Posts tagged ‘Lucy Broadwood’

November 16, 2014

Week 169 – I’m a man that’s done wrong to my parents

I learned this song from Lucy Broadwood and J A Fuller Maitland’s 1893 collection, English County Songs, where it is printed in the Dorsetshire section: “words and tune from H. Strachey, Esq”. That would be Henry Strachey of Bristol, who is listed in early Journals as a member of the Folk-Song Society. He heard the tune being “whistled by a labourer at Shillingham, Dorsetshire, in 1889” and later took it down “from a collier at Bishop Sutton, Somerset“. Several versions were taken down by early collectors such as Baring-Gould and Clive Carey, and the song appears to have remained popular: it was recorded in the 1970s from singers including Freda Palmer, Harry Upton and Frank Hinchcliffe. Most versions have been found in Southern England, but the song has also been collected in Yorkshire and Scotland – as well as Australia and North America.

In about 1980 I sang this – and came second – in a Worst Song competition at the Gypsy Davey Folk Club, which used to be held on a Friday night at the General Elliott in South Hinksey, Oxford. The winning song on that occasion came from the legendary Trevor Vale – I think it was his classic ‘The Squire he rides by…’ and if anyone reading this has any old recordings of Trevor I (and several other people I know) would absolutely love to hear them.

Given the context, I suspect I rather hammed the song up back then. These days I sing it completely straight – if a song’s worth singing, it’s worth taking seriously. Even if it is a load of sentimental odl tripe.

I’m a man that’s done wrong to my parents

October 11, 2014

Week 164 – Carter’s Health / Mistress’s Health

Two more Sussex healths learned from Lucy Broadwood’s English County Songs. Miss Broadwood didn’t have to travel far to collect these songs: the singer, John Burberry, was a retired gamekeeper, who had worked on the Broadwood family estates at Lyne in Sussex.

About the ‘Carter’s Health’ Lucy Broadwood wrote:

“Hey” and “Ree” are right and left respectively; “Who with a hey and ree the beasts command” (Micro-Cynicon, 1599). “Hoo” or “Ho” is the same as “Woa” – stop; “So when they once fall in love there is no Ho in them till they have their love” (Cobbler of Canturburie, 1608). “Gee” is of course “Go on.” “Gio” used in this sense is quoted in Dialogus Creaturarum, 1480.  In the “Chorus” part, the four names are sung by four of the singers in order, all joining in at “But the bobtailed mare.” 

A carter is, of course, “One who drives a cart” (OED). A wagon is probably not the same as a cart, but I really like this harvest-time photograph from East Sussex County Libraries’ Historical Photos collection on Flickr. A collection well worth checking out if you like old photos like this.

Hay wagon c.1890  Part of the George Woods collection. Image scanned from the photographer's original glass plate negative, located at Hastings Library. From East Sussex County Council Libraries Historical Photos collection on Flickr. Copyright East Sussex County Council.

Hay wagon c.1890 Part of the George Woods collection. Image scanned from the photographer’s original glass plate negative, located at Hastings Library. From East Sussex County Council Libraries Historical Photos collection on Flickr. Copyright East Sussex County Council.

The notes on the ‘Mistress’s Health’ say:

When sung at harvest homes and the like, the singers, at the words “O is she so?” &c., carry candles up to the mistress as if to investigate her claim to be “the fairest of twenty.”

We recorded these with Magpie Lane (as separate items) on our second album Speed the Plough. Then a few years ago we found that if we took one health down a bit, and the other up a bit, they worked pretty well together.  At our 20th birthday concert at the Holywell Music Room last year, we had at least twenty people on stage singing this, including Jackie Oates, Chris Leslie, John Spiers, Paul Sartin, Benji Kirkpatrick, Hilary James and Simon Mayor. That was really special (actually it was even better at the run-through in the afternoon – the acoustics in the Holywell are really good, but they’re even better without an audience to soak up any of the sound!). I’d like to share that with you, but have never managed to get my hands on the recordings. Grrr. Anyway, here’s a live recording of the normal five-person band line-up, made last autumn in Bampton Church.

Incidentally, we have some gigs coming up over the next few weeks: Leafield, Oxon (Friday 24th October), Lichfield Festival of Folk (Saturday 25th October), Oxford Folk Club (Friday 14th November). Then in December we’ll be doing our Christmas shows as usual. Further details at http://magpielane.co.uk/ml_news.htm

Carter’s Health / Mistress’s Health

Magpie Lane

Andy Turner, Ian Giles, Sophie Thurman, Jon Fletcher, Mat Green – vocals

Recorded Saturday 21st September 2013, St Mary’s Church, Bampton, Oxfordshire.

October 4, 2014

Week 163 – Mistress’ Healths

Two healths from Sussex. I learned the first one from Shirley Collins’ album Adieu to Old England (where it is followed by Lumps of Plum Pudding played on anglo-concertina by the inimitable John Watcham). A L Lloyd’s notes to the LP say

Harvest-homes were ceremonial suppers, given by the farmer to the harvest labourers when the crop was gathered. The custom has been widespread all over Europe, at least since the Middle Ages, maybe longer. It’s an occasion for big eating and drinking and plenty of music; but very ceremonious, and an important feature was the singing of elaborate compliments in the form of toasts. At the harvest-homes in England, right up to the present century, the queenly qualities of the farmer’s wife were commonly extolled (“anything for another mug of ale” was a comment reported by a 19th century observer). This toast, doubtless referring to Elizabeth I, was traditionally applied to the farmer’s wife in many parts of Southern England. The Cuckfield baker Samuel Willett noted it from harvest hands and passed it on to Lucy Broadwood.

