Mostly English Folk Songs Mandolin Tabs Page Two
Dashing Away With The Smoothing Iron
"Dashing Away With The Smoothing Iron" is a traditional English folk song that is a lighthearted and humorous take on domestic life and gender roles. The song's most notable feature is its lively and nonsensical chorus, which has made it a popular choice for folk singers and audiences alike.
The Narrative of the Song
The song tells a simple story, often with a humorous twist, about a husband who has to take over the household chores from his wife, or a man who is comically bad at them. The lyrics follow a series of vignettes that show the man struggling with various tasks:
The Chorus and Its Meaning
The song's title comes from its fast-paced and nonsensical chorus: "There was a man lived in the moon, lived in the moon, lived in the moon, There was a man lived in the moon and his name was Anthony." ... "And all the world must know the tune: Dashing away with the smoothing iron, Dashing away with the smoothing iron, Dashing away with the smoothing iron, He stole my heart away!"
The chorus is a classic example of a "floating verse," a set of lyrics that can be found in many different folk songs. The "man in the moon" and "Anthony" seem to have no direct connection to the verses about domestic work, and the line "he stole my heart away" is often interpreted as an ironic or comically sincere statement from the wife about her husband's misguided efforts. The most important part of the chorus is the rhythm and the repetition of the line "dashing away with the smoothing iron," which is a perfect rhythmic cue for a lively dance or a rousing singalong.
Legacy and Modern Recordings
"Dashing Away With The Smoothing Iron" has been a staple of the English folk revival since the mid-20th century. It was popularized by singers like Martin Carthy and has been recorded by numerous other folk artists. Its cheerful melody and playful lyrics have made it a favorite at folk clubs, festivals, and concerts.
The song is often a crowd-pleaser, and its simple, repetitive structure makes it easy for audiences to join in on the chorus. It's a testament to the enduring appeal of folk songs that find humor and joy in the everyday struggles and absurdities of life.
"Dashing Away With The Smoothing Iron" is a traditional English folk song that is a lighthearted and humorous take on domestic life and gender roles. The song's most notable feature is its lively and nonsensical chorus, which has made it a popular choice for folk singers and audiences alike.
The Narrative of the Song
The song tells a simple story, often with a humorous twist, about a husband who has to take over the household chores from his wife, or a man who is comically bad at them. The lyrics follow a series of vignettes that show the man struggling with various tasks:
- Doing the Laundry: The man attempts to wash the clothes, but he fumbles and ruins them. The song may mention that he "boiled the kettle" on the fire and "filled up the tub with water," but the results are always a mess.
- Baking the Bread: He tries to bake, but instead of making a good loaf, he turns it into a mess, often with humorous and absurd results.
- Washing the Baby: In some versions, he even tries to wash the baby, and the baby either comes out dirty or somehow gets lost in the process.
The Chorus and Its Meaning
The song's title comes from its fast-paced and nonsensical chorus: "There was a man lived in the moon, lived in the moon, lived in the moon, There was a man lived in the moon and his name was Anthony." ... "And all the world must know the tune: Dashing away with the smoothing iron, Dashing away with the smoothing iron, Dashing away with the smoothing iron, He stole my heart away!"
The chorus is a classic example of a "floating verse," a set of lyrics that can be found in many different folk songs. The "man in the moon" and "Anthony" seem to have no direct connection to the verses about domestic work, and the line "he stole my heart away" is often interpreted as an ironic or comically sincere statement from the wife about her husband's misguided efforts. The most important part of the chorus is the rhythm and the repetition of the line "dashing away with the smoothing iron," which is a perfect rhythmic cue for a lively dance or a rousing singalong.
Legacy and Modern Recordings
"Dashing Away With The Smoothing Iron" has been a staple of the English folk revival since the mid-20th century. It was popularized by singers like Martin Carthy and has been recorded by numerous other folk artists. Its cheerful melody and playful lyrics have made it a favorite at folk clubs, festivals, and concerts.
The song is often a crowd-pleaser, and its simple, repetitive structure makes it easy for audiences to join in on the chorus. It's a testament to the enduring appeal of folk songs that find humor and joy in the everyday struggles and absurdities of life.
Dance To Your Daddy
"Dance To Your Daddy" is a traditional English folk song and nursery rhyme, particularly associated with the fishing communities of the Northeast coast of England, especially in Northumberland and Yorkshire. It is a song that beautifully intertwines the tender relationship between a parent and child with the harsh realities of a fisherman's life.
The Song's Purpose and Context
The song is a classic example of a "lullaby" or a "dandling song"—a song with a rhythmic quality used to bounce a baby on a parent's knee. The lyrics are a conversation between a parent (usually the mother, but sometimes the father) and a child, but they are also a conversation with the sea itself.
The lyrics of the song are simple and repetitive, making them easy for a child to learn and for a parent to sing: "Dance to your Daddy, my bonny laddie, Dance to your Daddy, my pet. You shall have a fishy on a little dishy, You shall have a fishy when the boat comes in."
Key Themes and Lyrics
The song's verses, while simple, are filled with deeper meaning:
Origins and Legacy
The origins of "Dance To Your Daddy" are unknown, but it has been a well-known part of the oral tradition of Northern England for centuries. The song was collected by folklorists in the 19th and early 20th centuries and has been a staple of the folk revival.
"Dance To Your Daddy" is a traditional English folk song and nursery rhyme, particularly associated with the fishing communities of the Northeast coast of England, especially in Northumberland and Yorkshire. It is a song that beautifully intertwines the tender relationship between a parent and child with the harsh realities of a fisherman's life.
The Song's Purpose and Context
The song is a classic example of a "lullaby" or a "dandling song"—a song with a rhythmic quality used to bounce a baby on a parent's knee. The lyrics are a conversation between a parent (usually the mother, but sometimes the father) and a child, but they are also a conversation with the sea itself.
The lyrics of the song are simple and repetitive, making them easy for a child to learn and for a parent to sing: "Dance to your Daddy, my bonny laddie, Dance to your Daddy, my pet. You shall have a fishy on a little dishy, You shall have a fishy when the boat comes in."
Key Themes and Lyrics
The song's verses, while simple, are filled with deeper meaning:
- The Promise of Food: The central theme is the promise of "a fishy on a little dishy." This is not just a playful phrase; it reflects the deep reliance of the community on the sea. A good catch means food on the table and a secure future.
