Archive for ‘Songs’

October 9, 2018

Week 276 – The Crow Sat On The Willow

For several months now, Fay Hield has been managing – no, let’s say curating – the  hashtag on Twitter. Every week a new theme is suggested, then on Tuesday anyone is free to post links to songs linked to that theme. So far, in best Blue Peter style, I’ve been posting links to previous entries on this blog, but I thought it was time to record something specially for the weekly Twitter gathering.

This week’s theme is poetry. While many traditional songs are very poetic, as far as I can recall, I have previously recorded only one setting of an actual poem – Billy Bragg’s setting of Thomas Hardy’s ‘The Man He Killed’. Despite my intentions at the time, I’ve never got round to learning that one by heart. Here’s a setting of a John Clare poem, and again I’m reading the words off a sheet of paper. But in this case (like ‘Boxing Day’ and ‘The Widow that keeps the Cock Inn’) not only have I not learned the words; frankly, I don’t think I’ve ever really had any intention of learning the words. Still, as I said in reference to those other two songs, since I made up the tune, if I don’t sing it, nobody will.

I was first alerted to John Clare (in relation to folk music at any rate) by the setting of his ‘The Cellar Door’ on the LP No Relation by Royston Wood and Heather Wood. As a student I started to investigate his poetry, and discovered, for instance, that the title of the Watersons’ For pence and spicy ale was taken from a Clare poem (‘Christmas’, part of ‘The Shepherd’s Calendar’). This one, with its talk of the ploughman’s love for a milkmaid, seemed like a suitable candidate to be turned into a song – although traditional songs tend not to have this slightly awkward 10-line structure. I’m not sure if I actually ‘composed’ the tune, or just assembled sequences of notes which I’d encountered in various traditional song tunes. In fact, what I sing now may not be the tune I originally made up – I never wrote it down or recorded it, but 36 years on, I think this is pretty close to what I intended to sing back then.

You can find the words online in various places. I think I copied them out from The Later Poems of John Clare edited by Eric Robinson and Geoffrey Summerfield.

Crow in the Willow: Solitary crow perched in a willow tree. Image copyright Suzanne Goodwin.

Crow in the Willow: Solitary crow perched in a willow tree. Image copyright Suzanne Goodwin.

 

The Crow Sat On The Willow

June 16, 2018

Week 275 – Death of Poor Bill Brown

There were two distinct ‘Death of Bill Brown’ songs put out by the broadside printers, although both would appear to have been based on an incident which took place at Brightside near Sheffield in 1769. You’ll find details on the Yorkshire Garland Group’s page for ‘The Death of Poor Bill Brown’, along with a recording of this song by the fine Yorkshire singer Will Noble. An example of the earlier version of the song is this printing of ‘Bill Brown’ by Harkness of Preston, put out between 1840 and 1866. The version shown below, which is much closer to the version which survived in oral tradition, was printed in London by H.P. Such between 1863 and 1885.

Poor Bill Brown, printed by Such between 1863 and 1885. From Broadside Ballads Online.

Poor Bill Brown, printed by Such between 1863 and 1885. From Broadside Ballads Online.

Like Will Noble I learned this song from the singing of Arthur Howard (1902-1982), although unlike Will I learned it from a record, not in person. Arthur Howard was a sheep farmer from a long line of South Yorkshire sheep farmers. Born at Mount Farm, near Holme, a few miles south-west of Holmfirth, he later lived and worked on a farm at Hazlehead near Penistone. He was a leading light among the singers of the Holme Valley Beagles, as heard on the Leader LP A Fine Hunting Day. This song, which he learned from his father, appears on Arthur Howard’s solo LP, Merry Mountain Child, released on Ian Russell’s Hill and Dale label in 1981. It was later included on the EFDSS CD A Century of Song.

The album cover shown below is pinched from Reinhard Zierke’s Mainly Norfolk site. I see that his copy, like mine, is signed. I seem to remember that in the early eighties Ian Russell advertised signed copies of the LP in the back of English, Dance & Song. I’m guessing that Reinhard ordered his copy from there, as I did.

