hombre, you can bet on that!
He's a genuine rip-snorter,
He's a rough and tough cavorter—
He's a real tough hombre, take his word
for that!
VERSION B
I'm a buzzard from the Brazos on a tare,
Hear me toot!
I'm a lifter of the flowing locks of hair,
Hear me toot!
I'm a racker from the Rockies,
And throughout the town the talk is
"He's a pirate from the Pampas, on a shoot!"
Sometimes I strike an unprotected town,
Paint it red!
Choke the sheriff, turn the marshal upside down,
On his head!
Call for drinks for all the party,
And if chinned by any party, pay in lead!
I'm a coyote of the sunset, Pirate dude,
Hear me zip!
In the company of gentlemen I'm rude,
With my lip!
Down in front remove that chigger—
I am fly, I am fighter, I am flip!

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Song Texts
3844
No, ME!
THE RED LIGHT SALOON
Whoever wrote this bawdy old song created a classic,
even though it belongs to that bulk of folk material
classified as "dirty songs." Like one or two others
of the type, this one has been frequently "cleaned up"
for print. The song is far more popular than its few
' appearances in print would indicate. The tune is a
variation of Sweet Betsy From Pike (see in this Master
Book ).
REFERENCES
Beck (LLC), 136-139 Holbrook, 134
Doerflinger, 249-250 Silverman, II, 173
The Red Light Saloon
It was early one morning I strolled into town,
For sweet recreation, my friends, I was bound.
I spied a hotel in the mid-afternoon,
And a mighty big sign said: The Red Light Saloon,
I boldly walked in and strolled up to the bar.
A pretty young damsel said, "Have a cigar."
I took that cigar with all thanks for the boon,
But she said, "That's our way in the Red Light Saloon.
Well, she mussed up my hair and sat down on my knee,
Saying, "You are a lumberjack, that we can see;
You are a lumberjack, that we all know,
For your muscle is hard from your head to your toe."
She proceeded to feel if my muscle was right,
And I smoke that cigar without striking a light;
My head it was rising just like a balloon
From the treatment I got at the Red Light Saloon.

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Song Texts
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Early next morning I told her goodbye;
She waved from the foor with a tear in her eye.
And I did not discover till sometime in June
That I had a keepsake from the Red Light Saloon.
I cussed that young woman till the forest turned blue,
And with whiskey and women I swore I was through;
But I knew as I swore that I’d give a gold spoon
Just to be back once more in the Red Light Saloon.
***************************

No. 1428
THE RED RIVER VALLEY
also known as
The Bright Mohawk Valley Laurel Valley
The Bright Sherman Valley Sherman Valley
The Red River Valley is one of America's better known
and most performed folk songs, but it did not begin
with that title. This song made its debut in 1896
as The Bright Mohawk Valley , and with an almost identi
cal text. As it traveled across the country, the in
habitants of various localities adapted the song as
their own, changing the title to match the area 0 In
the West, finally, cowboys gave the song a title that
superseded all the others: The Red River Valley.
The tune was borrowed for several well-known songs,
including the following:
Hobo Song III in this Master Book ;
Little Darling in Fife, 158 B;
The Lost River Desert in Fife, 159 C.
Tune was also used by Gene Autry and Jimmy Long, foi ohe
country standard, That Silver Haired Daddy of Mins.,
The Red River Valiev appears in hundreds of folios,
song books, and folk collections.
REFERENCES

KB
Song Texts
3e46
Agay (2), 182
Allen (CL), 12
Arnett, 124
Best, 39
Bulletin (TPS), III, 93'
Cambiaire, 82-83
Carmer (SRA), 177-178
Davis (PSV), 96
Downes (1940), 276-277
Downes (1943), 324-325
Durlacher, 70
Fife, 157-158
Hubbard, 124
Ives (SA), 218-220
Leisy, 276-278
Leisy (LAS), 42
Leisy (SPS), 69
Lomax (CS-1938), 298-299
Lomax (USA), 220-221
Luther, 197-198
Mackenzie (SH), 49-50
Memoirs (APLS), XXIX, 74-75
Moore (BPSS), 372-373
Owens (TPS), 98-99
Patterson (SRR), 46-48
Randolph, IV, 204
Sandburg (AS), 130-131
Scott (BA), 81
Silverman, I, 31
Stout, 74-75
The Red River Valley
Prom this valley they say you are going,
I shall miss your sweet face and bright smile;
You will carry away all the sunshine
That has brightened my life for awhile.
Come and sit by my side ’fore you leave me,
Do not hasten to bid me adieu,
• But remember the Red River Valley
And the one who has loved you so true.
I have waited a long time, my darling,
For the words that you never did say;
Row I know that I never will hear them,
For they tell me you’re going away.
Won't you think of the valley you're leaving?
0 how lonely and sad it will be!
Remember the fond heart you're breaking.
And the grief you are bringing to me.

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Song Texts
3847
I have promised you, darling, that never
Would words from my lips cause you pain;
My life will be yours forever,
If you only will love me again.
As you go to your home o'er the ocean,
May you never forget the sweet hours
You have spent in the Red River Valley,
And the love that might have been ours.
There never could be such a longing
In the heart of a poor cowboy's breast
As dwells in this heart you are breaking,
While I live all alone in the West.
When you think of the Red River Valley,
0 remember I loved you so true,
And you'll know, 0 my darling, forever,
There is someone still thinking of you.
**********************************

No. 1429
RED SEA
also known as
Oh, De Red Sea
The "Red Sea" theme appears to have been a favorite
one in earlier times, and it sometimes shows up in
a song merely as a repetitive expression. For examples,
see Brown, III, 649, 666, and White & King, 350-354.
For other versions of the song below, see Luther, 249
and Wheeler (SD), 70-71.
Red Sea
When Moses was leadin' the Israelites, Red Sea,
Pharaoh tried to catch them jus' for spite, Red Sea.

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Song Texts
3848
01' Pharaoh led his army down, Bed Sea,
But when he got there they was drowned, Red Sea.
Chorus
*
Oh, Pharaoh he got drown-ded, drown-ded, drown-ded,
Oh, Pharaoh he got drown-ded in the Red Sea*
I never shall forget no more, Red Sea,
When Jesus preached among the poor, Red Sea.
I never shall forget the day, Red Sea,
That Jesus washed my sins away, Red Sea.
************** ******************

No. 1430
RED WING
This is one of those professional songs that was a
hit and then became a folk song. According to Pife, 142,
"Everyone in the West, in the '20's seemed to know
the tear-jerking bit of doggeral about Red Wing..."
In the South, where I was raised, one could say the same
Red Wing
There once was an Indian maid,
A shy little prairie maid,
She sang away a love song gay,
As out on the prairie she whiled away the day.
She loved a warrior bold,
This shy little maid of old;
Brave and gay he rode one day
To a battle far away.
Chorus
Now the moon shines tonight on pretty Red Wing,
The breezes sighning, the night birds crying,

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Song Texts
3849
So far beneath the stars her brave is sleeping,
While Red Wing's weeping her heart away.
She watched for him night and day,
And kept all the campfires bright;
Each night she would lie in under the sky
And dream of his coming bye and bye.
When all the braves returned,
The heart of Red Wing yearned;
Par, far away her warrior gay
Pell bravely in the fray.
****************************************

No. 1431
THE REGULAR ARMY, OH!
This song, like Captain Jinks (elsewhere in this Master
Book) , did not originate in the army; it was one of the
Harrigan and Hart songs, introduced by that comedy team
shortly after the Civil War. It was published under a
copyright in 1874.
REFERENCES
Botkin (WPL), 748-749 Lingenfelter, 279-281
Dean, 67 Loesser, 167-169
Dolph, 6-9 Lomax (FSNA), 340-341
The Regular Army , Oh!
Three years ago this very day I went to Governor's Isle
To stand ferninst the cannon in true military style;
Thirteen American dollars each month we surely get
To carry a gun and bayonet with a military step.
Chorus
There's Sergeant John McCafferty and Corporal Donahue,
They make us march up to the crack in gallant Company Q.

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Song Texts
3850
The drums they roll, upon my soul, for that’s the
way we go—
Forty miles a day on beans and hay, in the Regular
Army, Oh!
We had our choice of going to the army or to jail,
Or it's up the Hudson River with a copper take a sail;
So we puckered up our courage and with bravery we did go,
And we cursed the day we marched away with the Regular
Army, Oh!
There’s corns upon me feet, me bey, and bunions on
me toes,
And lugging a gun in the red-hot sun puts freckles
on me nose.
And if you want a furlough to the captain you do go,
And he says, "Go to bed and wait till you're dead in
the Regular Army, Oh!"
We went to Arizona for to fight the Indians there;
We were nearly caught bald-headed but they didn't get
our hair;
We lay among the ditches in the dirty yellow mud,
And we never saw an onion, a turnip, or a spud.
We were captured by the Indians and brought ferninst
the chafe,
Says he, "We'll have an Irish stew," the dirty Indian
thafe•
On the telegraphic wire we skipped to Mexico,
And blessed the day we marched away from the Regular
Army, Oh!
******************************

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Song Texts
3851
No. 3-432
REIGN, MASTER JESUS
also known as
Oh, Reign, Marse Jesus, Oh Reign Reign, Oh, Reign
This spiritual was originally a hymn-set "gospel”
song. It was sung by white people at camp meetings
and in chruches and by black people in cabins and
open-field places of worship.
The version below is one featured by the original
Fisk Jubilee Singers.
For a parody, see Talley, 122.
REFERENCES
Dett, 49 Pike, 209, or 250
Jubilee (PS), 36-37 White, 101
Marsh (SJS), 253-254 Work (FSAN), 72
Reign, Master Jesus
I tell you now as I told you before,
Reign, Master Jesus, reign!
To the Promised Land I’m bound to go,
Reign, Master Jesus, reign!
Chorus
0 reign, 0 reign, 0 reign, my Saviour!
Reign, Master Jesus, reig!
0 reign! Salvation in my poor soul.
Reign, Master Jesus, reign!
I'll tell you how I sought the Lord, etc♦
Pray’d a little by day, and all night long, etc.
I never shall forget that day, etc .
When Jesus washed my sins away, etc.
*
I never felt such love before, etc .
I'll go in peace and sin no more, etc .
**•*-##***■*****■•*■•*■* **■*■*

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Song Texts
' * 3852
' No^ 1433
REILLY’S OWN
This is an Irish tune thax is popular in America as
a fiddle piece for squahe dancingo There are no known
words and very little factual information to report.
See under TUNES in Master Book,
*******************************

No. 1434
REMEMBER THE ALAMO! I
The words of this song were written by T. A. Durriage;
he set the words to an ancient Socttish tune, Hey .
Tuttie . Taitie . which was also used by Robert Burns
for Bruce’s Address, The tune was used again for
yet another Scottish song, The Land O' The Leal .
This song deals with the Americans living in Texas who
occupied the Alamo in defiance of Mexican authority and
law.
By the end of 1835 at least 20,000 Americans had settled
in Texas, and most of them had become Mexican citizens.
All of them were subject to the government of Mexico,
which, under the dictatorship of General Santa Anna, had
repudiated all liberal reforms where the Texans were
concerned. Hostilities began on June 30, 1835, when
Texans, led by William Travis, marched against and
captured the Mexican fort at Anahuac. On Fed. 12, 1836,
Santa Anna crossed the Rio Grande with an army of 4,000
men. Eleven days later the advance guard of that army
came in sight of San Antonio, where Texans had taken
over and then occupied the Alamo.
REFERENCES
Lolph, 370-371 Luther, 93-94 Silber (SGAW), 47-48

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Song Texts
3e53
Remember the Alamo! , I
When on the wind-spread battle plain,
The horseman's hand can scarce restrain
His pampered steed that spurns the rein,
Remember the Alamo!
When sounds the thrilling bugle blast,
And "charge" from rank to rank is past,
Then as your sabre strikes full fast,
Remember the Alamo!
Heed not the Spanish battle yell,
Let every stroke we give them tell;
And let them fall as Crockett fell,
Remember the Alamo!
For every wound and every thrust,
On prisoners dealt by hands accurst,
A Mexican shall bite the dust,
Remember the Alamo!
The cannons' peal shall ring their knell,
Each volly sound a passing bell,
Each cheer, Columbia's vengeance tell,
Remember the Alamo!
For if, disdaining flight, they stand,
And try the issue hand to hand,
Woe to each Mexican brigand!
Remember the Alamo!
Then boot and saddle! draw the sword!
Unfurl your banner bright and broad,
And as ye smite the murdeous horde,
Remember the Alamo!
***********************

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Song Texts
3854

No, 1435
REMEMBER THE ALAMO II
This song is not related to the preceding one, except
by subject matter and title.
Text and tune are from Dickson Hall’s private Frontier
Song collection.
Remember the Alamo II
Santy Ana and his army
Went to San Antonio,
Where a band of fighting Texans
Occupied the Alamo,
Yes, a band of fighting Texans
-Occupied the Alamo.
Captain Travis and his Texans
Let ol* Santy Ana know,
They would fight and not surrender
An inch of the Alamo.
Yes, they'd fight and not surrender
An inch of the Alamo.
Santy Ana gave no quarter,
And the Fort was leveled low,
And one hundred eighty-four Texans
Met death at the Alamo.
Yes, one hundred eighty-four Texans
Met death at the Alamo.
Texas soon avenged its heroes,
And Sam Huston crushed the foe—
Hear the battle cry of freedom:
Remember the Alamo!
Yes, the battle cry of freedom:
Remember the Alamo!
**** *********-*******.*

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Song Texts
3855

No. 1436
REMON, REMON
A Creole song from Louisiana. For other versions,
Allen (SSUS), 110, or 167; Downes, 300, or 352;
Krehbiel, 124; and Lomax (ABFS), 215.
Remon , Re'mon
/ / /
Mo parle Remon, Remon,
li pari/ Simon, Simon,
li parle Titine, Titine,
li tombe* dans chagrin.
0 femme Romulus, Ohe^!
Belle femme Romulus, 0!
0 femme Romulus, 0!
Belle femme, qui 9 a voulez mo fe,
ENGLISH VERSIO N
I spoke to Remon,
He spoke to Simon,
He spoke to Titine,
Who was stricken with grief.
0 woman Romulus,
Beautiful woman Romulus,
You have done to me
What you wished.
********************************

No. 1437
THE RESTLESS GHOST
also known as
see
The Farmer's Daughter
The Holland Handkerchief

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Song Texts
3856
A Lady Near New York Town
Lucy Bound
Lucy Pair
The Richest Girl in Our Town
The Sad Courtin’
The Suffolk Miracle
The story told by this ballad is well-known in most
European countries. Many stanzas were dropped and
ignored in North America, but the story remain more or
less the same.
American versions appear to be derivatives of 17th
century broadsides, of which there were dozens in cir
culation. According to Cecil Sharp, in Jour (PSS), V,
7 -11, the best known melody used for this ballad is a
variation on the old carol, Christmas Now Is Drawing
Near At Hand.
Several corrupt versions are known to exist, and many
different songs with similar titles, such as The Farmer* s
Daughter , are also in circulation (see Brown, II, 438).
A few collectors have associated this ballad with The
Broken Hearted Lover , an entirely different ballad with
a somewhat similar theme.
See Broken Hearted Lover in this Master 3ook and compare
Cold Falling Drops of Dew in Peacock, II, 412-413*
REFERENCES
Ashton (CB), 110-114
Barry (BBM), 314
Brown, II, 180-181; IV,
102-103
Bulletin (FSSN), V, 7-10
Bulletin (VFS), VII, 6
Campbell & Sharp, 130-133
Child, V, 58-67
Coffin, 143-144
Cox (FSS), 152-153
Creighton (TSNS), 88-90
Davis (TBV), 482-484* 594
Flanders, IV, 50-62
Flanders (BMNE), 145-147
Flanders (NGMS), 86-89
Gainer, 84-85
Jour (FSS), V, 7-11
Leach (BB), 645-649
Moore (BFSS), 117-119
Morris, 315-316
Niles (BB), 300-301
Peacock, II, 407-408
Quarterly (SFL), VIII, 162
Quiller-Couch, 860-864
Randolph, I, 179-180
Sharp, I, 261-266
Wells, 217-219

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Song Texts
3857
T'ke Restless Ghost
There was a man lived in this town,
A man of very high renown;
He had a young daughter, a beauty fair and bright,
And in her ways he took delight.
Boys came to court her from far and near,
But none of them did she call dear,
Until the day she met a farmer's handsome son,—
She knew at once he'd be the one.
As soon as her father came to know.
He struck her heart a fatal blow;
He said, I will send you traveling far from home,
And he'll forget you when you're gone.
But the young man mourn'd, he wept, he sighed,
And with a broken heart he died.
When he'd been dead much longer than a year,
She'd think of him and shed a tear.
One night when she had dressed for sleep,
And night shadows had come to creep,
She heard a knock, and then a deadly sound:
"Come loose the bonds that we have bound!
"With your mother's cloak, your father's steed,
I've come for you with utmost speed,"
She dressed herself in rich attire
And rode away with her heart's desire.
The journey home was started then,
And they rode faster than the wind;
And every mile the journey takes,
He said, 0 love, my head it aches.

MB Song Texts ; 3358
A Holland handkerchief she then found
And tied his head with it around;
, She kissed his lips and then did say:
My love, you're colder than the clay.
When they came to. her father's gate,
He said, Come down, and do not wait.
Come down, my darling, and go to bed;
I'll stable the horse and see him fed.
Now when she came to her father's hall,
Who's there? Who's there? her father called.
It is I, dear father* Did you send for me
By such a messenger? -Naming he.
Knowing this young man to be dead,
It made the hair rise on his head;
He wrung his hands and walked the floor,
And his daughter cried as never before.
The next day to his grave they went,
And dug his coffin with fair intent;
Though longer than a year he had been dead,
A handkerchief was around hi 3 head.
The father moaned and was heard to say:
In love let your children have their way;
In love let children have their way,
Or else their love might them decay.
*****************************

No. 1438
RETOUR DU MARIN
also known as
Quand le Marin Revient de The Return of the Sailor
Guerre The Sailor's Return
* %
This excellent and beautifully plaintive French folk
son, which was known and sung in ancient France, has

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Song Texts
3S59
sailed the oceans as a favorite shanty for a great
number of years. Its theme was borrowed by Tennyson
for Enoch Arden and, if Colcord is correct, led to
another famous folk song, Snapoo (see in Master Book).
The sailor version given below is merely an adaptation
of the French land song, Retour du Soldat, which follows
it. For that reason on one stanza is given.
For other versions, see Colcord, 112 and Shekerjian, 73-
75.
Retour du Marin
Madame, je reviens de guerre,
tout doux,
Madame, je reviens de guerre,
tout doux,
Qu'on m'apporte ici du vin blanc,
Que le marin boive en passant,
tout doux.
*****************************************

No. 1439
RETOUR DU SOLDAT
also known as
Le Retour du Mari Soldat Song of the Warrior's
Le Retour du Voyageur Return
The Soldier's Return The Traveller's Return
This is the original of the preceding song and has
come down to us in dozens of derivative versions.
According to Tiersot, since the song's "birth place
somewhere in northern France, it wandered through many
provinces down to our time...." It has also oeen re
covered in Switzerland, Italy, Canada and French area
settlements in the United States.

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Song Texts
3860
See Bulletin 75, Anthropological Series No. 16,
National Museum of Canada, and Tiersot (SP), 74-75.
Re tour du Soldat
Quand le soldat arrive en ville,
Quand le soldat arrive en ville,
Bien mal chausse, bien mal vetu:
-Pauvre soldat, d’ou reviens-tu?
S*en fut loger a une auberge: (2)
-Hotesse, avez-vous du vin blanc?
-Voyageur, a*vous de 1*argent?
-Pour de 1'argent, je n*en ai guere; (2)
J*engagerai mon vieux chapeau,
Ma ceinture, aussi mon manteau.
Quand le voyageur fut a table, (2)
II se mit a boire, a chanter,
L*h&tess' ne fit plus que pleurer.
-Oh! qu*avez-vous, petite hotesse? (2)
Regrettez-vous, votre vin blanc
Qu* un voyageur boit sans argent?
-N*est pas mon vin que je regrette; (2)
C'est la chanson que vous chantez:
Mon de^unt mari la savait.
-J'ai un mari dans les voyages; (2)
Voila sept ans qu’il est parti.
Je crois bien que vous etes lui.
-Ah! taisez-vous, mechante femme. (2)
Je vous ai laisse y deux engants,
En voila quarre ici presents!

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Song Texts
3861
-J’ai tant recu de fausses lettres, (2)
Que vous etiez mort, enterre.
Et moi, je me suis r’marie.
-Dedans Paris,,y a grand guerre, (2)
Grand guerre rempli' de tourments.
Adieu, ma femme et mes enfants!
ENGLISH VERSION
Home from the war the soldier has come, (2)
With clothes all torn and shoes outworn.
"Tell me, soldier, where are you from?"
Into the Inn he made his way: (2)
"0 hostess, a tankard of your wine!"
"Soldier, have you a silver coin?"
"I cannot pay with silver coin, (2)
But hold this coat and hat of mine,
To pay you for your tasty wine."
Then at the table he sat him down, (2)
He drank his wine and sang a song,
And the hostess wept loud and long.
"What worries you? Why do you weep? (2)
Is it this wine that you regret,
Or is it that I’m in your debt?"
"It's not the glass of wine that you drank, (2)
It’s the song you sang," she said.
"My husband sang it, who now is dead."
"My husband went to fight in the war, (2)
And he’s been absent for many a year;
To him a likeness you do bear."

MB
Song Texts
3862
"Oh, dry your tears, you wicked woman: (2)
When I went away, my children were two,
But now I see four here with you."
"Oh, many false* reports I received, (2)
And each one said you had been slain.
I cried, then I did wed again."
"They*re back at war down there in Paris, (2)
A war that naught but blood can quell:
My wife and children, fare you well!"
***********************-*********

No. 1440
REUBEN AND RACHEL
also known as
Reuben, Reuben, I’ve Been Thinking
The words and music of this 19th century "source" song
were written and composed by Harry Birch and William
Gooch. The melody has been borrowed, altered, and used
in a variety of ways by dozens of later songwriters.
For example, see Song of the Rookie I in this Master
Book.
REFERENCES
Armitage, I, 23
Ford (OTFM), 27
Ford (TEA), 50
Levy, 109
Loesser, 254-255
Luther, 256
Oberndorfer, 84-85
Reuben end Rachel
Reuben, Reuben, I’ve been thinking
What a strange world this would be
If the men were all transported
Far beyond the Northern sea.

MB
Song Texts
3863
0! my goodness, gracious, Rachel,
What a queer world this would be
If the men were all transported
Par beyond the Northern sea.
%
Reuben, Reuben, I’ve been thinking,
What a fine life girls would lead.
If they had no men about them,
None to tease them, none to heed.
Rachel, Rachel, I've been thinking:
Men would have a merry time
If at once they were transported
Par beyond the salty brine.
Reuben, Reuben, stop your teasing,
If you’ve any love for me;
You know I was only fooling,
Which I thought of course you’d see.
Rachel, if you won’t transport us,
I will take you for my wife;
We will live on milk and honey
Wv’ry pay-day of my lifel
******* ************** **************

No. 1441
REUBEN RENZO
also known as
Poor Old Reuben Ranza Renzo
Ranzo Reuben Ranzo
Ranso, Boys, Ranzo Roving Reuben Ranzo
An old halyard shanty with a long and seemingly never
ending popularity. Reuben Ranzo, or Renzo, may have
been a real person. According to some people his name

MB
Song Texts
3864
was probably Daniel Rantzau, a Danish national hero
of the 16th century. Others dispute this claim. Smith
(BOS), 46, says of the Rantzau claim, "To begin with,
the worthy in question was not called Reuben; further,
he was not a tailor: nor does there appear to be any
historical evidence in- support of the statement that
he ever received lashes five-and-thirty to teach him
the value of cleanliness." It has also been claimed
that he was an Italian, a Jew, and a Russian. Maybe
he was invented by some writer. Maybe he grew out of
"Rube", the American term for "greenhorn." Or maybe, as
Doerflinger speculated, "The name ‘Ranzo’ was probably
suggested by ’Portugees’ who shipped in American
whalers..." Maybe. And it could be that Renzo is
nothing more than a derivative of Lorenzo. For dis
cussion of the matter, see J. Gray Jewell’s Among Our
Sailors , New York, 1874, p. 188, and Captain Charles
Henry Robbins’ The Gam , New Bedford, 1899» 140«
Also see and compare: Baltzer, I, 88; Robinson, 40;
and Terry, II, 44.
REFERENCES
Adams, 313
Bone (CS), 54-56
Botkin (NEF), 870-871
Briggs, 92, 95
Bullen & Arnold, 25
Colcord, 24-25, 70-71
Davis (SSC), 38-39
Doerflinger, 23-25
Farnsworth, 104
Finger (F3), 143-144
Finger (SCCS), 11
Gilbert (100), 102-103
Grainger, No. 163
Harlow, 89-91
Harper’s (7/1882), 284
Hugill (1), 240-244
Hugill (2), 174-176
Jour (FSS), V, 18, 38-41
Leisy, 278-279
Linscott, 144-146
Mackenzie, 265
Masefield (SG), 312, 355
Oberndorfer, 67
Patterson (SA), 229
Robinson, 68, 71
Sampson, 38
Sharp (EFC-2), 37
Shay (ASSC), 50-53
Shay *(IMWS), 100
Smith (BOS), 46-47

MB
Song Texts
T 3865
Smith (MV?), 19-21, 32-33
Terry, I xv, 46-47
Trident, 104-105
Whall (SS), 449
Whall (SSS), 60
Williams (SC), 78
Reuben Renzo
Roving Reuben Renzo,
Renzo, boys, Renzo!
Roving Reuben Renzo,
Renzo, boys, Renzo!
Renzo was no sailor, etc .
Renzo was a tailor, etc«
His skipper was a dandy, etc»
And was too fond of brandy, etc .
He called Renzo a lubber, etc .
And made him eat whale blubber, etc .
They set him holy-stoning, etc .
But couldn't stand his groaning, etc .
They gave him 'lashes twenty , 1 etc .
Nineteen more than plenty, etc.
Reuben Renzo fainted, etc .
His back with oil was painted, etc.
They gave him cake and whiskey, etc .
Which made him kinda frisky, etc .
They made him the best sailor, etc .
Sailing on that whaler, etc .
Renzo was a tailor, etc.
Now he is a sailor, etc.
And now he's Captain Renzo, etc.
Hurrah for Captain Renzo!, etc♦
*****************

MB
Song Texts
3866

No. 1442
REVOLUTIONARY TEA
also known as
The Old Lady Over the Sea The Rich Lady Over the Sea
This song obviously grew out of the colonial Stamp Act
and the subsequent Boston Tea Party, but whether it was
written then or at a later date I do not know.
According to Lloyd, "It was sung throughout the Colonie
with great pride and gusto."
A version is in Emerson*s The Golden Wreath , a singing-
school manual published in 1857, which means that the
song had to have been written prior to that date.
The "old lady" in the text is England and her "servants
refers to the nearly bankrupt East India Company.
REFERENCES
Arnett, 8
Cox (TBFS), 188
Cox (TBWV), 66-69
Lloyd, 18-19
Morris, 19-20
Scott (BA), 59-61
Silber (SI), 55-56
Silverman, II, 302
Whitman, 2
Revolutionary Tea
There was an old lady lived over the sea,
And she was an Island queen;
Her daughter lived off in a new country,
With an ocean of water between.
The old lady's pocket's were filled with gold,
Yet never contented was she;
So she ordered her daughter to pay her a tax
Of thruppence a pound on the tea.
"0 mother, dear mother," the daughter replied,
"I'll not do the thing that you ask*;

MB
Song Texts
3867
I'm willing to pay a fair price on the tea,
But never the thruppeny tax."
"You shall!" cried the mother, and reddened
with rage,«.
"For you're my daughter, you see;
And it's only proper that daughter should pay
Her mother a tax on the tea."
She ordered her servant to be called up,
To wrap up a package of tea;
And eager for threepence a pound, she put in
Enough for a large family.
She ordered her servant to bring home the tax,
Declaring her child must obey,
Or, old as she was, and woman most grown,
She'd half whip her life away.
The tea was conveyed to her daughter's own door,
All down by the oceanside;
But the bouncing girl poured out every pound
On the dark and boiling tide.
And then she called out to the Island queen,
"0 mother, dear mother," called she,
"Your tea you may have when 'tis steeped enough,
But never a tax from me."
*****************************

No. 1443
REYNARD THE FOX
also known as
Bold Ranger (s)
Bold Reynard
Come All Ye Jolly Sportsmen
Come All You Jolly Hunteres
The Fox Chase
The Foxes
The Fox Hunt
The Ranger
The Three Huntsmen
Tom Redman

MB
Song Texts
3868
American versions of this old English-Irish hunting song
are t generally, changed around somehat, For example, the
name "Reynard” is changed to "Ranger,"
One of the oldest printed texts, if not the oldest, is in
an early tallad hook in the British Museum: The Woods '
Chorister . That version was reprinted with two additional
stanzas hy Baring-Gould.
An American version may he seen in Eleanor Risley's The
Road to Wild Cat , 1930, p. 250.
REFERENCES
Baring-Gould (BNSR), 7-9
Baring-Gould (EFSS), 86
Baring-Gould (SW), No. 75
Barrett, 16
Brown, II, 462-463
Burne, 556
Chappell (FSRA), 174-175
Cox (FSS), 476-477
Eddy, 202-204
Flanders (NGMS), 196-197
Halliwell (NRNT), 64
Jour (AFL), III, 242;
XXVII, 71-72
Jour (FSS), IV, 296
Joyce (AIM), 50
Karpeles (EFS), II, No. 268
Moffat (MI), 238-239
Moore (BFSS), 244-246
Morris, 415
Owens (TFS), 135-136
Pub (TFLS), VI, 225
Randolph, I, 325-327
Scarborough (SC), 7, 10 &
385
Sharp, II, 303
Williams (FSUT), 67-68
Reynard the Fox
Now once there was a farmer,
Who went out to hunt the fox;
He swore he saw old Reynard
Far across yonder rocks.
Chorus
Run a-roodle hoo, and thro’ the woods
We'll run, my hoys,
And thro' the woods we'll run!

