CDSS Song of the Month
Community and traditional song in the 21st century
Join us each month in song!
CDSS designated 2016 our Year of Song. We chose it for two reasons: to honor the start of Cecil Sharp and Maud Karpeles’ prolific folk song collecting in southern Appalachia (1916-1918), and to look at how song serves CDSS's mission. This examination also begins a cycle of focusing on one or two genres at a time, as we identify community needs and allow for better use of our resources.
Our Song of the Month feature has been so well received that we decided to make it a permanent part of the website. You'll find an archive of these songs below as well as new ones being posted in the months to come.
CDSS’s song traditions are based primarily in the English and Anglo-American traditions — folk songs, ballads, sea shanties, rounds, songs with choruses. We also include spirituals, work songs, country harmony, African call and response, shape note and gospel, contemporary a cappella, and new arrangements of traditional songs. Our special emphasis is on community singing.
Lorraine Hammond, CDSS Board member and Song Task Group Chair, spearheaded our Year of Song efforts and oversaw 2016’s song selections. Judy Cook took on that role in 2017 and continues to contribute each month, with help from Lorraine. Our thanks to them both.
Note: Many of these old songs should be looked at as "fairy tales for adults" in that they often address very strong, and sometimes scary, subject matter. They allow us to deal with difficult situations and emotions with the distance afforded by putting it in a song. They are cautionary tales, and had their use as such.
Abroad as I Was Walking
Submitted by Carolyn Robson
The folk song collector George Gardiner collected over 1200 songs from the county of Hampshire in southern England during the period 1904–1908. In 1907, he collected about 164 songs from five women in the village of Axford near Basingstoke in the northwest of the county.
One of these women, Sarah Goodyear, gave him 41 of these songs, including one of my favourites, ’Abroad as I was walking.’ It is the common tale of a young woman who is seduced by an older man and falls pregnant. He is what is commonly termed a ‘bounder’ and blames her for her ‘wanton will,’ though she is just 14 years old. These days, it would have been a clear case of child sex abuse.
The song is an English version of the Irish song ‘Blackwaterside.’ I was a member of the trio Craig Morgan Robson, and we joined forces with the lovely Askew Sisters to record a CD of songs collected from these women, called ‘The Axford Five.’ So here I am singing this song accompanied by Hazel and Emily Askew.
Abroad as I was walking down by some green wood side
I heard a fair maid singing ‘I wish I was a bride.’
‘I thank you pretty maiden for the singing of your song.
Tis I myself will marry you.’ ‘Kind Sir, I am too young.’
‘The younger you are the better, more fitter for my bride,
That all the world may plainly see I married my wife a maid.’
Nine times I kissed her ruby lips and viewed her sparkling eye
I catched her by the lily white hand one night with her to lie.
And all the fore part of that night we lay in sport and play
And all the latter part of that night I lay in her arms til day.
Til day, til day, til day, til daylight did appear
Then this young man rose, put on his clothes, said ‘Fare you well, my dear.’
‘What did you promise me last night as I lay by your side?
You promised you would marry me, make me your lawful bride.’
‘What I did promise you last night was in a merry mood,
I vow, I swear, I do declare, I’m not so very good.
Go home to your father’s garden. Go home and weep your fill,
And when you’ve thought on what you’ve done, you’ll blame your wanton will.’
‘My parents brought me up like a small bird in a cage
And now I am with child by you, scarce 14 years of age.
It’s other farmers’ daughters, to market they do go
While I, poor girl, must stay at home and rock the cradle o’er
And rock the cradle o’er and o’er, sing hush-ee lullaby
Was there ever a maid and a pretty fair maid in love, so crossed as I?’
Carolyn Robson is a singer and choir leader now living in the south of England, but originally from the northeast. Her repertoire consists mainly of Northumbrian and Scottish songs, as well as songs from Hampshire, where she runs 4 choirs. She was a member of the renowned a cappella trio Craig Morgan Robson. Carolyn also runs workshops and sings with Moira Craig. The duo have toured the US on numerous occasions and will be tutors at TradMad in 2021.
The Dowie Dens o' Yarrow (Child 214)
Submitted by Margaret Bennett
I've chosen a ballad I’ve loved for years: ‘The Dowie Dens o' Yarrow’ (Child 214).
As a student in the mid-sixties, I joined the Glasgow Folksong and Ballad Club, and among the unforgettable singers was an Aberdeenshire traveller, Davie Stewart. He played the accordion and sang with such conviction that I was transfixed.
The Setting of the Sun (Roud 133, Laws O 36)
Submitted by Martin Graebe
I heard this first as 'Polly Von,' sung by Peter, Paul and Mary in the 1960s, but that is an interpretation of a traditional song with many titles. Though widely found in England and Ireland, Roud lists more variants in the USA than from anywhere else.
This lovely version was collected by Sabine Baring-Gould from mine-worker Samuel Fone, of Mary Tavy, in 1893. Fone was his most prolific singer and a man who specialised in beautiful tunes, some learned from navvies he had worked with. I have 'repaired' verse 2. You can see the manuscript entry here.
Submitted by Cindy Mangsen
Child Ballad #239 exists in fragments, telling the story of Annachie and his love Jeannie, forced by her father to marry another man for his status and wealth. Jeannie tells her parents that if she marries the lord, she'll refuse to share his bed and will die for her true love.