Merry Mountain Child LP cover - from Mainly Norfolk

Merry Mountain Child LP cover – from Mainly Norfolk

The recording here is unaccompanied. Back in 1994, I recorded it for Magpie Lane’s second album, Speed the Plough. That arrangement had a typically tasteful guitar accompaniment provided by Pete Acty, with a Northumbrian smallpipes part which I wrote (and was rather pleased with) played by Liz Cooke. If you want a physical copy of that CD, I see there’s one for sale on Discogs.com just now. But you’ll find it cheaper to download from whichever tax-avoiding digital platform you hate the least.

One final note, in the verse that begins “I know the man that shot Bill Brown”, the word “clown” (in the line “I know him well and can tell his clown”) should perhaps be spelled “clowen”. I’ve been reliably informed (by a man who knows the great Graham Metcalfe) that this is a Yorkshire dialect word meaning “clothes”. Knowing this, the rest of the verse makes sense.

Death of Poor Bill Brown

June 10, 2018

Week 274 – Bold General Wolfe

General James Wolfe was one of those dashing military heroes of the British Empire so much admired in the Victorian and Edwardian eras. A successful military commander Europe in the seemingly endless wars against the French in the eighteenth century, in 1758 William Pitt offered him the opportunity to fight them also in North America.

In March 1759, prior to arriving at Quebec, Wolfe had written to Amherst: “If, by accident in the river, by the enemy’s resistance, by sickness, or slaughter in the army, or, from any other cause, we find that Quebec is not likely to fall into our hands (persevering however to the last moment), I propose to set the town on fire with shells, to destroy the harvest, houses and cattle, both above and below, to send off as many Canadians as possible to Europe and to leave famine and desolation behind me; belle résolution & très chrétienne; but we must teach these scoundrels to make war in a more gentleman like manner.”  (Wikipedia)

After laying siege to Quebec for three months, on 13 September 1759 Wolfe  led a daring early morning assault which took the French by surprise (was that really gentleman like?). They were defeated in only fifteen minutes – a defeat which opened the way for the British taking control of all Canada; but, as this song records, Wolfe was fatally shot in the moment of victory.

The Death of General Wolfe by Benjamin West (via Wikimedia)

The Death of General Wolfe by Benjamin West (via Wikimedia)

I originally heard the song on, and learnt it from, the Watersons’ eponymous 1966 LP. I’m indebted to George Frampton for alerting me to this Kentish version, some years before the EFDSS Take Six / Full English archive made the work of the early twentieth century collectors so much more accessible. It’s from the George Butterworth collection, but was actually noted down by Butterworth’s friend Francis Jekyll, nephew of the famous garden designer Gertrude Jekyll. Unfortunately we don’t know any details about the singer of the song, other than the fact that in September 1910, he or she was resident in the Workhouse at Minster, on the Isle of Sheppey in Kent.

Bold General Wolfe, as collected by Francis Jekyll in Minster, 1910. From the VWML archive catalogue.

Bold General Wolfe, as collected by Francis Jekyll in Minster, 1910. From the VWML archive catalogue.

Jekyll noted only the tune, not the words, so I carried on singing the verses I already knew, from Frank Puslow’s Marrowbones / the Watersons.

Looking at the collected versions, it’s clear this was a popular song, in the South of England at any rate. And, of course, there were numerous broadside printings.

Bold General Wolfe - Such broadside from the Lucy Broadwood collection, via the VWML archive catalogue.

Bold General Wolfe – Such broadside from the Lucy Broadwood collection, via the VWML archive catalogue.

Jame Wolfe actually had Kentish connections. Not with the Isle of Sheppey, as far as I’m aware, but with Westerham, where he was born in 1727, and where a statue was erected to his memory in 1911.

Statue of James Wolfe, Westerham, Kent after being unveiled by Field Marshall Roberts, 2nd Jan 1911.