- The Awaiting of the Father: The line "when the boat comes in" is the most poignant part of the song. It speaks to the anxiety and hope of every family in a fishing town. The father is at sea, facing the dangers of the North Sea, and his safe return is paramount. The song is a hopeful assurance that he will come back with a good catch.
- The Parent-Child Bond: Despite the underlying anxieties, the song's primary purpose is to celebrate the bond between parent and child. The rhythmic "dance" is a moment of pure joy and connection, a brief respite from the worries of the world.
- The "Bonny" Child: The use of "bonny" (a common Scots and Northumbrian term for "beautiful" or "pretty") and "laddie" or "pet" shows the deep affection and love the parent has for their child.
Origins and Legacy
The origins of "Dance To Your Daddy" are unknown, but it has been a well-known part of the oral tradition of Northern England for centuries. The song was collected by folklorists in the 19th and early 20th centuries and has been a staple of the folk revival.
- Folk Revival: Artists like Ewan MacColl and The Watersons have performed the song, helping to preserve its charming melody and simple but profound lyrics. The song's easy rhythm and emotional core have made it a favorite at folk festivals and in pubs.
- Modern Culture: The song's melody has been adapted for other songs and even used in films and television shows. Its widespread recognition is a testament to its timeless quality.
Death And The Lady
"Death and the Lady" is a traditional English folk ballad that is a powerful and dramatic morality play set to music. It belongs to a very old tradition of allegorical tales where a human figure, often a person of power or status, encounters Death. The song's purpose is to remind listeners that death is the great equalizer, and no amount of wealth or status can save you from it.
The Allegorical Narrative
The song, which is often a dialogue, features two main characters:
The Morality and Symbolism
The song's power lies in its clear and simple moral lesson. It is a musical memento mori (a reminder of death).
Collection and Modern Legacy
"Death and the Lady" has been a staple of the folk tradition for centuries. The song was collected by folklorists in England, Scotland, and America. It was a favorite of singers who had a dramatic flair, and it was often performed a cappella to emphasize the power of the lyrics.
Notable recordings of the song include versions by traditional singers like Fred Jordan and contemporary folk revival artists like Shirley Collins, whose haunting rendition captures the ballad's somber and timeless quality. "Death and the Lady" continues to be a powerful reminder of the inevitable and the unimportance of worldly possessions.
"Death and the Lady" is a traditional English folk ballad that is a powerful and dramatic morality play set to music. It belongs to a very old tradition of allegorical tales where a human figure, often a person of power or status, encounters Death. The song's purpose is to remind listeners that death is the great equalizer, and no amount of wealth or status can save you from it.
The Allegorical Narrative
The song, which is often a dialogue, features two main characters:
- Death: The personification of Death, who is often portrayed as a stern but just figure.
- The Lady: A rich, beautiful, and sometimes haughty woman who believes her wealth and status can save her.
- The Encounter: Death appears before the Lady, who is typically going about her daily life, perhaps admiring her jewels or fine clothes. She is shocked and demands to know who he is.
- The Dialogue: Death reveals his identity and declares that her time is up. The Lady, terrified, begins to offer him a bribe. She pleads with him, offering him money, jewels, and anything he desires in exchange for her life.
- Death's Rejection: Death firmly rejects her offer. He explains that he is not interested in her earthly possessions, which are meaningless to him. In some versions, he will point out the folly of her life, saying that she spent her time accumulating wealth and not preparing for the end.
- The Inevitable End: The Lady's pleas become more desperate, but Death's will is unshakable. The song ends with Death taking the Lady away, often with the famous lines, "So fair you are, I will not spare, though you should save all the gold in the world."
The Morality and Symbolism
The song's power lies in its clear and simple moral lesson. It is a musical memento mori (a reminder of death).
- Death the Equalizer: The central message is that death shows no favoritism. It comes for the rich and the poor, the powerful and the meek. The Lady's downfall is her belief that her social standing can save her from a universal fate.
- The Folly of Greed: The song critiques the pursuit of wealth and material possessions. The Lady's jewels and gold, which she treasures, are shown to be completely worthless in the face of death.
- A Broadsheet Ballad: Like many popular ballads, "Death and the Lady" was widely distributed on broadsides, which were cheap printed sheets of paper. This allowed the song to reach a wide audience and serve its purpose as a moralistic and religious cautionary tale.
Collection and Modern Legacy
"Death and the Lady" has been a staple of the folk tradition for centuries. The song was collected by folklorists in England, Scotland, and America. It was a favorite of singers who had a dramatic flair, and it was often performed a cappella to emphasize the power of the lyrics.
Notable recordings of the song include versions by traditional singers like Fred Jordan and contemporary folk revival artists like Shirley Collins, whose haunting rendition captures the ballad's somber and timeless quality. "Death and the Lady" continues to be a powerful reminder of the inevitable and the unimportance of worldly possessions.
Donkey Riding
"Donkey Riding" is a traditional English folk song and sea shanty that is widely known for its jaunty tune and humorous lyrics. It's a classic example of a song that has two distinct lives: as a working sea shanty and as a popular children's song.
Origins and Purpose
The song is believed to have originated in the late 19th century. Its primary function was as a "short-haul" or "halyard" shanty, a work song used by sailors to raise sails or pull on ropes. The rhythm of the chorus was perfectly suited for the action of hauling.
The core of a halyard shanty is the "haul." The verses would be sung by a shantyman, and the crew would all pull together on the final word of the chorus, which in this case would be on a word like "go" or "home."
The Song's Narrative and Meaning
While the song's primary purpose was to coordinate labor, the lyrics of "Donkey Riding" are often nonsensical and playful. They tell a fragmented story of a sailor's journey, but they also incorporate the classic folk song elements of humor and everyday life.
The most famous version of the song's chorus is: "Were you ever in Quebec, Stowing timber on the deck, Where there's a dollar for a peck Of pickled beef and pork, me lads! Heigh ho! and away we go, Donkey riding, donkey riding, Heigh ho! and away we go, Riding on the donkey!"
The verses often feature a conversation with an old man, or a lament about the difficult conditions of life at sea. A common verse is: "I rode to the river and couldn't get across, Said, 'I'll double my money on a little old gray horse,' But the old horse died, and I'm left to sorrow, And I wish I had a donkey to ride home tomorrow!"