MB
Song Texts
3869
Now first he saw a maiden,
She was combin' out her locks;
She said she saw old Reynard
Among the hil]*s and rocks.
Now next he saw a teamster
Who was cornin' with his team;
He said he saw old Reynard
Wading in yonder stream.
And then he saw a black man,
Who was black as he could be;
He said he saw old Reynard
Climb up a tall pine tree.
And then he saw a shepherd
Attending to his small flock;
He said he saw old Reynard
Crawl in behind a rock.
And then he saw a hunter,
Who was cornin' with his gun;
He said he saw old Reynard
And shot him as he run.
****** **********-*******************

No. 1444
RICH GAL, POOR GAL
also known as
De Black Gal
The Rich Girl Wears the
Ten Dollar Shoes
Rich Man Rides On a Pull
man Car
She Gets There Just the
Same
White Gal, Yaller Gal,
Black Gal
This song was really popular on the "country music”
circuit during the 1930s and 1940s. Occasionally it

MB
Song Texts
3870
is partially incorporated into other songs. One is
more apt to find versions in commercial music folios
than in recognized folk collections, hut this detract
in no way from its traditional status.
REFERENCES
Jour (API), XLIV, 433
lomax (ABPS), 246-247
White, 316-321
Bales, 104
Best, 42
Brown, III, 544; V, 315
Rich Gal , Poor Gal
Rich gal she wears the best perfume,
Poor gal she’d like to do the same;
My gal she don’t wear a single thing,
But I love her just the same.
Chorus
I’m a-goin' cross the sea, Molly darling,
I'm a-goin’ cross the ocean, Molly lee,
And if I never see you again,
Sweetheart, remember me.
Rich gal she lives in a big white house,
Poor gal she lives in a frame;
My gal she lives in the county jail,
But it’s a brick house just the same.
Rich gal she rides in a great big car,
Poor gal she’d like to do the same;
My gal ain’t got nothin’ but her feet.
But she gets there just the same.
******************* ****■*•*•*■»*

MB
Song Texts
3871

No. 1445
RICKETT * S HORNPIPE
Instrumental tune that j.s used as a square dance piece
by old-time fiddlers and string bands.
For other vers, see: Ford (OTFM), 33 & (TMA), 50;
Thede, 118; and Thomas (DB), 156.
No words available. See melody under TUNES in MB.
******** *********** ****•**.**■*•*•*
No^ 1446
RIDDLE SONG I
also known as
As the Dew Flies Over the
Mulberry Tree
The Devil and His Questions
The Devil and the Nine
Questions
The Devil’s Nine Questions
The Devil’s Questions
Jennifer, Gentle, and Rose
marie
Lay the Bank With the Bonny
Broom
The Maid’s Answer to the
Knight’s Three Questions
A Noble Riddle Wisely
Expounded
Riddles Wisely Expounded
A Riddle Wittily Expounded
The Riddling Night
Sing All Around the County
There Was a Lady, or Man
Lived in the West
The Three Sisters
The Unco Knicht’s Vowing
Weaver’s Bonnie
This British ballad dates back to the 15th century. The
earliest known text describes a battle of wits between
a young woman and the Devil. In later versions the
Devil became secularized: he becomes a knight or a rich
amorous gentleman. In the United States the supernatural
elements disappeared entirely.

MB
Song Texts
3672
The earliest known recorded version (estimated to be
"in a hand of about 1450") is in the Rawlinson MS. D.,
328, or 566, fol. 193, Bodleian Library, England. The
text has been reprinted in America by Child, Leach, and
others.
Translations of this ballad appear in the folk literature
of many nations, including Russia.
REFERENCES
Baring-Gould (GCS), 42-43
Gainer, 3
Barry (BBM), 429-430
Gilbert (SACC), 65
Botkin (SFL), 717-718
Ives (SB), 40-41
Brown, IV, 331-333
Jamieson, II, 155-158
Broadwood (ECS), 6-7
Jones, 300
Bulletin (FSSN), X, 8-10;
Jour (AFL), XII, 129
XII, 8-9
Langstaff (1), 85-87
Bulletin (VFS), X, 5
Leach (BB), 47-51
Chase (AFTS), 110-111
Lomax (FSNA), 180
Child, I, 1-6
Mason, 31
Coffin, 29-30
Moore (BFSS), 5-6
Davis (MTBV), 3-7
Niles (BB), 1-19
Davis (TBV), 59-60, 549
Pepys, III, 19, No. 17
Dean-Smith, 84
Quiller-Couch, 46-47
D'Urfey (1719), IV, 129
Robert (IP), 1-3
Euing, No. 253
Sanders, 94-97
Flanders, I, 45-50
Silverman, I, 191
Friedman, 3-7
: rr=:, ,-.-r.-z-i ■ ....rs
Riddle Song _!
Unless you answer me true and well,
Sing all around the county,
You'll go with me for to live in hell,
And you shall be my bounty.
0 what is higher than the trees? etc .
And what is deeper than the seas?
Or be my earthly bounty!

Song Texts
3873
MB
0 what is whiter than pure milk?, etc
And what is softer than pure silk?
Or be my earthly bounty!
0 what is longer than the way?, etc .
And what is colder than the clay?
Or be my earthly bounty„
0 what is greener than the grass?, etc
What is worse than a jealous lass?
Or be my earthly bounty.
REPLY
0 heaven's higher than the trees!
Sing all around the county!
And hell is deeper than the seas!
And I won't be your bounty!
Pure snow is whiter than pure milk! etc.
Pure love is softer than pure silk! etc,
The wind is longer than the way! etc .
And death is colder than the clay! etc.
0 poison's greener than the grass! etc .
The Devil is worse than any lass! etc.
***************************

No. 1447
RIDDLE SONG II
also known as
Bold Robbington
Captain Walker's Courtship
Captain Washburn's Court
ship
Captain Y/edaerburn's Court
ship
A Gentle Lady
The Laird of Roslin's
Daughter
Lie Next to Wall
Mr. Woodburn's Courtship
An Old Man's Courtship
Perry Merry Dictum Domini
The Six Questions
A Strange Proposal

MB
Song Texts
3874
In this form of the riddle ballad we have a song
that is related to the story of the suitor who must
answer riddles to obtain the favors of the woman he
loves. The situation was a popular one during the
Middle Ages. Even then the riddles used were quite
old. The situation and the riddles came together some
time around the middle of the 16th century. Prom
their fusion came many versions of the same riddle-
situation story in ballad form.
This song is one of many, but it is distinctly differ
ent from the others. Actually, the tune to which it is
sung tends to vary more often than the text. Bronson
gives 26 tunes in his book, a situation that should
convince everyone of the variability principle in the
folk music process.
REFERENCES
Barry (BBM), 93-99, 481-
482
Bronson, I, 362-375
Brown, II, 48-49; IV,
25-26
Cazden, II, 20-21
Child, I, 414-425; V,
414
Coffin, 59-60
Creighton (MFS), 6
Creighton (SBNS), 6-8
Creighton (TSNS), 21-25
Bean-Smith, 100
Eddy, 25
Flanders, I, 299-315
Flanders (BMNE), 43-46
Friedman, 137-140
Gardner (BSSM), 139-142
Greig & Keith, 33-36
Herd, I, 161
Hudson (SC), 5
Jamieson, II, 154-165
Jour (AFL), XXIII, 377;
XXIV, 335, 355-356;
XXIX, 157; XXX, 243
Jour (EFDSS), VII, 243
Karpeles, 39-41
Korson (PSL), 35-36
Leach, No. 3
Leach (BB), 158-162
Linscott, 27
Mackenzie, 14-15, 391
Mackenzie (QB), 108-110
Moore (BFSS), 35-38
Muir, 37-39, 41-42
Scarborough (SC), 230-231

MB
Song Texts
3875
Sedley, 37-38
Sidgwick, II, 162-169
Silverman, I, 98
Whitelaw, 70-72
Whiting (TBB), 1-4
Riddle Song II
The Lord of Rosslyn’s daughter
Went walking down the shady lane,
And there she met with Captain Wedderburn,
A servant of the king.
He said unto his liv'ryman
"Were it not again the law
I’d have that maid in bed with me,
To lie her next to wall."
"I walk along this lane," she says,
"Among my father's trees,
And you should let me walk my lane
And mind your business, please.
The supper bell will soon be rung,
And I must heed its call;
So 1*11 not lie in your bed,
At neither stock nor wall."
He said to her, "My pretty one,
I pray lend me your hand,
And you’ll have wealth and happiness
Always at your command.
And you shall have a dozen maids
To heed your beck and call,
And. we shall share but one bed,
And you’ll lie next to wall."
Then he lept off his milk-white steed
And sat the maiden on,
And all the way he walked on foot,
Although the way was long.

Song Texts
3876
He held her by the middle jimp,
For fear that she should fall,—
"I'll take you to my bed," said he,
"And you'll lie next to wall."
"0 stay away from me, kind sire;
I pray you let me be.
1*11 never lie upon your bed,
Till I get dishes three.
The dishes must be set for me.
And I must eat them all
Before I lie in your bed
At either stock or wall.
"Now I must have for my supper
A chicken with no bone;
And I must have a cherry, too,
And one without a stone.
And for my supper I must have
A bird without a gall,
And then I'll lie in your bed
At either stock or wall."
"Now when the chicken's in the shell,
I'm sure it has no bone;
And when the cherry is in bloom,
I'm sure it has no stone.
The dove she is a gentle bird,
And she does flee without gall,—
So we shall share but one bed,
And you'll lie next to wall."
0 little did this maiden think,
That morning she would gaze
Upon the last and final hour
Of all her maiden days.

MB
Song Texts
3877
There’s none more happy in the land,
As is well known by all,—
For now she’s Missus Wedderburn,
And she lies next to wall!
***********************************

No. 1448
RIDDLE SONG III
also known as
The Brothers
The Four Brothers
Gifts From Over the
Sea
I Had Four Brothers Over the
Sea
Perrie Merrie Dixi Domini
Perry Merry Dictum Domini
This version of the riddle story is derived from the
preceding ballad, Riddle Song II . I don’t know how
old this song is, but the ’’perrie merrie dixi domini"
line is thought to be a remnant of Latin that mixed
into English stanzas as a result of the Roman invasion
and conquest of Britain.
The earliest printed version in the United States that
I have seen is the one in The Franklin Square Song Col
lection, p. 66, published in 1881.
REFERENCES
Barry (BBM), 99
Coffin, 54
Eddy, 25
Gardner (BSSM), 453-454
Halliwell (PRNT), 150
Jour (AFL), XXIX, 157
Linscott, 267-269
KcCaskey, I, 66
Moore (BFSS), 243-244
Niles (MSHF), 12-13
Oberndorfer, 85
Pound (SFSN), XXVII, No. 12
Randolph, I, 432-433
Reeves, 169
Roberts (IP), 28-29
Scarborough (SC), 230
Sharp, II, 190-191

MB Song Texts 3878 -
Riddle Song III
I had four brothers over the sea*
Perri, merrie, dixi, Domini,
They each sent a present unto me,
Petrum, partrum, paradisi, tempore,
Perri, merrie, dixi, Domini.
The first sent a chicken without any bone, etc .
The second sent a cherry without any stone, etc.
The third sent a blanket without any thread, etc .
The fourth sent a book that couldn't be read, etc .
When the chicken's in the eggshell, there is
no bone, etc.
When the cherry's in the blossom, there is
no stone, etc .
When the wool's on the sheep, there is no thread, etc .
When the book's in the press, it can't be read, etc.
******************************

No. 1449
RIDDLE SONG IY
also known as
Captain Walker's Courtship I'll Give My Love an Apple
I Gave My Love a Cherry I Will Give My Love a Cher
I'll Give My Love a Cherry ry, or an Apple
This is by far the more popular of the riddle songs, at
least in the United States. It had been a staple item in
the repertoires of so-called "country” singers since the
early days of radio. Its relationship to the preceding
three riddle songs is obvious and undeniable.
Two well-known popular songwriters, Jerry Livingston and

Mb
Song Texts
3879
Paul Francis Webster, borrowed the tune in 1956 for
the commercially successful, The Twelfth of Never,
REFERENCES
Agay (1), 19
Kincaid No. 1, 15
Arnett, 41
leisy, 279-281
Baring-Gould (BNSR), 78
Leisy (LAS), 116
Barry (BBM), 99
Leisy (SPS), 61
Best, 44
Lomax (FSNA), 27
Brown, II, 48-49; IV,
McCaskey, I, 66
26-27
Okun, 45-46
Cazden (MD), 20
Reeves (EC), 161
Chase (AFTS), 156-157
Roberts (IP), 27-28
Creighton (SBNS), 21
Scott (BA), 9-10
Creighton (TSNS), 163
Scott (SA), 55
Emrich (CBF), 2
Seeger (6), 72
Friedman, 140
Sharp, II, 190-191
Gainer, 29
Sharp (AEFS), 44-47
Halliwell (NRNT), 79
Shay (PF-2), 126-127
Henry (FSSH), 140-142
Shay (PF-3), 194
Ives (SB), 38-39
Silverman, I, 141
Jour (AFL), XXIX, 157-158
Warner, 105
Jour (FSS), III, 114
Wells, 175
Riddle Song IV
I gave my love a cherry that had no stone,
I gave my love a chicken that had no bone,
I gave my love a ring that had no end,
I gave my love a baby with no cryin'.
How can there be a cherry without a stone?
How can there be a chicken without a bone?
How can there be a ring without an end?
How can there be a baby with no cryin 1 ?

MB
Song Texts
3880
A cherry when it's Blooming will have no stone,
A chicken when it's hatching will have no bone,
A ring when it’s rolling will have no end,
A baby when it’s sleeping does no cryin’!
********************* **** ******* **********

No. 1450
RIGBY JOHNSON CHANDLER
also known as
An Old Man Went Out to
Plough
Old Man Hitched Up His
Hogs to Plow
This is an American re-arrangement of two or three old
Irish-English songs, put together with a dash of origin
ality. Lines in this song have been lifted from The
Devil and the Farmer* s Wife (see in MB) .
Por a version almost identical to the one given here,
see Fife, 26-27.
Rigby Johnson Chandler
Old Farmer Brown went out to plow,
Rigby Johnson Chandler;
Old Farmer Brown went out to plow,
And he hitched up a hog with a brindle cow,
Rigby Johnson Chandler—wait a minute now!
Chorus
There’s dew upon the flowers
And there’s frost upon the ground;
There’s thunder in the mountains,
And it’s raining all around.
I had a hen that learned to fly, etc .
And she laid her eggs up in the sky, etc.

MB
Song Texts
3881
I took my woman down to town, etc .
And she left me alone for a circus clown, etc .
Two old maids sittin* in the sand, etc .
Bach of ’em wished the other was a man, etc.
Old man died on the railroad track, etc .
And they carried him home in a gunny sack, etc.
I wish I had a dollar bill, etc .
But the way things are goin', I never will, etc .
********************************

No. 1451
THE RIGHTS OP WOMAN
This song appeared in the Philadelphia Minerva, Oct. 17,
1795, where it was ascribed to ”A Lady' , —which is all
the information we have concerning its author. The tune
is, of course, God Save the King , or, as it is known in
America, God Save America.
For a more recent and lighter song on the same subject,
see I’ll Be No Submissive Wife in this Master Book.
Another text is in Lawrence, 130.
The Rights of Woman Time: God Save America , or the
King.
God save each female's right,
Show to her ravish’d sight
Woman is free.
Let Freedom’s voice prevail,
And draw aside the vail,
Supreme Effulgence hail,
Sweet Liberty,

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Man boasts the noble cause,
Nor yields supine to laws
Tyrants ordain.
Let woman have a share,
Nor yield to slavish fear,
Her equal rights declare,
And well maintain.
0 let the sacred fire
Of Freedom's voice inspire
A Female too—
Man makes the cause his own,
And Fame his acts renown,
Woman thy fears disown,
Assert thy due.
Think of the cruel chain,
Endure no more the pain
Of slavery.
Why should a tyrant bind
A cultivated mind
By reason well refin'd
Ordained Free.
Why should a woman lie
In base obscurity,
Her talents hid?
Has providence assign'd
Her soul to be confin'd?
Is not her gentle mind
By virtue led?
Let snarling cynjcs frown.
Their maxims I disown,
Their ways detest,—
By man, your tyrant Lord,
Females no more be aw'd.
Let Freedom's sacred word
Inspire your breast.
************************

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No. 1452
RING AROUND THE ROSIE
also known as
All Pall Down ' Ring Around o' Rosies
Ring a Ring o* Roses Ring Around the Roses
Ring Around A-Rosy Squat Down, Josey
This is a game song known by children everywhere in the
English-speaking world. "Rosie” is an abbreviation or
corruption of "Rose-Tree," which is from the French
Rosier. The game which gave birth to the song originated
in Europe,
REFERENCES
Bertail, 139
Brown, I, 150-151; V,
536
Burne, 511, 571
Forbush, 88
Ford (TMA), 254-255
Gardner (FSH), 232
Gomme, II, 108-111
Hornby, 87
Jour (AFL), XXVI, 139;
XXXI, 57; XXXIII,
119; XXXIV, 38; XL,
25; LIX, 461; LX, 32
Linscott, 49-50
Newell, 127-128
Northall, 360
Opie, 364-365
Quarterly (SFL), VI,
205
Warner, 19
Whitney & Bullock, 144
Wier (YAM), I, 134
Ring Around the Rosie
Ring around the rosie,
A pocket full of posies,
One, two, three, four.
All fall down!
OR:
Ring around a rosy, a pot full of posies;
Three times around, then squat!
******** **** **-•***-**•*•** *****-*

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No. 1453
RINORDINE
also known as
The Mountains High
The Mountains of Pomeroy
Randall Rhine
Randordine, or Ranordine
Renaldine
Reynard Dine, or Reynardine
Reynard on the Mountain High
Rinor, or Rynerdine
This is an Irish song; an old Irish song*. Several
theories regarding its origin have been offered by
various folklorists, but thus far the mystery remains.
"Reynardine” is the name of a fairy in Ireland that
changes into the form of a fox, and it has been sug
gested that Rinordine derived therefrom (see Eddy, 193).
According to Belden, ”In its main outline...this piece
seems to belong with the ballads of wayside seduction
that have come down from the the old French pastourelle
tradition...” Nevertheless, Belden recognized that
certain expressions in the song indicated a super
natural lover.
J. S. Crone, in Notes and Queries , Series 10, IX, 12,
thought the story represented a love affair between a
Whig (an English planter's daughter) and a Tory (an
Irish outlaw) in the early 17th century.
The theme, as well as li es, of this ballad are found
in other songs, namely: Burnwell in Christie, II, 77
and Williams (FSUT), 158-159, ana The Shannon Side in
Ord, 200-202.
Since the song was brought to America by Irish immi
grants it has gone through many reshapings. One such
reshaping may be seen in The Mountains of Pomeroy in
Graves’ The Irish Song Book , New York, 1895, 104-105.
Another is Ranordine , a broadside issued at Boston
by Nathaniel Coverly, Jr., about 1813. For a copy of
this broadside, see Ford (BB), No. 3318, or The Isaiah
Thomas Collection, I, 218.

Song Texts
3885
MB
We know that the ballad was known in Kentucky prior
to 1832, because Washington Irving mentions it in
his MS notes (see Leisy and Williams in Southwest
Review , XIX , 449-454).,
Broadsides of the ballad were also issued by Catnach,
Pitts, Such, and others.
REFERENCES
Amer (13)» 47-49
Belden (BS), 286-288
Chappell (FSRA), 84-85
Combs (FSMEU), 165-166
Combs (FSUS), 143-144
Creighton (MFS), 112-113
Eddy, 192-193
Flanders (NGMS), 64-66
Gardner (BSSM), 96-97
Greig & Duncan, No. 333
Howe (100), 266
Hughes, I, 4-6
Jackson (ESUS), 189
Jour (FSS), I, 271-272
Joyce (AIM), 21
Laws, P 15
Mackenzie, 102-103
Petrie, 642-644
Quarterly (SFL), 7, 171-172
Randolph, I, 379-380
Sedley, 88-89
Songster (8) & (9), 191-193
Songster (61) & (126), 199-
200
Thomas (DD), 108-109
s
Rinordine
One evening in my rambles,
Two miles below Pomroy,
I met a farmer's daughter
Who filled my heart with joy.
I said, My comely fair maid,
Your beauty shines so clear;
And on this lonesome mountain side,
I'm.glad to meet you here.
She said, Young man, be civil.
My company forsake,
For it's my best opinion
You are nothing but a rake.

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If my dear parents knew it,
My life they would destroy
For keeping of your company
Or any other boy.
*
I am no rake but Caesar,
Brought up in Venus town;
I*m seeking of concealment
And do not dare go down.
Your beauty is clear to me,
.A.
I cannot pass you by;
So with my gun I’ll guard you
All on this mountain high.
This charming little fair maid,
She stood there quite amazed,
With eyes as bright as diamonds
As on me she did gaze.
Her cherry cheeks and ruby lips
Revealed no sign of dye,
Soon she fell into my arms
All on the mountain high.
I kissed her once, I kissed her twice,
And then kissed her again;
She smiled and said, Come tell me.
For I should know your name.
Go down to yonder forest,
My castle there you’ll find;
I will be in the castle-*—
Just ask for Rinordine.
Come, all you pretty fair maids,
A warning take by me:
Don't ever go night walking,
And shun bad company.

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For if you don’t, you’ll rue it
Until the day you die;
Beware of meeting Rinordine
All on the mountain high!
****************************

No. 1454
THE ROBBER
also known as
On Gilgary Mountain
Patrick Fleming
Peter Fleming
The Sporting Hero
There's whiskey in the Jar
Whiskey in the Bar
Whiskey in the Jar
Captain Kelly
Captain Neville
Gilgary Mountain
The Irish Robber
Kilgary Mountain
Lovel, the Robber
McCollister
This is an Americanized version of an old Irish street
ballad. Y/e know that the song dates back to at least
Feb. 19, 1821, because on that date Sir Walter Scott
told his son, in a letter, "I wish you would pick me
up the Irish lilt of a tune to ’Patrick Fleming,'
which is one of the known titles of this ballad.
Scott included in his letter two stanzas for his son,
both of which clearly identify the piece, (see Memoirs
of the Life of Sir 7/alter Scott , by J. G. Lockhart).
Versions vary greatly, and the version below is only
one form of the song.
It may be of interest to know, however, that there is
no mountain in Ireland by the name of either Gilgary
or Kilgary.
REFERENCES
Cole, 104-105
Creighton (SBNS), 192-193
Edwards (CHSB), 218
Flanders (NGMS), 245-247

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Song Texts
3888
Flanders (VFS3), 139-140
Henry, No, 792
Holloway, No, 90
Jour (API), XXV, 152
Joyce (OIFMS), No. 686
Laws, 13 A & B
Leach, 288-289
Leisy, 355-356
Lomax (FSNA), 16-17
MacColl & Seeger, 280-282
O'Lochlainn, 24-25
Ord, 368-369
Sharpe (BB), 163-164
Shekerjian, 25-26
Silverman, I, 64
The Robber
As I was'a-riding ’round Kilgary Mountain,
I met Colonel Pepper and his money he was countin’;
I pulled out my pistol and made him a believer,
Saying, "Stand and deliver, for I am a bold deceiver!"
Chorus
Mush-a rig urn du rum dar, whack fol the daddy-o,
Whack fol the daddy-o, there’s whiskey in the jar.
The shinin' golden coins did look so bright and jolly,
I took 'em home with me and I gave 'em to my Molly;
She promised and she vowed that she never would deveive
me,
But the devil’s in the women and they never can be easy
Twas early in the morning at the barracks of Killarney,
My brother took his leave but forgot to tell the army.
Together we'll go roaming o'er the mountains and be
jolly,
And I know he'd treat me better than my darlin' Sportin
Molly.
Now when I was awakened between six or seven,
The guards were all around me in numbers odd and even;
I rushed to my pistols, but alas! I was mistaken.
For Molly hid my pistols and a prisoner I was taken!

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They locked me in jail without judge or 7/ritin*
For robbing Colonel Pepper on Kilgary Mountain.
But they didn't take my fists so I knocked the sentry
down
And bid a fond farewell'to the jail in Slaigo town!
Now some take delight in fishin* and bowlin',
And other's take delight in their carriages a-rollin',
But I take delight in the juice of the barley
And courtin' pretty girls in the morning's early,
*******************************

No. 1433
ROBERTA
also known as
Alberta, or Alberto, Corena, or Corinna
Let Your Hair Hang Low Corrine, Corrina
Little Maggie
An old Negro song from the Deep South that exists in
many versions. It has been a commercial Tin Pan Alley
success at least twice during the past fifty years.
It was rewritten as Corrine, Corrina in 1932, by J. M.
Williams and Bo Chatman, with additional lyrics by
Mitchell Parrish. It was copyrighted and published in
sheet music form that same year by Mills Music, Inc.,
New York, N. Y.
Two versions are given below. The first (A) is one sung
by Blacks and the second (B) is the "country music"
version sung by Whites.
REFERENCES
Botkin (MRF), 576 Lomax (FSNA), 588
Edwards (CHSB), 21 Silverman (FB), 219-220
Leisy, 66—67 Wheeler (SB), 86-87

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Roberta (Version A)
Roberta, let your hair hang low,
Roberta, let your hair hang low;
1*11 give you more gold than your apron can hold,
If you’ll jus' let your hair hang low,
Roberta, say what's on your mind, (2)
I'm fellin' so sad cause you treat me so bad,—
And you don't say what's on your mind,
Roberta, don't be so unkind, (2)
Jus* love me or no. If you don't jus’ say so;
If you do, don't be so unkind.
Roberta, where'd you stay las' night? (2)
You came home at sunrise, an' I don't want no lies:
Where the hell did you stay las' night?
VERSION B
I love Roberta! tell the world I do (2)
But she don't know nothin' 'bout bein' true!
Roberta, tell me: What's the matter now? (2)
Don't give me no lovin', don't care no-how.
I met Roberta far across the sea, (2)
Right from the start made a fool out-a me!
Roberta darlin', where'd you stay last night? (2)
Come home this mornin', clothes don't fit you
right!
I left Roberta on the mountain top! (2)
She keeps on cheatin'! don't know how to stop!
*******************************

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No. 1436
ROBIN HOOD I
also known as
Robin Hood and Allen-a-Dale
or Allin of Dale
Robin Hood in the Green
wood Stood
The Robin Hood ballads are rarely encountered today,
but they were extremely popular in North America prior
to and for a quarter century after the American Revo
lution. Then Americans found new heroes and subjects
to sing about. Nevertheless, when the subject was an
outlaw, the folk-accepted character of Robin Hood was
generally bestowed upon him. For an example, see JESSE
JAMES in this Master Book . Jesse James was an outlaw
frequently referred to in our literature as "The Ameri
can Robin Hood."
American ideas concerning Robin Hood are more in accord
with characterizations presented in stories and plays
than with those given in the old ballads., where it is
generally taken for granted that he was a real person.
But was there, in fact, such a person as Robin Hood?
If so, who was he? The questions are debatable, and
the debate still goes on.
A large number of scholars, principally in England,
have spent a great deal of time and money in an effort
to answer those questions. Even those who finally con
cluded that Robin Hood actually did exist at one time
have not been able to agree as to when that time was.
But if they were all correct in their claims, Robin
Hood would have been alive for an impossible 173
years.
According to Ritson, the outlaw was born during the
reign of Henry II (1134-1189); that his real name was
Robert Fitzcoth, "which vulgar pronunciation easily
corrupted into Robin Hood.”

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According to Major, an English historian, Robin Hood
flourished during the reign of Richard _I (1189-1199).
Matthew Parker perpetuated Major's conjecture in his
True Tales of Robin Hood . Wyntoun, in Chronicle of
Scotland (circa 1420) places him under the reign of
Edward I (1272-1307). Hunter, in The Ballad Hero ,
Robin Hood , has him living during the reign of Edward
II and indicates that the outlaw was, in all likeli
hood, one of the Contrariantes , supporters of the Earl
of Lancaster, who was defeated at the battle of
Borough-bridge, in March, 1322.
Sir Walter Scott, and others, depicts Robin Hood as
being the chief of a troop of Saxon bandits resisting
their Norman oppressors, while Bower, and others, de
pict him as a member of the Exheredati , adherents of
Simon de Montfort, who were reduced to poverty and the
greatest extremities after the battle of Evesham,
All these claims and theories are interesting, but—
since all of them get their only support from the
ancient ballad texts—none have any historical validity.
Without acceptable historical support, one is forced to
agree with Francis Child, that "Robin Hood is absolutely
a creation of the ballad-muse,"
Robin Hood's celebrity has never been in doubt. All the
evidence necessary is still with us; it exists in the
association of Robin Hood's name with a "variety of
natural objects and archaic remains scattered over a
wide extent of the English countryside," Such associ
ation is not, of course, proof that such a person ever
existed. We could use the same sort of evidence in the
Unjted States to prove that Paul Bunyan was a real
person; his name is also connected with natural ob
jects and a wide variety of other things throughout
the land. We know, however, that Paul Bunyan was a
fictional character created by a lumber company's ad
vertising writer.

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The Robin Hood ballads seem to have faded in the
United States. They are absent from most traditional
collections of American song. Most of the ballads we
have today are from broadsides and garlands issued in
the 17th century. For a wider and far more varied
selection, see Child, III, 39-233 (Nos. 117 through
154). Child gives a total of 38 ballads, all of which
were previously collected and printed by others.
What we know of Robin Hood comes down to us from the
old ballads, some of which were known for a century
before the first one was printed. In these older ballad
we see exactly what Robin Hood is: He is a yeoman
and an outlaw. 7/e do not know why he was outlawed,
because the reasons are never precisely stated, but
we are led to believe that it wasn't his fault. He
is, in Child's words, "Courteous and free, religious
in sentiment, and above all reverent of the Virgin,
for the love of whom he is respectful to all women."
He dearly loves his king but does not hesitate to live
by illegally killing and feeding on the king's deer
and by robbing well-to-do people. He is a friend to
the poor, and, generally, shares with them the loot
he steals from the wealthy.
So much for the older ballads. In later ballads his
primary attributes are debased in many ways.
To reach an understanding of Robin Hood's folk appeal,
however, we must also understand what he was not. He
was not a politician'. None of the ballads bestow on
him any political character whatsoever. He believed
in truth, justice, charity and the purity of women.
As a result of this folk conception of his character,
Robin Hood possesses a literature of his own, making
him a popular hero.
The music of the ballads is seldom original, and one
tune is used for several texts. Chappell discovered

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Song Texts
3894
years ago that "Many of the ballads were sung to one
air ; and some to airs which have already been printed
in this collection under other names."
The most often used tune is a form of Hey Down . A Down .
Among the ballad texts bung to it are: Robin Hood and
Arthur-a-Bland , Robin Hood and Maid Marian , Robin Hood
and the Beggar , Robin Hood and the Butcher , Robin Hood
and the Four Beggars , Robin Hood and the Bishop (not
The Bishop of Hereford ), Robin Hood and Little John ,
Robin Hood and the Ranger , Robin Hood and the Stranger ,
Robin Hood Revived , and Robin Hood * s Chase„
Other Robin Hood ballads are sung to tunes borrowed
from: The Abbot of Canterbury , The Bailiff* s Laughter ,
Drive the Cold Winter Away , Lord Thomas and Fair Eleanor ,
and The Three Ravens .
The ballad below, Robin Hood I, was, according to Child,
"First found in broadside copies of the latter half of
the seventeenth century."
The tune to which the ballad below is sung was taken
from Robin Hood in the Greenwood Stood « which is not
given in this Master Book.
REFERENCES
Child, III, 172-175
Collection (0), 44
Evans (1777, I, 126
Kinloch MSS, V, 183
Leach (BB), 397-400
Malcolmson, 42-46
Pepys, II, No. 97
Quiller-Couch, 616-620
Ritson (RH), II, 46
Roberts (IP), 65-66
Roxburghe, II, 394
Sanders, 44-47
Robin Hood I
Come listen to me, you gallants so free
All you that love mirth for to hear,
And I will tell you of a bold outlaw
That lived in Nottinghamshire.