Statue of James Wolfe, Westerham, Kent after being unveiled by Field Marshall Roberts, 2nd Jan 1911.

 

Bold General Wolfe

February 25, 2018

Week 272 – The Bitter Withy

I’m not sure why this song popped up in my head a few weeks back. I used to sing it occasionally a long time ago – mostly just around the house or in the car – having absorbed it from Mike Waterson’s irrepressibly individualistic recording on The Watersons’ LP  Sound, Sound Your Instruments of Joy. Having decided to resurrect the song, I thought I’d check out other versions. I wasn’t sure if it was one of those songs which is widely sung in the folk revival, but rarely if ever collected from tradition. Actually the VWML Archive Catalogue shows that it has been quite widely collected – but particularly in Herefordshire, Shropshire and Worcestershire.

The words – often a bit garbled (“up Lincull and down Lincull”) – were sung to a variety of good tunes, both major and minor. Unable to decide between them, I then had a listen to the version from gypsy singer Charlotte Smith on the Topic/Caedmon album Songs of Christmas/Ceremony (The Folk Songs of Britain Volume 9) and immediately decided that was the one for me. It’s a very simple tune, with a span of less than an octave, but it really got its hooks into me. I don’t know how many verses Charlotte Smith sang to Peter Kennedy when he recorded her at Tarrington in Herefordshire in October 1952; only two appear on the Topic LP, and Kennedy’s recording doesn’t appear to be available on the British Library website. So I started to compile my own set of words, from the versions accessible via the Full English, and those printed in old FSS / EFDSS Journals. But I soon realised

  • the words I’d learned (perhaps misremembered) from Mike Waterson were very firmly lodged in my brain
  • I was unlikely to assemble a better set of lyrics

so it just made sense to carry on singing the same words I had always sung.

A.L.Loyd, from whom I imagine Mike Waterson learned this song, was very taken with the idea of the working class Christ teaching a lesson to the three snobbish young aristocrats who refuse to play ball with him (see Folk Song in England page 116-118, and Lloyd’s album notes reproduced at https://mainlynorfolk.info/lloyd/songs/thebitterwithy.html). And the picture painted here of a young Jesus who misbehaves, just like any other child, and gets a thrashing from his mother for his pains, is very much at odds with the portrayal of Jesus in Victorian Christmas carols, where “no crying he makes”, and “Christian children all should be, Mild, obedient, good as He”. As this is a carol I’ve always associated it with with Christmas, but of course there’s nothing remotely Christmassy about it. Indeed I feel very strongly that songs about Jesus drowning a bunch of stuck-up rich kids really are not just for Christmas…

 

The Bitter Withy

Mural from the monastery church on the summit of Bahar Dar, Lake Tana, Ethiopia.

Mural from the monastery church on the summit of Bahar Dar, Lake Tana, Ethiopia.

Max Ernst: The Virgin Spanking the Christ Child Before Three Witnesses: Andre Breton, Paul Eluard, and the Painter (1926)

Max Ernst: The Virgin Spanking the Christ Child Before Three Witnesses: Andre Breton, Paul Eluard, and the Painter (1926)

December 28, 2017

Week 271 – The Gloucestershire Wassail

Here is to Fillpail and to his left ear
Pray God send our master a happy New Year

I first came across this Wassail song in the Oxford Book of Carols in the 1970s – although, unlike the ‘Somerset Wassail’ it never actually became part of my repertoire. With a slightly different set of words the song was part of the Magpie Lane Christmas set from the very beginning, and we recorded it – with a different singer leading each verse – on our 1995 CD Wassail.

For this recording I’ve gone back to the version in the Oxford Book of Carols. The notes with the song tell us that the tune was collected by Vaughan Williams “from an old person in Gloucestershire”. Actually, it turns out that Vaughan Williams took it down in the inn at Pembridge in Herefordshire, in July or August 1909, from a singer whose name he did not record, but who presumably was a native of Gloucestershire.

