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, as well as to Lynn Nichols for shepherding them to our website.
The Wild Rover
introduced by Brian Peters
The Wild Rover is one of the best-known traditional songs, but it’s not the Irish drinking anthem many people assume. It began life in the 1670s as an English broadside ballad about a hard-drinking ‘Bad Husband’ who saw the error of his ways, but was edited down over the centuries, rebranded as ‘The Wild Rover’, and a chorus added. It was popular in England, Scotland and Australia, and the version made famous by the Dubliners contains elements from all of those places. Brian’s version was collected in Hampshire, England, in 1906, and retains the older chorus and temperance message – a similar version was written down in the same area as early as 1820.
Watch/listen to Brian perform The Wild Rover at this link or embedded above.
She's Like The Swallow
introduced by Suzanne Mrozak
This beautiful version of "She's Like the Swallow" comes from The Folk Songs of Canada, by Edith Fulton Fowke (Literary Editor) and Richard Johnston (Music Editor), first published in 1954. My own copy of the book is the 1955 second printing and I learned it a few years after that. Fowke identifies this as a song from Newfoundland but does not name her source. Dr. Neil Rosenberg, Professor Emeritus, Department of Folklore, Memorial University of Newfoundland, who has published a wonderfully detailed scholarly article about the song, says that Fowke collected it from Albert Simms from McCallum Harbour, Hermitage Bay. The text that Dr. Rosenberg cites is different from the one Fowke published, however, so the actual source is a bit of a mystery.
The Night Guard
introduced by Martha Burns
The night guard is truly the most romantic figure of cowboy lore. Imagine starry skies and a lone cowboy singing to his herd and the night guard invariably comes to mind. “Singing to quiet the cattle is important,” the writer Owen Wister reflected in his western journals near the end of the old trail days. “The more restless they are, the louder or more inarticulate is the singing, no words being used at all, but only a strange wailing. But as the cattle grow quiet, the music gathers form, and while the herd lies quietly at rest on the plain, the night herders are apt to sing long definite songs as they ride round and round the edges.”
This song captures that feeling better than any other I know. It comes from Jack Webb, who recorded it for Victor in 1930, one of only two sides he ever recorded. Born in 1902, Webb lived most of his life in Oklahoma, becoming one of the earliest and most celebrated rodeo stars in the country’s history. He could rope six horses abreast at a gallop and shoot articles from his head by pulling a string attached to a rifle trigger. Occasionally billed as the “Crooning Cowboy,” he also composed and sang cowboy songs. “The Night Guard” is apparently one of Webb’s own.
Listen to Martha singing "The Night Guard" here or the YouTube image above right.
Here's Adieu to All Judges and Juries
introduced by Tim Radford
I have always had a deep interest in Penal Transportation Songs. I think of them as being that perfect combination of a rural song and a sea song, tinged often with aspects of politics and law and order.
Transportation as a punishment started in Great Britain in the 17th century and was originally to North America, but that ceased in 1776 with the US becoming independent. Transportation to Australia began in 1787, and although it officially ended with the passing of the Penal Servitude Act of 1857, the last convicts were transported as late as 1868.
Here’s Adieu to All Judges and Juries ticks all the boxes for me: a great tune, a poignant story with that touch of hope at the end. The version I list here was collected in 1908 by Dr. George Gardiner in Hampshire from the singing of George Blake, who spent most of his life living and working in and around Lyndhurst & Emery Down in The New Forest.
introduced by Judy Cook
Sailing was a favorite song of Americans in the early years of the Twentieth Century. It was one of the songs selected from those sent in by 20,000 people in response to a request from the National magazine. Four hundred of those songs were selected by Joe Mitchell Chapple and published as Heart Songs Dear to the American People first published in 1909, and revised many times since then. The song also appears in the 1938 book 357 Songs We Love to Sing. Sailing was written in 1880 by Godfrey Marks, a pseudonym of British organist and composer James Frederick Swift (1847–1931). Many people know and enjoy singing the chorus, but many fewer realize there are three fine verses to go with it.