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3895
As Robin Hood in the forest stood,
All under the greenwood tree,
He became aware of a brave young man.
As fine as fine might be.
Then stepped forth brave Little John,
And nick the miller’s son,
Which made the young man bend his bow,
When he did see them come.
"Stand off! Stand off!" the young man cried,
"What is your will with me?"
"You must come before our master, sir,
Under yon greewood tree."
And when he came bold Robin before,
Robin asked him courteously,
"0 hast thou any money to spare
For my merry men and me?"
"I have no money," the young man said,
"But five shillings and a ring;
And that I have kept for seven long years,
To have at my wedding.
"Yesterday I should have married a maid,
Today my love's all in vain;
They force her to be an old knight's delight,
And now my poor heart's slain."
"What wilt thou give me," said Robin Hood,
"In ready gold or fee,
To help thee to thy true-love again,
And deliver her unto thee?"
"I have no money," the young man replied,
"No ready gold nor fee,
But I will swear upon a book
Thy true servant for to be."

Song Texts
3896
"What is thy name?" asks bold Robin Hood,
"Come tell me, without any fail."
"By the faith of my body," the young man replied,
"My name it is Allen a Dale."
%
Then Robin he hasted over the plain,
He did neither stint nor lin.
Until he came unto the church
Where Allen should keep his weddin’•
"What dost thou do here?" the bishop he said,
"I prethee now tell to me."
"I am a bold harper," said Robin Hood,
"And the best in the north country."
"0 welcome, welcome," the bishop he said,
"That music best pleaseth me."
"You shall have no music," said Robin Hood,
"Until bride and bridegroom I do see."
With that came in a wealthy knight,
Which was both brave and old,
And after him a beautiful lass,
With hair like glistening gold.
"This is no fit match," said bold Robin Hood,
"That you do seem to make here;
For since we are come unto the church,
The bride she shall choose her own dear."
Then Robin put his horn to his mouth,
And blew blasts one, two, three;
When four and twenty bowmen bold
Came leaping over the lee.
When they came into the old churchyard,
Marching all in a row,
The first man was Allen a Dale,
To give bold Robin his bow.
"Here is thy true-love," bold Robin said,
"Young Allen, as I hear say;

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3897
And you shall he married here and now,
Before we depart away.”
"That shall not he," the bishop he said,
"For thy word shall not stand;
%
They shall he three times asked in church,
•Tis the law throughout the land.”
Robin Hood pulled off the bishop's coat,
Then put it upon Little John;
"By the faith of my body,” said Robin Hood,
"This cloth doth make thee a man."
When Little John went into the quire,
The people began for to laugh;
He asked them seven times in the church,
Lest three times be noth enough.
"Who gives me this maid?" said Little John.
"I do," bold Robin did reply.
"And he who takes her away from Allen a Dale
Full dearly he shall her buy!"
Thus having ended the merry wedding,
The bride looked as fresh as a queen,
They all returned to the merry greenwood,
Amongst the leaves so green.
********************************

Ho. 1457
ROBIN HOOD II
also known as
Robin and John Robin Hood, Robin Hood,
Robin Hood and Little John Said Little John
There are several ballads known as Robin Hood and Little
John , and each is different from the others. Two of the
ballads are given below as versions A and B. In England,
the first version is known as The Hal-An—Tow, or Helston

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Furry Dance , and may.be seen in Baring-Gculd (SW),
No. 24. Both ballads are dance pieces associated in
tradition with the May-Day celebration. The B
version is set to a Morris Dance tune and is given
by Child as No. 125.
There is another Robin Hood ballad associated with
May-Day, which begins:
Robin Hood, Robin Hood, said Little John,
Come dance before theQueen a:
In a redde Petticote and a greene Jacket,
A white hose and.a greene a.
The above stanza, with tune, is in Chappell (OEPM),
I, 273 and (PMOT), II, 397-398.
Another ballad on the same subject, Robin Hood, or
Bold Robin Hood , is in Cox (PSS), 174 and Williams
(FSUT), 237, and it contains the following stanza:
Little John with his arms so long,
He conquered them all with high ding dong,
And the bugles did echo, did echo.
A broadside called Bold Robin Hood , issued by W. Car-
butt, Tadcaster; J. Harkness, Preston, No. 242; and
George Walker, Jr., Durham, No. 12, begins:
0 Robin Hood was a forrester good
As ever drew brow in a merry greenwood,
And the wild deer will follow, will follow.
Each of the above is like the other, but neither is
like the two ballads of that title given below.
It is perhaps worth noting, too, that a piece bearing
the title Robin and Little John is entered to Edward
White in the Stationers' Registers, in England, dated
May 14, 1594. The identical title is entered again
to a Master Oulton, April 22, 1640. I don’t know,
and have no way of finding out, which of these regist
ered titles represent which of the ballads of like
title given below, or if any of them do.
Since the two ballads, A and B, are different pieces,

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the references for each have been separated
REFERENCES
Version As
Amer (10), II, 75
Baring-Gould (SW), 50-51
Friedman, 339-341
Houseman, 149-154
Tobitt, 131
Version B:
Child, III, 133-136
Collection (0), I, 75
Creighton (MFS), 19-20
Creighton (TSNS), 67
Evans, I, 204
Jour (AFL), XXIII, 432
Leach (BB), 247-249
Niles (BB), 247-249
Ritson (RH), II, 138
Williams (FSUT), 296
Robin Hood II ( Ballad A)
0 Robin Hood and Little John
They both are gone to the Fair 0!
And we will to the merry green-wood,
To see what they do there 0.
Chorus
All for to chase 0,
To chase the buck and doe 0,
With hal-an-tow, jolly ramble 0,
To chase the buck and doe 0!
Where are those gay Spaniards,
Who make so great a boast 0?
They shall eat the grey goose feathers,
And we shall eat the roast 0!
0 we were up as soon as day,
For to fetch the summer home 0;
And we*11 fetch summer home with May,
For winter it is gone 0!
As for that good Knight Saint George,
Saint George he was a Kinght 0!

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3900
Of all Knights in Christendom,
Saint George he is the right 0!
BALLAD B
When Robin Hood was some twenty years old,
With a-hey down.down, and a down,
•Twas then he first met Little John,
A steady young blade well fit for his trade,
For he was a handsome young man.
I haven’t been sporting for two whole weeks, etc .
So now abroad I will go,
And if I get beat, and cannot retreat,
I will give my horn a loud blow.
And then taking leave of his merry men all, etc .
He bid them a pleasant good-by;
And down to the brook a journey he took,
Where a stranger he happened to spy.
These two fellows met on a long, narrow bridge, etc .
And neither one would give way;
The stranger he said, "I'll lather your hide,
And show you fine Nottingham play«"
So Robin Hood gave the stranger a bang, etc .
So hard that it made his bones ring;
The stranger then said, "This must be repaid!
I’ll give you as good as you bring."
The stranger gave Robin a crack on the crown, etc .
Which caused the blood to appear;
Then Robin, enraged, more fiercely engaged,
And followed with blows more severe.
0 then into fury the stranger he grew, etc.
And gave him a damnable look;

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3901.
And with it a Blow that laid Robin low,
And tumbled him into the brook.
Then unto the bank he did presently wade, etc .
And pulled himself aut by a thorn;
With that, at the last, he blow'd a loud blast
Straightway on his fine bugle-horn.
The echo of which through the valley did fly, etc .
At which his stout bowmen appear'd,
All clothed in green, most gay to be seen,
And to their master they steer'd.
"0 what's the matter?" asked Will Stutely, etc .
"Good master, you are wet to the skin."
"No matter," said he, "the lad which you see,
In fighting, hath tumbled me in."
"He shall not go scot-free," the others replied, etc .
And strait they were seizing him there,
To duck him likewise; but Robin Hood cries,
"He is a stout fellow, forbear!"
"0 here is my hand," the stranger replied,
"I'll serve you with all my whole heart.
My name is John Little, a man of good mettle—
Ne'er doubt me, for I'll play my part."
The music and dancing did finish the day;
At length, when the sun waxed low;
Then all the whole train the grove did refrain,
And unto their caves they did go.
And ever thereafter, as long as he lived,
Although he was proper and tall,
Yet nevertheless, the truth to express,
'Twas Little John he was to them all.
*************************

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Song Texts
3902

No. 1458
ROBIN HOOD III
also known as
Robin Hood, and the Bishop
This ballad is extremely rare in American tradition.
Flanders, III, 117, gives only one line of the text,
and remarks that the ballad "is rare in Britain and
America, to say the least.” In fact, it seems to be
susceptible to mixing-in with other Robin Hood ballads,
particularly with the theme of Robin Hood IV (see in
this Master Book ). Child points up the similarities
between this ballad and other old outlaw stories, such
as Eustace the Monk (Michel, p. 43), Blind Harry * s
Wallace (ed. Moir, Book I, 239 and Book IV, 764, pp.
9, 72), and Robin Hood and Queen Katherine (Child,
No. 145).
For a combination of this ballad and Robin Hood Res
cuing Three Squires , see Robin Hood and the Old Woman
in Niles (BB), 257-259.
Also see Robin Hood IX in this Master Book.
■ REFERENCES
Child, III, 191-193
Ebsworth (RB), II, 448
Evans (1777), I, 102
Jour (AFL), LXIV, 131
Leach (BB), 408-411
Malcolmson, 52-56
Pepys, II, No. 107, 122
Ritson (RH), II, 19
Rollins (PB), II, 109
Wells, 39-40
Robin Hood III Tunes; Robin Hood II , or: Queen
Eleanor* s Confession
Come Gentlemen all, and listen awhile,
Hey down down, and a down,
And a story to you I’ll unfold:
I’ll tell you how Robin Hood served the Bishop,
When he robbed him of his gold.

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Song Texts
3903
As it fell out on a sun-shining day, etc .
When Phehus was in his prime,
Then Robin Hood, that archer good,
In mirth would spend % some time.
As he walked the forest along, etc .
Some pastime for to spy,
There was he aware of a proud bishop,
And his company near by.
"0 what shall I do'," said Robin Hood then, etc.
"If the Bishop he doth take me?
No mercy he'll show unto me, I know.
But hanged I’ll surely be."
Then Robin was tout, and turned him about, etc .
And a little house there he did spy;
And to an old wife, for to save his life,
He loud began for to cry.
"Why, who art thous?" said the old woman, etc .
"Come tell it to me for good."
"I am an outlaw, as many do know,
My name it is Robin Hood.
"And yonder's the Bishop and all his men, etc .
And if that I taken be,
Then day and night he'll work me spight,
And hanged I shall be."
"If thou be Robin Hood," said the old wife, etc .
"As thou dost seem to be,
I’ll for thee provide, and thee I will hide
Prom the Bishop and his company."
"Then give to me thy coat of gray, etc .
And take thou my mantle of green;
Thy spindle and twine unto me resign,
And take thou my arrows so keen."

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Song Texts
3904
The Bishop he came to the old woman's house, etc .
And he called and furious stood,
"Come let me soon see, and bring unto me,
That traitor called Robin Hood!”
%
The old woman she set on a milk-white steed, etc .
Himself on a dapple gray,
And thinking he had captured Robin Hood,
He went laughing all the way.
As they were riding the forest along, etc .
The Bishop he chanced for to see
A hundred brave bowmen bold
There under a greenwood tree.
”0 who is yonder,” the Bishop he said, etc .
"That's ranging within yonder wood?”
"I see," says the old woman, "and think it to be
A man called Robin Hood.”
"Then who art thou,” the Bishop inquired, etc .
"Which I have here with me?"
"I am an old woman, you foolish old Bishop,—
Lift up my leg and see."
Then Robin Hood took hold of the Biship's horse,
And tied him fast to a tree;
Then Little John smiled and danced around,
For the joy of that company.
Then Robin Hood took his mantle all off, etc .
And spread it upon the ground,
And out of the Bishop's portmantle took
The sum of five hundred pound.
And then they brought him thro the wood, etc.
And set him on his dapple gray,
And gave him the tail to hold in his hand,
And bade him for Robin Hood pray.
etc.
************************

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Song Texts
3905

No, 1459
ROBIN HOOD IY
also known as
Robin Hood and the Monk* Robin Hood and the Twenty-
Pounds of Gold
This is one of the older Robin Hood ballads, A manu
script copy in the Cambridge University Library dates
from about 1450.
REFERENCES
Child, III, 94-101
Friedman, 327-329
Houseman, 154-156
Jamieson (PB-1806), II,
54
Kinsley, 405-419
Leach (3B), 340-349
Niles (BB), 234-237
Quiller-Couch, 585-600
Ritson (RH-1832), 221
Wells, 25-34
Whiting (TBB), 100-111
Robin Hood IV
Don't trust a monk though he be mild
‘And wears a skirt of black;
He'll turn you to the sheriff,
And all behind your back.
The summer came, the skies were blue,
The green leaves fine and long,
And all the forests were quite filled
With birds and merry song.
Then Robin Hood to Little John,
Said, "I must go and pray.
For I have never said a prayer
For many a night and day.”
Though Robin should have taken men.
To aid him should he fall

• r
MB Song Texts
Into the sheriff’s jail-house
And not get out at all.
But Little John was all he toolc,
And they did part quite soon;
For Robin went to pray alone,
When church bell rang at noon.
He entered in the saintly church.
And it was very fair;
And not a soul who prayed within
Knew Robin Hood was there.
A monk who knew young Robin Hood,
He raised a hue and cry;
He called the sheriff and his men,
To capture him. Or try.
Bold Robin Hood then drew his sword,
And soon he had slain three;
And many more lay wounded there,
And many more would be.
Then Robin broke his two-hand sword
Upon the sheriff's head,
And soon they had him tightly bound,
A prisoner near dead.
Now Little John had seen it all
From where he quietly stood;
And quietly too, he led his horse
Into the deep greenwood.
"Good news, good news," the king did cry;
"The felon's in the keep.
I'll give you twenty pounds of gold,
To guard him while we sleep."
The sheriff said to Little John,
"Come drink and sup with me."
But late that night, when all did sleep,
He set bold Robin free.
3906

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Seng Texts
3907
Then said the king, "I gave him gold,
And pardon did decree,
But Little John loves Robin more
Than ever he loves me*"
%
****************************

No. 1460
ROBIN HOOD V
also known as
Bold Peddler Bold Robin Hood and the
Bold Pedlar and Robin Hood Pedlar
Bold Robin Hood Pedlar Bold
The story told in this ballad is, according to Child,
a folk "variation of Robin Hood Revived " (see Child,
No. 128). Flanders says that both Robin and the Pedlar
and Robin Hood Newly Revived "appear to be based on
The Tale of GamElyn (c. 1340), and the names Gamble
Gold, Gamell, Gammell, etc., accentuate that relation
ship."
REFERENCES
Barry (BBM), 457-461
Bulletin (FSSN), IX, 8
Child, III, 154-155
Coffin, 107-108
Creighton (SBNS), 12-14
Creighton (TSNS), 67-69
Dean-Smith, 101
Dixon (APBS), 71
Flanders, III, 101-106
Flanders (BMNE), 67-69
Flanders (VFS3), 217-218
Leach (BB), 383-385
Malcolmson, 64-66
Niles (BB), 251-253
Wells, 37-38
Williams (EFS), 88
Robin Hood V
There chanced to be a pedlar bold,
A pedlar bold he chanced to be;

Song Texts
3908
He rolled his pack all on his back,
And came a-tripping o’er the Lea.
Tag Line for Verses
Down, down a down, down, down, a down.
He chanced to meet two handsome blades,
And they did bother him anon, . f
And one of them was Robin Hood,
And the other one was Little John.
"0 what is in thy pretty bag?
0 come and tell me speedily."
"It’s only silken suits of green,
And silken bow-strings two or three."
"If you have silken suits of green,
And silken bow-strings two or three,
Then," cried Little John, "I here declare,
One half your pack shall belong to me!"
The pedlar then pulled off his pack
And put it just below his knee,
"If you move me one perch from this,
My pack and all shall go with thee."
Then Little John did draw his sword,
The pedlar by his pack did stand;
They fought until they both did sweat,
Till he cried, "Pedlar, pray hold your hand!"
Then Robin Hood he was standing by,
And he did laugh most heartily:
"I could find a man, of smaller scale,
Could thrash the pedlar and also thee,"
Then Robin Hood he drew his sword,
The pedlar by his pack did stand;
They fought till the blood in streams did flow.
Till he cried, "Pedlar, pray hold your hand!"

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Song Texts
3909
"0 pedlar, pedlar, what is thy name?
Come, speedily, and tell to me,”
"My name, my name I ne'er will tell,
Till both your names you've told to me."
•t
"The one of us is bold Robin Hood,
The other Little John so free."
"It's now my good will," the pedlar said,
"If my name I choose to tell to thee.
"I'm Gamble Gold of the gay green woods,
I've travelled far beyond the sea;
I killed a man in my homeland,
And from my country I had to flee."
"If it be true you are Gamble Gold,
And travelled far beyond the sea,
You are my mother's sister's son—
What nearer cousin can we be?"
They sheathed their swords with friendly words,
So merrily they did agree;
They went to a tavern, where they dined,
And bottles cracked most merrily.
************************************

No. 1461
ROBIN HOOD VI
also known as
The Potter and Robin Hood Robin Hood and the Potter
This is another of the many ballads in which Robin Hood
is bested in a fight with a man who refuses to be robb
ed, pay tribute, or even recognize the outlaw's superi
ority. The original ballad is quite long and quite old.
Child reports a manuscript from about 1500, and prints
a portion as The PI aye of Robin Rode (see Child, III,
114-115).

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Song Texts
3910
The version below is an Americanized extraction, i. e.
traditional fragment, collected by John Jacob Niles in
Madison County, Kentucky.
REFERENCES
Niles (BB), 243-245
Ritson (RH-1798), I, 81
Child, III, 108-115
Leach (BB), 352-360
Robin Hood VI
It’s of a potter bold,
Who came one sunny day,
And said unto bold Robin Hood:
"No tribute will I pay.”
And so they fought with hand and stick,
And Robin dropped to the ground,
And then the potter, tongue* in hand,
Did strike bold Robin sound.
Then Robin took the potter's pots
And made a little stall
Against the sheriff's jail-house,
And sold the pots and all.
Next morn they left the sheriff's wife,
Said, "Thank you" gratefully;
The sheriff was delighted then
The greenwood for to see.
"Take to your wife this horse of white
And give her, too, this ring."
He thought they'd kill him very soon,
But she had done a kind thing.
"How fared you in the forest green
When you brought Robin home?"
"That man is in the devil’s skin,"
Said the sheriff with a moan.
♦ Tongue of a two-horse wagon .

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Song Text 3
3911
"And we shall pay you for your pots,
And with our gold make free;
And if you to the greenwood come,
Welcome, my potter, from me."
**•*•*■** *****•#•-*•* ************* ******

No. 1462
ROBIN HOOD VII
also known as
Arthur Bland Robin Hood and the
Robin Hood and Arthur O'Bland Tanner
A blackletter broadside of this old ballad is in
Ritson's Robin Hood , with directions that the text
be sung to the air of Robin Hood and the Stranger .
I have seen only one version of this ballad in an
American collection, and that is in Davis (TBV),
where the Hey down down a down down line is missing.
That line is missing in our version too, replaced by
the age-old folk practice of repeating the last line
of each stanza.
REFERENCE
Chappell (PMOT), II, 392
Child, III, 137-140
Collection (0), I, 83
Davis (TBV), 393-396
Evans (1777), I, 112
Leach (BB), 372-376
Malcolmson, 22-26
Pepys, II, No. 98
Ritson (RH-1795), II, 30
Sharp (EFSC), 21
Sharp (100), 8-12
Wells, 35-36
Robin Hood VII
In Nottingham there lives a jolly tanner,
His name is Arthur a Bland;
There is ne'er a squire in Nottinghamshire
Dare bid bold Arthur stand. (2)

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Song Texts
3912
With a long pike-staff upon his shoulder,
So well he can clear his way;
By two and by three he makes them to flee,
For he hath no list to stay. (2)
Now as he went forth in a summer’s morning,
Into the forrest of merry Sherwood,
To view the red deer, that range far and near,
There met he with bold Robin Hood. (2)
As soon as bold Robin Hood did him espy,
He thought some sport for to make;
Therefore out of hand he bid him to stand,
And thus to him he spake:
"Why, what art thou, thou bold fellow,
That ranges so boldly here?
In sooth, to be brief, perhpas you're a thief
That comes to steal our king's deer."
"If you be the king's keeper in this forest,
And hast such a great command,
Yet thou must have more partakers in store
Before thou make me to stand."
Then Robin Hood he unbuckled his belt
And laid down his bow so long;
He took up a staff of another oke graff,
That was both stiff and strong.
"Now let me measure," said jolly Robin,
"Before we begin our fray;
For I'll not have mine to be longer than thine,
As that would be called foul play."
"I pass not for length," bold Arthur replied,
"My staff is of oke so free;
Eight foot and a half, it will knock down a calf,
And I think it will knock down thee."

MB
Song Texts
Then Robin Hood could no longer forbear.
And he gave him such a knock,
That quickly and soon the blood did stream down
And before it was ten o'clock,,
But Arthur he soon recovered himself,
And gave him such a knock on the crown,
That on ev'ry hair of bold Robin Hood's head
The blood came trickling down,
0 , about, and about, and about they went.
Like two wild boars in a chase,
Striving to aim each other to maim—
Leg, arm, or any other place,
"Hold thy hand, hold thy hand," said Robin Hood
"And let our quarrel fall;
For here we may thresh our bones into mesh,
And get no coin ever at all,
"And in the forest of merry Sherwood
Hereafter thou shalt be free,"
"God-a-mercy for naught, my freedom I bought,
I may thank my good staff, and not thee,"
"If you will forsake your tanner's trade,
And live in the greenwood with me,
My name's Robin Hood—I swear by the rood
I will give thee both gold and fee,"
"If thou be Robin Hood," bold Arthur replied,
"As I think now thou art,
Then here's my hand; my name's Arthur a Bland,
And we two will never depart,
"But tell me, 0 tell me, where is Little John?
Of him fain would I hear;
For we are allied on our mothers' side,
And he is my kinsman near,"

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Song Texts
3914
Then Robin Hood blew on his bugle horn,
He blew full loud and shrill,
And quickly appear'd the big Little John,
All tripping down a green hill.
"Hold thy hand, hold*thy hand," said Robin Hood,
"For as I do understand,
He's a yeoman good, and of thine own blood,
For his name is Arthur a Bland,”
Then Little John threw his staff away,
As far as he could it fling,
And ran out of hand to Arthur a Bland,
And about his neck did cling.
Then Robin Hood took them both by the hand
And danced round about the oak tree;
"For three merry men, and three merry men,
And three merry men we be.
"And ever hereafter, as long as I live,
We three will be all one;
The wood shall ring, and the old wife sing
Of Robin Hood, Arthur, and John,"
•*****■*•*••#•**•*•***•*****•**•*•****•*•***

No. 1463
ROBIN HOOD VIII
also known
Bold Robing, or Robin
Bold Robin Hood Rescuing
the Three Squires
Robin Hood and the Old Maid
Robin Hood and the Old Woman
Robin Hood and the Sheriff
as
Robin Hood and the Three
Squires
Robin Hood- and the Widow'
Three Sons
Robin Hood Rescuing the
Widow's Three Sons
Robin Hood Rescuing Three
Squires
According to Barry, this ballad dates back to at least
1753. There is a copy in Kinioch'3 handwriting which

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Song Texts
3915
was printed by Child. Flanders reports that a version
appears in The American Songster (New York, pre-1850),
but I wasn’t able to locate that edition.
There is a version in the English Archer (York, circa
1790), p. 65 and Robin Iiood♦s Garland , III, p. 177 (cir
ca 1773).
REFERENCES
Barry (BBM), 240-241
Brown, II, 152-155; IV,
81-82
Child, III, No. 140
Coffin, 109
Evans (1777), I, 215
Flanders, III, 107-116
Flanders (BMNE), 69-72
Friedman, 341-345
Greig & Duncan, No. 243
Grieg & Keith, 98-100
Hales, I,. 13
Jamieson, II, 49
Malcolmson, 104-108
Niles (BB), 255-259
Quiller-Couch, 621-625
Ritson (RH-1795), II, 151
Sanders, 70-74
Robin Hood VIII
There are twelve months in all of the year,
As I have heard many men say;
But the merriest month in all of the year
Is the merry month of May.
Now Robin Hood is to Nottingham gone,
With a link a down and a day,
And there he met a silly old woman
Who wept along the way.
"What news? What news, then silly old woman,
What news hast thou for me?”
Said she, "Three squires in Nottingham town,
And today they'll hang all three.”
"0 what have they done?" said Bold Robin Hood,
"I pray thee tell to me."
"It's for slaying of the king’s fallow deer,
The sheriff is to hang all three."

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Song Texts
-3916
Now Robin Hood is to Nottingham gone,
With a link a down and a day,
And there he met with a silly old palmer,
While rushing upon his way.
%
"Come, change thy apparell with me, old man,
Come, change thy apparell for mine;
Here is forty shillings in good silver,
Go spend it on beer or wine."
Then he put on the old man's clothes,
All patched with thread that ran;
And Robin Hood swore a solemn oath,
"It'8 good habit that makes a man."
Now Robin Hood is to Nottingham gone,
With a link a down and a down,
And there he met with the proud sheriff
Out walking around the town.
"0 save, 0 save, 0 sheriff," he cried,
"0 save, and you may see!
0 what will you give to a silly old man
Who will your own hangman be?"
"Some suits of clothes," the sheriff he said,
"Some suits I'll give to thee;
Some suits of clothes, and pence thirteen,
And that's a hangman's fee."
"I have a horn in my pocket here,
I got it from bold Robin Hood;
And when I set that horn to my mouth,
For thee it will blow little good."
"0 wind thy horn, my proud fellow,
Of thee I have no doubt;
I wish that thou give such a blast
Till both my eyes fall out."

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Song Texts
-3917
The first loud blast that he did blow,
He blew both loud and shrill;
A hundred and fifty of Robin Hood's men
Came riding over the,, hill.
"0 who are you," the proud sheriff said,
"Come tripping over the lee?"
"They're my attendants," brave Robin did say,
"They'll pay a visit to thee."
They took the gallows from the slack,
They set it in the glen;
They hanged the proud sheriff on that,
Then released their own three men.
***************************

No. 1464
ROBIN HOOD IX
also known as
The Death of Robin Hood Robin Hood's Death and
Robber Hood's Dyin' Burial
This ballad, which concludes the series, gives a con
ventional account of Robin Hood's death. One other such
account is partially lost. The Percy MS. is incomplete
incomplete because the missing pages were inadvertently
used by maids to light the fires in Humphrey Pitt's
house where the MS* was discovered.
The version below is obviously a fragment of a much
longer ballad, and it is derived from later broadside
versions.
REFERENCES
Child, III, 102-107
Davis (TBV), 388-392, 586
Edwards, 119
Friedman, 345-347
Hales, I, 53
Houseman, 167-171

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Song Texts
3918
Leach (BB), 349-352
Malcolmson, 110-114
Niles (BB), 239-241
Quiiler-Couch, 635-639
Ritscn (RH-1795), II, 183
Sanders, 77-81
JL
Robin Hood IX
When Robin Hood and Little John
Went o’er yon bank of Broom,
Said Robin Hood to Little John,
"We have shot for many a pound.
"And since the day that we did meet,
Much mirth and joy we saw;
To poor men we have given much
Since we did become outlaw.
"But now, alas! these days are O’er,
For I am taken ill;
I must away to Kirkley Hall,
To try a physician’s skill."
"0 fare thee well," said Little John,
"0 master dear, farewell;
And when I see your face once more,
It*s good news I hope you'll tell."
Now when he came to Kirkley Hall,
He knocked and did rejoice;
His cousin flew to let him in,—
For full well she knew his voice.
She said, "Sit down with me, cousin.
And drink some wine with me."
"I’ll neither eat nor drink," he said,
"Before that I blooded be."
She took him by his weaken'd hand
And led him to a room,
And there she bled ill Robin Hood
As long as his blood would run.

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Song Texts
5919
He thought then of his bugle-horn,
Which hung low down his knee;
He raised the bugle to his mouth,
And weakly bley one, two, three.
Then Little John, when hearing him,
Outisde, beneath the tree,
"I fear my master is near dead,
So weakly he blows for me.”
But Little John to Kirkley went
As fast as he could run;
And there he struck the locks full hard,
And broke them all one by one.
When Little John saw Robin Hood,
He fell upon his knee;
"A boon, a boon,” cried Little John,
"0 master, I beg of thee.”
"What is that boon,” said Robin Hood,
"That you do ask of me?”
"It is to burn fair Kirkley Hall,
So nothing is left to see.”
"I've harmed no maid in all my time,
And now it shall not be;
But give to me my bow in hand,
And I'll set an arrow free.
"And where that arrow it does fall,
I wish my grave to be;
And make my grave of gravel green,
That those who come may see.”
These things they promised him to do,
Which did bold Robin Hood please;
And there they buried Robin Hood,
Beneath the flowers and trees.
********-*******-********

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Song Texts
*3920

No. 1465
ROBINSON CRUSOE I
also known as
0! Poor Robinson Cruso'fe
0! Robinson Crusoe
Poor Robinson Crusoe
'This is an old vaudeville song, written, says Johnson
(FS), by "Jack Cussans, a singer...who lived in the
early part of” the 19th century. The air was taken
from a pantomime called Harlequin Friday , acted in
"Drury Lane Theatre, in 1781, and was said to have
been devised by Sheridan.■”
According to Armitage, the words were written by
Stephen Fay-but she probably meant the text in her
book was composed by Fay.
The version below is from Johnson (FS), and it was
written by Jack Cussans.
REFERENCES
Greig & Duncan, No. 25
Johnson (FS), 444-446
McCaskey, I, 59
Armitage, I, 93
Ford (TMA), 311-312
Robinson Crusoe 1
When I was a lad, I had cause to be sad,
My grandfather I did lose 0!
I’ll bet you a can, you have heard of the man:
His name it was Robinson Crusoe!
Chorus
0! Robinson Crusoe! 0 poor Robinson Crusoe!
Tink a tink tang, tink a tink a tang,
0! poor Robinson Crusoe!

Song Texts
3921
MB
P’raps you’ve read in a book of a voyage he took,
And how the raging whirl-wind blew so,
That ship with a shock drove plump on a rock,
Near drowning poor Robinson Crusoe!
Poor soul! none but he remain'd on the sea;
Ah! fate, fate, how could you do so?
Till ashore he was thrown, on an island unknown,—
0! poor Robinson Crusoe!
He wanted something to eat, and he sought for some meat
But the cattle away from him flew so,
That, but for his gun, he'd been surely undone—
0! poor Robinson Crusoe!
He got all the wood that ever he could,
And stuck it together with glue, so
That he made him a hut, in which he might put
The carcass of Robinson Crusoe!
He used to wear an old cap, and a coat with flap,
With a beard as long as a Jew, so
That, by all that is civil, he look'd like a devil,
More than like Robinson Crusoe!
And then his man Friday kept the house nice and tidy,
To be sure, 'twas his business to do so—
•They liv'd friendly together, less like servant than
neighbor,
Were Friday and Robinson Crusoe.
At last, an English sail came near within hail,
And he took to his little canoe, so
That, on reaching the ship, the captain gave him a
trip
Back to the country of Robinson Crucoe.
*********************

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Song Texts
3922

No. 1466
ROBINSON CRUSOE II
also known as
Poor Old Robinson Crusoe
This is used primarily as a fiddle tune for square
dancing, which probably accounts for the one stanza
text. The version here is from Ford (TMA), 79.
Robinson Crusoe II
Poor old Robinson Crusoe was lost,
On an island they say, 0!
He stole him a coat from an old billy-goat,—
I don't see how he could do so.
*************************************
No. 1.467
ROCK A MY SOUL
also known as
In the Bosom of Rock o' My Soul
Abraham Oh! Rock a My Soul
Spiritual from the American slave era, this song is
still popular throughout the country.
For an interesting variation, in which the refrain of
this song is combined with verse lines from All My
Trials (see in MB) , see Good Lord;/ , Rocky My Soul in
Brown, III, 623. Also see and compare Johnson (RAS),
60-61.
This spiritual is frequently sung to the air of the
Irish ffasherwocan (see in MB).
For other versions, see Agay (1), 11; Allen (SSUS),
73, or 124; and Jackson (7fNS), 227.