The "donkey riding" itself is a humorous metaphor. It could refer to a few different things:
Legacy and Popularity
"Donkey Riding" has been a staple of the folk revival since the mid-20th century. Its simple, catchy melody and repetitive, easy-to-sing chorus have made it a favorite among children and adults alike. It is a very common song in primary schools and has been featured on many children's albums.
The song has been recorded by countless folk artists, including The Clancy Brothers, and is a staple of pub sessions and folk festivals. Its cheerful nature and energetic rhythm make it a perfect example of a work song that has transcended its original purpose to become a beloved part of popular culture.
"Donkey Riding" is a traditional English folk song and sea shanty that is widely known for its jaunty tune and humorous lyrics. It's a classic example of a song that has two distinct lives: as a working sea shanty and as a popular children's song.
Origins and Purpose
The song is believed to have originated in the late 19th century. Its primary function was as a "short-haul" or "halyard" shanty, a work song used by sailors to raise sails or pull on ropes. The rhythm of the chorus was perfectly suited for the action of hauling.
The core of a halyard shanty is the "haul." The verses would be sung by a shantyman, and the crew would all pull together on the final word of the chorus, which in this case would be on a word like "go" or "home."
The Song's Narrative and Meaning
While the song's primary purpose was to coordinate labor, the lyrics of "Donkey Riding" are often nonsensical and playful. They tell a fragmented story of a sailor's journey, but they also incorporate the classic folk song elements of humor and everyday life.
The most famous version of the song's chorus is: "Were you ever in Quebec, Stowing timber on the deck, Where there's a dollar for a peck Of pickled beef and pork, me lads! Heigh ho! and away we go, Donkey riding, donkey riding, Heigh ho! and away we go, Riding on the donkey!"
The verses often feature a conversation with an old man, or a lament about the difficult conditions of life at sea. A common verse is: "I rode to the river and couldn't get across, Said, 'I'll double my money on a little old gray horse,' But the old horse died, and I'm left to sorrow, And I wish I had a donkey to ride home tomorrow!"
The "donkey riding" itself is a humorous metaphor. It could refer to a few different things:
- The motion of the ship: The up-and-down motion of a ship in a choppy sea could be likened to riding a donkey.
- A "donkey engine": A steam-powered winch used on ships was sometimes called a "donkey engine," and the song could be a playful reference to this new technology.
- A term for a newcomer: "Donkey" was also a derogatory term for a sailor who was slow or clumsy.
Legacy and Popularity
"Donkey Riding" has been a staple of the folk revival since the mid-20th century. Its simple, catchy melody and repetitive, easy-to-sing chorus have made it a favorite among children and adults alike. It is a very common song in primary schools and has been featured on many children's albums.
The song has been recorded by countless folk artists, including The Clancy Brothers, and is a staple of pub sessions and folk festivals. Its cheerful nature and energetic rhythm make it a perfect example of a work song that has transcended its original purpose to become a beloved part of popular culture.
Down In Yon Forest
"Down In Yon Forest," also known as "All Bells in Paradise" or the "Castleton Carol," is a traditional English Christmas carol with a long and mysterious history. While it's now often associated with the Christmas season, its lyrics are a dense web of religious and folkloric imagery that suggests a much older and more complex origin.
Thematic and Lyrical Content
The song's lyrics are a series of powerful and symbolic images rather than a linear narrative. A common version goes:
Origins and Interpretations
The song's imagery is deeply rooted in medieval Christian and pagan symbolism, and its exact meaning has been debated for centuries. The most widely accepted theory connects "Down In Yon Forest" to the anonymous Middle English poem known as the "Corpus Christi Carol."
Collection and Legacy
"Down In Yon Forest" was collected by the famous English folklorist Ralph Vaughan Williams in the early 20th century from a traditional singer named J. Hall in Castleton, Derbyshire. This collection helped to preserve the song and bring it to the attention of the modern folk music movement.
The song has been a favorite of English folk revival artists, including Shirley Collins, Maddy Prior, and Martin Carthy. Its haunting melody and mysterious lyrics make it a powerful and atmospheric piece of music. While its original meaning may be lost to time, "Down In Yon Forest" stands as a testament to the complex and layered nature of folk traditions and the way that songs evolve over centuries, absorbing new meanings while retaining their old, ghostly echoes.
"Down In Yon Forest," also known as "All Bells in Paradise" or the "Castleton Carol," is a traditional English Christmas carol with a long and mysterious history. While it's now often associated with the Christmas season, its lyrics are a dense web of religious and folkloric imagery that suggests a much older and more complex origin.
Thematic and Lyrical Content
The song's lyrics are a series of powerful and symbolic images rather than a linear narrative. A common version goes:
- Down in yon forest there stands a hall:
- The bells of Paradise I heard them ring.
- It's covered all over with purple and pall.
- And I love my Lord Jesus above anything.
- The bells of Paradise I heard them ring.
- In that hall there stands a bed:
- The bells of Paradise I heard them ring.
- It's covered all over with scarlet so red.
- And I love my Lord Jesus above anything.
- The bells of Paradise I heard them ring.
Origins and Interpretations
The song's imagery is deeply rooted in medieval Christian and pagan symbolism, and its exact meaning has been debated for centuries. The most widely accepted theory connects "Down In Yon Forest" to the anonymous Middle English poem known as the "Corpus Christi Carol."
- The Holy Grail: Many scholars and folklorists, including Anne Gilchrist in the early 20th century, have interpreted the song as an allegory for the Holy Grail legend.
- The hall in the forest could be the Castle of the Grail.
- The "bleeding knight" from the original "Corpus Christi Carol" is often seen as a reference to the Maimed King or the Fisher King, a figure from Arthurian legend whose wounds won't heal.
- The flood of water and blood represents the stigmata of Christ, and the thorn that always blossoms is thought to be the Glastonbury Thorn, a legendary thorn tree that is said to have sprung from the staff of Joseph of Arimathea.
- The hall in the forest could be the Castle of the Grail.
- A Hybrid Song: Over time, the song's meaning shifted from these more obscure medieval legends to a more explicit Christian theme. The chorus, "The bells of Paradise I heard them ring, And I love my Lord Jesus above anything," was likely added to make the song a straightforward Christian carol. The final verses of many versions directly reference the birth of Christ, solidifying its place as a Christmas song.