The words printed in the book were collated from other versions collected by Cecil Sharp and Vaughan Williams in Gloucestershire – from William Bayliss of Buckland and Isaac Bennett of Little Sodbury – as well as nineteenth century printed sources. Magpie Lane’s words are closer to those originally collected by RVW at the inn in Pembridge.

You can find several other Wassail songs collected in Gloucestershire on Gwilym Davies’ GlosTrad site; and can read much more about this song, and the tradition which it accompanied, on the Gloucestershire Christmas website.

Tetbury Wassailers in about 1930. Photo by James Madison Carpenter, copyright the American Folklife Center, Library of Congress. From http://www.gloschristmas.com

Tetbury Wassailers in about 1930. Photo by James Madison Carpenter, copyright the American Folklife Center, Library of Congress. From http://www.gloschristmas.com

 

Waes Hael!

 

The Gloucestershire Wassail

Andy Turner – vocal, G/D anglo-concertina

 

December 21, 2017

Week 270 – As I sat on a sunny bank

Last night we had a really joyous carols and tunes session at the Bell Inn, Adderbury, North Oxfordshire. It’s a fantastic pub at any time (disclosure: I play in a band with Sandy, the landlady – but I challenge anyone to visit the pub and fail to be impressed). Last night, with about two thirds of the Christminster Singers, plus various friends and friends of friends, we really raised the roof with a selection of rousing carols from Dorset, Yorkshire – and Oxfordshire. It was particularly pleasing to be able to sing a few of the carols collected in Adderbury around a hundred years ago by Janet Blunt – ‘Adderbury Church’, ‘High let us swell’ and ‘Newton’s Double’ (which featured here four Christmasses ago). But here’s one we didn’t sing…

Janet Blunt collected several versions of ‘As I sat on a sunny bank’ / ‘I saw three ships’ in Adderbury. All used some variation on the well-known tune – apart from Sam Newman (a native of Wiltshire) who sang it to the tune of ‘Buffalo Girls’. This one was noted down from Clara Gillam, the parlour maid at Blunt’s home Halle Place, aka Adderbury Manor, and I learned it from the Blunt MSS via the Full English website.

The earliest known appearance of the carol in print was in 1666. According to the New Oxford Book of Carols the story is based  on

the Mediterranean journeyings of the supposed relics of the magi, the ‘Three Kings of Cologne’, the splendour of whose final voyage has remained vivid in European folk memory. The Empress Helena, mother of Constantine the Great and discoverer of the True Cross, carried them to Constantinople in the fourth century, from where they were later taken by St Eusthathius to Milan. In 1162 the skulls were gifted to Cologne Cathedral by Friedrich Barbarossa, and Bishop Renaldus brought them there, to rest in the jewelled caskets in which they remain to this day.

The notes in the book also refer to this version of the carol in Baring-Gould’s manuscript collection, which was noted from a boatman on the River Humber by the artist Lewis Davis, and preserves the link with Cologne:

I axed ’em what they’d got on board
They said they’d got three crawns [skulls]
I axed ’em where they was taken to
They said they was ganging to Coln upon Rhine
I axed ’em where they came frae
They said they came frae Bethlehem

As I Sat On A Sunny Bank, from the Lucy Broadwood Manuscript Collection, via the Full English archive.

As I Sat On A Sunny Bank, from the Lucy Broadwood Manuscript Collection, via the Full English archive.

I follow the song with ‘Christmas Day In The Mornin’’ a tune from Bruce & Stokoe’s Northumbrian Minstrelsy of 1882, where it is associated with the words

Dame get up and bake your pies,
Bake your pies, bake your pies;
Dame get up and bake your pies,
On Christmas Day in the morning.