MB
Song Texts
3923
Rock A My Soul
0, a rock a my soul in the bosom of Abraham,
• A rock a my soul in the bosom of Abraham,
A rock a my soul in the bosom of Abraham,
0 rock a my soul.
So high, you can't get over it;
So low, you can't get under it;
So wide, you can't get around it,—
You must go in at the door.
0, a rock a my soul, etc.
***********************************

No. 1468
ROCK OF AGES
also known as
Hide-a-Me Rock of Ages, Pray for Me
Oh, My Lovin' Brothuh Rock of Ages, Safe in Thee
0, My Loving Mother When the World's on Fire
This is a spiritual, not the Protestant hymn of like
title, which begins:
Rock of Ages, cleft for me,
Let me hide myself in thee.
Neither the spiritual nor the hymn is related to Mo'oz
Tsur, a hymn of the Jewish faith, which translates Rock
of Age3 (see 7/hitman, 59).
Two versions of the spiritual Rock of Ages are given
below. The first, version A, has a tune that is far
better known than the texts; it has been used for at
least two widely popular secular songs, A. P. Carter's
Little Darling , Pal of Mine and Woody Guthrie's This
Land is My Land 0
There is a parody of the spiritual that begins:

MB
Song Texts
3924
What you gwina do when the world's on fire?
I*m gonna jump in a hole o’ water!
What you gwina do when the water gets to boilin’?
I’m a gonna kick and squeal and hollo'!
For a full text of this parody, see Brown, III, 541 and
White, 282.
Also see and compare When the World is On Fire in Brown,
III, 682 and Jackson (WNS), 164-165 and the Hide Thou Me
in Fuson, 204*
REFERENCES
Agay (2), 73
Arnold, 137
Brown, III, 605; V,
342
Grissom, 66-67
Jackson (WNS), 225
Jour (API), XLIV, 423
Owens (TPS), 174
White, 89-90
Work (ANSS), 60
Rock of Ages ( Version A)
My lovin’ brother, when the world’s on fire,
Don’t you want Christ’s bosom for to be your pillow?
0 hide me over in the Rock of Ages,
0 Rock of Ages cleft for me.
My lovin' sister, when the world’s on fire, etc.
0 my good neighbor, when the world's on fire, etc.
0
my good friends,
when
the
world’s
on fire,
etc
0
hear me, Sinner,
when
the
world’s
on fire,
etc
VERSION B
When the world is all on fire, Eide-a-me,
When the world is all on fire, Hide-a-me,
When the world is all on fire,

Song Texts
3925
MB
Let God»s bosom be my pillow, Hide-a-me
0*er the Roch of Ages, safe in thee.
When the stars in heaven are fallin*, etc,
When the trumpet sounds ofr Judgment, etc.
When my name is called up yonder, etc,
********************************
• _ No^ 1469
THE ROCKS AND THE MOUNTAINS
also known as
Sinner, Sinner Sinners Will Call for the Rocks and
the Mountains
This form of ’’the sinner with no hiding place' 1 offers,
in many versions, 11 a new hiding place," This form also
resulted in several secular songs of the work type, such
as Swannanoa Tunnel (see John Henry and the Hammer IV
in this Master Book ) and My Old Hammah in Sandburg (AS),
457.
For an adaptation, see the shanty Rocks in de Mountens
in Colcord, 186, Also see Sinner Man _I in Master Book,
REFERENCES
Dett, 161 Pike, 181, or 223
Marsh (SJS), 141 Roberts (SBS), 140-141
Work (ANSS), 54
The Rocks and the Mountains
Seeker, seeker, let Jesus show the way,
And you shall have a new hiding place that day.
Chorus

MB
Song Texts
3926
For the rocks and the mountains will all melt away,
And there will be no use hiding on that day.
Doubter, doubter, let Jesus show the way, etc .
Children, children, let Jesus show the way, etc.
Mourner, mourner, let Jesus show the way, etc.
Sinner, sinner, let Jesus show the way, etc .
********************************

Ho. 1470
ROCK THE CRADLE 0!
also known as
Down By a (the) Riverside A Gentleman’s Meeting
Down By Yon Riverside Good Morning, My Pretty
Down Yon Riverside Little Miss
I Am Too Young
This is an old "courting-seduction” and ’’warning to
others” ballad. It dates back to at least 1818, because
it appeared that year in William Garret's Right Choice
Merrie Book of Garlands . Only a few versions have been
collected in the United States, the most important is
probably the one recovered in Appalachia by Cecil Sharp.
REFERENCES
Baring-Gould (SW), No. 23
Cambiaire, 57-58
Jour (ESS), III, 296; IV,
281
Karpeles, 208-209
Karpeles (EPS), I, 656-660
Laws P 18, 257
Reeves, 106-107
Sharp, II, 90-92
Sharp (ECPS), 100
Rock the Cradle 0!

MB
Song Texts
3927
As Jack stroll'd down by the river-side,
He met a fair young girl;
He said to her, "My pretty fair Miss,
Come, and let’s give love a whirl*"
*0 no, kind sir," she answered him,
"For I am far too young."
"The younger, Miss, the better for me,
For I want a wife and son."
He took her arm and he held her close;
He kissed her cheek and hand;
He took her to his private bed-room,
And the trouble there began.
"It»s rock the cradle, my darlin' dear,
And sing a lullaby;
The way of love is easy to learn,
But the price of love is high!
Around midnight, while the moon was bright,
And stars were shining clear,
Young Jack arose and put on his clothes,
And he said, "Farewell, my dear."
"You promised me that you would stay
When you lay on my breast,
But now it’s rock the cradle, my dear,
While you travel to the West."
"When you go home to your father’s house,
Sit down and cry your fill;
And when you think of what you've done,
You can blame your own free will!"
"The other girls of my own age,
To dances they can go,
While I alone must stay at home,
And rock the cradle 0!

MB
Song Texts
3928
"And rock the cradle, 0, my dear,
And sing the baby bye;
I wonder if the other young girls
Were so easy won as I.
"Come all you young and handsome girls,
And warning take by me:
Don't ever trust a new found love
An inch above your knee,
"He*11 hold and hug and kiss you,
And roll you all about,
Then he'll leave you as I was left,
To roll the baby out!"
******************************

No, 1471
THE ROCKY ROAD TO DUBLIN
This humorous Irish song did not become a folk song
in the true sense of the term, but its tune rapidly
became a part of American traditional music through
its general use by fiddlers at square dances. Only
a part of the text is give here. For a more complete
version, see O'Lochlainn, 102-103.
The Rocky Road to Dublin
In the merry month of June, when first from home I
started,
And left the girls alone, sad and broken-hearted,
Shook hands with father dear, kissed my darling mother,
Drank a pint of beer my tears and grief to smother;
Then off to reap the corn, and leave where I was born.
I cut a stout black-thorn to banish ghost or goblins;
With a pair of brand new brogues, I rattled o'er the
V
bogs—

MB
Song Texts
3929
Sure I frightened all the dcgs on the Rocky Road to
Lublin.
In Dublin I arrived. I thought it wa3 a pity
To be so soon deprived of a view of that fine city.
•Twas then I took my stroll all among the quality.
My bundle then was stile in a neat locality;
Something crossed my mind, thinks I, I’ll look behind.
No bundle could I find upon my stick a-wobbling.
Inquiring for the rogue, they said my Connaught brogue,
It wasn't much in vogue on the Rocky Road to Dublin.
****** *************************

No. 1472
ROLL, ALABAMA . ROLL
also known as
Alabama
The Alabama was a Confederate cruiser that harassed
Union ships on the Atlantic. Built in Britain, the
Alabama roamed the sea for two years, taking prize
ships and sinking those flying the Stars and Stripes.
The Kearsarge , a Union cruiser, ran her down and sank
her on June 19, 1864 off the port of Cherbourg in
Normandy. Hundreds were killed during the engagement,
which lasted nearly two hours. The following shanty
celebrates the murderous career of the Alabama and
her fate.
REFERENCES
Colcord, 65
Doerflinger, 35-37
Emrich (FAL), 458-459
Hugill (1), 159
Scott (BA), 245-247
Silverman, II, 305
Roil , Alabama , Roll

MB
Song Texts
3930
When the Alabama’s keel was laid,
Roll, Alabama, roll!
They laid it o’er at Birkenhead,
Oh! roll, Alabama, roll!
Oh, she was built in Birkenhead, etc .
Built in the yard of Johnny laird, etc .
Down the Mersey she rolled one day, etc.
Across the Western ploughed her way, etc .
Prom the Western Isles she made her way, etc .
All set to fight by night or day, etc .
At the Cherbourg port she anchored down, etc .
To take repairs and see the town, etc.
Many sailors saw their coming doom, etc .
In view they saw the Kearsarge loom, etc .
Off the three mile line in ’sixty-four, etc .
She sank, to rise and fight no more, etc.
**********************************

No. 1473
ROLLING HOME
also known as
Rolling Home to Merry England
Depending upon the collection in which it is found,
this piece is both a straight song and a shanty.
Smith (BOS), prints it as a "capstan shanty,” and
says it was ”weil-known right up to the end of the
windjammer period.” According to Harlow, it began
as a land song and was later adapted as a sea shanty.
REFERENCES

MB
Song Texts
3931
Baltzer, I, 8; II,
68
Boughton, 186
Clements, 33, 100
Doerflinger, 155-157
Emrich (PAL), 449-450
Harlow, 133, 135
Hugill (1), 180-181
Hugill (2), 148
Ives (SA), 68
Ives (SB), 144
King, 26
Luce, 47
Patterson, 224
Sampson, 60
Shay (ASSC), 141-143
Shay (PF-1), 132
Shay (PF-3), 72
Smith (BOS), 79
Terry (SSB), 22
Trevine, 10
Whall (SSS), 9-11
Rolling Home
Call all hands to man the capstan,
See the cable run down clear,
Heave away, and with a will, boys,
For old England we will steer.
And we’ll sing in joyful chorus,
In the watches of the night,
And we’ll sight the shores of England
When the gray dawn brings the light.
Chorus
Rolling home, rolling home,
Rolling home across the sea;
Rolling home to merrie England,
Rolling home, dear land, to thee.
************************************

No. 1474
ROLL IN MY SWEET BABY’S ARMS
This is one of the old country "blues" not found in

MB
Song Texts
3932
collections of the traditional-type folk song. Never
theless, this is an American traditional song. For
another version, see Silverman, II, 145.
Roll In My Sweet Baby»s Arms
Roll in my sweet baby's arms,
Roll in my sweet baby's arms,
lay 'round this shack
Till the noon train comes back,
, And roll in my sweet baby's arms.
Oh, where were you last Sunday night
While I was locked in jail?
You was walking the street
With another man,—
Wouldn't even go my bail.
Roll in my sweet baby's arms, etc.
I rode the train to New Orleans,
Gambled my money away;
Got no money for booze,
Can't get back home,—
Reckon I will make it some day.
Roll in my sweet baby's arms, etc .
**********************************
No. 14-75
ROLL, JORLAN, ROLL I
also known as
Roll On, Jordan, Roll To Hear Sweet Jordan Roll
This is an old and popular spiritual; it has been adapted
rewritten, and parodied many times. It came down from an

MB
Song Texts
5933
older revivalist hymn by Charles Wesley, which begins:
He comes. He comes, the Judge severe.
Roll, Jordan, roll;
The seventh trumpet speaks him near.
Roll, Jordan, roll.
For a full version of Wesley's hymn, see Davisson (SKH),
23; Jackson (WSSU), 227, 263;.James, 501; and McCurry
(1855), 145.
The spiritual is ascribed to J. G. and A. 7/. McCurry in
James, 247, but it is highly unlikely that either of
the McCurry's had any part in the composition of the
original. The James version is reproduced in Lomax (FSNA),
458.
Lines and stanzas from Roll , Jordan , Roll I are found
in several other spirituals. For examples, see Baptist ,
Baptist Is My Name in Brown, III, 612, V, 350-351 and
The Trouble of the World in Allen (SSUS), 8, or 35.
For a modern adaptation, see You Should Have Been There ,
written by Virginia Davis and Amanda Bowers for the
Freedom Movement of the 1950s-60s, in Carawan, 44-45.
According to J. J. Niles (SS), 153, WWI soldiers sang
the following parody:
Roll, Jordan, roll!
Soldier, you'll be called on
To shake that hing you're sittin* on.
There's a battle bein' fought in the
Argonne!
Roll, Jordan, roll!
For a different parody, see Winn (2), 96-97.
We give two versions below (A & B)# The first is the
spiritual as sung by the original Fisk Jubilee Singers;
the second is a parody as sung on the minstrel-show
stages and elsewhere.
REFERENCES

MB Song Texts
Allen (SSUS), 1-2, or
19-20
Brown, III, 667-668; 7,
390-391
Chambers (TNS), 70-71
Dett, 52 & (App. 1)
Diton, 51
Fenner (RFSN), 165
Jackson (DES), 127
Jackson (SFS), 193
Jackson (WNS), 180-181
Jackson (WSSU), 264
Johnson (BAITS), 105-107
Jour (AFL), XLI, 583
Jubilee (PS), 21
Leisy (LAS), 150
Lomax (FSNA), 457-459
Mackenzie (SH), 107
Marsh (SJS), 131
Pike, 171, or 213
Randolph, II, 388-389
Scott (BA), 195-196
Waite, 73
White, 87-88
Work (ANSS), 199
Roll , Jordan , Roll I ( Version A)
0 brothers, you should have been there,
Yes, my Lord!
A sitting in the kingdom
To hear Jordan roll.
Chorus
Roll, Jordan, roll! Roll, Jordan, roll!
I want to go to heaven when I die,
To hear Jordan roll.
0 preachers, you should have been there, etc
0 sinners, you should have been there, etc .
0 mourners, you should have been there, etc.
0 seekers, you should have been there, etc.
VERSION B
3934
Away down South on Cedar street.
Roll, sweet Jordan, roll;

Song Texts
3935
MB
Where men and v/omen grow ten feet,
Roll, sweet Jordan, roll.
Chorus
Roll, Jordan, roll! Roll, Jordan, roll!
I want to go to heaven when I die,
To hear sweet Jordan roll.
The Monkey climbed the telegraph pole, etc .
He couldn’t get down to save his soul, etc .
Kate went a-fishin' the other night, etc .
Broke eleven hooks and never got a bite, etc .
She gave her hook a right quick flip, etc.
She caught her husband by the under lip, etc .
Behind the chicken coop on my knees, etc .
I thought I heard a chicken sneeze, etc.
The devil’s a liar and a conjurer too, etc .
If you don't watch out he'll conjure you, etc.
*********************************

No. 1476
ROLL, JORDAN, ROLL II
also known as
Done Wid Driber’s Dribin'
This song was first printed by H. G. Spaulding in an
essay ( Under the Palmette ) in the Continental Monthly
August, 1863. The piece was reprinted by Krehbiel,
19 * Obviously the song was fashioned on Roll, Jordan
Roll I (above).
Roll , Jordan , Roll II

MB
Song Texts
3936
Done wid driber's dribin',
Done wid driber's dribin',
Done wid driber's dribin',
Boll, Jordan, roll.
Done wid Massa's hollerin', (3)
Roll, Jordan, roll.
Done wid Missus' scoldin', (3)
Roll, Jordan, roll.
Done wid pickin' cotten, (3)
Roll, Jordan, roll.

No. 1477
ROLL ME OVER IN THE CLOVER
This traditional bawdy song was considered too im
moral for inclusion in published collections of folk
material, but it i_s an American folk song. In cleaned-
up versions, the song is found in some song books and
folios of the commercial kind.as well as on a few old
phonograph records. It gained its greatest popularity
among soldiers and sailors during World War I.
Roll Me Over in the Clover
Oh, I tried it once or twice.
And I found it rather nice,
Roll me over, lay me down and do it againl
Chorus
Roll me over, in the clover,
Roll me over, lay me down and do it again!
Oh, this is number one,
And the fun has just begun, etc,

MB
Song Texts
3937
Oh, this is number two,
And my hand is on her shoe, etc .
Oh, this is number three.
And my hand is on her knee, etc .
Oh, this is number four,
And we*re rolling on the floor, etc.
Oh, this is number five,
And the bee is in the hive, etc«
( Oh, this is number six,
And she says she likes my tricks, etc .
Oh, this is number seven,
And we're on our way to heaven, etc.
Oh, this is number eight,
And the doctor's at the gate, etc.
Oh, this is number nine,
And the baby's doing fine, etc.
Oh, this is number ten,
And we're doing it again, etc.
it#***##*#-****************************

No. 1478
ROLL ON, BUDDY
This is a song apparently created by Black folk, some
where, sometime, and it exists today in many versions.
Modern writers have made use of its lines and refrain
for their own creations. For example, Merle Travis
used the refrain lines in his Nine Found H ammer,
Lomax relates Roll On , Buddy to another Negro song,
East Colorado Blues. For a similar song, see Roll On,
Boys in Shellans, 47.

MB
Song Texts
3938
REFERENCES
Brown, II, 267
Edwards (CHSB), 104
Lomax (FSNA), 284-285
Lomax (OSC), 264
Odum (NWS), 252
White, 258
Roll On , Buddy
Roll on, buddy! Pul-1 a load of coal!
How can I roll when the wheels won’t go?
Oh, roll on, buddy! Pull a load of coal!
How can I roll when the wheels won’t go?
It’s a long way to Memphis,
It’s a long way to go through
Just to get a little brew,
Just to get a little brew.
Roll on, buddy! etc
Wish I had me a nickle,
Know exactly what I'd do:
I'd spend it all on you,
I’d spend it all on you.
Roll on, buddy! etc,
********************************

No. 1479
ROLL THE CHARIOT
also known as
We'll Roll the Chariot
Along
We’ll Roll the Old Chariot
Along
The Chariot Song
Roll the Chariot Along
Roll the Old Chariot
Along
This is an early American hymn that was taken over by
black slaves and turned into a spiritual. No one sings

MB
Song Texts
• -3939
the hymn these days, but the spiritual is going strong.
When Duke University was Trinity College, the baseball
team used part of Roll the Chariot as a pep-song at all
their games, replacing the "devil” with the name of the
opposing team.
Adapted by seamen, the song sailed the seas as a shanty,
and was sometimes sung to the tune of The Drunken Sailor .
Given below are four versions, with A and D being the
religious versions, with B being a shanty parody and
C being a minstrel-type humorous song.
See and compare The Holy Ghost in Lomax (OSC), 4-8-49*
REFERENCES
Brown, III, 680-681
Lett, 192-193
Gardner (BSSM), 287
Hugill (1), 151
Jackson (WSSU), 247
Johnson (EANS), 110-111
Sandburg (AS), 196-197
Thomas (BMMK), 215
White, 97, 408
Wood (OSB), 68
Roll the Chariot ( Version A)
If my mudder will go, she shall wear a starry crown,
If my mudder will go, she shall wear a starry crown,
If my mudder will go, she shall wear a starry crown,
If you don't hang on behind.
Oh, we'll roll the chariot, roll the old chariot along,(3)
And we won't hang on behind.
If my father will go, etc.
If you sinners will go, etc„
VERSION 3
also known as
We'll Roll the Golden Chariot Along
Oh, a drop of Nelson's blood wouldn't do us any harm! (3)
An' we'll all hang on behind!

MB
Song Texts
3940
Chorus
So we’ll roll the ol' chariot along!
So we’ll roll the golden chariot along!
So we’ll roll the ol' chariot along,
An* we’ll all hang on behind!
Oh, a plate of Irish stew wouldn’t do us any harm, etc.
Oh, a night out with the gals wouldn’t do us any
harm, etc .
Oh, a roll in the clover wouldn’t do us any harm, etc.
Oh, a job back on the farm wouldn’t do us any harm, etc.
VERSION C
also known as
If We Had A Keg Of Whiskey
If we had a keg of whiskey we'd roll it along! (3)
And we’ll all tag on behind.
Chorus
Roll the old Chariot along, (3)
And we’ll all tag on behind.
If we had a barrel of beer we'd roll it along, (3)
And we'll all tag on behind.
If you want to be a Methodist, we’ll roll you along, (3)
And we'll all tag on behind.
VERSION D
We’ll roll, we'll roll the chariot along! (3)
And we won't hang on behind!
0, sinner, you are free to come along, etc.

MB
Song Texts
394-1
0, preacher, don’t you want to come along, etc .
We'll keep right on a-rolling along, etc.
*********************************

No. 1480
ROLL THE COTTON DOWN
This has been identified as both a halyard and a Negro
stevedore shanty* It dates back to the American Civil
War and was popular for a long time.
Later, it was adapted and that became known as Roll ,
Alabama , Roll (see in MB). According to Colcord it is
a distant relative of Long Time Ago IV (also in MB) .
Doerflinger relates it to Haul De Wood Pile Down, a
song written by Edward Harrigan, c. 1887, which can
be seen in Delaney's Song Book , No . 2» P» 15. But he
may have been thinking of another shanty called Roll
the Wood Pile Down , which is in Whitehead, pp. iii,
14.
The shanty was translated into German as De Runer Von
Hamborg , a version of which is in Hugill (1), 152-
158 C.
REFERENCES
Baltzer, I, 70
Beckett, 4
Bone, 84-86
Bullen & Arnold, 24
Colcord, 62
Doerflinger, 32-54
Glass (SS-1), 56-57
Gordon (OSMS 11-10-23)
191
Greig & Duncan, No* 3
Harlow, 144-145
Hugill (2), 182-183
King, 9
Masefield (SG), 354
Meloney, 12
Patterson (SA), 224
Sampson, 46
Shay (MWS), 55
Smith (BOS), 54-55
Terry, II, 40
Whitehead, 6

MB
Song Texts
3942
Roll the Cotton Down
Oh, away down South where I was horn,
Roll the cotton down!
Oh, away down South around Cape Horn,
We'll roll the cotton down!
Oh, away down South around Cape Horn, etc.
Oh, we wish to Christ we'd never been bora, etc.
Oh, we're outward bound at break o' day, etc.
Oh, we're outward bound for Mobile Bay, etc .
Oh, Frisco town is far behind, etc .
Oh, the gals down South are free an' kind, etc.
Oh, when we get to Mobile town, etc.
All of us will roll the cotton down, etc.
Oh, Mobile Bay's no place for me, etc.
Oh, I'll go back home and quit the sea, etc.
*********************************

No. 1481
ROLL YOUR LEG OVER
also known as
Roll Your Leg Over the Man in the Moon
This is another of those genuine folk songs, meaning,
one that survives orally because the words were con
sidered too bawdy for print.
The version here is what we call a "cleaned up" song.
Roll Your Leg Over
If all the young ladies were little white rabbits,
And I were a hare, I would teach ’em bad habits.

MB
Song Texts
3945
Chorus
Roll your leg over! Roll your leg over!
Roll your leg over the man in the moon!
If all the young ladies were cows in a pasture,
And I were a bull, I would make 'em run faster.
If all the young ladies were fish in the ocean,
And I were a shark, I would show 'em some motion.
If all the young ladies were rushes a-growing,
And I were a scythe, I would start in a-mowing.
If all the young ladies were sheep in the clover,
And I were a ram, I would ram them all over!
***********■*■*•#**•#■**•**■*•#•***■*■***

No. 1482
THE ROMAN SOLDIERS
also known as
Have You Any Bread and Wine? We Are the Romans
The Roman We Are the Rovers
The Rover, £r Rovers Yankee Soldiers
This is a game song from England. It has a question
and answer format and is quite long in some versions.
The players stand in parallel lines, facing each other.
The children in each line join hands and act out the
words of the song. In North Carolina, when I was in
grade school, the song was known as The Yankee Soldiers.
REFERENCES
Brown, I, 43; V, 507 Gomme, II, 343-360
Burchenal (FDOH), 68-69 Hornby, 46
Burne, 518 Muir, 23-24
Farnsworth, 92-93 Reeves, 185
Forbush, 83-84 Whitman, 128

MB
Song Texta
3944
The Roman Soldiers
Have you any bread and wine?
For we are the Romans.
Have you any bread and wine?
For we are the Roman soldiers.
Yes, we have some bread and wine.
For we are the English;
Yes, we have some bread and wine,
For we are the English soldiers.
Then we will have one cupful, etc .
No! you won't have one cupful, etc .
We will tell the king of you, etc .
We don't care for king or you, etc.
We will tell the Pope of you, etc .
We don't care for Pope or you, etc .
We will send our dogs to bite, etc .
We don't care for dogs or you, etc .
Are you ready for a fight?, etc .
Yes! we're ready for a fight, etc .
( At this point , Romans and English shout together:
" AIM! PIRE! BANG! and sing together ):
Now we only have one leg,
For we are the Romans,
For we are the English, etc .
Now we only have one arm, etc .
Now we only have one eye, etc.
**************************

MB
Song Texts
3945

No. 1463
THE ROMISH LADY
also known as
An Account of a Little Girl
Who Was Burnt for Her
Religion
A Lady's Laughter of
Paris
The Roman Lady
There Was a Romish Lady
The Death of a Romish Lady
This is an American version of a 16th century English
ballad, which, in turn, was apparently translated from
a German version. The ballad was mentioned in Fletcher'
Knight of the Burning Pestle (1613), Act IV, Scene III .
The song is rarely encountered in the United States
these days, but it was extremely popular here through
out the 19th century. It is a musical example of the
religious prejudices which have always plagued a coun
try founded upon religious as well as political free
dom.
Sandburg (A.S), 11, gives a song called Moanish Lady
that contains lines obviously borrowed from this one,
but he describes it as an "offshoot of the spiritual,
Mourner , You Shall Be Free ."
The version below is from the Hesperian Harp , Philadel
phia, 1848.
REFERENCES
Arnold, 19-20
Benziger, 110-111
Belden (BS), 450-455
Belden (PLSB), No. 39
Brewster (BSI), 257-259
Brown, II, 212-215; IV,
Gardner (BSSM), 363-364
Hudson (FSM), 137-139
Jackson (SFS), 27-28
Jackson (WSSU), 141, 148
Jour (AFL), LII, 40-41;
LIX, 207-208
Davis (FSV), 37-38
Eddy, 220-222
133-134
Lair (SLL), 9
Lomax (OSC), 40-43
Lomax (SBS), 41

MB
Song Texts
3946
Moore (SPSS), 236-237
Morris, 388-391
Quarterly (SFL), V, 147-149
Queries (6-18-39), 23
Randolph, IV, 32-34
Scarborough (SC), 175-178,
Owens (TPS), 168-169
Pound, 63-66
Pound (POB), 246
Pound (SFSN), II, 11
404
Walker (SH), 82
The Romish Lady
There was a Romish lady, brought up in popery;
Her mother always taught her the priest she must obey.
"0 pardon me, dear mother, I humbly pray thee now,
But unto these false idols I can no longer bow."
Assisted by her handmaid, a bible she concealed,
And there she gained instruction, till God his love
revealed.
No more she prostrates herself to pictures decked
with gold,
But soon she was betrayed and her bible from her stole.
"I’ll bow to my dear Jesus, I’ll worship God unseen,
I’ll live by faith forever—the works of men are vain.
I cannot worship angels nor pictures made by men:
Dear mother, use your pleasure, but pardon if you can."
With grief and great vexation her mother straight did
go,
To inform the Roman clergy the cause of all her woe..
The priests were soon assembled, and for the maid did
call,
And forced her in the dungeon to fright her soul withal
The more they strove to fright her, the more she did
endure;
Altho her age was tender, her faith was strong and sure

MB
Song Texts
3947
The chains of gold so costly, they from the lady too,
And she, with all her spirits, the pride of life for
sook.
Before the pope they brought her, in hopes of her re
turn,
And there she was condemned in horrid flames to burn.
Before the place of torment they brought her speedily;
With lifted hands to heaven she then agreed to die.
There being many ladies assembled at the place,
She raised her eyes to heaven and begged supplying
grace;
"Weep not, ye tender ladies, shed not a tear for me,
While my poor body's burning, my soul the lord shall
see,
"Yourselves you need to pity, and Zion's deep decay;
Bear ladies, turn to Jesus—no longer make delay."
In comes her raving mother, her daughter to behold,
And in her hand she brought her the pictures decked
with gold,
"0 take from me these idols, remove them from my sight;
Restore to me my Bible, wherein I take delight!
Alas, my aged mother, why on my ruin bent?
*Twas you that did betray me, but I am innocent,
"Tormentors, use your pleasure, and do as you think best
I hope my blessed Jesus will take my soul to rest."
Soon as these words were spoken, up steps the man of
death,
And kindled up the fire to stop her mortal breath.
Instead of golden bracelets, with chains they bound
her fast;
She cried, "My God, give power. Now I must die at last!
With Jesus and his angels forever I shall dwell;
God pardon priest and people, and so I bid farewell."
**********************

MB
Song Texts
3948

No* 1484
ROOM ENOUGH
also known as
Don't Stay Away There’s Room Enough
I Can't Stay Behind
This is another 19th century hymn that was taken over
by slaves and turned into a spiritual.
The version below is from the repertoire of the origi
nal Fisk Jubilee Singers.
REFERENCES
Allen (SSUS), 6, or 32 Marsh (SJS), 127
Arnold, 177 Pike, 167, or 209
Work (ANSS), 207
Room Enough
Oh, brothers, don't stay away!
Brothers, don't stay away!
Brothers, don't stay away!
Don't stay away!
Chorus
For my Lord says there's room enough,
Room enough in His heaven for you.
My Lord says there's room enough,
Don't stay away!
Oh,
children
, don't
stay
away,
etc.
Oh,
mourners
, don't
stay
away,
etc.
Oh,
sinners,
don't
stay
away,
etc.
Oh,
fathers,
don't
stay
away,
etc.
Oh,
mothers,
don't
stay
away,
etc.
**********************

MB
Song Texts
3949

No. 1485
ROOT HOG OR DIE
also known as
The Bull-Whacker
I*m Chief Cook and Bottle
Philosophical Cowboy
Root, Abe, or Die
The Thrifty Slave
Washer
The Nashville ladies
Root Hog or Die is an American expression that became
the title of a song, and that song become one of the
19th century’s most popular. One collector dated it
hack to the American Revolution, another to the War of
1812, and a third attributed both words and music to
Dan Emmett, the author and composer of Dixie and other
well known songs.
I have placed the minstrel version attributed to Emmett
• f
first, as version A. But I do not know for certain that
Emmett wrote the song. In fact, I have seen a broadside
published by J. Andrew, New York, which carries this
notice; Compose d and Sung with Unbounded Applause
Richard J. McGowan, the World Renowned Champion Ban,jo -
ist.
Some collectors are of the opinion that version B,
below, is the original song. According to Belden, it
was "printed in The Dime Song Book (Boston, 1859) along
with extensions or parodies of it in the nigger minstrel
lingo, and there is a British stall print of it (with
out imprint) in the Harvard library."
According to Nathan, the original music was written
by Dan Emmett in the late 1840s and was registered in
his name April 1st, 1853, That manuscript was without
words, so it is possible that someone else took Emmett’s
time and wrote words to it. It is this combination
given below as version A.