Collection and Legacy
"Down In Yon Forest" was collected by the famous English folklorist Ralph Vaughan Williams in the early 20th century from a traditional singer named J. Hall in Castleton, Derbyshire. This collection helped to preserve the song and bring it to the attention of the modern folk music movement.
The song has been a favorite of English folk revival artists, including Shirley Collins, Maddy Prior, and Martin Carthy. Its haunting melody and mysterious lyrics make it a powerful and atmospheric piece of music. While its original meaning may be lost to time, "Down In Yon Forest" stands as a testament to the complex and layered nature of folk traditions and the way that songs evolve over centuries, absorbing new meanings while retaining their old, ghostly echoes.
Drill Ye Tarriers Drill
"Drill Ye Tarriers Drill" is a well-known American folk song that captures the spirit, hardship, and dark humor of railroad construction workers in the late 19th century. It is a powerful example of a work song that not only helps coordinate labor but also tells a story of the men who built a nation's infrastructure.
The Tarriers
The song's title refers to the "tarriers," a term for the Irish immigrant workers who used steel drills to bore holes into rock to make way for railroad tracks. These holes were then filled with dynamite to blast through mountains and create tunnels and passes. The word "tarrier" may be a corruption of the French word tarière, meaning auger or drill, or it could be a reference to the workers who "tarry" or delay their work, as a subtle act of resistance against their mean bosses.
The Song's Narrative
The ballad tells a series of short, humorous, and sometimes tragic stories from the life of a tarrier. The verses are a mix of reality and exaggerated tall tales.
Legacy and Popularity
"Drill Ye Tarriers Drill" was first published in 1888 and is attributed to Thomas Casey (lyrics) and Charles Connolly (music). It quickly passed into oral tradition, with many variations and new verses being added over time. The song's rhythm and repetitive chorus made it an ideal work song for railroad gangs and a popular tune for folk singers.
The song has been recorded by countless folk artists, including Cisco Houston, The Weavers, and The Chad Mitchell Trio. Its enduring appeal lies in its ability to blend humor with a stark and honest portrayal of the dangers and indignities of labor in the 19th century. It is a vital piece of the American folk music canon and a testament to the power of a song to preserve the history of working-class people.
"Drill Ye Tarriers Drill" is a well-known American folk song that captures the spirit, hardship, and dark humor of railroad construction workers in the late 19th century. It is a powerful example of a work song that not only helps coordinate labor but also tells a story of the men who built a nation's infrastructure.
The Tarriers
The song's title refers to the "tarriers," a term for the Irish immigrant workers who used steel drills to bore holes into rock to make way for railroad tracks. These holes were then filled with dynamite to blast through mountains and create tunnels and passes. The word "tarrier" may be a corruption of the French word tarière, meaning auger or drill, or it could be a reference to the workers who "tarry" or delay their work, as a subtle act of resistance against their mean bosses.
The Song's Narrative
The ballad tells a series of short, humorous, and sometimes tragic stories from the life of a tarrier. The verses are a mix of reality and exaggerated tall tales.
- A Mean Boss: The song often introduces a foreman, such as "Dan McCann," who is a "blamed mean man." This sets up the central conflict of the song: the struggle between the workers and their exploitative supervisors.
- The Unfortunate Accident: The most famous verse tells the story of "Big Jim Goff," who is tragically killed in a premature blast. The song describes him being blown "a mile in the air."
- The Docked Pay: The song's most cynical and memorable punchline comes in the next verse. When payday comes around, Jim Goff's ghost is found to be a dollar short. When he asks why, he gets the grim reply: "You were docked for the time you were up in the sky." This is a perfect example of the song's dark humor and its critique of the unfair labor practices of the time. The workers were paid for every moment of their time, except for the time they were literally dead.
- The Power of Work and Community: Despite the hardships, the chorus, "Drill, ye tarriers, drill," is a powerful refrain that gives the song a sense of forward momentum and purpose. The line, "Oh, it's work all day for the sugar in your tay" (a common spelling of "tea"), emphasizes the low wages and the fact that the men were working hard just to earn enough for basic comforts.
Legacy and Popularity
"Drill Ye Tarriers Drill" was first published in 1888 and is attributed to Thomas Casey (lyrics) and Charles Connolly (music). It quickly passed into oral tradition, with many variations and new verses being added over time. The song's rhythm and repetitive chorus made it an ideal work song for railroad gangs and a popular tune for folk singers.
The song has been recorded by countless folk artists, including Cisco Houston, The Weavers, and The Chad Mitchell Trio. Its enduring appeal lies in its ability to blend humor with a stark and honest portrayal of the dangers and indignities of labor in the 19th century. It is a vital piece of the American folk music canon and a testament to the power of a song to preserve the history of working-class people.
East Virginia
"East Virginia" is a classic American folk song, often categorized as a "mountain song" or an Appalachian ballad. It's a poignant and melancholic song that tells a simple story of love, longing, and the pain of separation. The song's beauty lies in its straightforward narrative and its haunting, wistful melody.
Thematic and Lyrical Content
The song's lyrics, which can vary widely in different versions, are a first-person lament from a narrator who is either leaving or has left their true love. The song's emotional core is a deep sense of loss and regret.
The verses typically follow a similar pattern:
Origins and Variants
The origins of "East Virginia" are not definitively known, but it is believed to have evolved from older English and Scottish ballads that were brought to America and adapted into the unique musical style of the Appalachian Mountains. The song's simple, modal tune and its unadorned lyrics are hallmarks of this tradition.
Like most traditional songs, "East Virginia" has been passed down through generations of oral tradition, resulting in countless variations. The geographical locations, the name of the lover, and the specific reasons for the separation can all change from one version to the next.
Modern Legacy
"East Virginia" is one of the most widely recorded and performed songs in the American folk and bluegrass traditions. It was a staple of the folk revival of the 1950s and 60s, and its haunting melody and emotional depth have made it a favorite of many artists.
"East Virginia" is a classic American folk song, often categorized as a "mountain song" or an Appalachian ballad. It's a poignant and melancholic song that tells a simple story of love, longing, and the pain of separation. The song's beauty lies in its straightforward narrative and its haunting, wistful melody.