Lucy Broadwood printed the song in her English County Songs. A health which starts with very similar lyrics turns up in North Yorkshire, as a ‘Bridal Song’ sung by Jack Beeforth (1891-1974):

Here’s the bride’s good health we’ll now begin
In spite of the Turk and the Spanish king.
And as for the bridegroom we’ll not let it pass
We’ll have their drink in a flowing glass.

So see, see, see that you drink it all
See, see, see that you let none fall
For if you do you shall have two
And so shall the rest of the company too.

This is included in Volume 2 of David Hillery’s PhD thesis Vernacular song from a North Yorkshire hill farm : culture, contexts and comparisons. I have to confess I’ve only discovered this work whilst Googling this morning, but it looks to be an interesting read.

“Harvest Home” – illustration from Chambers’ Book of Days

The second song here is one of several healths and toasts included on Vic Gammon’s double-LP set The Tale of Ale. It was collected from Henry Hills of Lodsworth in Sussex and included in the very first volume of the Journal of the Folk-Song Society in 1901, in an article by the collector W P Merrick. For more on Henry Hills and folk traditions in Lodsworth, see the ‘Lodsworth Folk Songs and Carols’ section in Notes for a History of Lodsworth by Wilfrid Lamb M.A. who was Vicar of Lodsworth 1955-1961. There are some nice photographs of harvest suppers from that era, from Bodiam in East Sussex, at www.bygonebodiam.co.uk.

Harvest supper, possibly 1952, New House Oast, Bodiam. From http://www.bygonebodiam.co.uk

Harvest supper, possibly 1952, New House Oast, Bodiam. From http://www.bygonebodiam.co.uk

Mistress’ Health (Our Mistress’ Health we’ll now begin)

Mistress’ Health (Now Harvest is over)

June 16, 2012

Week 43 – All Jolly Fellows that Follow the Plough

An Oxfordshire version of a well-known song – well-known in the folk revival, but also widely sung in oral tradition.

Although this was not included on the first Magpie Lane CD, it was certainly in our repertoire when we played our first concerts in May 1993, and was included on our second album, Speed the Plough. In those days we followed the song with the dance tune ‘Speed the Plough’, aka  “The National Anthem of English Country Dance Music”. But we’re a band that likes to move with the times, so in more recent years we’ve taken to playing – as on this this live recording – ‘New Speed the Plough’, from Vic Gammon’s A Sussex Tune Book (N.B. the word “New” in this context is relative – the tune comes from the Welch family MS, dated 1800).

We learned the song from the Oxfordshire section of Lucy Broadwood’s English County Songs. There are four songs in that section, and the source for all of them is given as Mr R. Bennell. It’s not made clear whether Mr Bennell was simply responsible for communicating the songs to Miss Broadwood, or if she collected them directly from his singing . Fortunately Broadwood researcher Irene Shettle has provided the answer – Mr Bennell wrote out the words and tunes and sent them to the collector in a series of letters in November 1891.

Mr Bennell was a professional cornet player, then living in Richmond. The pieces he sent to Broadwood were songs which he remembered from his younger days, having been brought up at Nettlebed in Oxfordshire. Of this song he wrote

I have written the tune of (It was early etc) as I have always heard it sung round about Nettlebed in Oxfordshire where I was brought up. I have herd strangers sing it to the air of Villikins and his Dinah, which melody you are no doubt acquainted with.

continuing

I have also written two more, one I may call the Nettlebed Cricket Song as I have never heard a word of the song or a bar of the melody sung in any of my travels. Neither of the songs I have dotted down have the peculiar quaintness and minor tendency of most of our most rural district songs but I could commit several to paper, but the words I could not easily obtain now I am away. I have written the two first and the two last verses of the Leathern Bottle. I can remember no more. There are various difficulties in the way as regards the words of songs; our ancestors in their simplicity were rather coarse even in their sentimental ditties. This for one thing gives rise to a difficulty where as regards the tune there would be none. In answer to your enquiry as to my profession I beg to state that I am a musician and play the cornet for a living in all lines of the business theatrical or otherwise. I object to publicity regarding myself unless consulted. Any remuneration for my little efforts would be thankfully received to cover postage etc. If these songs should give you any satisfaction or be of any help to you in your labours I will furnish you with another or two

In English County Songs Lucy Broadwood gives the Nettlebed tune for this song (under the title ‘Twas Early One Morning’), but prints a set of words “from a gardener’s boy in Berkshire”.

All Jolly Fellows that Follow the Plough / New Speed the Plough

Magpie Lane

Andy Turner: vocal, one-row melodeon
Ian Giles: vocal, percussion
Mat Green: fiddle
Sophie Thurman: cello
Jon Fletcher: guitar

recorded direct from the mixing desk, Banbury Folk Festival, 14th October 2007