MB
Song Texts
- 3950
Two sheet music editions were published in 1856, one
Horace Waters in Nev/ York and the other by Oliver
Ditson in Boston. Neither of these music sheets ment
ion Emmett or any other composer. By then, however,
there were several versions in circulation, and the
number rose steadily during the 1860s. There were
frontier "freight hauling" versions, cowboy versions,
and so on. Some of these later versions were also sung
to other tunes. For example, version D (below) is set
to the tune of Son of a Gambolier, or, as it is known
today, Rambling Wreck From Georgia Tech . Version I (be
low) is set to the tune of The Bonnie Blue Flag , which,
in turn, got it from The Irish Jaunting Car (see in MB).
In her book, Time Out of Mind (1935, p. 54, Rachel
Field says Root Hog or Die 7/as popular as a sea song
on the coast of Maine during the 1880s (see version
F below).
Parodies sprang up .everywhere. From The Arkansas
Traveller* s Songster (New York, c. 1864), p. 48, comes
a Confederate satire on Abraham Lincoln (see version
C below).
From Out West , April 1911, p. 336, comes a cowboy f 3
description of his life and work (see version E below).
Version G expresses Confederate opinions of the German
soldiers in the Union Army. Version H is one man*s
..lament and warning .about hard times in California for
those seeking adventure and wealth at the gambling table
and in the gold fields. Version I is a Confederate
patriotic approach to victory in battle.
Lomax (CS-1919), 254-257 gives a song under the title
Root Hog or Die which is in no war related to this
song or any of its variations. In fact, the title line
does not even appear in the Lomax text. The same song
is given again as The Bad Bov in Lomax (CS-1938), 161.
References given below contain one or the other of the
versions given here.

MB
Song Texts
Beck (FLM), 215-217
Belden (BS), 334, 361
Botkin (7/PL), 750-751
Brown, III, 441-442;
V, 250
Charters, 19
Cheney, 61-63
Davidson (SRI,IF), 99-101
Eckstorm, 328-330
Fife, 30-31
Finger (FB), 88
Ford (OTFM), 7
Ford (TI.1A), 60, 424
Hubbard, 295-296
Kennedy (AB), 137-138
Kennedy (TAB), 44-45
Lingenfelter, 58-59
Lomax (ABFS), 430-432
Lomax (CS-1919), 69-71
Lomax (CS-1938), 396-398
Lomax (FSNA), 333-334
Minstrel, 100-101
Nathan, 335-339, 347
Randolph, II, 318-319; III,
162-165
Silber (SGAW), 142-144
Silverman, II, 350
Staton, 85
Talley, 94, 106
V7ier (SSS), 251-252
Root Hog or Die ( Version A)
I'm right from old Virginia with my pocket full of news;
I'm worth twenty shillings right square in my shoes.
It doesn't make a bit of dif'rence to neither you or I—
Big pig, little pig, it's root, hog, or die!
Chorus
I'm chief cook and bottle washer, captain of the waiters
I stand upon my head when I peel them scrawny 'taters.
I go to work ev'ry day, then go huntin' in the wood;
If you don't catch nothin', then you ain't no good.
I never bother Massa's chickens, because they roost too
high,—
Big pig, or little pig, it's root, hog, or die!
Now all them hightone ladies, they all sure do dress
up fine;
Got them longpail hoopskirts hangin' down behind.

MB
Song Texts
3952
They got their Bonnets to their shoulders, their
noses in the sky,—
Big pig, or little pig, it’s root, hog, or die!
Now I'm a happy Bozo, no happier on this earth,
I get fat as a 'possum in a time of dearth;
Jus' like a pig in a 'tater patch, I let the world
go By,—
Big pig, or little pig, it's root, hog, or die!
VERSION 3
I'll tell you a story that happened long ago,
When the English came to America, I s'pose you all know,
They couldn't whip the Yankees, and this is the reason
why:
Uncle Sam made 'em sing Root, Hog, or Die!
4
John Bull sent to Boston, as you shall plainly see,
Forty large ships sailing, loaded up with tea;
They couldn't get the taxes—I'll tell you the reason
why:
Yankee Boys made 'em sing Root, Hog, or Die!
They first met our armies on top of Bunker Hill;
When it came to fighting, well, I guess they got their
fill.
The Yankee Boys chased 'em off—I'll tell you the reason
why:
Yankee Boys made 'em sing Root, Hog, or Die!
Then they met our Washington over at Yorktown;
There the Yankees cut 'em down like grass on the ground.
Old Cornwallis gave up his sword,—I'll tell you the
reason why:
Washington made 'em sing Root, Hog, or Die!

MB
Song Texts
3953
Then they came to Baltimore forty years ago,
And they tried to take North Point, but found it
wouldn’t go.
The Baltimoreans chased 'em off—I'll tell you the
reason why:
Yankee boys made 'em sing Root, Hog, or Die!
Then they marched their armies down to New Orleans.
That was the place, you know, that Jackson gave 'em
Beans.
They couldn't take our cotton bales—I'll tell you the
reason why:
Old Andy made 'em sing Root, Hog, or Die!
VERSION C
I'm just from the South for to tell you all the news:
It's with a half a dollar right square in my shoes.
There isn't much difference betwixt you and I—
little pig, big pig, root, hog or die.
Chorus
Chief cook and bottle washer, captain of the waiters.
Stand upon your head till you pee a bag of 'taters,
And do jog along.
Old Abe Lincoln keeps a-kickin' up a fuss,
And if he don't stop it he'll only make it worse.
We'll have our Independence—tell you the reason why:
Jeff Davis'11 make em sing Root, Hog, or Die!
When Lincoln sent to re-inforce Sumpter for the fight,
He told the Yanks to pass thro' the harbor in the night;
He said to them, Be careful—I'll tell you the reason
why:
Our boys are mighty bad on Root, Hog, or Die!

MB
Song Text 3
3954
Then Beauregard he called a halt accordin' to his
style;
The Yankees they faced about and looked mighty wild.
They couldn't give the password—I'll tell you the
reason why:
Beauregard's countersign was Root, Hog, or Die.
They anchored out a battery upon the waters free.
The queerest lookin' thing that ever you did see;
It was the fall of Sumpter—and here is the reason why:
•Twas the Southern alphabet of Root, Hog, or Die!
They telegraphed ol' Abraham they'd took her like a
flirt,
And underscored another line, "There was nobody hurt."
We're bound to have the Capital, and here is the reason
why:
We want to teach Abe to sing Root, Hog, or Die!
VERSION D
I am-the best freight hauler on the Colorado line,
I can whup the damn fool who would yoke an ox of mine.
If ever I find out, you bet your life I'd try
To split his skull with an ox-bow, root hog or die.
I'll tell you how it is when you first get on the road:
You got an awkward team and a mighty heavy load;
You cut and you slash, and you swear, but on the sly.
Push along your team, boys, root hog or die.
There's many strange sights to see all along the road.
Antelopes and deers and big sand toads,
Buffalo and elk and the rabbits jumping high,
Where all those blood redskins are—root hog or die.
0, times on Bitter Creek they're very hard to beat,
With root hog or die on ev'ry wagon seat;

MB
Song Text3
3955
The sand's all in my throat, the dust is in my eyes,
So bend your back and bear it, boys, root hog or die.
Well, I suppose you'd like to know the kind of food
we eat;
It's a little piece of bread and some old dirty meat,
A dab of old molasses, with some sugar on the sly,
Potatoes when you get 'em, boys, root hogh or die.
When we arrived in Santa Pe the twenty-first of June,
All the folks were sure surprised to see us come co
soon.
We are the bold bull-whackers on whom you can rely;
We're tough and we can stand it, boys, root hog or die.
VERSION E
On the Double Curcle range, where the grass grows green,
The cattle get wild and the broncs get mean;
And the calves get bigger as the days go by,
So-we got to keep a-rimmin', boys, it's root hog or die.
If you ride about on horses you've got to keep 'em
shod.
If you can't shoe 'em standing, lay on the sod.
You can tack the iron on 'em, if you're a mind to try,
So come on, and get busy, boys, it's root hog or die.
In the morning after breakfast about daylight,
Its saddle your horse, pull the cinches tight;
Now he may jump crooked or he may jump high,
But we got to keep a-ridin', boys, it's root hog or die.
0, the hills are rough and rocky, but we got to make
the drive;
When you start a bunch of cattle you'd better come alibe
If you get a mav'rick, you do it on the fly,
So you better take to 'em, boys, it's root hog or die.

MB
Song Texts
3956
In the middle of the night you will find it hard
To leave your blankets and go standing guard.
All you have for company is the stars on high,
When you’re humming to the cattle, boys, it’s root
hog or die.
Oft it’s dreadful stormy and oft it’s pretty clear;
You may work a month, or you may work a year,
But you can make a winning if you'll only try,
For the whole world over, boys, it's root hog or die.
VERSION F
*Twas on the twenty-fourth of March we got under way,
Bound to the Western Bank on a bright and sunny day;
The wind was off the land and clear was the sky:
That night we shot in Portland Dock, root hog or die.
Now, boys, bring up your water-casks and carry them
ahore,
Fill them up with water till they won’t hold no more;
Then hoist up the boat, boys, we'll have one more try
At getting up the Western Bank—root hog or die.
When we got her close fore and aft, we all went below
The wind was to the eastward, like the devil it did
blow;
We beat about and banged about and never saw the sky.
And then we shot in Port La Tour—root hog or die. ’
Now I says unto the cook, "Make haste and bear a hand
And we’ll take a walk on this Nova Scotia land."
As we were going up the road, two girls we chanced to
spy,
Sitting down upon a log—root hog or die.

MB
Song Texts
3957
Well, I wish you’d seen the cook, I’m sure 'twould-a
made you stare;
Por I thought he was as bashful as Timothy, I declare!
But if these rocks could speak as well as you and I,
Someone back home would be jealous—root hog or die.
VERSION G .
The Butch came to Missouri, as well you all do know,
To subjugate the rebel boys but couldn’t make it go.
They can’t whip the rebel boys, I'll tell you the
reason why:
The Southern boys mean to win—root hog or diel
General Sigel came to Carthage to whip the rebel crew,
To feed us to the buzzards, and hang the governor, too
But they couldn't make the riffle,—I'll tell you the
reason why:
The Southern boys made them git—root hog or die.
Upon the tenth of August we heard the Lyon roar;
The grape-shot and canon-ball around us, like rain,
began to pour.
Our shot-guns did the work for them—I’ll tell you the
reason why:
The Southern boys made them git—root hog or die.
VERSION H
Oh, I went to Californy in the spring of .'fifty-six,
And when I landed there I was in a terrible fix;
I didn't have no money, and vittles could not buy—
The only thing for me was to root hog or die.
I went out in the country, commenced to makin' hay;
All the wages that I got was a dollar an' a half a day

MB
Song Texts
3958
Two suppers late at night, an* there’s no use to cry;
Ain't no use in whinin’—it's root hog or die.
Now I left from there an’ I went on down to Bellew;
I met up with a stranger who helped to put me through.
It was in a game of poker, an' he gave the cards a sly;
He soon got my money, then it's root hog or die.
Now I got mad and began to yell, an' cuss, an' swear;
I forced down the corn juice till I got on a snare.
The marshal of the city, who was standing near by,
He took me to the calaboose to root hog or die.
He took me into court next morning right at ten,
There sat the judge and a dozen other men
They fined me twenty dollars, and that was kinda high,
But there's no use a-whinin'—it's root hog or die.
Come listen, all you young men, and pay heed to my
advice:
Don't ever play poker or go to throwin' dice!
For if you do, you'll go too much awry
And lad in the calaboose to root hog or die.
VERSION I
Tune: Irish Jaunting Car
lie are a band of brothers, natives of our soil,
Fighting for the property we gained by honest toil.
And all along the ranks they all did cry,
Tomorrow, boys, we make the Dutch root hog or die.
Hurrah, boys, hurrah! we rangers know our rights,
And if they trample on our toes we'll make them see
eights.
The Lion* ceased to, and old Segal's* on the shy,
Big Abe, little Abe, root hog or die.
♦ Captain Nathaniel Lyon and Gen. Franz Slgel , Union Army .

MB
Song Texts
3959
If Abe isn’t satisfied and wants to fight again.
All he has to do is just muster up his men.
To whip old Ben McCulloch he can always get to try,
But he’ll find the Southern boys won’t root hog or die!
**********************************
Ho. I486
ROSALIHA
also known as
Lead Her Up and Down Rosa-Becka-Lina
Old Betsy Lina Rosa Becky Diner
Rosa Betsy Lina
This is a play-party song and square dance tune.
Versions vary from area to area, but there is not
very much originality in the words.
REFERENCES
Botkin (APPS), 299
Douthitt (PPK), 36-37
Dudley & Payne, 17
Duncan (PPEC), 8-9
McDowell (FDT), 46-49
McIntosh (FSSG), 56-58
Randolph, III, 362-364
Randolph (Ozarks), 163-164
Thomas (SG), 18-19
Rosalina
Lead her up and down the line,
Rosalina.
Lead her up and down the line,
Rosalina.
Lead her up and down the line,
Rosalina,
Oh, won’t you be mine?
******** •*•**■■*•***■*■* **-***

MB
Song Texts
3960

No. 1487
THE ROSEWOOD CASKET •
also known as
Little Rosebud Casket A Package of Old Letters
The Little Rosewood Casket Rose-Bud Casket
This 19th century love lament was still popular and
being recorded by various record labels in the 1940s.
According to Belden, the song was published and number
ed 972 and marked ’Copyright 1870, by White & Goullaud.’
According to Lawless there are at least 37 versions in
print.
REFERENCES
Allsopp, II, 206
Arnold, 67
Belden (BS), 220
Brown, II, 631-635; IV,
305-307
Cox (FSW), 73-74 B
Cox (TBFS), 195, 196
Henry (BMFS), 32-33
Henry (FSSH), 243-250
Henry (SSSA), 182-183
Jour (AFL), XLII, 293;
XLV, 90-96
Kincaid, No. 3, 34
Memiors (AFL), XXIX, 83-
85
Neely, 230-231
Perrow, XXVIII, 172-173
Pound (SFSN), VI, No. 3
Pub (TFLS), VI, 221
Quarterly (SFL), IV, 197-198
Queries (9-1-1940), 19
Randolph, IV, 269-272
Richardson (AMS), 54
Roberts (IP), 202-203
Shellans, 40
Silber (HSB), 87
Silverman, I, 134
Spaeth (WSM), 35
Stout, 83-85
Thomas (DD), 100-101
Wetmore (MSNC), 24
Wilson (SHP), 62
The Rosewood Casket
In a little Rosewood casket
Lying on a marble stand,
Is a package of old letters
Written by my true love’s hand.

MB
Song Texts
3961
Come and sit beside me, brother,
Come and sit upon my bed,
lay your head upon my pillow,
For my aching heart feels dead.
Last Sunday I saw him walking
With a lady by his side,
And I think I heard him tell her
She could never be his bride.
When I'm dead and in my coffin,
And my shroud's around me bound,
And my narrow grave is ready
In yon lonesome churchyard ground.
Take his letters and his locket,
Place together o'er my heart,
But the golden ring he gave me,
Prom my finger never part.
♦ St*****************************

No. 1488
ROSIN THE BOW
also known as
Old Rosin T. Beau
Old Rosin the Beau, or Bow
Rosen the 3ow
Rosin the Beau
Origin of this song is unknown. Most collectors think
it came from Ireland, particularly the tune. Irish
songs with similar airs are Men of the West and Yougal
Harbor. After the tune's introduction to America, how
ever, at least thirty songs were sung to it. According
to Leisy, "the melody was first introduced in America
in 1838," when Rosin the Bov; was its title. The tune
was widely used and widely popular throughout the 19th
century. For songs set to the tune, in this Master Book
see Abraham Lincoln V, Acres of Clams , Harrison vs
Cleveland, Harrison vs Van Buren . He's the Man For Me 5

Song Text?
3962
MB
Polk vs Clay IV, and Sherman* s March to the Sea.
For an early variation, see Rc-wen the Bow in McCaskey,
II, 48. For a parody,, see Paddy* s Curiosity Shop in
Ford (TMA), 432-433. Also see Hulbert, 187-138.
Christians borrowed the tune, too, and we find it used
for Sawyer 1 s Exit in the Sacred Harp (1859) and the
Original Sacred Harp (1911), p. 338. For modern re
prints of the hymn, see Jackson (SFSO, 148-149 and
(WSSU), 167.
Rosin the Bow was issued as a stall ballad by Ryles of
Seven Dials. Damon reproduced a Ditson (undated) print
and Joyce (OIFMS), Ho. 352 gives the tune without the
words*
REFERENCES
Agay (2), 74-75
Barrett, No. 53
Belden (BS), 255-258
Brown, III, 61-62; V,
32-34
Chappell (FSRA), 9
Chappie (HS), 210-211
Davis (FSV), 132-133
Fife, 11-12
Ford (OTFM), 8
Ford (TJ.A), 56-57, 127
392-393
Hudson (FSM), 203-205
Ives (SB), 270-271
Joyce (OIFMS), 162
Karpeles (EFS), II, No. 230
Leisy, 3-6
Lloyd, 50-51
Lomax (CS-1919), 280-281
Lomax (CS-1938), 278-279
Pound, 209-211
Pound (SFSN), II, 13
Randolph, IV, 371-373
Scott (BA), 248-249
Shearin (SKFS), 19-20
Shoemaker (NPM), 115-116
Silverman, I, 275
Spaeth (REY7), 41-42
Williams (FSUT), 93-94
Rosin the Bow
I've traveled this wide world over
A.nd now to another I'll go;
I know that good quarters are waiting
To welcome old Rosin the Bow.

MB
Song Texts
•3963
To welcome old Rosin the Bow,
To welcome old Rosin the Bow,
I know that good quarters are waiting
To welcome old Rosin the Bow.
When I’m dead and laid out on the counter,
A voice you'll hear from below
Singing out, "VThiskey and water,
To sprinkle on Rosin the Bow.
To sprinkle on Rosin the Bow, etc .
And when I am dead, I reckon,
The ladies v/ill all want a show,
And they'll lift up the lid of my coffin,
Saying, f, Here lies old Rosin the Bow!"
Saying, "Here lies old Rosin the Bow, etc„
Oh, pick me out six trusty fellows,
And let them stand 'round in a row,
And dig a deep hole in a circle,
And in it toss Rosin the Bow.
And in it toss Rosin the Bow, etc.
Then shape me two mugs for drinking,
Place one at my head and my toe.
And do not forget to write on them
The name of old Rosin the Bow.
The name of old Rosin the Bow, etc .
Then let those six trusty good fellows
All come and stand 'round in a row.
And hold high a big whiskey bottle,
And drink to old Rosin xne Bow.
And drink to old Rosin the Bow, etc .

MB
Song Texts
3964
I feel the grim tyrant approaching,
That cruel, implacable foe,
Who spares neither age nor condition,
Nor even old Rosin the Bow.
Nor even Old Rosin the Bow, etc.
**************************************

No. 1489
ROUND AND ROUND, IN AND OUT
also known as
Go In and Out the
Window(s)
Go Out and Meet Your
Lover
Go Round and Round the
Levee, or Valley or
Village
The Highland Gates Are Free
In and Out the Window(s)
Marching Round the Levee,
or Levy
Marching Round the Love
Ring
MARCHING, WALKING
Marching Round the Valley,
or Village
Round and Round the Levee,
or Levy
Round and Round the Valley
or Village
Till the Moon No longer
Shines
Walking on the Levee, or
Levy
Walking Round the Valley,
or Village
We're Marching Round the
Levee, or Levy
This is a game song from England, where it is known in
a wide variety of versions. Many of the stanzas circu
lating in England have been recovered in this country,
and several of them have been presented as songs in
their right. Such stanzas as "Follow me to London," "In
and out the window," "Marching round the ladies," "Stand
and face your lover," and "Up and down the valley" have
all been given as individual and distinct pieces, which
results in troublesome references in America.

MB
Song Texts
3965
The meaning of terms is not always clear in old songs,
and this one is no exception. For example, take the
term "levee" or "levy." According to Gomme, the term
•here has no connection with flood control! It must
mean a morning party or reception (See Webster). Such
levees were held during the War Between the States to
celebrate victories...'For we have gained the day.'"
In America, as is usual, the song became fused on oc
casion with other songs. 3otkin found a version of
Marching Round levx that had been crossed with
Coffee G rows or. a White Oak Tree, and describes it as
•A striking instance of the grafting of a swinging-game
upon a ring-game..." According to Newell, '"levy 1 is
p lainl y a substitute for 'valley'; making the change,
we have 'Walking in the Valley'; the theme, therefore,
is the same as that of 'Walking on the Green Grass'."
(See Green Grass in this Master Book).
According to Gomme, Linscott, and others, All versions
of the song appear to be a survival of an ancient and
periodical village festival at which marriage took
place. If true, that was far away and long ago. For
more than a century the song has belonged to children,
who neither understand nor care about its original loea
and purpose.
Although versions vary considerably here and there, an-
collectors tend, generally, to isolate and present them
as individual pieces, it is obvious that all of them
derive from a common source. Therefore, it was decided
that representations of the group should be given to
gether as A, B, C, B, and E.
REFERENCES
Ames (MPP), 306—307
Armitage, I, 69
Balfour, 16
Bancroft, 375-377
Beckwith (PGJ), 67-68
Bertail, 140
Botkin (APPS), 34
Brown, I, 119-122; III,
108-109; V, 524-525

MB
Song Texts
Brown & Boyd, 29
Chase (APTS), 191-193
Collins, 15
Cox (SG), 194-196
Davis (FSV), 228
Douglas, 41
Forbush, 68-69-82-83
Ford (TMA), 260-261
Fuson, 175
Gomme, II, 122-143
Heck, 26
Hofer (SG), 16
Hornby, 39
Hudson (FSM), 287-288
Hudson (FTM), 35
Jour (AFL), VIII, 253;
XV, 194; XXXI, 132;
XXXIII, 120; XLIV, 12;
XLVII, 338; XLIX, 243;
LIX, 438
3966
Kit, J, 11
Lair, 19
Linscott, 9-10
Maclagen, 65
McDowell (FDT), 60-61
Neely, 204
Newell, 128-129, 249-
230
Notes (8th Series), I,
249
Owens (ST), 3
Perrow, XXVI, 138
Price, 38
Randolph, III, 336-338
Rayburn, 120-121
Shearin (SKFS), 38
Warnick, 165
Wier (YAM), I, 130
Wolford, 47-48
Round and Round, In and Out, Marching , Walking
VERSION A
Go in and out the windows,
Go in and out the windows,
Go in and out the windows,
Till the moon no longer shines.
Go forth and greet your lover, etc.
Go up and down the valley, etc .
Now hold and kiss your lover, etc.
Go round and round the dwelling, etc

3967
MB
Song Texts
Now go salute your lover, etc .
He kneels because he loves you, etc .
It breaks his heart to leave you, etc.
One kiss before he leaves you, etc.
VERSION B
Go round and round the valley, (3)
For we are all so gay.
Go in and out the windows, etc.
Go back, and face your lover, etc .
Such love have I to show you, etc,
VERSION C
Round and round the village, (3)
As we have done before.
Stand and face your lover, etc,
Follow her to Boston, etc.
In and out the windows, etc,
Hug and kiss your lover, etc.
VERSION D
I*m walking on the levee, (3)
For you have gained the day.
Go in and out the windows, etc.
Stand up and face your lover, etc

MB
Song Texts
• - 3968
I measure my love to show you, etc .
I kneel because I love you, etc«
It breaks my heart to leave you, etc»
VERSION E
We*re marching round the village, (3)
The Highland gates are free.
, Go thro* and thro* the windows, etc
Go forth and face your lover, etc.
1*11 kneel and say I love you, etc,
So long, for I must leave you, etc.
********************* ********* ********** *

No. 1490
ROUND UP POUR IN LONDON
also known as
Round that Lady
Twenty-Pive Miles to
Circle Pour in London
London
Rally, Boys, Rally
London
This is one of those floating game songs. Versions
do not differ greatly, though the words are sometimes
changed beyond recognition. There are also a few songs
that are quite similar, and some of these may be seen
in Hudson (PSM), 298; Hudson ( SMFL), 125; and Jour
(APL), XXIV, 315.
Also see and compare Weden in Owens (ST), 84-85.
REFERENCES

MB Song Texts * -. 3969
Ames (MPP), 305 Hamilton, 302
Douthitt, 34 Hudson (SMPL), 127
Randolph, III, 370
Round Up Pour In London
Round up four in London,
I thought I heard them say;
Right and left in London,
And I have heard them say#
Do-se-do in London, etc#
Rally, boys, rally, etc.
Nineteen miles to supper, etc#
Change and swing in London, etc .
Promenade home in London, etc .
********************************

No. 1491
THE ROVING LOVER
also known as
Broomfield Town
Gambler’s Sweetheart
The Gambling Man
Gamboling Man
The Guerilla Boy, £r Man
I'm a Roving Gambler
The Journeyman
The Roaming Gambler
The Roving Gambler
Roving Jack the Journeyman
The Roving Journeyman
The Roving Shanty-man
The Roving Soldier
Yonder Comes Ky Little Girl
Yonder Comes My Pretty
Little Girl
This song comes in many variated versions, with the
more popular one being version A below.
In various areas of America the Gambler is replaced

MB
Song Texts
: 3970
by another character, generally a guerilla , a soldier
or a shanty-boy. However, all of them, including the
gambler , are descendants of the Irish .journeyman of
the original song: The Roving Journeyman (see version
C below),
A persistent situation in all American versions is
the mother-daughter dialogue. Another persistent
feature is the line: "She asked me in her parlor, she
cooled me with her fan," Many versions also contain
floating stanzas and lines,- usually from such songs
as I "/pulin' t Marry , A Railroader for Me, and The
Forsaken Girl,
During the American Civil War the Journeyman or Gambler
became a Guerilla. Both Belden and Randolph give
versions featuring the "guerilla man," The A, B and C
versions below are representative of the genre, but are
by no means all-inclusive.
REFERENCES
Baring-Gould (SW), No, 8
Belden (BS), 374-376
Botkin (AFL), 889
Brewster (BSI), 342-344
Brown, III, 78-80; V, 43
Cazden, II, 98
Creighton (FSNB), 43
Davis (FSV), 125-126
Downes (1940), 293
Fuson, 131
Gardner (BSSM), 200
Henry (SSSA), 98-99
Jour (AFL)., XXIV, 398;
XXVIII, 137; XXIX,
134-135
Leisy, 286-288
Lomax (ABFS), 150-151
Lomax (PB), 113
Odum (NHS), 258-259
Owens (TFS), 85-86
Randolph, IV, 356-360
Reeves, 196
Rickaby, 81
Roberts (IP), 156-158
Roberts (SBS), 108-109
Sandburg (AS), 312-313
Shay (PF-2), 22-25
Shay (PF-3), 120-121
Silverman, II, 330
White, 33-38
The Roving Lover
(Version A)

MB
Song Texts
3971
I.am a roving gambler,
I’ve gambled all around,
Whenever I meet with a deck of cards
I lay my money down.
I lay my money down!
I lay my money down!
I’ve gambled down in 7/ashington,
Gambled over in Spain;
I'm going back to Georgia,
To gamble my last game. (3)
Hadn't been in Washington
Many more days than three,
When I fell in love with a pretty girl,
Who fell in love with me. (3)
She took me in her parlor,
She cooled me with her fan;
She whispered low in her mother's ear:
"I love this gambling man." (3)
”0 daughter, 0 dear daughter,
Why do you treat me so?
How can you leave your mother here
And with this gambler go?" (3)
”0 mother, 0 dear mother,
You know I love you well,
But the love I feel for this gambling man
Is more than words can tell..(3)
"Don't you hear that train a-coming?
It’s coming round the curve!
0 don’t you hear the whistle blow?
It's straining every nervei

MB
Song Texts
3972
"0 mother, 0 dear mother,
Please listen while you can:
If ever you see my face again,
1*11 be with this gambling man*”
VERSION B
I am a roving soldier, I go from town to town,
And when I see a pretty girl I invite her to sit down.
I eat when I am hungry, I drink when I am dry,
And if some war don't kill me, I'll live until I die.
I took a trip to Richmond, some pleasure for to see;
I fell in love with a Richmond girl and asked her to
marry me.
She asked me in her parlor, she cooled me with her fan;
Then whispered in her mother's ear, "I love this soldie
man.”
”0 daughter, dearest daughter, how can you treat me so?
How can you leave your mother and with this soldier go?
"I'll pack up all my clothing, with my true love at my
side,
I'll roam this wide world over and be a soldier's bride
"And when I see him coming I'll clasp my hands with
i°y
And say to my old mother: Here comes my soldier boy!"
VERSION C
Young Jack he was a journeyman,
That rov'd from town to town;
And when he'd done a job of work,
He lightly sat him down*

MB Song Texts 3973
With his kit upon his shoulder
And a grafting knife in hand,
He rov’d the country round about,
A merry journeyman.
How when he came to Exeter,
The maidens leaped for joy;
Said one and all, both short and tall,
Here comes a gallant boy.
The lady dropt her needle, and
The maid her frying-pan,
Each plainly told her mother that
She loved the journey-man.
He had not been in Exeter,
The days were barely three,
Before the Mayor’s own:daughter s&id
She loved him desparately.
She bid him to her mother’s house,
She took him by the hand,
Said she, "My dearest mother, see
I love the journey-man!
"He need no more to trudge afoot,
He’ll travel coach and pair;
My wealth with me— or poverty
With him, content I’ll share.”
Now filled the horn with barleycorn,
And flowing fill the can:
Here let us toast the Mayor's daughter
And the roving journeyman.
*•*•*-*■*•**** ************

MB
Song Texts
3974

No. 1492
THE ROVrDY
This is one of those California •'gold-rush'* era songs,
written by John A. "Old Put" Stone and, as usual, set
to a well known melody of the time. Stone's text, in
The Golden Songster, was reprinted in D?/yer, 122,
The Rowdy Tune: Coming*Through the Rye
If a rowdy meet a rowdy going down the street,
If a rowdy ask a rowdy, what a rowdy treat?
Chorus
If a rowdy sees a rowdy take a glass of grog,
Should a rowdy call a rowdy damned infernal hog?
If a rowdy meet a rowdy anywhere in town,
Should a rowdy curse a rowdy, knock a rowdy down?
If a rowdy will be rowdy, ride him on a rial!
Tar the rowdy, feather rowdy, take him off to jail!
***-*************************•*

No. 1493
THE ROWDY SOUL
also known as
Damn My Rowdy Soul Gad Damn my Rowdy Soul
Dang My Rowdy Soul God Dang my Rowdy Soul
This is what used to be celled a "saloon song" or
"rounder." I learned it (see version A below) from
a blind country singer named Riley Puckett in the
early 1930s. The only other version I have seen in
print is considerably different, but is, I think,
a variation of the same scng. Version 3 is from

MB
Song Texts
, 3975
Wheeler (SB), 94.
The Howdy Soul ( Version A)
God damn my rowdy soul!
God damn my rowdy soul!
Stagger'd down to Joe's saloon,
Sipped rye whiskey with a spoon.
God damn my rowdy soul!
God damn my rowdy soul! (2)
Well, I headed for the door
And I landed on the floor.
God damn my rowdy soul!
I left my gal down town, (2)
Pound me lying on my bed,
And she pounded on my head!
God damn my rowdy soul!
God damn my rowdy soul! (2)
Gonna head on down the line.
And I'll leave that gal of mine,
God damn my rowdy soul!
VERSION B
I'm a rowdy soul, I'm a rowdy soul,
.Don't care whether I work or not.
Las' year I didn't raise no crop at all,
Didn't raise no corn an' tomatoes.
The groun' wuz so po the corn wouldn't grow,
But damn the Irish potatoes!
I'm a rowdy soul, I'm a rowdy soul,
Don't care whether I work or not.
When I git my new house done,

MB
Song Texts
3976
1*11 Build the chimney higher,
So the dirt dobbers* will quit flyin* round,
An* put me out my fire.
I took my gal to the party, Oh,
An' I didn't say nothin’ 'bout it;
I ain't no hand to raise no row,
But I'm hell when I git started.
"Yellow jackets , or wasps .
*****************£-*****•****■**-*•**

No. 1494
ROY BEAN
also known as
The Law West of the Peco
Judge Roy Bean
Roy Bean was born in Kentucky, where he v/as raised in a
frontier environment. He wandered through the Western
states as a jack-of-all-trades, getting more trade than
jack 9 until he v/as nearly sixty years old. At Langtry,
Texas, v/here he operated a saloon called the "Jersey
Lily", which, like the town, v/as named in honor of the
English actress, Lily Langtry ? Bean was appointed
Justic of the Peace. Prom the day of his appointment,
August 2, 1882, until his death in 1903, he held court
in his saloon.
According to Lomax (CS), Charles J. Finger "modestly
confessed that he wrote this metrical story of some
of the activities of Roy Bean."
REFERENCES
Botkin (AFL), 134-135
Finger (FB), 133-136
Kennedy (A3), 108-110
Kennedy (TAB), 130-133
Lomax (ABFS), 413-415
Lomax (CS-1938), 147-150
Patterson (SRR), 44-45

1TB
Song Texts
3977
Boy Bean
Boy Bean has gone to glory, but he lives in song and
story,
"All the law west of the Pecos” read his sign;
Let imagination take us, to a town down on the Pecos,
Where a high bridge spans the canyon, thin and fine.
He was born one day near Toyah, where he learn'd to
%
be a lawyer,
And a teacher and a barber and the mayor;
He was cook and old shoe mender, he was p.eacher and
bartender,
And it cost two-bits to have him cut your hair.
Boy Bean was quite a hustler, and some say he was a
rustler,
But at mixing up an eggnog he was grand;
He was clever, he was merry, he could drink a Tom and
Jerry,
On occasion at a roundup took a hand.
Tho* the story isn't funny, they say once he had no
money,
But for him this wasn't very strange or rare;
He just went to help Pap Wyndid, but he got so absent
minded,
That he branded ol' Pap's cattle ev'ry where.
Well, ol' Pap he got so angry, Roy Bean went down to
Langtry,
Where he opened up an office and a stroe;
He would sell you drink or buttons, or another rancher
muttons,
Tho' this always made the other fellow sore.