Thematic and Lyrical Content
The song's lyrics, which can vary widely in different versions, are a first-person lament from a narrator who is either leaving or has left their true love. The song's emotional core is a deep sense of loss and regret.
The verses typically follow a similar pattern:
- The Opening Lament: The song often begins with a statement of the narrator's sorrow and a powerful visual of a journey. A common opening is: "I was born in East Virginia, North Carolina I did go, to court a fair damsel, her name I do not know." This immediately establishes the song's setting and its theme of a love that is now out of reach.
- The Promise of Love: The narrator recalls their promise to their lover, a promise that has now been broken. "Oh, the last time I saw her, she was a-weeping and a-wailing, with tears in her eyes and a sorrowful sighing."
- The Pain of Parting: The song's most powerful verses describe the physical and emotional pain of being separated from the one you love. "Oh, the railroad track is lined with gold, but the girl I love is gone." This line perfectly captures the irony of a journey that might bring material wealth but has cost the narrator their emotional happiness.
- The Inevitability of Fate: The song's concluding verses often speak of the narrator's sad fate. They are on a "lonesome road" and their only comfort is the hope of a reunion that may never happen. The song's quiet resignation is one of its most compelling features.
Origins and Variants
The origins of "East Virginia" are not definitively known, but it is believed to have evolved from older English and Scottish ballads that were brought to America and adapted into the unique musical style of the Appalachian Mountains. The song's simple, modal tune and its unadorned lyrics are hallmarks of this tradition.
Like most traditional songs, "East Virginia" has been passed down through generations of oral tradition, resulting in countless variations. The geographical locations, the name of the lover, and the specific reasons for the separation can all change from one version to the next.
Modern Legacy
"East Virginia" is one of the most widely recorded and performed songs in the American folk and bluegrass traditions. It was a staple of the folk revival of the 1950s and 60s, and its haunting melody and emotional depth have made it a favorite of many artists.
- The Kingston Trio: A popular version by The Kingston Trio helped to introduce the song to a mainstream audience.
- Joan Baez: The song's melancholic tune was a perfect fit for Joan Baez's a cappella style, and her version is one of the most famous.
- Doc Watson: A renowned traditional musician who performed the song with his signature flatpicking style.
- The Carter Family: The song was part of the repertoire of the influential Carter Family, one of the most important groups in the history of American folk music.
Fathom The Bowl
"Fathom the Bowl" is a traditional English drinking song, with a history that stretches back at least to the 19th century. Its name comes from the act of "fathoming" the punch bowl—to measure or drain its depth with a ladle. The song is a jovial and defiant celebration of drinking and camaraderie, often sung with great gusto in pubs and folk clubs.
Lyrical Content and Themes
The song is structured as a "catalogue song," a form common in folk music where the verses list various things. In this case, the singer catalogs the sources of the ingredients for the punch, as well as the sorrows he's trying to drink away. The most common verses include:
Origins and Legacy
"Fathom the Bowl" was widely distributed on broadsides (cheap printed song sheets) in the mid-19th century, which helped to ensure its popularity and spread. It was collected from traditional singers by prominent folklorists like Cecil Sharp and Sabine Baring-Gould.
The song's enduring appeal lies in its combination of a catchy tune, a rousing chorus, and a narrative that is both humorous and, in parts, deeply poignant. It has been a staple of the British folk revival, popularized by groups like The Watersons, and is a beloved song in pub sessions and folk festivals around the world. It is a testament to the folk tradition of using song to both celebrate and comment on the realities of working-class life.
"Fathom the Bowl" is a traditional English drinking song, with a history that stretches back at least to the 19th century. Its name comes from the act of "fathoming" the punch bowl—to measure or drain its depth with a ladle. The song is a jovial and defiant celebration of drinking and camaraderie, often sung with great gusto in pubs and folk clubs.
Lyrical Content and Themes
The song is structured as a "catalogue song," a form common in folk music where the verses list various things. In this case, the singer catalogs the sources of the ingredients for the punch, as well as the sorrows he's trying to drink away. The most common verses include:
- Praise for Drinks: The song begins by praising the ingredients of punch, noting their origins: "From France we do get brandy, from Jamaica comes rum, sweet oranges and lemons from Portugal come." This highlights the exotic nature of the ingredients and the luxury of the drink.
- A Scolding Wife: A central and humorous theme is the singer's complaining wife. He laments that "my wife, she do disturb me when I'm laid at my ease," but defiantly declares, "She may scold, she may grumble, till she's black as the coal, give to me the punch ladle, I'll fathom the bowl." This verse speaks to the common folk theme of a man escaping the cares of domestic life through drink and the company of friends.
- The Deceased Father: A more melancholic and mysterious verse often appears, which adds a somber touch to the otherwise cheerful song: "My father he do lie in the depths of the sea, no stone at his head, but what matters for he?" This is often interpreted as a nod to the dangers of a maritime or smuggling life, suggesting that the singer is toasting a father who died at sea. The contrast between this solemn thought and the joyful chorus makes the song's emotional landscape more complex.
- The Rousing Chorus: The chorus, "I'll fathom the bowl, I'll fathom the bowl, give me the punch ladle, I'll fathom the bowl," is a repetitive and powerful singalong that encourages communal drinking and celebration.
Origins and Legacy
"Fathom the Bowl" was widely distributed on broadsides (cheap printed song sheets) in the mid-19th century, which helped to ensure its popularity and spread. It was collected from traditional singers by prominent folklorists like Cecil Sharp and Sabine Baring-Gould.
The song's enduring appeal lies in its combination of a catchy tune, a rousing chorus, and a narrative that is both humorous and, in parts, deeply poignant. It has been a staple of the British folk revival, popularized by groups like The Watersons, and is a beloved song in pub sessions and folk festivals around the world. It is a testament to the folk tradition of using song to both celebrate and comment on the realities of working-class life.
Fire Down Below
"Fire Down Below" is a classic sea shanty with a rich and often humorous history. It's a prime example of a song that served a practical purpose on board sailing ships while also containing multiple layers of meaning, some of them quite bawdy.