 

As I sat on a sunny bank / Christmas Day in the Mornin’

Andy Turner – vocal, C/G anglo-concertina, one-row melodeon in C

September 17, 2017

Week 269 – Kitty from Ballinamore

Like ‘As I roved out from the County Cavan’, I learned this from the LP Triona, by Tríona Ní Dhomhnaill. Like a lot of other songs in her repertoire, I believe she had this one from her aunt, Neillí Ní Dhomhnaill. It’s a song which doesn’t seem to have been recorded frequently. You can hear Seamus Ennis singing a version on the Musical Traditions CD of late sixties recordings from the King’s Head Folk Club. And there are two recordings from Northern Irish singers – both as ‘Kate from/of Ballinamore’ – on Topic’s ever-expanding Voice of the People series: Geordie Hanna on Volume 6 Tonight I’ll Make You My Bride and Paddy Doran on The Flax in Bloom. Finally, there’s a rather charming 78 rpm recording by Joseph Maguire available to listen to via the ITMA Digital Library (that’s the Irish Traditional Music Archive, and nothing to do with Tommy Handley).

 

Kitty from Ballinamore

April 23, 2017

Week 267 – The Grey Funnel Line

I have two Cyril Tawney songs in my repertoire. I posted ‘Sally Free and Easy’ almost a year ago; now here’s the other one.

Written in 1959, it was the last song Cyril Tawney wrote before leaving the Royal Navy. You’ll find his own account of its composition at https://mainlynorfolk.info/cyril.tawney/songs/thegreyfunnelline.html.

I learned it from the Silly Sisters LP, which I must have got not long after it came out. Actually I say I learned it – it’s one of those songs where at any given time in the last 40 years I could probably have sung about 95% of the song, but never properly nailed it until now. And I have to say it was worth making the effort to learn it properly – it’s a really good song.

On this recording, the accompaniment is provided (unwittingly) by Ian Kearey playing an epinette de Vosges with two pencils (HB, as I recall). I sampled this from an old Oyster Band LP, looped it, pitch-shifted it slightly, and played around with it a bit more in Audacity, Nero Wave Editor and Magix Audio Cleaning Lab. And hey presto! here it is.

The Grey Funnel Line

April 13, 2017

Week 266 – Dwelling In Beulah Land

Swan Arcade recorded this song on their 1986 album Diving for Pearls, and it’s an outstanding example of their exuberant, no-holds-barred approach to harmony singing. I got the words from Hymnary.org (other online hymnals are available) from where I learn that it was written in 1911 by the prolific American hymn-writer Charles Austin Miles (1868-1946). I don’t know where Swan Arcade learned it from, but there are various recordings you can find online, including one by the Sons Of The Pioneers, with Roy Rogers on vocals. It’s OK, but not a patch on the Swan Arcade version.

I worked out some time ago that this would sound great on a C/G anglo – but that I couldn’t actually sing it comfortably in C. So when I asked Bampton Morris Fool Rob Fidler if I might borrow his Bb/F instrument, recording this song was uppermost in my mind. I must confess I still haven’t learned the words properly, but I thought I’d better get it recorded sooner rather than later – one of these days Rob is going to ask for his concertina back!

Dwelling In Beulah Land

Andy Turner – vocal, Bb/F anglo-concertina

February 4, 2017

Week 265 – The Cruel Mother

Another week, another lady living in the North country, and once again things do not end well for her. This, of course, is much less to do with the fact that she lives in the North, than that she finds herself a character in a Child Ballad – and not many of those have a happy ending.

This very concise version of what is usually a much longer ballad was collected by Cecil Sharp from Mrs Eliza Woodberry of Ash Priors in Somerset (also the source of the version of ‘Come all you worthy Christian men’ in the Oxford Book of Carols). Sharp included it in his Folk Songs from Somerset, Series 4, and Sharp’s tireless assistant and evangelist Maud Karpeles printed it in her 2-volume collection, The Crystal Spring, which is where I learned it.

The Cruel Mother, as collected from Mrs Eliza Woodberry, from the Full English.

The Cruel Mother, as collected from Mrs Eliza Woodberry, from the Full English.

The Cruel Mother