MB
Song Texts
3978
Once there came from Austin city a greenhorn dude
reported witty,
And from old Roy he sorta guessed he'd get a rise;
Well, he got unusual frisky, and he up and order'd
whiskey,
Saying: Bean, now hurry-up, gol-durn your eyes.
On the bar he threw ten dollars, which ol' Roy he
quickly collars,
Then ol' Roy takes out nine and hands back one.
Well, the stranger gave a holler, when he saw that
single dollar,
And with that began the merriment and fun.
Then the dude he slammed the table, just hard as he
was able,
Now the price of whiskey was too high, he swore;
Roy said, "For all that fussin', and your most out
rageous cussin',
You are fined the other dollar by the law,"
One fine day they found a dead man, who in life had
been a red man,
So doubtless he was nothin' else but bad.
They called Roy to view the body, but first he took a
drink of toddy,
Then he listed all the things the dead man had.
For a red man he was tony, for he had a pretty pony,
And a dandy bit and saddle and a rope;
He had a fine Navajo rug and a quart within his jug,
And a bronc that was dandy on the lope. .
So the find it was quite rare-oh, for he had been a
"Cocinero,"
And his pay-day hadn't been so far away;

MB
Song Texts
3979
He had a brand-new white stetson and a silver Smith
and Wesson,
While a purse of forty dollars jingled gay.
Roy said, "You'll learn a lesson, for you have a Smith
and 7/esson,
And to carry implements of war is very wrong;
Forty dollars I will fine you, for we can't very well
confine you,
As already you've been layin' round too long,"
How I've told you boys the story, of Roy Bean in all
his glory—
He's the man who was the justice and the law;
He was handy with his hooks, he was orn'ry in his
looks.
And just now I ain't a-telling anymore.
*****************************

No. 1493
THE RULERS OF THE EARTH
also known as
The Lords of Creation Obey
Lords of Creation Men We Call Rulers of the 7/orld
Belden refers to this song as a "bit of feminine rail
lery" and says that it "is perhaps not traditional
song" and added that he had "not seen it elsewhere."
Other collectors who print versions give no background
information, so we are left with the 1907'manuscript
dated "about the third quarter of the last century" that
was reported by Belden.
REFERENCES
Belden (BS), 432-433 Davis (FSV), 333
Brown, III, 363-364 Loesser, 134-135

MB
Song Texts
3980
The Rulers of the Earth
Ye lords of creation, men you are called,
You think you rule the whole;
You are much mistaken, after all,
For you are under woman's control.
For ever since the world began
It's always been the way—
For didn’t Adam, the very first man,
The very first woman obey, obey, obey,
The very first woman obey?
Ye lords who are present, hear my call.
I know you will quickly say:
Our size much larger, our nerves more strong,
Shall the strohger the weaker obey?
Let us leave themselves to muse
Upon their fancied sway—
For as long as a woman's possessed of a smile
She will certainly have her own way, her way,
She will certainly have her own way.
Now ladies, since I've made it plain
That the thing is really so,
We'11 not let them have their way,
But we'll show them the way to go.
For ever since the world began
It's always been the way,
And we'll mange it so th*t the very last man
Shall the very last woman obey, obey, obey,
Shall the very last woman obey!
***************************

MB
Song Texts
3981

No. 1496
RUN ALL THE WAY
also known as
Blow, Gabriel, Blow Listen to the Angels Shoutin
Camp-ground revival song from America’s frontier era
that disappeared from hymn-books sometime during the
first half of the 19th century. American slaves kept
the song alive by turning it into a spiritual.
See and compare Paul and Silas II in this Master Book.
The version below is from Marsh (SJS), 225. A slightly
different version is in Work ANSS), 209-210.
Run All the Way
Where do you think I found my soul?
Listen to the angels shouting!
I found my soul at hell’s dark door,
Listen to the angels shouting!
Before I lay in hell one day,
• Listen to the angels shouting!
I sing and pray my soul away,
Listen to the angels shouting!
Chorus
Run all the way, run all the way,
Run all the way, my Lord,
Listen to the angels shouting.
Blow, Gabriel, blow! Blow, Gabriel, blow!
Tell us all the joyful news,
Listen to the angels shouting.
I don’t know what sinners
Want to stay here for,
Listen to the angels shouting!
When he gets home he will sorrow no more,
Listen to the angels shouting!
**************************

MB
Song Texts
3982

No. 1497
RUN, MARY, RUN
also known as
I Know the Other Yf'orld Is Not Like This
This spiritual was arranged and published under copy
right in 1905. It is similar in some ways to Tell All
the World, John (see in MB), but obviously an adaptation
of 0 Run , Mary , Run , or The Resurrection Morn , an earlier
version given below as version B.
See and compare Udder Worl * 1 Is Not Lak Lis in Odum (NHS),
123.
REFERENCES
Allen (SSUS), 54, or 101 Johnson (SENS), 110-113
Dett, 18-19 Jubilee (PS), 23
Mackenzie (SH), 114-115
Run , Mary , Run ( Version A)
Run, Mary, run! Run, Mary, run!
0, run, Mary, run!
I know the other world is not like this.
let’s hurry horn! Let’s hurry home!
0, let’s hurry home!
I know the other world is not like this.
VERSION B
0 rim, Mary, run! Hallelu, halielu!
0 run, Mary, run, hallelujah!
It was early in de mornin’, etc.
That she went to the Sepulchre, etc .

MB
Song Texts
.3983
And de Lord He wasn’t dare, etc.
But she saw a man a-comin*, etc,.
And he say, "0 touch me not, etc,
"For I am not yet ascended, etc .
"But tell to my disciples, etc,
"That the Lord He is arisen,* etc, "
********************************

No, 1498
RUNNING DOWN THE MOUNTAIN
also known as
Nancy Brown She Came Running Down the
Rolling Down the Mountain Mountain
The West Virginia Hills
Origin of this old ribald song is unknown, but it was
revived during the 1930s by a group known as The Prairie
Ramblers .
The version below is from Wilbur Brown, Wilmington,
N. C., 1933.
For a song sharing one title with this one, see West
Virginia Hills in Fowke (SWF), 56.
Running Down the Mountain
In the hills of West Virginia
Liv'd a girl named Nancy Brown;
She was the fairest maiden
For many miles around.

MB
Song Texts
3984
Nancy met a deacon
Who was looking for some thrills,
And he invited Nancy
For a ride up in the hills.
She came running down the mountain,
Running down the mountain,
She came running down the mountain, by the damn;
But she didn't give the deacon
That thrill he went a-seekin',—
She came home as pure as West Virginia ham!
Then she met a cowboy,
Who was dressed in fancy frills,
And he invited Nancy
For a ride up in the hills.
She came running down the mountain,
Running do 7m the mountain,
She came running down the mountain, by the shack;
But as I before have stated
She was not contaminated,—
She came home as pure as Pappy's apple-jack!
Henderson, the trapper,
With his phrases sweet and kind,
He took her to the mountains,
But when she read his mind—
She came running down the mountain$
Running down the mountain,
She came running down the mountain, down the line;
And in spite of all his urgin',
She remained a local virgin,—
She came home as pure as West Virginia pine I

MB
Song Texts
3985
Then a city slicker,
With his hundred dollar Dills,
And his fancy new Mercedes,
Drove our Nancy to the hills.
And she stayed up in the mountains,
Stayed up ih the mountains,
Yes, she stayed up in the mountains all that night!
She came home next morning early.
More a woman than a girlie,
And her Pappy chased the hussy out of sight!
Now she's living in the city,
Living in the city,
Now she's living in the city mighty swell!
She's all thro' with pots and kittles,
She's now eating fancy vittles,
Says the West Virginia Hills can go to hell!
**************************************
No. M99
RUN, RUN, RUN!
also known as
The City of Refuge Run To the City of Refuge
You'd Better Run
An old spiritual that has "been recorded by singing groups
for many labels. Its origin is not known, but it reveals
the general character of a campground hymn adapted by
Southern slaves.
For a distinctly different version, see Brown, III, 615-
616 .
REFERENCES
Scarborough (NFS), 208-209 White, 90-91, 407
Work (ANSS), 93

MB
Song Texts
, 3986
Run , Run , Run?
God sent Jonah to Nineveh land;
He didn’t obey his Lord’s command.
You should-a seen the storm that the
good Lord made:
A whale swallowed Jonah ’cause he
disobeyed!
Chorus
You’d better run, run, run, run, run!
You’d better run, run, run, run, run!
You’d better run to the City of Refuge,
You'd better run, run, run!
God made Samson a man of worth;
He made him the strongest man on earth.
The good book says back in the ancient times,
He killed about a thousand ol’ Philistines!
He had to run, etc,
****************************

No, 1500
RUSTY JIGGS AND SANDY SAM
also known as
Buster Jiggs and Sandy Sam The Sierry Petes
Sandy Bob, or Sam and Rusty Tyin’ a Knot in the Devil
Jiggs Tail
Tying Knots in the Devil's Tail
This cowboy song has made the rounds of personally pub
lished folios and song books, and has been claimed as
the original work of several different authors,
A version is in Powder River Jack Lee's The Stampede
(n,d.), in which Lee claims to have written it. He

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makes the same claim of authorship in Song Book, a
folio published in 1931 and, again, in his folio
Cowboy Son? Book , 1936,
Gardner (OB), claims the song and says he got the
idea in 1917, In George German’s pamphlet, Cowboy
Campfire Ballads , the text is credited to Gail I,
Gardner; and German's pamphlet was published in 1929*
Under the title, The Sierry Petes , text was copyrighted
by Gardner in 1935. We find the song again in Cowboy
%
Song Book No. 5, 1939, by George German,
For two similar pieces, see The Glory Trail and High
Chin Bob in Lomax (SCT), pp. 30 & 33.
REFERENCES
Fife, 201-203
Ford (TMA), 367-369
Gardner (OB), 9-10
Larkin (1931), 65-68
Larkin (1963), 75-78
Laws (NAB), 141
Lee (TTGC), 43-44, 225
Lingenfelter, 358-359
Loesser, 200-201
Lomax (ABFS), 406-409
Lomax (FSNA), 388-389
Ohrlin, 69-72
Sackett, 52-53
Silverman, I, 48
Toelken (NTB), 12-13
White (GALD), 117-118, 122
Rusty Jiggs and Sandy Sam
Away out there in the Sierry Peaks,
Where the mountain pines grow tall,
Rusty Jiggs and Sandy Sam
Had made their camp last fall.
They had their ponies and their running irons,
And maybe a dog or two,
And they 'llowed they'd brand ev'ry slick-eared dogie
That came within their view.
Now ev'ry old dogie with long flop-ears
That didn't hole up by day,

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Got his long ears trimmed and his old hide scratched
In a most artistic way.
Says Sandy Sam to Rusty Jiggs,
As he threw his seago down,
"I figures I’m tired of cowpography,
And reckons I'll go to town,”
They saddled their ponies and struck a lope,
For it was quite a ride; *
But them was the days when an old cowpoke
Could wet his dry inside.
Well, they started in at Kentucky bar,
Up at the head of the row,
And ended up at the Depot House,
Just seventy drinks below.
As they were a-ridin' back to camp,
A-carryin' that awful load,
Who should they meet but the Devil himself
A-walkin' down the road.
Says the Devil, ”You cowpunchin' skunks,
You'd better hunt up your holes;
I've come from the rim-rocks of Hell
To gather in your soulsl”
"The devil be damn,” says Sandy Sam,
”Though I know that we are tight;
No devil ever killed an old cowpoke
Without one hell of a fight!”
He built him a hole in his old seago,
And he threw it straight and true;
And he caught the devil by both horns,
And he had it anchored, too.

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How Rusty Jiggs was a reata man
With his gut-line coiled neat;
He shook it out and built him a hole,
And he snared the devil’s feet.
They stretched him out and tailed him down,
And they got their irons red hot;
They put a swallow-fork in each ear,
And they scorched him up a lot.
Then they left him their in the Sierry Peaks,
Necked up to a big black oak;
Left him there in the Sierry Peaks—
Tied knots in his tail for a joke.
If ever you’re up in the Sierry Peaks,
And you hear one helluva wail,
You'll know it's the devil himself
Cryin' ’bout the knots in his tail!
****************************
********************
**************
**********
******
****
**

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3990

No. 1301
SAFE IN THE PROMISED LAND
also known as
Promised Land
Way Over in the Promised
The Hebrew Children
The Promised Land
Safe At Home in the
Where Now Are the Hebrew
Children?
Where, 0 Where is Old
* Elijah?
Land
Wonder Where is Good Old
Daniel?
This spiritual dates back to at least the first half
of the 19th century, and may be older. We know it has
been in print since 1832, because that year it was pub
lished in The Sacred Harp, A version is in the 1833
edition of The Southern Harmony , the 1855 edition of
The Social Harp and the 1911 edition of the Original
Sacred Harp , In the latter hymn-book, words and music
are ascribed to Peter Cartwright, "a minister of the
gospel, (who) used this tune in his camp meetings long
before it was ever placed in notation.”
The same song is ascribed to David Walker in The South
ern Harmony edition mentioned above,
A Negro parody was published in 1844 by C, Bradlee &
Company, Boston, which begins:
0 whar is de spot we wuz born on, (3)
Way down in Car*line state?
There is even an American Indian version, and it begins:
Clo me sal sal mit a Moses
Hiclo piclo peace in-e-ay.
Por the most popular parody, see Where, 0 Where? in
this Master Book,
REFERENCES

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Arnold, 164
Belden (BS), 457-459
Brown, III, 678
Cobb (SH), 203
Dett, 73
Puson, 205-206
Jackson (SPS), 201
Jackson (WHS), 202-203
Jackson (WSSU), 232,
Jour (API), XX, 236; XXVI,
148
262
Jones, 300
Kendall, 6-7
Luther, 88
Odum (NHS), 144-145
Owens (TPS), 163
Richardson (AMS), 67
Sandburg (AS), 92-93
Walker (SH), 266
White, 49-50, 429-430
White & King, 78
Safe In The Promised Land
Where now are the Hebrew children?
Where now are the Hebrew children?
Where now are the Hebrew children?
Safe in the Promised land!
Tho* the furnace flamed around them,
In their troubles the Lord God found them,
And with love and mercy bound them
Safe in the Promised land.
Where now are the good old prophets? (3)
Safe in the Promised land,
God in heaven called upon them,
Let the Spirit of Heaven run them,
And the power of glory won them
Safe in the Promised land.
Where, 0 where is old Elijah? (3)
Safe in the Promised land.
He went up in a fiery chariot! (3)
Safe in the Promised land.

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Where, 0 where is good old Daniel? (3)
Safe in the Promised land.
Someday soon we'll all go see him! (3)
Safe in the Promised land,
*******************************
No. 1502
%
SAID I TO MYSELP, SAID I
This is a parody of John Brown' s Body . So far as I
am aware, this is the first time the text has "been
published. I obtained it from the singing of three
boys and two girls on a New York subway train in
1946.
Said I To Myself , Said I Tune: John Brown ' s Body
One grasshopper jumped upon another grasshopper's back!
One grasshopper jumped upon another grasshopper's back!
One grasshopper jumped upon another grasshopper's back! _
As I was passing by.
They were only playing leap-frog, (3)
Said I to myself, said I.
One mosquito bit another mosquito on the neck! (3)
As I was passing by.
They were only being friendly, (3)
Said I to myself, said I.
A flea and a fly flew up a flu to pitch a little woo! (3)
As I was passing by.
Glory, glory, how peculiar! (3)
Said I to myself, said I.
******************************

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No. 1303
THE SAILOR AND HIS BRIDE,
also known as
Charlie and Mary
The Soldier Boy
The Sailor Boy
The Sailor Boy’s Bride
The Sailor Lad
The Sailor’s Bride
Of English origin, this song had wide circulation in
the United States. According to Flanders (NGMS), the
song "was first printed, without music, by H. DeMarsan,
on a broadside, list 15, No. 90, at some time between
1860 and 1878."
In America, as might be expected, the song evolved in
to many differing versions. The husband is here a
sailor, there a soldier, depending upon the area or
the inclination of the singer, I have even heard a
cowboy version in which the husband was Texas Ranger.
The song is similar in content to A Young Woman* s
Sorrow (see in this Master Book).
Also see and compare My Lovely Sailor Boy in Randolph,
IV, 268-269.
REFERENCES
Brown, II, 344-345; IV,
200-201
Chappell (FSRA), 57-58
Cox (FSS), 364-365
Eddy, 104-106
Flanders (NGMS), 231-234
Henry (FSSH), 177-178
Pound (SFSN), XII, No. 5
Quarterly (HFL), 21-22
The Sailor and His Bride
I'm all alone and sad always;
I lost my love in younger days.
My sailor boy, whose heart was true,
Lies sleeping 'neath the ocean blue.

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La la la la la la la
La la la la la la la
My Sailor boy, whose heart was true,
Lies sleeping 'neath the ocean blue.
One happy year when spring was sprung
And flowers bloomed, and songs were sung,
My heart was filled with lo.ve and ioy,
For I was with my sailor boy.
La la la la, etc.
The evening star was shining still,
And twilight crepted o'er yonder hill;
I was the sailor boy*s bride,
And we were walking side by side.
La la la la, etc.
About three months we had been wed,
But, oh! how fast the moments sped!
We had to part at break of day—
Aboard a ship he sailed away.
La la la la, etc„
Long months passed by t he came no more
To see his bride upon the shore.
His ship went down within the storm,
And death embraced his handsome form.
La la la la, etc .
My sailor sleeps beneath the wave;
The mermaids swim above his grave.
Would that I were resting too,
Beside him in the obeah blue.
La la la la, etc.
************* if-**** **********

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•No. . 1504
THE SAILOR AND THE CHEST
also known
The Boa^maiy, ,or Boatsman
and- ither. ^Che s t
The Boastmaorrand .the Tailor
The B ©Stavra iaa rand the Chest
The Bo&tSvtaiairand the Tailor
The Jolly Boatman, or
Boatswain
The Old B's'n
The Sailor and the Tailor
The Sailor Boy
A Tailor in the Chest
This i£sa svsryvold ballad with an even old theme. In
fact , ivariatidnarof the theme are found in many bal
lad text®^throughout Europe,
See arid-compare s TEe Bold Trooper in Peacock, I, 243-
248 arid- crKeerreoper and the Tailor in Cazden, II, 12-
15 . •
REFERENCES
Campbe 1 i-1& d'SEar-pp, No. 42
Cazden,- ,11^ ,8238-3:
Chappell-(FSRA1, ,93-94
Eddy,.14331455
Greenleaf j,112-113:
Henry (PSS3-)'; ,191-192
Hubbardj,22032299
The Sailbr^grid' - the Chest
Johnson (BBLL), 47, 86
Karpeles (EPS), II, No. 189
Laws, Q 8, 277
Morris, 371-372
Peacock, I, 306-311
Reeves, 83-84
Sharp, I, 338-340
Shearin (SKPS), 53
The sailbrrheecame:home in the middle of the night;
Put the^poarrtailor- in a hell of a fright.
"Hide ms^ > 0~ hidesnre!" the tailor he did cry,
"For it~iisyparrhusband, and I don't want to die!"
"There ib-sa?f-old: chest that is standing outside;
You may' jiutpp into: that and so quietly there lie."

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He ran real quick with his breeches and his hose,
While she followed after with the rest of his clothes.
She ran downstairs and she opened the door,
And saw her husband and her husband looked sore.
She caught him by the waist, then gave to him a kiss;
He says, "My loving woman, what do you mean by this?
"I'm sorry, loving wife, I’ve come for my chest;
I'm really very sorry to disturb your evening rest.
Our ship she weighs anchor already for to sail—
We’re bounding away with a prospering gale.”
Then in walked her husband with five sailors strong;
They picked up the chest and they carried it along.
They lugged it away to the end of the town,
And the weight of the chest caused the sweat to roll
down.
Says one to the other, ’’Let's put it down and rest.”
”0, no,'* says another, "For the devil's in the chest!"
"No, no," cried the boatswain, "No need for you to
fear;
For it's only John the Tailor, and I've got him here."
They took the poor tailor and put him in the nook;
No one to touch him, in the longboat he shook.
He opened the cover in view of them all
And there was the tailor cornered in his stall.
"Well, now, Mister Tailor, what brought you here?
Never mind, my friend—no need for you to fear.
For I will press on you, and send you off to sea;
No more will you stay home and make a fool of me!"
*************************

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Song Texts

No. 1505
SAILOR’S HORNPIPE
Popu^ar r as 2 % fiddle-tune throughout America, this song
ie^act^p^fayorite with square dancers. Its omission
from~foi.h>s9ng-collections is probably due to the fact
that-ittis s usually found in instrumental form. The
text-bglo’#,-.was-obtain from Fred Kirby, a professional
country--type e singer through the 1930s and 1940s at
Charlotte * ,N>;, 0j,
For r apdi|ferent-text set to this tune, see Drinking
Song -Xvinr.this - Master Book.
For r a £ instrus}ental.version for fiddle, see Ford (OTFM),
26 c.
Sailor*-3 Pern-pipe
A as rlikes to sail upon the ocean blue,
A as rl i ke s to sail upon the ocean blue;
Nqyfcvand.cthen he takes a notion,
CqReftashore and leaves the ocean,
Aij&chqitgoes to town to court the girls and
l<£va 'em true.
A jg^jJ-icn^ilikes to drink and dance upon the shore
A /s^licri^rlikes to drink and dance upon the shore
Lqy&esa girl from night till morning,
Say^-i'good bye" without a warning,
Fq^o^owohe.'s broke and goes to sail the sea
onfta more.
**###-**• *** ******************* *

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Ho. 1506
A SAILOR’S LIFE
also known as
The Gallant Seaman’s
Suffering
When the Stormy Winds do blow
Ye (You) Gentlemen of England
Neptune’s Raging Fury
This ballad is associated in several published collect
ions with later ballads dealing with the same or simi
lar subject matter. According to Chappell (OEPM), II,
4 . 8 , this ballad “is an alteration of one by Martin
Parker, a copy of which is in the Pepys Collection, i,
420; printed at London for C. Wright.”
The tune was used for several old English ballads,
most of which were not known in American tradition.
The text was altered many times, resulting in a dozen
or so related ballads on both sides of the Atlantic.
For example, in his headnotes to Joily Sailors Bold,
Mackenzie, 253, says: "The source of this song, and of
a great many similar ones, is the famous broadside,
Ye Gentlemen of Engla nd, or When the Stormy Winds Do
Blow, composed by Martin Parker, and first issued about
1635.”
Other ballads said to be alterations of A Sailor’s Life
are: Neptune * s Raging Fury ; _or The Gallant Seaman's
Sufferings in Ashton (CB), 213-217 and Sbsworth (RB),
VI, 432-433; The Jovial Mariner , or The Sea-Man’s
Renown in Ebsworth (RB), VI, 369-370; The Jovial Sailor’s
Crew in Halliwell’s Yorkshire Anthology , 257-259; and
versions of a ballad variously known as Nancy From
London , Pretty Nancy of London , and Tall Grow the Rushes
in Greenleaf, 73; Jour (FSS), III, 101-103; Karpeles,
180-181; Peacock, II, 568; Randolph, I, 329; and Sharp
(FSE), I, 20.
For a ballad that be^-rns the same and has other marked

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similar-ties, see Ba^ of Biscay Oh in Creighton (SBNS),
105-106.
For versions of a later hallad known- as Ye Gentlemen
of England and You Gentlemen of England Pare, see
Creighton (SBNS), 136-137 and Flanders (BMNE), 193-
195.
The tune is subject to confusion because of the title
Ye Gentlemen of England ; a tune of that title was com
posed by John Wall Callcott in the 18th century, and
it became widely known and exceedingly popular. A
text was written to Callcott*s tune by Thomas Campbell,
who called it Ye Mariner’s of England . but Callcott
was not born until 1766 and, therefore, could not
have had anything to do with a tune in circulation
during the 17th century.
The tune to this ballad is almost identical to that
of The Bay of Biscay 0! , which is given elsewhere in
this Master Book.
REFERENCES
Bantock, 29-30 Colcord, 138
Chappell (OEPM), II, Whitman, 58-59
47.49 Williams (FSUT), 201-202
A Sailor’s Life
You gentlemen of England, that live at home at ease,
How little do you think upon the dangers of the seas!
Give ear unto the mariners, and they will plainly show
All the cares and the fears when the stormy winds do
blow.
The sailor must have courage, no danger must he shun:
In every kind of weather his course he still must run!
Now mounted on the topmast how dreadful ’tis below!
Then we ride as the tide when the stormy winds do blow

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If enemies oppose us and England is at war
With any foreign nation, we fear not wound nor scar.
To humble them, come on lads, their flags we'll soon
lay low:
Clear the way for the fray tho* the stormy winds do
blow.
But when the danger's over and safe we come on shore,
The horrors of the tempest we think of then no uiore,
The flowing bowl invites us and joyfully we go,
All the day drink away, tho' the stormy winds do blow!
***************** ***********

No. 1507
SAILORS, SHANTIES AND SHIPS
Land songs that go to sea aboard ships are sometimes
called "shanties," but this is misleading. "Shanties"
are tools used by sailors at work, and sailors do not
call them "songs."
Modern sailors have no use for shanties. During irorld
War II, for example, I sailed the Atlantic for four
months and never once heard a sailor use a shanty. This
would not have been the case seventy-five years ago,
for until World War I working seamen were doing their
work aboard ship to the rhytnms of shanties.
Shanties, then, were "work" songs. Songs brought from
land, such as ballads and other ditties, were sung in
the forecastle, for entertainment, and it is these
songs one sometimes find in collections as "fo'castle
shanties."
The earliest collectors of shanties for publication .
were Laura Alexandrine Smith, Captain Frederick Davis,
and Cecil J. Sharp. Richard Runciman Terry should also
be mentioned. Both Sharp and Terry obtained many of
the shanties they printed from the singing of an old

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sailor, John Short, of Watchet, Somerset. Short had
sailed in American as well as British sailing ships,
and he had an extensive repertoire. He had been on
the Yankee ship Levant , in 1866, as the Civil War was
coming to a close. Yet the songs Sharp and Terry ob
tained from him varied considerably, which is not too
surprising since non-professional folk singers seldem
sing a song the same way twice. Terry, of course, ap
proached the songs differently; he patiently sorted
out the variations, writing down for publication what
he decided was most likely the right melody for each
shanty. Sharp, on the other hand, was not concerned
with such determinations; he copied down exactly what
he heard. It -was Terry’s collection that came into
use by concert singers during the 1920s, but, later,
as people became more folk conscious, Sharp’s collection
leaped to the fore, and it has remained there.
There are many kinds of shanties, and each kind were
used for different jobs aboard ship. The two most
numerable kinds of shanties are the "halyard”, or
halliard , and the "short-drag," Now the "short-drag"
shanty was used for quick jobs, but it is not to be
deduced that because the job was quick that it was
also easy. ?7ork that required more time was done to
the rhythm of halyard shanties. The halyards were
"haul yard" lines, or the ropes that hoisted the yards—
the spars slung across the masts to support the sails.
They were also used for such heavy work as "pumping
ship" and swaying any heavy object aloft,. These shanties
therefore, had a slow pulse combined with a hearty
swing. Examples of these shanties are Whiskey , Johnny !
and Blow . Boys , Blow? For an excellent example in
this Master Book , see A Yankee Ship and a Yankee
Skipper .
The oldest of the "short-drag" shanties in this as well
as in other published collections, are probably Haul the

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Bowline , which was in use during the reign of Eng
land's Henry VII, and Haul Away , Joe,
After such shanties were taken over by American sailors,
they underwent certain fundamental changes. American
sailors had little or no interest in English politics,
so political lines were replaced by something nearer
and dearer to their hearts, namely, women.
Following the War of 1812, the fast American packet
ships handled practically all of the communication
between the United States and Europe. Naturally, these
packets show—up in hundreds of shanties and songs.
The first and most famous packet ships belonged to
the Black Ball Line, which made frequent and fast runs
on a regular and, sometimes, grueling schedule. The
most famous of the packet ship shanties, Blow the Man
Down , describes life aboard the packets.
Along the New England coast, the whaling industry de
veloped and made use of shanties. Reuben Ranzo is
probably the most famous and most often changed shanty
used by the whalers.
Port, "dockside," or Stevedore shanties were also used
for work-unloading cargo as well as loading it. These
are the shanties created and sung by black workers, and
usually in Southern ports.
Stormalong , or Old Stormy , a capstan or pumping shanty,
was the sailor's counterpart of the lumbermen's Paul
Bunyan , and he is mentioned in many shanties. Another
capstan shanty, Shenandoah , or Across the '.Vide Missouri ,
is as famous on land as it was at sea. Originally, of
course, is was strictly an American land song; it went
to sea and became a song of yearning for home.
Something important to know about sailor-singing is
that they did not sing shanties in melodic harmony.
Shanties were sung in solo and choral response—in
work-song style. Only after the black sailor entered

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the sailing arena was harmony introduced to shanty
singing. For additional information on this, see
the article Negro Folic Songs in this Master Book .
Also see the article Occupational and i/ork Son?s_^
******************** ****************

No. 1308
SAINT GEORGE AND THE DRAG-ON
This is a traditional Mormon song about a piece of
Mormon territory along U. S. highway 91*
During the 1860s, a group of Mormon settlers jour
neyed to the arid Valley on the Virgin River and
settled there, naming the place St. George.
REFERENCES
Cheney, 113-115 Fife (SoS), 330-331
T?i fp 78—79 Lingenfelter, 252—253
” ’ Swan (MM), 244-245
Saint George and the Drag-On
Oh, what a dreary place this was
When first the Mormons found it!
They said no white men here could live,
And Indians prowled around it.
They said the land it was no good,
And the water was no gooder;
And the hare idea of living there
Was enough to make men shudder.
Chorus
Mesquite, soap root, prickly pear and briars
Saint George ere long will be the place thao
everyone admires.