The Song's Purpose and Context
"Fire Down Below" is primarily a pumping shanty, a work song used to accompany the grueling, rhythmic task of operating the ship's pumps to clear water from the bilge. The song's steady beat and call-and-response structure made it ideal for this kind of work, as it helped the sailors synchronize their movements and maintain a steady rhythm for long periods.
It was also sometimes used as a capstan shanty, sung while raising the anchor with a capstan. The powerful, repetitive nature of the chorus lent itself well to this heavy labor. The famous shantyman Stan Hugill, often cited as a definitive source on sea shanties, claimed it was one of the last shanties sung on British square-riggers.
The Lyrical Content and Its "Double Meaning"
On the surface, the song's lyrics describe a fire on a ship, with sailors frantically working to put it out. The most common version of the chorus is: "Fire, fire, fire down below, It's fetch a bucket of water, boys, there's fire down below!"
However, like many shanties, the song is full of double entendre and has a hidden, more explicit meaning. The "fire down below" is not just a literal fire on board. In the closed, all-male environment of a ship, the phrase was often a euphemism for:
Legacy and Popularity
"Fire Down Below" has been a staple of the folk revival and has been recorded by countless artists, including The Fishermen's Friends and Nick Cave. It has also appeared in various films and television shows, solidifying its place in popular culture.
The song is a perfect example of a folk song that evolved to serve multiple purposes. It was a functional work song, a humorous commentary on the sailor's life, and a discreet way for sailors to talk about topics that were otherwise taboo. Its simple but powerful chorus, combined with its hidden meanings, has ensured its enduring appeal.
"Fire Down Below" is a classic sea shanty with a rich and often humorous history. It's a prime example of a song that served a practical purpose on board sailing ships while also containing multiple layers of meaning, some of them quite bawdy.
The Song's Purpose and Context
"Fire Down Below" is primarily a pumping shanty, a work song used to accompany the grueling, rhythmic task of operating the ship's pumps to clear water from the bilge. The song's steady beat and call-and-response structure made it ideal for this kind of work, as it helped the sailors synchronize their movements and maintain a steady rhythm for long periods.
It was also sometimes used as a capstan shanty, sung while raising the anchor with a capstan. The powerful, repetitive nature of the chorus lent itself well to this heavy labor. The famous shantyman Stan Hugill, often cited as a definitive source on sea shanties, claimed it was one of the last shanties sung on British square-riggers.
The Lyrical Content and Its "Double Meaning"
On the surface, the song's lyrics describe a fire on a ship, with sailors frantically working to put it out. The most common version of the chorus is: "Fire, fire, fire down below, It's fetch a bucket of water, boys, there's fire down below!"
However, like many shanties, the song is full of double entendre and has a hidden, more explicit meaning. The "fire down below" is not just a literal fire on board. In the closed, all-male environment of a ship, the phrase was often a euphemism for:
- Sexual Desire: The "fire" in question could refer to a sailor's "burning" passion or desire, a longing for the women they left behind.
- Venereal Disease: In some of the more explicit versions of the song, "fire down below" is a direct reference to a sexually transmitted disease, a very real danger for sailors who frequented ports.
- Trouble or Chaos: The term could also be a general metaphor for "trouble" or "turmoil" on the ship, whether it was a real fire, a storm, or a fight.
Legacy and Popularity
"Fire Down Below" has been a staple of the folk revival and has been recorded by countless artists, including The Fishermen's Friends and Nick Cave. It has also appeared in various films and television shows, solidifying its place in popular culture.
The song is a perfect example of a folk song that evolved to serve multiple purposes. It was a functional work song, a humorous commentary on the sailor's life, and a discreet way for sailors to talk about topics that were otherwise taboo. Its simple but powerful chorus, combined with its hidden meanings, has ensured its enduring appeal.
Gathering Peascods
"Gathering Peascods" is a well-known piece of English folk music, but it is primarily a dance tune rather than a folk song with a rich lyrical tradition. Its history is tied to the world of English country dancing, a form of social dance that has a long and celebrated history.
Origins in The English Dancing Master
The tune and the dance for "Gathering Peascods" were first published in 1651 in John Playford's seminal work, The English Dancing Master. This book was the first of its kind, a collection of English country dances and their corresponding tunes. The book was a massive success and was reprinted numerous times, helping to preserve and popularize these dances for centuries.
"Gathering Peascods" is one of the most famous dances from this collection. It's a "round dance" or "circle dance," meaning it's performed by a group of dancers in a circle, and it is a good example of the complex and varied patterns of 17th-century social dance. The dance itself involves intricate figures, including circling, "siding" with partners, and "arming" with linked arms, all performed in time to the music.
The Folkloric Connection
The name "Gathering Peascods" is a direct reference to a traditional rural activity—picking peapods. It also has a folkloric and even romantic connotation. "Peascods," or pea pods, were believed to be used in love divinations. A young person might "pop" a pea pod to see if a certain romantic partner was the one for them, or they might place it over a door to see who would enter.
While the dance is famously known, the lyrics associated with the tune are much less common and, in many cases, were written much later. Some versions of a song with the "Gathering Peascods" title have been collected and published, but they are not as widely known as the tune and the dance itself. The lyrics that do exist often romanticize the act of picking peapods and falling in love in a pastoral setting.
Legacy and Revival
"Gathering Peascods" is a cornerstone of the English folk dance revival, a movement that began in the early 20th century. Folklorists and dance enthusiasts like Cecil Sharp and Maud Karpeles worked tirelessly to collect and teach these old dances, and "Gathering Peascods" became one of the most popular and widely performed.
Today, it is a staple at English country dance events around the world. The lively tune and the enjoyable, social nature of the dance have ensured its longevity. It has also appeared in various films and television shows set in historical England, such as those adapted from the works of Jane Austen.
In summary, "Gathering Peascods" is not a folk song in the traditional sense, but it is a vital piece of English folk heritage. It is a dance tune with a long history, a charming name, and a connection to a traditional rural activity that has been passed down through generations of dancers.
"Gathering Peascods" is a well-known piece of English folk music, but it is primarily a dance tune rather than a folk song with a rich lyrical tradition. Its history is tied to the world of English country dancing, a form of social dance that has a long and celebrated history.
Origins in The English Dancing Master
The tune and the dance for "Gathering Peascods" were first published in 1651 in John Playford's seminal work, The English Dancing Master. This book was the first of its kind, a collection of English country dances and their corresponding tunes. The book was a massive success and was reprinted numerous times, helping to preserve and popularize these dances for centuries.