Sure enough, she dies on the very day of the wedding, which is also the day Annachie returns from his seafaring. He dies, of course, of grief. It's a tear-jerker of a story, but when put to this beautiful melody (thank you, Nic Jones), becomes incredibly moving. Emily Friedman introduced me to this song, many years ago in Chicago.
This song was written in support of our friends working in health care and other essential fields during the COVID-19 pandemic, who put their lives on the line every day to keep us safe and healthy while being denied everything from basic protective equipment to hazard pay. We wanted to send support to our friends on the front lines, express outrage and frustration that they have been put in such an impossible situation, and hope for the day that we can welcome them back safely.
This song is also a call to action for those of us who are still financially secure - please check out the fundraiser mentioned at the end of the video, with clickable links available through the video on YouTube and Facebook.
Braw Lads of Galla-Water
introduced by Andrew Calhoun
This lyric to "Galla-water" is taken from David Herd’s Ancient and Modern Scots Songs (1769), p. 312. Herd was an excellent collector who did not manipulate/correct the source material, but he did not publish the song melodies.
The song was next published as #125 in Volume 2 of The Scots Musical Museum, with the lyric poorly adjusted. The SMM’s musical editor, Stephen Clarke, only printed the A part of the melody, a move typical of this indolent character through whom so much of the Scots song tradition, including the bulk of the songs of Robert Burns, has unfortunately been filtered. Clarke was in fact a church organist from Durham, England.
The full tune I sing here, "Braw Lads of Galla-water," was published by James Oswald in book 8 of The Caledonian Companion in 1756. Burns wrote a new version of the song using the same first line for the publisher George Thomson, but it does not match the quality and mystery of the old words. The shifting perspective in the lyric is well supported by the contrasting musical parts.
The Lincolnshire Poacher
introduced by David Jones
"The Lincolnshire Poacher" has been referred to as the unofficial county anthem of Lincolnshire. It is said that the song was a favorite of King George IV and dates back to the American Revolution (1776).
The tune has been used as a quick march by several British regiments, including the 2nd Battalion Royal Anglian Regiment, who are known as the “Poachers.” It was also used by some New York Regiments during the American Civil War.
On a personal note: This was a song we sang at school. I first sang it when I was 10 years old, so I have known it for 75 years. It was a great relief to sing this song after “Who is Sylvia,” “Nymphs and Shepherds,” and other arty-type songs which were commonly sung in school singing classes. You may remember Jean Redpath talking about songs sung at British schools. She was very funny.
Another factor in its favor is that it has a good tune and is easy to sing.
The Hills of Mexico
introduced by Sara Grey
The tune and text is a variation of “Buffalo Skinners” from Woody Guthrie but Woody’s version is more likely derived from this version. This is one of my favorite songs – so plaintive such a common theme.
I heard this version from Roscoe Holcomb; it’s ironic the way songs can move in opposite directions. We doubt Roscoe ever travelled west – someone probably had migrated back to the Southeast and he heard it there.
I Saw Three Ships
introduced by Dave Para
Like John Roberts & Tony Barrand, Dave Para loves this "Crawn" version of the widespread carol “I Saw Three Ships.” It was collected in 1895 from a Humber estuary boatman on the east coast of England, and ultimately published by Baring-Gould in his Garland of Country Songs in the same year.
It finally makes sense out of the puzzle of why three ships appear in the Christmas narrative at all. Legend has it that the skulls ("crawns" = "craniums" = "crowns"?) of the "Kings" or "Wise Men" were taken and lodged in the cathedral at Cologne.
Dave thinks of this more as a pilgrim carol than a Christmas song, so here it is in March.
The Trooper and the Tailor
introduced by Mark Gilston
I performed my first public concert at the Yellow Door Coffeehouse in Montreal in 1971. When I was putting together my set list, I noticed that two of the songs contained lyrics about ears which had been isolated from their owners’ heads. “The Cat Came Back” had the line, “Next day all they found was Freddy’s own right ear.” “Perrine” had the the line, “The mice they chewed and chewed and only left an ear.” I was also familiar with the song, “Jackknife” from the Unholy Modal Rounders, which begins, “I was cleaning my jackknife when you did appear. I had a fight with you; I cut off your ear.”
Lost on the Lady Elgin
introduced by Lee Murdock
This song was composed by Henry C. Work in the wake of one of the worst maritime disasters to occur until that time. The Lady Elgin was a side-wheel steam-powered vessel, 300 feet long with a capacity of 1000 tons. She carried finished goods, mail, general freight and passengers between lake-towns in the United States and Canada. Her master was Captain Jack Wilson, well respected among his peers and considered a first-rate sailor.
introduced by Kim Wallach
It was autumn, around 16 years ago, a friend died unexpectedly of a heart attack. My marriage with my hopes and dreams was also dying. I was searching through my big collections of songs - Lomax, Warner etc - tracking down songs I wanted to learn. I found "Pinery Boy," and the Warner version of "Lang a-Growing." Then in Folk Songs of the Catskills by Cazden, Haufrecht & Studer, State University of New York Press, Albany c 1982, I found the relatively rare "Bright Phoebe." The raw grief and loss in both melody and lyric matched what I was feeling perfectly, and I set about learning it.
I am a singer and a songwriter. The way I understand the world, my place in it and my feelings about it has always been through music.