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Now green lucerne in verdant spots
Redeem our thriving city.
Whilst vines and fruit trees grace our lots
With flowers sweet and pretty.
Where once the grass in single blades
Grew a mile apart in distance,
And it kept the crickets on the hop,
To pick up their subsistence.
The sun it is so scorching hot
It makes the water sizz, sir;
And the reason that it is so hot
Is just because it is, sir.
The wind with fury here doth blow,
That when we plant or sow, sir,
We place one foot upon the seeds
And hold them till they grow, sir.
**** JC M. ****************************** *

No. 1509
SAINT PATRICK’S BAY
This song, written by M. J. Barry, is traditional but
not genuine folk-song. The tune is popular as a fiddle
piece and at square dances. Only one stanza is given
below.
REFERENCES
Piper (SPPG), 286-287
Songs (15), 238
Wilson (BA), 77-78
Ford (OTFM), 18
Ford (TMA), 63
Saint Patrick* s Bay
Oh, blest be the days when the Green Banner floated
sublime
O’er the mountains cf free Innisfall,

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When her sons, to her glory and freedom devoted,
Defied the invader to tread her soil.
When back o’er the main they chas'd the Dane,
And gave to religion and learning their spoil,
When valor and mind, together combined;
But wherefore lament o'er the glories departed.
Her stars shall shine out with as vivid a ray,
For ne'er had she children more brave and true-hearted,
Than those she now sees on Saint Patrick's Day.
***************************

No. 1510
SALLY
also known as
A Song of Sally
This song proves that politicians in the days of
American's founding fathers were as immoral, vicious
and as disposed to "dirty tricks" as any of their
modern descendants. Joseph Dennis, editor of the
Federalist Port Polio , attacked Thomas Jefferson
through a song, accusing him of having a slave woman,
Sally Hemings, as a mistress. Dennis was later in
dicted for libel. Another journalist, James Thomson
Callender, even tried to blackmail Jefferson about
the Sally Hemings affair.
Sally Hemings, a quadroon, traveled to Prance in 1787,
as companion-attendant to Jefferson's youngest daugh
ter, Maria. Jefferson was then serving as United
States Minister, Rumor said Sally's four children
looked a lot like Jefferson. Her son, Madison Hemings,
said that his mother became Jefferson's concubine in
Paris, and "that she was pregnant when they returned
to America in 1789«" (See Lawrence, 174).
Federalists took up the rumors and insinuations, at
tacking Jeffe'rscn in print and in song at every

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opportunity.
There is no documented proof to support the rumor
that Sally Hemings ever had an affair with Thomas
Jefferson, let alone an affair that lasted thirty
years. It is true, however, that Sally was still
a slave owned hy Jefferson in 1826, when he died,
and that she received her freedom "two years later
from his daughter, Martha Randolph."
The song below came out in 1802 and was circulated
with the rumon that it v/as written by Jefferson him
self.
For another text, probably of earlier date, see
A Philosophic Love Song: To Sally in Lawrence, 174«
Tune: Yankee Doodle
Of all the damsels on the green,
On mountain, or in valley,
A lass so luscious ne'er was seen
As Monticellean Sally.
Chorus
Yankee Doodle, who's the noodle?
What wife were half so handy?
To breed a flock, of slaves for stock,
A blackamoor's the dandy.
Search every town and city through,
Search market, street and alley;
No dame at dusk shall meet your view
So yielding as my Sally.
When pressed by loads of State Affairs,
I seek to sport and dally;
The sweetest solace of my cares
Is in the lap of Sally.

MB
Song Texts
4007
Let Yankee parsons preach their worst—
Let Tory Witling's rally!
You ipen of morals! and "be curst,
You'd snap like sharks for Sally*
She's black you tell me—grant she be—
Must colors always tally?
Black is love's proper hue for me—
And white's the hue for Sally.
%
You call her slave! And pray were slaves
Made only for the galley?
Try for yourselves, ye witless knaves—
Take each to bed your Sally.
*******************************

No. 1511
SALLY AM, or ANNE
also known as
I'm Going To Marry You, Sally Ann
play-party song and dance time. According to Lomax
(PSNA), it is related to Sally Gooden (see in MB).
REFERENCES
Arnold, 38
Brown, 7, 414-415
Jour (AFL), LIX, 462
Lomax (PSNA), 230-231
Perrow, XXVIII, 183
Seeger (6), 53
Sharp, II, 351
Silverman, II, 133
Sullivan, 173
Sally Ann, or Anne
Where are you going, Sally Ann?
V/here are you going, Sally Ann?
Vttiere are you going, Sally Ann?
Gwine to the wedding, Sally Ann.

MB
Song Texts
4008
Chorus
Shake that lil' foot, Sally Ann!
Shake that lil* foot, Sally Ann!
You're a good dancer, Sally Ann!
I'll be your lover, Sally Ann! (3)
We'll soon be married, Sally Ann!
Sal's got a meat skin laid away! (3)
For her ol' wooden leg, they say.
Gwine on a journey, Sally Ann (3)
Like you to hurry, if you can.
************************

No. 1512
SALLY BROY/N
also known as
Walk Along, You Sally
Sallie Brown
Sallie, Won't You Have Some?
Roll and Go
Brown
Way, Ho, A-Rolling Go
Wild Goose Nation
There are so many versions of this shanty in print
that there is disagreement to what kind of shanty it
is. Hugill thought "This windlass shanty probably
came to life in the West Indies." He added that in
Jamaica as late as the 1930s Sally Brown helped
logwood cutters to roll the logs down to the water's
edge." Sharp refers to it as "a hauling shanty" and
Smith said "it was usually sung when getting up anchor
Colcord, on the other hand, set it down as a capstan
or windlass , agreeing with Hugill.
For a West Indies variation, see Tommy's on the Tops'_l
Yard in Hugill (1), 166.
REFERENCES

KB
Song Texts
Adams, 65
Anderson (7/Y), 131
Baltzer, I, 94
Bone, 97-98
Boughton, 90
Bradford, 6
Brown (JL), 45
Bullen & Arnold,
xiii, 6
Colcord, 32, or 82
Davis (SSC), 5
Doerflinger, 74-76
Greenleaf, 337
Harlow, 122
Hugill (1), 162, 167
Jour (PSS), V, 43
King, 18
Lomax (FSNA), 52-53
Luce, 221
4009
Masefield (SG), 315-316
Meloney, 20
Niles (SMM), 160
Patterson (SA), 225
Rohinson, 68
Sampson, 16
Sharp (EFC-2), 12
Shay (ASSC), 24-25
Shay (IMWS), 85-86
Shay (PF-2), 146-147
Shay (PF-3), 207
Silverman, II, 255
Smith (BOS), 20-21
Smith (MW), 48-49
Terry, I, 16-17
Thompson (B3B), 193
Trevine, 12
Trident, 109
Whall (SSS), 40
Sally Brown ( Version A)
I shipped aboard a Liverpool liner,
Way, ho, a-rollin’ go!
And I slipped aboard a Liverpool liner,
For I spent my money on Sally Brown.
0 seven years I courted Sally, etc .
But all she did was dilly-dally, etc .
0 Sally Brown was a Creole lady, etc .
We*re married now and livin’ comfortable, etc.
VERSION B

MB
Song Texts
Sally Brown is a bright mulatter,
Way, aye, roll and go!
She drinks booze and chews terbacker,
Spend my money on Sally Brown!
Sally Brown of New York City, etc .
Tall an* round, she is very pretty, etc .
Seven long years I courted Salley, etc .
Seven long years, but she wouldn' marry,
Sally Brown is a Creole lady, etc,
She’s the mother of a nigger baby, etc .
Now my troubles are all over, etc.
She's married to a nigger soldier, etc.
VERSION C
Way aye roll and go!
0 Sally Brown she premised me,
A long time ago,
She promised for to marry me,
Way aye roll and go!
0 she promised for to marry me,
A long time ago.
As I walked out one morning fair,
It's then I met her, I do declare.
She lives on the plantation,
She belongs to the Wild Goose Nation,
0 Sally Brown is all I see,
0 Sally Brown's the gal for me.
4010
etc •
***** ************ ************

MB
Song Texts
' 4011

No, 1513
SALLY GOODEN
also known as
Had a Pie The Jaybird and the Sparrow
Hunks of Pudding and 01 * Sally Goodin
Pieces of Pie Sallie Gooden, or Goodin
This is a play-party song and a dance tune; it exists
in several variations. There is a Negro version, Miss
Mary Jane , in Scarborough (NFS), 117.
REFERENCES
Ames (MPP), 313-314
Brown, III, 126-127; V,
69-70
Cambiaire, 93
Davis (FSV), 249
Emrich (FAL), 557
Ford (0TFI.I), 38
Ford (TMA), 64, 128,
209, 419-420
Fuson, 158
Jour (AFL), XXXIX, 168;
XLII, 98
Lomax (FSNA), 236
McDowell (FDT), 75
Randolph, III, 350-351
Silverman, I, 358
Thede, 32-33
Sally Gooden
I had a piece of pie, had a piece of puddin’,
I’d give it all away to see Sally Gooden.
Chorus
Oh, Sally Gooden, you can’t fool me!
Oh, Sally Gooden, you can’t fool me!
I 3 aw her dancin’ round, saw her dance the polka,
She danced the night away thinkin’ that I’d
note her!
****************************

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Song Texts
4012

Ho. 1514
SALLY IN OUR ALLEY
This is one of the most popular songs ever produced
in England. It was written "by Henry Carey, who was
horn about 1663. On October 4, 1743, he committed
suicide at his home "in a fit of despair 0 " Carey's
original tune remained popular for thirty years, then,
for some reason, it was replaced by the tune of The
Country Lass.
The song is traditional in America, where it is still
in print.
A fiddle-dance version of the tune is given as version
B under TUNES in this Master Book.
REFERENCES
Agay (2), 16
Chappell (OEPM), II, 117-119
Chappell (PKOT), II, 645-648
Chappie (HS), 402-403
Johnson (FS), 369-371
Mackenzie (SH), 37-38
Oberndorfer, 41
Ramsay (T?M), 202-204
Songs (15), 158
Wier (SvVWS), 41
Sally in Our Alley ( version A)
Of all the girls that are so smart,
There's none like pretty Sally;
She is the darling of my heart,
And lives in our alley.
There is no lady in the land,
That's half so sweet as Sally;
She is the darling cf my heart,
And lives in our alley.
VERSION B_
Instrumental only. See under TUNES .
**************************-*******

MB
Song Texts
4013

Ho. 1515
SALLY THE RICH SOUTHERN LADY
also known as
The Bold Soldier
A Brave Irish Lady
The Brown Girl
The English Lady Gay
Pair Damsel Prom London
Pair Lady of London
Pair Sally
The Pine Lady Gay
The Irish Lady
An Irish Young Lady
New Ballad
Pretty Sally
Pretty Sally of London
Pretty Sally the Pair
Damsel from London
Pretty Sally the Rich
Irish Lady
Pretty Sarah
Rich Irish Lady
The Rich Lady
The Rich Lady from Dublin
The Rich Lady from London
Rose of Ardeen
Sallie
Sally and Billy
Sally and Her True Love
Billy
Sally Dover
Sally Prom London
Sally Sailsworth
Sweet Sally
There Was a Young Lady
The Young Sailor from
Dover
This ballad fell victim to a scholastic inclination
to associate every old ballad possible with the Child
canon, iiTthis instance with Child No. 295 (The Brown
Girl). According to Belden (BS), 111* Bt i~ related,
certainly, to that ballad, but is sufficiently dis
tinct to be ranked as a separate song.” Cox (FSS),
366, says: "This is the English song usually known as
•Sally and her True-Love Billy’ or ‘Sally and Billy';
also as ’The Bold Sailor' and 'The (Young) Sailor
from Dover*....The piece, as Barry has noted, is a
variety of 'The Brown Girl'...”
Flanders, IV, 286, writes, the song "is also frequent
ly found containing material in common with otner
ballads, such as 'Glenlogie' (Child No. 238);

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Song Texts
4014
‘Barbara Allen’ (Child No. 84); ’The Death of Queen
Jane' (Child No. 170); 'Clerk Saunders* (Child No.
69); 'The Unquiet Grave’ (Child No. 78); ’Sweet
William’s Ghost’ (Child No. 77; and 'Lord Thomas
and Pair Annet’ (Child No. 73).”
Sharp, who found a version in the Appalachians, called
it The Brown Girl and related it to Child No. 295 in his
notes.
In my opinion, this song has no more of a relationship
with The Brown Girl (see in MB) than Barbara Allen
has with Prankie and Johnny. To say it "is a variety
of The Brown Girl ” means about as much as saying ”pork
is a variety of meat.” Nevertheless, most of the works
referred to below, under "references,” do associate
this ballad with Child No, 295.
REFERENCES
Barry (BBM), 418-425
Belden (BS), 111-118
Brewster (BSI), 164-165
Brown, II, 299-302; IV,
166-168
Bulletin (VPS), Nos. 5,
7, 8, 9 & 11.
Cambiaire, 119-120
Campbell & Sharp, No. 36
Chappell (PSRA), 74-75
Christie, II, 241
Coffin, 159-161
Cox (PSS), 366-370
Davis (PSV), 44-45
Davis (TBV), 537-543,
604
Dean-Smith, 56
Flanders, IV, 285-291
Flanders (VP3B), 244-246
Gainer, 100-101
Gardner (BSSM), 150-151
Greig, I, art. 79
Hubbard, 46
Hudson (FSM), 128-130
Hudson (SMPL), 26-27
Jour (APL), XVIII, 295;
XXVII, 73-74; XXIX,
178; XXXII, 502;
XXXIX, 110; XIV, 53-54
Jour (PSS), VIII, 5-6
Joyce (OIFMS), No. 153
Karpeles, 108-110
Kidson (GEPS), 20
Kirkland, 79
Laws (AB), 252-253
Lomax (OSC), 160-161
Moore (3PSS), 130-141
Morris, 330-331

MB
Song Texts
4015
Niles (BB), 336-340
Owens (TPS), 40-41
Pub (TFLS), XXIII, 37-38
Randdolph, I, 205-212
Scarborough (SC), 97-98,
389
Sharp, I, 295-304
Sharp (100), 52
Silverman,- I, 180
Smith (AA), 67
Tolman, 178
Treat, 12-13
Sally the Rich Southern Lady
%
A fair Southern lady of fortune and fame,
And Sally, sweet Sally was her given name;
Her riches were more than ever so high,
And her beauty was more than her riches could buy.
There was a young farmer who lived rather near,
And he came a-courting this lady so dear;
But she was so grand, and her station so high,
Upon this young man she would scarce cast an eye.
"0 Sally, 0 Sally, 0 Sally,” said he,
"0 Sally, I'm sorry that we can't agree;
Forever and ever my ruin you'll prove,
Unless that your hatred be turned into love."
"I do not feel hatred for any young man,
But to say I love you—No, I never can.
So drop your intention and end the discourse,
For I'll never marry you unlessit's thro' force."
Now when they had parted and time had gone past,
The rich Southern lady she fell sick at last;
She sent for the young man she'd treated- with scorn,
For pierced in the heart she did nothing but mourn.
"Good morning. Miss Sally—and how do you feel?
Is your pain in your head or in your heel?"
"0 no, no, kind sir, the truth you've not guessed:
For the pain that I'm feeling is all in my breast."

MB
Song Texts
4016
"0 Sally, 0 Sally, 0 Sally,” said he,
"0 don’t you remember how you slighted me?
I asked you a question, you answered with scorn,
And now I’ll reward you for things past and torn.”
"For things past and gone, sir, I pray you forgive.
May heaven permit me on day more to live.
"I'll never forgive you, not while I have breath,
And I’ll dance on your grave and sing at your death.”
"Farewell to my parents, farewell to my friend-,
Farewell to you young man—God make you amends;
For I can forgive you altho’ you can't me,
For ten thousand times o’er my folly I see.”
*****************************
No.
1516
SALLY WALKER
also known as
Arise, Sally Walker
Little Polly Sanders
Little Sally Sander
Little Sally Walker, or
Walter
Little Sally Waters
Rise, Sally, Rise
Sally Walters
Sally Water, or Waters
Game an play-party song from England. Hudson was of
the opinion that Sally Walk er is a version of ioor
Mary Sits A- Weeoing (see in MB). Gomme, II, lo7
reports a version of the game in which "one girl
sits in the middle weening ," and Sharp (FSE) has a
version entitled Poor Sall y Sits A-Wee?in g. The game
was widely distributed in late 19th century United
States.
REFERENCES

MB
Song Texts
Arnold, 147
Beckwith (FGJ), 78
Bertail, 132
Brown, I, 130-132; V,
529-530
Brown (OEAG), 42
Burne, 508-509
Courlander, 289
Courlander (USA), 107
Folklore Journal, VII,
207
Folklore Record, V, 84
Forhush, 85-86
Gomme, II, 149-179, 453
4017
Halliwell (PRUT), 229
Henderson, 26
Hornby, 23
Hudson (FSM), 290-291
Jour (AFL), VIII, 254;
XXXI, 159; XXXIII,
122; XL, 12
McIntosh (FSSG), 86
Morris,•215
Newell, 70
Northall, 374-378
Quarterly (SFL), VI, 253
Wier (YAM), I, 143
Wolford, 86-88
Sally Walker
Little Sally Walker,
Sitting in the sun,
Crying and weeping
For a handsome young man.
Rise, Sally, rise,
Wipe off your eyes;
Fly to the East,
Fly to the West,
Fly to the one you know
You love the best.
********************************

No. 1517
THE SALOON MUST GO
also known as
The Rum Saloon Shall Go
This is an anti-drinking *’prohibitionist”
song that

MB
Song Texts
4018
was written and copyrighted by Charles M. Fillmore
in 1898. An older version, written by J. 0. Foster
and J. R. Sweeny (c. 1888), was recovered in the
Ozarks by Vance Randolph. The Fillmore and Randolph
versions are different, but are obviously the same
song.
See Fillmore, 2-3 and Randolph, II, 430.
The Saloon Must Go
There’s a plague upon our well-beloved land,
•Tis a curse of direst misery and woe,
And it's blighting blast is felt on every hand,—
It is time for the saloon to go.
Chorus
We stand for Prohibition, the utter demolition
Of all this curse of misery and woe;
Complete extermination, entire annihilation,—
The saloon must go!
It is robbing men of virtue and of health,
it is robbing them of soul as well as purse.
It is robbing those in poverty ana wealth,—
It is time for us to stop the curse.
It is filling jails with criminals and bums,
And asylums with a motley pauper band,
It is crowding overfull the city slums,
It is time that it should have an end,
******************* *********

No. 1318
SAM BASS I
also known as
Sam Bass and How His Career Was Short Young Sam Eass

No. 1519
SAM BASS II
For information regarding Sam Bass and his criminal
career, see headnotes to Sam Bass I above.
The song below is from Dickson Hall's MGM album,
Outlaws of the Old West. Used by permission.
Sam Bass II
He was Indiana bred but Texas was his home,
And long before he was a man Sam- Bass began to roam.
He was wild and reckless and handsome as could be,
But a meaner-hearted fellow you wouldn't care to see.
He set otu for Texas in the early part of May,
With four men and some cattle that nearly got away.
But when they reached Dakota, they gambled all they had,
Then started back for Texas a-feeling kinda bad.
Sam took over right away, and held-up his first train;
But after it was over, they ran away in vain.
Soon the four were captured, and Sam alone was free—
And a meaner-hearted fellow you wouldn't care to see!

MB
Song Texts
4023
Then Sam got another gang, a very vicious crew,
And with ’em fought the rangers, and they fought the
soldiers too.
While fighting down in Round Rock, the rangers won
the fray;
They riddled Sam with Bullets before he got away.
Now Sam is dead and buried and there's no need to cry;
He had a chance to play it straight*and he didn't even
try.
I guess he had a friend or two, the same as you or men,
But a meaner—hearted fellow you wouldn't care to see!
**.*****************************

No. 1520
SAM HALL
also known as
Damn Your Eyes My Name is Samuel Halx
Damn Your Hide Samuel Hall
Whether this song set the pattern for Captain Kidd ,
or whether the process was the other way around, is
a question still being argued. Frank Kidson thought
that "Sam Hall" was originally "Jack Hall"—because
there was a person of that name. Jack hall was sold as
a child to a chimney sweeper for a guinea, Sharp tells
us, and, as an adult, he turned to burglary, which in
those times was a capital offense. Others say the price
paid for Jack Hall was a pound. The amount makes little
difference, since it proves nothing in regard to the
origin of the song under discussion. The important fact
is that Jack Hall, while still quite young, was hanged
on Tybrun Tree in the year 1701—the same year that
Captain Kidd was hanged at Execution Dock, in London.

MB
Song Texts
4024
The song about Jack Hall, which appeared the year of
his death under the title Jack Kail the Chimney Sweep ,
begins:
0 my name it is Jack Hall, chimney sweep,
0 my name it is Jack Hall, chimney sweep,
0 my name it is Jack Hall,
And I've robbed both great and small,
And my neck shall pay for all,
Y*hen I die, when I die,
And my neck shall pay for all.when I die.
The stanzaic pattern is obviously that of Captain Kidd
and Sam Hall. The form was a popular one. In the 1719
edition of D'Urfey's Pills to Purge Melancholy , vol.
II, there is a song called The Moderator 1 s Bream that
is the same in text-style as Sam Hall , and the author
informs us: "The V/ords made to a pretty tune, called
Chimney Sweeper.” But D'Urfey did not print the tune.
In the 1720 edition, however, D'Urfey fvol. VI, p. 251)
prints yet another song with the same stanzaic pattern,
calling it simply A Song ; and with this, he did print
the tune. But whether the Sam Hall as we know it act
ually derived from Jack Hall the Chimney Sweep has not
been proven.
Cecil Sharp collected four versions of Jack Hall ,
but three of the four belonged to a ballad about an
English naval hero named Admiral Benbow , who died in
November 1702.
The stanzaic pattern is far older than either Sam Hall
or Captain Kidd . For example, a communistic group of
Social Levellers, known as ’’Diggers” (1649-1652), sang
a song on the same pattern: Stand Up Now, Diggers All —
see G. M. Trevelyan's England Under the Stuarts (1904),
pp. 282-283. Among the Thorn-Drury Broadsides at
Harvard, there is a piece called The Arraignment of
the Divell for Stealing Away President Bradshaw with
the Ms date of Nov. 7, 1659. The same text, in the

MB
Song Texts
4025.
same stanzaic form as Sam Hal l, is in C. Mackay's
The Songs and Ballads of the Cavaliers (1864), pp.
124 ff. Another such song, Essex* s last Good - Night ,
Was printed "by Rollins in A Peoysian Garland ; it was
reprinted by Chappell (PMOT), I, 176 and Claude M.
Simpson, The English Broadside Ballad and Its Music
(1966), 747-748.
For an Orkney Islanders song in the same form, which
begins: %
Oh, my love's in Germany,
Send him home, send him heme,
see Germany Thomas in Bronson (BAS), 32, Eor other songs
in the same stanzaic pattern, see The Vale of Clwyd in
C. V. Stanford's Welsh Songs , NATIONAL SONG BOCK (1906),
240 and the John Paul Jones piece in G. P. Graham's
SONGS 0? SCOTLAND I (1849), 28-29.
The time in Welsh Songs is called The Missing Boat,
but it is quite reminiscent of the tune D'Urfey called
the Chimney Sweep. On the other hand, the If Ox broad
side, Captain Kidd , directed that the words be sung
to the air, Coming 1 own.
It is far easier to irace the stanzaic pattern than
the tune, because the tune was not alway the same.
As Bronson (BAS), 29 points out: "...as far as I know,
there are before 1920 only one or two printings of
the words of Captain Kidd together with the tune."
The fact that Captain Kidd and Sam Hall are today
sung to the same air proves only that the two songs
have a tune in common today. Unfortunately, it was
not until fairly recently that most ballad collectors
bothered to record the tunes of the songs they gather
ed and published. For example, Chappell (PMOT, II,
1855-1859, pp. 678-679, gives the earliest known text
of Benbow, and though it follows the stanzaic pattern
of Sam Hall and served as a model for other songs,
such as Admiral Bying and the Brave West, it does not
have a similar tune. Chappell’s tune has hardly any

MB
Song Texts
4026
resemblance to L'Urfey’s tune for Chimney Sweep ;
nor is it close to the tune for Benbow in Sharp
(PSPS), 3rd series, 1906, p. 51 and Sharp (100),
1916, p. 200.
According to Bronson, Sharp, and others, both
Jack Hall and Admiral Benbow were being sung to
the same tune in Somerset, when Sharp was collecting
there. 77hail reports that in his day, at sea,
Benbow was sung to the tune of Captain Kidd, Jacobs
ites, in Scotland, used the tune that we know as
Ye Jacobites By Name : see Johnson (SUM), IV, No*
371. For an Irish variation of the tune, see They
Say My Love Is Lead in the Petrie Collection, No*
698 .
In America there are several songs using the stanzaic
pattern of Sam Hall , but the tunes are generally dif
ferent. For two such songs in this Master Book, see
Over There and Zamboanga. For religious songs set in
the same stanzaic pattern, see: The Saints Are Bound
For Heaven and Solemn Thought in ’.Talker (SH-1S35),
pp. 258 and 29. Also see V.'ondrous Love in this Master
Book.
According to Friedman, "C. 7/. Boss, an English comic,,
composed the original 'Sam Hall* and sang it with
great success in London Music Halls of the 1850sr"
For additional information, see the headnotes to
Captain Kidd in this Master Book.
REFERENCES
Bronson (BAS), 18-36
Edwards (CHS3), 224
Friedman, 223-225
Hugill (1), 449-450
Kennedy (A3), 188-189
Best, 30
Lomax (AEFS), 133-134
Lomax (CS-1938), 422-424
Lynn (CS), 12
Shay (PP-1), 103-104
Shay (PF-3), 54
Silber (HSB), 55
Silverman, I, 78

MB
Song Texts
4027
Sam Hall
My name is Samuel Hall, Samuel Hall!
Yes, my name is Samuel Hall,
And I hate you one and all—
You're a hunch of muckers all. Damn your hides!
I killed a man they said, so they said.
Yes, I killed a man they said;
Shot the bastard through the head,
And I'm glad the mucker's dead!'Damn his hide!
They say that I must die, I must die.
Yes, they say that I must die,
But I'll spit right in their eye
Prom the rope they hang me by! Damn their hides
i
The preacher he did come, he did come.
The preacher he did come,
And he looked so goddamn glum
As he talked of kingdom come. Damn his hide!
There's Nellie in the crowd, in the crowd.
There's Nellin in the crowd—
"Hi there, Nellie! Ain't you proud?”
Rather see her in a shroud! Damn her hide!
I'll see you all in hell, all in hell!
I'll see you all in he'll,
And the truth to you I'll tells
Hope to hell you sizzle well! Damn your hides!
******** ** **************

MB
Song Texts
4028

Ho. 1521
SANDY LAND
also known as
Big Taters
Great Big Taters in
Raisin’ Sweet Taters in
Sandy Land
Sandy Land
I Make My Livin' in
Sweet Taters in Sandy Land
Sandy Land
Roll That Brown Jug Down
to Town
Popular as a fiddle piece for square dancing and as
a play-party song, this song has a long tradition in
America. The tune was used for Kicking My, Around
(see in MB) , and appears to also be related to Sail er
Gooden (see in MB).
See and compare Sal’s Got a Meat Skin in Henry (FSSH),
437; Richardson (AMS), 94; and V<hite t 271,
REFERENCES
Lomax (ABFS), 236-237
Seeger (1), 88-89
Seeger (6), 53
Thede, 80-81
Botkin (A?PS), 302-304
Ford (OTFM), 15
Ford (TMA), 39, 80
Sandy Land
Great big taters in sandy land,
Y/e all dig 'em out as fast as we can.
The folks all buy 'em from a foolish man,
Raisin' great big taters in sandy land.
Sow them oats, but jou can't get a stand.
Corn won't grow in that sandy land.
Folks won't think you're much of a man,
If you can’t make a livin' on sandy land.
****************** * ** * *

MB
Song Texts
4029

No. 1522
SAN FRANCISCO GIRLS
also knovm as
Fiddle in the Middle of the Bow
This is one of the songs from Dickson Hall’s Gold
Rush collection, out it was omitted from the Epic
album, The Great American Gold Rush , with Burgess
Meredith, It has the flavor of Kanrtown Gals (see
in MB) .
San Francisco Girls
In San Francisco watch your step,
The girls out there are mean;
They get you drunk on demon rum
And pick your pockets clean!
Choru s
Oh! fiddle in the middle of the bow!
Oh! fiddle in the middle of the bow!
Fiddle in the middle of the bow, Oh!
Fiddle in the middle of the bow!
I crossed the bay to Oakland town,
I thought I’d have a spree;
But there was nothing there to do
And even less to see!
I’ve traveled all around this world,
And many girls I’ve seen,
But Ethel Mae of Frisco town
Is still the reigning queen!
***************************