"Gathering Peascods" is one of the most famous dances from this collection. It's a "round dance" or "circle dance," meaning it's performed by a group of dancers in a circle, and it is a good example of the complex and varied patterns of 17th-century social dance. The dance itself involves intricate figures, including circling, "siding" with partners, and "arming" with linked arms, all performed in time to the music.
The Folkloric Connection
The name "Gathering Peascods" is a direct reference to a traditional rural activity—picking peapods. It also has a folkloric and even romantic connotation. "Peascods," or pea pods, were believed to be used in love divinations. A young person might "pop" a pea pod to see if a certain romantic partner was the one for them, or they might place it over a door to see who would enter.
While the dance is famously known, the lyrics associated with the tune are much less common and, in many cases, were written much later. Some versions of a song with the "Gathering Peascods" title have been collected and published, but they are not as widely known as the tune and the dance itself. The lyrics that do exist often romanticize the act of picking peapods and falling in love in a pastoral setting.
Legacy and Revival
"Gathering Peascods" is a cornerstone of the English folk dance revival, a movement that began in the early 20th century. Folklorists and dance enthusiasts like Cecil Sharp and Maud Karpeles worked tirelessly to collect and teach these old dances, and "Gathering Peascods" became one of the most popular and widely performed.
Today, it is a staple at English country dance events around the world. The lively tune and the enjoyable, social nature of the dance have ensured its longevity. It has also appeared in various films and television shows set in historical England, such as those adapted from the works of Jane Austen.
In summary, "Gathering Peascods" is not a folk song in the traditional sense, but it is a vital piece of English folk heritage. It is a dance tune with a long history, a charming name, and a connection to a traditional rural activity that has been passed down through generations of dancers.
Goodbye Fare Ye Well
"Goodbye, Fare Ye Well" is a traditional sea shanty that is widely known and beloved for its poignant melody and its powerful expression of a sailor's longing and sorrow upon leaving port. It is a classic "forebitter," a song sung for entertainment and reflection during off-watch hours, rather than a work song.
Thematic and Lyrical Content
The song's central theme is the bittersweet farewell to a sailor's home, family, and loved ones. It captures the complex emotions of leaving land for the uncertainties of a long sea voyage. The lyrics are a farewell to:
The Chorus and Its Meaning
The chorus is the heart of the song, with its repeated "Goodbye, fare ye well" and "Heave away, haul away." The contrast between these two lines is the key to the song's emotional power:
Origins and Legacy
"Goodbye, Fare Ye Well" is believed to have originated in the late 19th century. Like many forebitters, it was not collected by folklorists until the early 20th century. It was popularized in the folk revival of the mid-20th century by artists like The Clancy Brothers and The Weavers.
"Goodbye, Fare Ye Well" is a traditional sea shanty that is widely known and beloved for its poignant melody and its powerful expression of a sailor's longing and sorrow upon leaving port. It is a classic "forebitter," a song sung for entertainment and reflection during off-watch hours, rather than a work song.
Thematic and Lyrical Content
The song's central theme is the bittersweet farewell to a sailor's home, family, and loved ones. It captures the complex emotions of leaving land for the uncertainties of a long sea voyage. The lyrics are a farewell to:
- Lovers and Wives: The most common verses are a direct farewell to a "dear" and "true love." The song is filled with sorrow and a sense of finality, as the sailor knows that he may never return. A common verse is: "Oh, farewell to my darling, I'll see you no more / For I am bound for the deep blue sea, where the wild winds do roar."
- Hometowns: The song often mentions specific locations, such as "Liverpool Docks" or other well-known ports. This makes the song more personal and relatable to the sailors who were singing it.
- A Way of Life: The song is also a farewell to the comforts of life on land, which the sailor is trading for the hardships of the sea. The final line of the chorus, "Goodbye, fare ye well, O ye rolling sea," is an ironic farewell to the very thing that is taking them away from their loved ones.
The Chorus and Its Meaning
The chorus is the heart of the song, with its repeated "Goodbye, fare ye well" and "Heave away, haul away." The contrast between these two lines is the key to the song's emotional power:
- "Goodbye, fare ye well": This is the direct expression of sorrow and farewell to the land.
- "Heave away, haul away": This is the voice of the sea itself, the call of the work, and the duty that is pulling the sailor away. It's a phrase from a work shanty, but here it's used to represent the forces that are compelling the sailor to leave.
Origins and Legacy
"Goodbye, Fare Ye Well" is believed to have originated in the late 19th century. Like many forebitters, it was not collected by folklorists until the early 20th century. It was popularized in the folk revival of the mid-20th century by artists like The Clancy Brothers and The Weavers.
- Emotional Depth: The song's simple, unadorned lyrics and its haunting melody have made it a favorite of many singers and audiences. It captures a universal human experience—the pain of saying goodbye—and sets it in a uniquely maritime context.
- Cultural Significance: "Goodbye, Fare Ye Well" has been featured in numerous films, television shows, and documentaries about the sea. It has become a symbol of the sailor's life and the emotional toll that it took on the men who went to sea.
Green Grows The Rushes
"Green Grows the Rushes" is a traditional English folk song with a long and mysterious history. It is a "cumulative" or "catalogue" song, meaning it adds a new line to each verse while repeating the previous ones, and its lyrics are a series of riddles and religious and folkloric symbols.
Thematic and Lyrical Content
The song's core is a numerical list, with each number representing a deeper, often cryptic, meaning. The verses are structured as a series of questions and answers:
Origins and Variants
The song's origins are a subject of much debate among folklorists. Some scholars believe it has deep roots in pagan or pre-Christian rituals, while others argue that it is a mnemonic device created by Jesuits to teach the catechism in a time when Catholicism was suppressed in England. The song's use of riddles and its cryptic religious allusions certainly lend credence to the idea that it was a teaching tool.
The song has countless variations, and the numbers and their corresponding meanings can change from one version to the next. The tune itself is also shared with other folk songs, which is common in the oral tradition.