MB
Song Texts
4030

No, 1323
S-A-V-E-D: SPELLING SONG
also known as
Salvation Army Song
This song was obtained from Karl Davis and Harty
Taylor, a country singing duo known as Karl and Harty
during the 1930s and ’40s#
REFERENCES
Leisy (SPS), 133 Shay (PF-2), 60-61
Randolph, IV, 81-82 Shay (PF-3), 144-145
Y/eavers, 64-65
S-a—v—e-d: Spelling Song
There was a man in our town, I think his name was Jim;
He prayed for Prohibition but he voted for R-TT-M!
He helped to put the poison in his neighbor’s C-H-P,
And now he laughs at us becaused we’re S-A-V-E-D.
Chorus
Oh G-L-O-R-Y, we are S-A-V-E-D!
H-A-P-P-Y to be F-R-double-El
Oh V-I-C-T-O-R-Y from the bonds of S-I-N!
Glory, glory, hallelujah, tra-la-la, Amen!
Some people go on week days to D-A-N-C-E,
^hey go to church on Sundays to show their H-A-T,
Some people daub their faces up with P-A-I-N-T,
And then they laugh at us because we’re S-A-V-E-D,
I love to stand on the corner with my D-R-U-M, drum
It brings to us the sinner and the B-U-M, bum, bum;
They come to us from hovel and from D-I-T-C-H,
And we march on to Victory without H-I-T-C-H.
* -*•#-** *-*-*■*** ****** ******

MB
Song Texts
, 4031

No. 1524
THE SCOLDING WIFE I
also known as
My Scolding Wife 0, She Worries Me
This song has a common title and a floating theme.
Three other songs in this Master Book are also known
as The Scolding Wife , and they are: The Devil and.
the Farmer 1 s Wife ; Dumb! Dumb! Dumb! and The Scold
ing Wife II.
The floating theme is "the scolding wife and what to
do with her"—a theme that bobs up in a variety of
contexts. For example:
If I had a scolding wife
I'd whup 1 er sho's you born!
Hitch her to a double plow
And make her plow my corn!
OR:
If I had a scolding wife
I'd whip her, sho as you.'re born!
I'd take her down to the still-house
And swap her off for corn!
The "still-house" is replaced by "New Orleans" in a
version by Negroes in Mississippi ( JAFL, XXVIII, 188)
and by whites in Missouri (Randolph, II, 360). The
same or similar lines appear in the following versions
of unrelated songs: Ain * t _I Goin'? in JAFL, XXVIII,
272; Bile Pern Cabbage Down in Scarborough (NFS), 125;
Lynchburg Town in Brown, III, No. 415; Lucy Long in
Ford (TMA), 395); Massa Had a Yaller Gal B in Brown,
III, No. 406; and Uncle Joe Cut Off His Toe in Brown,
III, No. 97.
Also see McCarty's Widow in Dean, 93.
REFERENCES

MB
Song Texts
4032
Beck (LLC), 287-289 Chappell (FSRA), 77
Beck (SML), 219-220 Gardner (BSSM), 432-433
Randolph, III, 122-123
The Scolding Wife II
I married me a scolding wife some twenty years ago,
And ever since I've lived a life of misery and woe.
My wife is such a tyrant that out of house or in,
She would kick me to the devil for a drop or two of
gin.
Chorus
0 she worries me, she hurries me; it is her heart's
delight
To bang me with the fire poker 'round the room at
night.
When I come home all tired at night, all ready for
my bed,
It's scarcely on my pillow I get to lay my head,
Till like a roaring lion she opens the door
And pulls me out of bed and slams me on the floor!
Now if I had a million bucks, I'd give it with good
will,
To send my wife for twelve months into some treading
mill.
Oh, may the Devil take her! and thank her for her
pains;
And hang me in my garters if ever I marry again!
******* *** ******** *** *********

MB
Song Texts
4033

No, 1323
THE SCOLDING WIPE II
also known as
A Woman’s Tongue Will Never Take A P.est
On the same subject as Scolding Wife _I above, this
song is not otherwise related, I have been familiar
with the song all my life, beginning with my early
childhood in North Carolina, Perhaps this is why
I have seen a version in only one collection, and
that in North Carolina's Brown, II, 478-479; IV,
258-259.
The Scolding 'Wife II
Oh, you've wonder'd in the past
Why a woman talks so fast,
Why she runs around with all the latest news?
She’ll talk a man to death
Before he can catch his breath,
And the way she wags her tongue should make
it bruise!
Chorus
But there’s no need to try
And learn the reason why:
Whatever you say she will contest!
So take my advice and drop it,
For, my friends, you'll never stop it,
•Cause a woman's tongue will never take
a restl
When the young folks start to court,
They may think it's just for sport,
But the old folks say, "You'll catch it
when you're young,"

MB
Song Texts
4054
To live a scornful life,
Take a loving, childish wife—
Better marry one that's blind, deaf and dumb!
********************************

Mo, 1526
SCOTLAND'S BURNING
An English round that is very old and very popular.
It is seldom recorded in folk collections, "Probably
because," as Brown remarks, "everybody knows it,"
REFERENCES
Best, 141
Brown, III, 197; V,
115
L’inscott, 285
Oberndorfer, 45
Silverman, II, 254
Taylor (BR), 2
Y/inn (1), 188
Scotland's Burning
Scotland's burning, Scotland's burning,
Look out, look out!
Fire, fire, fire, fire!
Pour on water, pour on water!
**********************************

No. 1527
THE SEEDS OF LOVE
also known as
Come All Ye (You) Pretty
Fair Maids
Dead Maid's Land
Flowers and Weeds
The Gardener
The Green Willow Tree
I Once Had Plenty of Thyme
I Sowed the Seeds of Love
Keep Your Garden Clean
My Garden Grew Plenty of
Thyme
Once I Had Plenty of Thyme

MB
Song Texts
4035
Hue and Thyme Sowing the Seeds of Love
The Tunning, Running Rue The Srpig of Thyme
The Saucy Sailor When I Was in My Prime
The Willow Tree
Here we are dealing with two distinct ballads that
fused and then, in time, spawned dozens of variations:
•Ph® Sprig of Thyme and The Seeds £f Love^
Cecil Sharp thought that Sprig of Thyme is the older
song. According to Child, and others, a history of
the ballad is in Whittaker's History of the Parish of
Whalley, II, p. 318, (1801). Prom this history comes
the claim repeated in many collections, that the words
of the original ballad was composed by a Mrs. Fleet-
wood Habergham, Lancashire...
Cox tells us, "The Sprig of Thyme is almost inextricably
entangled in tradition with The_ Seeds of Love." An
early version is in Albyn's Anthology , printed in 1816.
As fused as the two songs became, it was Sharp’s opinion
it was "quite possible to distinguish them, both in
tune and words." Possible, perhaps, but not too practi
cal where American tradition is concerned. I have,
therefore, set down several versions (A, B, C & 3>)
together, under a common title. American versions are^
so fused that distinguishing between Sprig of Thyme and
Seeds of Love is next to impossible.
The times are as varied as the words, with some being
very far removed from others. In attempting to trace
and identify the descendants of both songs, I found
Englisg, Irish, Scottish and American versions. Some
were related by text and some by tune. Broadsides of
fused versions were issued by A. P. Nappey, York;
Bebbington, Manchester (No. 291); Cadman, Manchester
(No. 90); Pitts; Such (No. 94); and others.
For an English with similar title, see I Sow ed Some
Seeds of Love in Reeves, 128.

MB
Song Texts
4036
For an American song that is quite similar, see T_^m
Going to Texas in Sharp, II, 14.
In America, too, are versions with unlikely titles,
euch as The Saucy Sailor in Eddy, 88-89.
The four versions given below are merely representative
of the genre. Version A represents The Sprig; £f Thym e;
B represents The Seeds of Love ; C is the stanzas re
printed by Child from The Gardner , a version of The
Seeds of Love found in Five Excellent New Songs , pub
lished at Edinburgh, Scotland, in 1776; and, finally,
D is an American combination of both songs recovered
in North Carolina.
The published works under ’’references” given below
contain one or another of the various songs fitting
the form and descriptions announced above.
REFERENCES
Baring-Gould (EFSS), No. 17
Baring-Gould (SV7), No. 7
Bell, 440
Bell (APBS), 220-221
Bikel (FF), 32-33
Broadwood (ECS), 58-59
Bruce, 90-91
Butterworth, No. 3
Campbell (AA), I, 40-41
Carey (TEPS), 16
Chappell (PMOT), II, 520-
523
Child, V, 258-260
Cox (FSS), 415-416
Cox (TBFS), 68
Creighton (SENS), 53-54
Creighton (TFS), 40-41
Dixon, 440-441
Eddy, 87-89
Edwards (CHSB), 35
Emrich (FAL), 524-525
Farnsworth, 62-65
Gilbert (100), 5
Greig, Nos. 67 & 68
Hammond, No. 5
Harland, 271-275
Hullah, No. 32
Johnson (BBB), 201
Jour (AFL), XXII, 79
Jour (EFDSS), VIII, 202;
IX, 190-191
Jour (FSS), I, 86, 209;
II, 23, 288; III,
77; V, 93; VIII,
19-21
Joyce (AIM), No. 74
Joyce (OIFMS), No. 381
Karpeles (EFS), I, 577-
588

KB
Song Texts
4037
Kennedy, 367
Kidson (EFSD), 58
Kidson (GEFS), 116-117
Kidson (TT), 69
Llloyd (FSE), 183-184
KacColl & Seeger, 190-193
Merrick, 34
Okun, 187-188
Owens (TPS), 52
Pub (MLA), XXXIII,
363-366
Quiller-Couch, 804-805
Randolph, I, 357-358
Reeves, 194-196
Reeves (EC), 229-237
Ritchie (FS), 62
Sedley, 39-40, 138-140
Sharp (ECFS), 216-228
Sharp (EPS), I, 42-45
Sharp (FSFS), I, 2-4,
16-19
Sharp (100), No. 33 &
No. 34
Shekerjian, 147
Stokoe, 80-81
Thomas (DD), 102-103
Thomas (SG), 27
Wells, 271-273
Williams (PSUT), 85-87
Wood (SS), III, 85
The Seeds of Love ( Version A)
In my garden grew plenty of thyme,
And it flourished by night and by day;
O’er the wall came a lad—He took all
that I had,
And stole my thyme away, and stole my
thyme away.
0, once I had thyme of my own.
In my garden it flourished and grew.
0, I used to know ev'ry place it did grow,
But now it’s covered with rue, etc.
My garden with hearts-ease was bright,
And pansies so pretty and gay;
One slipped thro the gate, and alas!
cruel fate
Ky hearts-ease took away, etc.

MB
Song Texts
4038
My garden grew self-heal and halm,
And speedwell that's blue lor an hour,
That blossoms again—0 grevious my pain!
I*m plundered of each flower, eto^.
There grows in my garden the rue,
And Love—lies a—bleeding droops there;
The hyssop and myrrh, the teazle and burr,
Replace the blossoms so fair, etc.
0, the willow tree it will twist,
And the willow tree it will twine;
Now the ruin I scan since that false
young man
Has gained this heart of mine, etc.
0 thyme is a precious, precious thing
On the road that I walked along;
But thyme is a thing that will sad
endings bring,
When love and dreams go wrong, etc.
VERSION B
I sowed the seeds of love,
And I sowed them in the spring;
It will blossom in April, in May, and
in June,
When the small birds all sweetly sing.
My garden was planted well,
With the flowers everywhere,
But I had not the liberty of choosing
myself
The flower I loved so dear.

MB
Song Texts
4039
My gardener was standing by;
I asked him to choose for me.
He chose me the lily, the violet, and
pink.
But I looked and refused all three.
The lily I did not like,
Because lilies fade so soon;
The violet and pink 1 did both overlook,
And resolved to tarry till June.
In June there's a red rosebud,
And that is the flower for me.
Oft-times I've been kissed by those red
rosy lips,
Till I gained the green willow tree.
0 the willow tree will twist,
And the willow tree will twine,
And I wish that I was in that young
man's arms,
For he's stolen this heart of^mine.
0, a bunch of rue I'll wear,
That no one may ever touch,
And the whole wide world it will v
plainly see
That I loved one flower too much.
VERSION C
The walking all the winter night,
And the tippling at the wine,
And the courting of a bonny lass,
Will break this heart of mine.
Will break this heart of mine.

MB
Song Texts
4040
There's brave sailing here, my dear,
But better sailing there,
Brave sailing in my true love's arms,—
How I wish that I were there. (2)
I had me a bed of thyme,
It flourished night and day,
But then came by a handsome lad,
And stole my heart away. (2)
Then came by the gardener lad,
And gave me profers free;
He gave to me the jully-flowers,
To clothe my young body. (2)
The gardener stood by the gate,
With primrose in his hand,
And there he spied his own true-love,
With another she did stand. (2)
"The hail-stones be on thy head,
The snow upon your breast;
May the east-wind be a blanket, too,
When you go to thy rest. (2)"
It's pleasant to drink beer,
It's pleasant to drink wine,
But it's better courting a bonnie lass
When she is in her prime. (2)
VERSION D
Come, all you young, pretty girls,
Who flourish in your prime,
I ?/ould have you keep your gardens clean,
And let no man steal your thyme.

MB
Song Texts
'4041
Once I was a fair young maid,
And flourished like a vine;
One day I met a false young man,
And he stole away my thyme.
0, now my thyme is all gone,
And all I do is mourn;
And when I think of that young man,
I wish I'd not been born!
Wise it is to drink good ale.
And wise to drink good wine;
It's wiser yet to have true love
When you give up your thyme.
May you be both fair and wise,
like maids in old, old rhyme,
And always keep your gardens clean,—
Let no man steal your thyme.
***************** ********************

No. 1528
SEE SAW MARGERY DAW
This game song for children is well known, even to
1st grade school children. Because of its availi-
bility in song books used by schools and other com
mercial books for children, the song is not treated
as a folk song in America.
See Saw Margery Daw
See saw Margery Daw,
Jack shall have a new master;
He shall have but a penny a day,
Because he won't work any faster.
*********************

MB
Song Texts
4042

No. 1529
SELLING TEAT STUFF
also known as
Aunt Jane Sell That Stuff
This song is the sort of "country blues" that we
used to call "a honk-tonk number." I picked up on
it the latter part of 1936, in North Carolina. The
only version I've seen in a published folk collect
ion is in Coffin & Cohen, 89. But Coffin & Cohen
did not print the melody.
Selling That Stuff
Aunt Jill threw a dance and she drew a crowd,
She sold more booze than the law allowed.
She's selling that stuff, selling that stuff;
She really knows what she's doing
When it comes to selling that stuff.
Aunt Jill was arrested and locked in jail,
And had no money to pay her bail
From selling that stuff, etc.
Aunt Jill liked to drink and she drank good gin,
She liked strong whiskey and big, strong men!
She's selling that stuff, etc.
Aunt Jill had a sister, her name was Lilj
She sold that stuff, and she sells it still.
She's selling that stuff, etc.
********** ■*■*■•*••*****-*•***•***■**

No. 1530
SEND THEM ANGELS DOWN
also known as
My Way’s Cloudy

MB
Song Texts
4043
This is a 19th century slave spiritual; it was sung
by slaves long before the advent of the Civil War.
This particular version was featured by the original
Fisk Jubilee Singers.
For a similar spiritual, see IJT You Can * t Come , Send
One Angel Down in Kennedy (M-l), 117-118.
REFERENCES
Dett, 231 Marsh (SJS), 167
Johnson (BANS), 92-93 Pike (1873), 207
Jubilee (PS), 28-29 Pike (1875), 249
Send Them Angels Down
There’s fire in the East, there's fire
in the West,
Send them angels down!
There's fire among the Methodist,
Send them angels down!
Chorus
0 brother, my way! My way's cloudy,
o- • . my way!
Go send them angels down!
0 brother, my way! My way's cloudy,
my way!
Go send them angels dovm!
Old Satan's mad and I am glad,
Send them angels down!
He missed a soul he thought he had,
Send them angels down!
This is the year of Jubilee,
Send them angels down!
The Lord has come and set me free,
Send them angels down!
*********************

MB
Song Texts
4044

No. 1531 -
THE SHADY OLD CAMP
A parody sung by California gold-miners in mid-19th
century San Francisco and surrounding areas.
For other versions, see Ives (SA), 191 and (SB), 276.
The Shady Old Camp Tune; Sweet Alice
Oh, don't you remember the shady old camp
That stood by the side of the brook,
Where we lay on the ground after many a tramp,
And the fire-place where we used to cook?
The shady old camp has gone to decay,
And the hambone has dropped from the pin;
The roof and the door have both rotted away,
And the chimney has all tumbled in—
The roof and the door have both rotted away,
And the chimney has all tumbled in.
Oh, don't you remember the well-beaten trail
That led from the camp to the spring,
And the pot-pies we made of the squirrel and quail,
And the evenings when we used to sing?
The trail and the spring we shall see them no more,
Though never forget till we die;
The shady old camp, with the ground for a floor,
Forever we bid thee goodbye!
The shady old camp, with the ground for a floor,
Forever we bid thee goodbye!
***************************

No. 1532
SHALL I SHOW YOU HOW THE FARMER...?
also known as
Can yo’ a Show Me How the Farmer Show Me How the Farme

MB
Song Texts
4045
Thus the Parmer Sows His
Seed
Would You Know How Both
the Peasant
This game song, as sung in America, had its roots
in England. According to Gomme, the "game is evi
dently a survival of the custom of dancing, and of
imitating the actions necessary for the sowing and
reaping of grain which were customary at one time."
It was a religious kind of ritual, performed in
order to induce the supreme power to bless the crops
and make them grow better.
In Prance, there is a similar old song, La Ronde de
L'aveine ( Round of Oats , or Oats and Sunny Weather ),
but that one has not showed up in any of the collect
ions of French folk songs published in America.
A German version is popular among the Pennsylvania
Butch, who know it as Willst du Wiezen ? ( Bo You Want
to Know?), that is in Korson (PSL), 96-98.
REFERENCES
Linscott, 50-51
Wier (YAM), I, 136
Wolford, 94-95
Bertail, 32
Gomme, II, 399-401
Shall I Show You How the Parmer..._?
Shall I show you how the farmer,
Shall I show you how the farmer,
Shall I show you how the farmer
Sows his barley and wheat?
******************************** * ■***•* ■*■■****

No. 1533
SHALLO BROWN
also known as
Challo Brown
Oh, I'm Going to Leave Her
Shallow Brown
Stingo Brown

MB
Song Texts
4046
There are many versions and variations of this old
shanty in circulation. Colcord gives a version of
a Negro stevedore shanty, and Sharp gives two versions,
listing it as a "pulling" shanty.
Shallo Brown shows up in other songs, too. His name
is in Hullabaloo Belay —see Ives (SA), 82-83 or (SB),
138-139.
According to Ives, "Shallo Brown was a notorious
hoarding-house keeper. He lodged sailors, taking
three months pay in advance and working as an agent
to provide forced crews."
REFERENCES
Jour (FSS), III, 241
Randolph, II, 59
Sharp (EFC-2), 35, 60
Smith (MW), 48
Terry, II, 34
Trevine, 17
Whall (SSS), 87
Brown, Y, 501 .
Colcord, 61
Davis (SSC), 80-81
Doerflinger, 44
Harlow, 126-127
Hugill (1), 257-260
Shallo Brown
Oh! I'm agwine to leave you,
Shallo, Oh, Shallo Brown!
I know it's gwine to greive you,
Shallo, Oh, Shallo Brown!
A yankee ship is sailing, etc .
I think I'll turn to whaling, etc .
I got my clothes in order, etc.
I'm off across the border, etc.
The packet sails tomorrow, etc.
My heart will feel no sorrow, etc .
My gal's a bright mulatto, etc .
She hails from Cincinnati, etc.

MB
Song Texts
4047
One day when I went down-town, etc .
She ran off with Shallo Brown, etc.
********************************

No. 1534
THE SHANNON AND THE CHESAPEAKE
also known as
The Chesapeake and the Shannon
This song is related, historically, to another famous
ballad of the War of 1812, The Constitution and the
Guerriere (see in MB).
The first great naval battle of the War of 1812
occurred off the New England coast on August 19,
1812. The American frigate "Constitution” defeated
the British "Guerriere.» Shortly thereafter Ameri
cans were celebrating their victory with a ballad.
The following year, on June 1, 1813, the situation
was reversed: The British ship Shannon , commanded by
Captain Philip V. Broke, engaged the American ship
Chesapeake , commanded by Captain James Lawrence, de
feated the Americans and towed the' Chesapeake into
/Halifax Harbor. Naturally, the British soon had a
ballad celebrating their victory, and it was patterned
on the one formerly sung by Americans. The tune is
probably familiar to students of traditional song,
for it was used for several other popular songs dur
ing the 18th century: A Drop of Brandy 0, A Landlady
from Prance , and The Pretty Girl of Derby 0.
A different ballad dealing with the same event, The
Battle of the Shannon and the Chesapeake , was pub
lished at the same time; a broadside by Such (No. 154)
was reprinted in Firth (NSB), 312-313. That ballad
faded rapidly away, leaving the one given here to
survive through traditional means.
REFERENCES

MB
Song Texts
4048
Ashton (RSS), 20
Finger (FB), 159-160
Firth (NSB), 311-312
Fowke (FSC), 24-25
Friedman, 293-295
Hale, 135-136
Harlow, 187-188
Karpeles (EPS), II, No. 286
Laws, J 20, 138
Logan, 69-72
Mackenzie, 208-209, 399
Mackenzie (QB), 139-140
Notes, 6th ser., VIII,
374; IX, 156; 9th
ser., V, 435; 11th
ser., XII, 58
Scott (BA), 111-112
Sharp (FSPS), V, 56-57
Shay (ASSC), 165-166
Stevenson, 301-302
Whall (SSS), 44-46
The Shannon and the Chesapeake
The Chesapeake so hold, out of Boston as we’re told,
Came to take the British frigate neat and handy 0!
And the people in the port all came out to see tne
sport,
While their hands all played up Yankee Doodle Dandy 0!
Our British frigate's name, that for the purpose came,
To cool the Yankees' courage neat and handy 0,
Was the Shannon —Captain Broke, all his crew had
hearts of oak,
And in the fighting were allowed to he the dandy 0!
The fight had scarce begun when they flinched from
their guns;
They thought that they had worked us neat and handy 0
But Broke he waved his sword, saying, "Come, my hoys,
we'll hoard
And we'll stop them playing Yankee Doodle Dandy 0!"
When the Britons heard this word they all quickly
sprang on hoard,
And seized the Yankees' ensign neat and handy 01

MB
Song Texts
4049
Notwithstanding all their brags, does the British
raise their flags
On the Yankees' mizzen-peak to be the dandy 0!
************************************

No. 1535
THE SHANTY BOYS
also known as
A-Cutting Down the Pine
Cutting Down the Pines
Hurling Down the Pines
Jim Lockwood's Camp
Jim Porter's Shanty Song
The Lumber Camp Song
The Shanty Boy and the Pine
Shany Boys in the Pine
The Shanty Boy's Song
Song of the Shanty Boys
This ballad was popular in mid-19th century lumber
camps and probably dates back, as Eckstorm said, to
the 1840s.
The most reprinted text is from Delaney's Son? Book ,
No. 13, p. 23—a dime songster published in 1896.
The tune of this song was also used for Cruise of
# -
the Bigler in Colcord, 200.
REFERENCES
Beck (LLC), 100-107
Beck (SML), 36-43
Botkin (WFL), 767-768
Cazden, I, 8-10
Doerflinger, 210-211
Eckstorm, 25-27
Flanders (EMNE), 141-143
Gardner (BSSM), 260
Greenleaf, 321-322
Korson (PSL), 350-351
Peacock, III, 750-751
Rickaby, 69-75
Shoemaker (KMP), 93-95
Shoemaker (NPM), 202
Siegmeister, 36-37
The Shanty Boys

KB
Song Texts
- - ’ 4050
Now, boys, if you will listen, I’ll sing a little song;
It’s all about the shanty boys and how they get along:
They're a lot of jolly fellows, so merry and so fine,
Who spend the winter pleasantly a-cutting down the pine.
Oh, some will leave their homes and friends whom they
love so dear,
And for the lonesome pinewoods their pathway they will
steer;
They are going to the pine woods, all winter to remain,
A-waiting for the springtime are they return again.
There are farmers, and sailors, some good mechanics,
too,
And all sorts of tradesmen, found in a lumber crew;
The choppers and the sawyers, they lay the timber low,
The swampers and the skidders, they haul it to and
fro.
Noon time comes rolling and the foreman louoly screams,
"Lay down your swas and axes, boys, it's time for pork
and beans!"
Arriving at the shanty, the splashing does begin
With rattle of the waterpail and banging of the tin.
It's "Hurry in, my brave boys! You, Tom, or Dick, or
Joe,
For you must take the pail and for some water go."
The cook he hollers, "Dinner!" they all get up and go;
It's not the style of a shanty boy to miss his pie,
you know.
With dinner being over, to shanty they will go;
They all load up their pipes and huff and puff and
blow.
"It's time for you to be out," the foreman soon will
say;
They all take up their hats and mitts, to the woods
they haste away.

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Song Texts
4051
Oh, each goes out with cheerful heart, and with
contented mind,
For wintry winds do not blow cold among the waving
pine.
Loudly their axes ring, until the sun goes down,
"Hurrah! my boys, the day is done! for the shanty
we are bound.”
The boots, the packs, the rubbers, are all thrown
aside;
The mitts, the socks, the rags, are all hung up and
dried.
At nine o'clock or thereabouts, into their bunks
they crawl,
To sleep away the few short hours until the morning
call.
Springtime rolls around, the foreman he will say:
"Lay down your saws and axes, boys, it's time to
break away."
And when the floating ice goes out, in business we'll
thrive.
Hundreds of able-bodied men are wanted on the drive.
■*•*•*•*■*****#* *********** ******

No. 1536
SHE IS THE ONE I'LL ALVfAYS ADORE
also known as
She’s Like the Swallow
This is an Americanized version of an old British-
Canadian love song. According to Brown, it is re
lated to The Butcher Boy .
REFERENCES

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Song Texts
4052
Brown, II, 271
Fowke (TSSO), No. 57
Karpeles, 243
Karpeles (FSN), II,
She Is the One 1*11 Always Adore
She's like the swallow that flies so high,
She's like the river that never runs dry;
She's like the sunshine on the lee shore,
She is the one I'll always adore.
Oh, out in the garden this fair maid she
goes,
She picked the lily and lovely primrose;
The more she plucked, the more she did pull,
Until she had her basket all full.
With all of the roses she made a bed,
A pillow of lilies she made for her head;
She lay herself down—no word was spoke
And wept, because her heart was broke.
***************************
Jour (FSS), II, 159
Peacock, III, 711-714
Silber (KSB), 52
Silverman, I, 139

No. 1537
SHE'll BE COMING 'HOUND THE MOUNTAIN
also known as
Cornin' 'Round the Mountain
She'll Be Driving Six White
Horses
We're Gonna Kill the Old
Red Rooster
When She Comes
This is one of the most popular traditional songs in
the United States. No early edition has been found,
and date of origin is unknown. In recent times, how-
versions of the song have appeared in hunareds
ever,

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Song Texts
4053
of folios and songbooks.
It seems that the song is a "parody'* of the religious
song, The Old Ship of Zion II A (see in MB ). It is
possible that the tune originated with a Negro spirit
ual, When the Chariot Comes , a version of which is in
William E. Barton's Old Plantation Hysns (3oston:
lamson, Wolfe & Co., 1899), p. 44.
Whatever its origin, this song is more popular today
than either the hymn or the spiritual.
REFERENCES
Best, 5
Brown, III, 534-535; V,
304-305
Durlacher, 82, 254
Ford (TMA), 276-277
Henry (FSSH), 422-423
Jackson (WNS), 148, 211
Leisy (LAS), 44-45
Lomax (FSNA), 414
Richardson (AMS), 71
Sandburg (AS), 372-373
Seeger (1), 90-91
Silverman, I, 344
Steely, 265-266
White, 94
Winn (2), 24-25
She * 11 Be Coming 'Round the Mountain
She'll be coming 'round the mountain when she comes!
She'll be coming 'round the mountain when she comes!
She'll be coming 'round the mountain,
She'll be coming 'round the mountain,
She'll be coming 'round the mountain whenshe comes.
She'll be driving six white horses, etc^
Oh, we'll all got out to meet her, etc .
Oh, we'll kill the old red rooster, etc .
******* ***•*■*•■*■*■***■**■*'******'*

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4054

No. 1538
SHENANDOAH
'-also known as
Across the Wide Missouri
For Seven Long Years
Hurrah, You Rollin' River
Oh, Shenandoah
Rolling River
Shanadar
The Shenandoah Waltz
Shenandore
Wide Missouri, ££ Mizzoura
The name "Shenandoah" has teen tie subject of much
speculation, but differences of opinion never seem
to get resolved. Boerflinger, p. 353. says "The name
•Shenandoah- may have been suggested by that 0 . SKenan
doah, noted Oneida chief (d. 1816), though he was not
a Western Indian. Others, including many shantymen,
"though of Shenandoah as a river, perhaps that m
Virginis. • M
As a capstan and windlass shanty, this song has trave
ed the seas of the earth with American and English
sailors. On land, of course, it has long been * * aVOr “
ite. Song dates hack to the early part o
century.
REFERENCES
Adams, 316-317
Agay (1), 21
Agay (2), 63
Anderson (V7Y), 186
Arnett, 44
Beckett, 6-7
Best, 135
Bone, 104-105
Botkin (WFL), 734
Boughton, 134
Bradford, 16-17
Bullen & Arnold, 10
Carmer (SRA), 153-154
Colcord, 33-34, or 82-84
Davis (SSC), 10
Doerflinger, 77
Dolph, 4-5
Downes (1940), 88
Downes (1943), 96
Eckstorm, 243
Emrich (FAL), 445-446
Fife, 2-3
Ford (TMA), 132
Glass (SS-1), 46-47

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Song Texts
4055
Grafnan, 113
Grainger, No. 166
Harlow, 112-114
Harlow (MS), 322
Harper’s (7/1882), 283
Hugill (1), 177-178
Ives (SA), 194-193
Ives (SB), 134-135
Jour (AFL), XIX, 27
Jour (FSS), II, 247; V,
44
Karpeles (FSE), 48
King, 20
Langstaff (1), 77
Leisy, 295-296
Leisy (LAS), 65
Leisy (SPS), 182
Linscott, 148-150
Lloyd, 40
Lomax (ABFS), 546
Lomax (FSNA), 53
Lomax (PB), 28
Lomax (USA), 138-139
Luce, 225
Luther, 80-81
Mackenzie, 270, 402
Oberndorfer, 68
Okun, 117-118
Robinson, 66
Sampson, 10
Sandburg (AS), 408
Scott (FSS), 29
Seeger (6), 17
Sharp (EFC-2), 13, 58
Shay (ASSC), 66
Shay (IMWS), 56
Siegmeister, 16-17
Silverman, II, 266
Smith (BOS), 64
Smith (MW), 47, 51
Terry, I, 20
Trident, 112-113
Warner, 55
Whall (SSS), 1-2
Whitman, 60-61
Williams (SFS), 7
Shenandoah ( Version A)
Oh, Shenandoah, I love your daughter,
Roll on, you rolling river!
We must sail now across the water,
'Way ho! I'm bound to go
Far across the wide Missouri!
Oh, Shenandoah, it's far I wander, etc^
Oh, Shenandoah, I hear the thunder, £tu_._

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4056
Oh, Shenandoah, I’m bound to leave you, et c.
Oh, Shenandoah, I'll never grieve you, etc
VERSION B
(Old U. S. Cavalry Song)
For seven long years I courted Sally,
Hey! Ho! you rolling river!
For seven long years I courted Sally,
Hey! Ho! I'm bound away
Far across the wide Missouri!
She would not have me for a lover, etc,
But, oh! she took my fifteen dollars, etc.
She went away to Kansas City, etc,
I'm sure she has another lover, etc,
**************** **************