Modern Legacy
"Green Grows the Rushes" was widely collected by folklorists in the early 20th century. It became a staple of the folk revival, popularized by artists like The Watersons, whose unaccompanied harmony versions are particularly celebrated. The song is often a part of Christmas or seasonal folk music, given its religious themes, and it is a favorite for communal singing at folk clubs and festivals. Its ability to be both a simple children's song and a deeply symbolic religious text has ensured its enduring appeal.
"Green Grows the Rushes" is a traditional English folk song with a long and mysterious history. It is a "cumulative" or "catalogue" song, meaning it adds a new line to each verse while repeating the previous ones, and its lyrics are a series of riddles and religious and folkloric symbols.
Thematic and Lyrical Content
The song's core is a numerical list, with each number representing a deeper, often cryptic, meaning. The verses are structured as a series of questions and answers:
- "What is your one, your two, your three?"
- "Green grows the rushes-o!"
- One: "The one is the one that's alone and evermore shall be so." This is a clear reference to God.
- Two: "Two, two, the lily-white boys, clothed all in green-o." This is believed to refer to the figures of the Old and New Testaments or perhaps to the two thieves crucified with Christ.
- Three: "Three, three, the rivals." This could be a reference to the Holy Trinity (Father, Son, Holy Spirit) or to the Three Kings.
- Four: "Four for the Gospel makers." This is a direct reference to the four evangelists: Matthew, Mark, Luke, and John.
- Five: "Five for the symbols at your door." This is believed to refer to the five wounds of Christ.
- Six: "Six for the six broad waters." This is a more obscure one, possibly referring to the six water pots at the wedding at Cana.
- Seven: "Seven for the seven stars in the sky." This is a direct reference to the seven stars of the Book of Revelation.
- Eight: "Eight for the eight archangels." This refers to the eight angels said to be watching over the world.
- Nine: "Nine for the nine bright shiners." This could refer to the nine orders of angels.
- Ten: "Ten for the Ten Commandments."
- Eleven: "Eleven for the eleven apostles." (Omitting Judas).
- Twelve: "Twelve for the twelve apostles."
Origins and Variants
The song's origins are a subject of much debate among folklorists. Some scholars believe it has deep roots in pagan or pre-Christian rituals, while others argue that it is a mnemonic device created by Jesuits to teach the catechism in a time when Catholicism was suppressed in England. The song's use of riddles and its cryptic religious allusions certainly lend credence to the idea that it was a teaching tool.
The song has countless variations, and the numbers and their corresponding meanings can change from one version to the next. The tune itself is also shared with other folk songs, which is common in the oral tradition.
Modern Legacy
"Green Grows the Rushes" was widely collected by folklorists in the early 20th century. It became a staple of the folk revival, popularized by artists like The Watersons, whose unaccompanied harmony versions are particularly celebrated. The song is often a part of Christmas or seasonal folk music, given its religious themes, and it is a favorite for communal singing at folk clubs and festivals. Its ability to be both a simple children's song and a deeply symbolic religious text has ensured its enduring appeal.
All around my hat steeleye span mandolin tab
"All Around My Hat" is a very famous song, but it's important to clarify that it's not a traditional folk song in its entirety. The song as we know it, particularly the popular version by the English folk-rock band Steeleye Span, is a reworking and reinterpretation of a much older traditional song.
The Traditional Roots: "The Doffing Song"
The original traditional song is often called "The Doffing Song" or simply "Farewell to Morden". It is an old English folk ballad that tells a story of a young man who is leaving his sweetheart to join the army or go to sea.
The original song is a lament, and the famous lines about the hat are part of a more somber narrative. The most common version of the traditional chorus goes something like:
Steeleye Span's Transformation
Steeleye Span, a pioneering band in the English folk-rock movement, took this traditional ballad and gave it a radical new life on their 1975 album All Around My Hat. They didn't just record a traditional song; they completely reinvented it.
Here's how they changed it:
Legacy
The Steeleye Span version of "All Around My Hat" is a perfect example of how folk music can be transformed and brought to a new audience. It is a bridge between the quiet, rural tradition of the past and the loud, electrified world of modern rock. While it is not a traditional folk song in the way that "The Doffing Song" is, it is a crucial part of the folk music story, a song that is simultaneously an ancient lament and a joyous, modern anthem.
The Traditional Roots: "The Doffing Song"
The original traditional song is often called "The Doffing Song" or simply "Farewell to Morden". It is an old English folk ballad that tells a story of a young man who is leaving his sweetheart to join the army or go to sea.
The original song is a lament, and the famous lines about the hat are part of a more somber narrative. The most common version of the traditional chorus goes something like:
- "All around my hat I will wear a green willow, All around my hat for a twelvemonth and a day. If anyone should ask me the reason why I'm leaving, It's all for my true love who's far, far away."
- The Green Willow: A willow tree, particularly a weeping willow, is a traditional symbol of sorrow and unrequited love. Wearing a willow branch on one's hat was a sign of being jilted or heartbroken.
- The Twelvemonth and a Day: This is a common phrase in folklore and legal history, denoting a full year plus an additional day, which was a significant period of mourning or a promise kept.
Steeleye Span's Transformation
Steeleye Span, a pioneering band in the English folk-rock movement, took this traditional ballad and gave it a radical new life on their 1975 album All Around My Hat. They didn't just record a traditional song; they completely reinvented it.
Here's how they changed it:
- The Up-tempo Arrangement: The band's version is fast, electric, and full of energy. The mournful traditional melody was given a driving rock rhythm, with electric guitars, bass, and drums.
- The Lyrical Reinterpretation: While they kept the original chorus, they added new verses and re-contextualized the entire song. The sorrowful "green willow" became a symbol of defiance and a celebration of heartbreak. The line "if anyone should ask me the reason why I'm leaving, it's all for my true love..." is sung with a joyous, almost celebratory tone, turning the song of loss into an anthem of liberation.
- Maddy Prior's Vocals: Lead singer Maddy Prior's powerful, clear, and soaring voice gave the song a new dimension. Her confident delivery made the sorrowful lyrics sound like a joyous affirmation.
Legacy
The Steeleye Span version of "All Around My Hat" is a perfect example of how folk music can be transformed and brought to a new audience. It is a bridge between the quiet, rural tradition of the past and the loud, electrified world of modern rock. While it is not a traditional folk song in the way that "The Doffing Song" is, it is a crucial part of the folk music story, a song that is simultaneously an ancient lament and a joyous, modern anthem.