Earl o' Bran
introduced by Margaret Nelson
Back in the early 60's, my oldest sister, Patricia Nelson, was a student at Hanover College in Indiana. She was taken on a class field trip to Berea College, and came back with an LP of the Berea College Choir that included a solo a capella rendition of a Kentucky version of "Earl o' Bran" (Child #7), the first traditional ballad I'd ever heard. I'd sung in church choirs, junior and senior. I'd also spent a lot of time as a youngster reading all the folk tales and fairy tales I could get my hands on, a pretty wide selection since the Racine Library never bought into the notion that fantasy was bad for kids. When I found out there were rich old stories that had TUNES to them, I was permanently hooked.
According to Child, Earl o' Bran has many versions and antecedents all over Scandinavia, including Sweden, Denmark, and Iceland; and in Germany as well. In some of them, the hero steals the lady without waking her family, but some person of ill-will sees them, accepts a bribe to say nothing, and then hurries straight to the girl's family. As I understand this shaved-down Kentucky version, the guy and the girl could have been a long way down the road before anyone noticed she was gone, but our hero is so proud of himself as a fighting man that he blows his hunting horn, his "bugle horn," deliberately waking up and challenging her father and all seven of her brothers. (The first six notes of the tune are definitely a horn call.)
introduced by Gwilym Davies
Mercifully, the days when you could be hanged for poaching are long gone but there must have been times when the scenario of "Georgie" was very real to many. Theories abound as to the historical truth of the events of the song, but none is convincing. The ballad "George Stoole" from the 17th Century sets much the same scene and even shares some verses with more modern versions. The ballad in something approaching its present form has been noted from the 18th century onwards. This version is from Hampshire, England, and was collected by Alice Gillington from an unnamed traveler.
Here's a link to Gwilym Davies singing the song (also embedded above).
A Sailor's Life
introduced by Denise and Stuart Savage
This song was collected in November 1899 by W Percy Merrick, and can be found in the Journal of the Folk Song Society Vol.1 - No.3, 1901. Widely collected in Southern England, see the version in the Penguin Book of English Folk Songs, attributed to Henry Hills, a farmer from West Sussex who lived in Lodsworth, a village just 3 Miles from Petworth, where Stuart was born. We have been singing this simple but lovely song for over 40 years, and still love it.
The Banks of Red Roses: A Traditional Song
introduced by Pete Coe
I went to Ireland in 66, new to all this traditional folk stuff. I ended up in Tralee Co Cork, met up with some chaps who persuaded me to join their folk group for the Tralee Folk Group Competition where they'd planned to sing The Mingulay Boat Song. But they didn't know the words. I did, hence the invite. We came in 3rd, it would have helped us if the winners weren't called Finbar, Eddie, Paul & Ted Furey! One of the lads had some interesting songs including Banks of Red Roses which he said he'd learned from his next door neighbour in Belfast. So I learned it from him & it turned out that his neighbour was Sarah Makem. Chris Coe and I recorded the song on our first LP Open The Door and Let Us In in 1971. However, I've added a couple more verses recently, from Scottish Travellers, which fill out the grim story.
The Boy That Wore The Blue
introduced by Shelley Posen
The Boy That Wore The Blue, also known as The Soldier’s Letter, is an American Civil War song of unknown origin, Roud #4389. For some reason, it found favour in the logging camps of Eastern Canada and the Northeast U.S. over the next century.
I learned it in 1977 from Loy Gavan in Chapeau, Quebec, a village on Allumette Island in the Upper Ottawa Valley. It’s one of the most poignant and eloquent songs I’ve ever heard. The song’s vague and seemingly random provenance gives some insight into how traditional singing worked in a community, how offhand and precarious it could be, and how lucky we are to have what traditional songs we have.
The Boy That Wore The Blue came to Chapeau in the 1930s via an itinerant man-of-all work named Carl Brian—an “Englishman” (from England? an Anglophone?) who came from Quebec, no one knew exactly where. He cleaned the stables at the village hotel and did farm chores. Always short of money, Brian sang in the hotel bar after work for drinks: “He'd sit and sing that song I betcha four times in the night,” said Loy. “He sang lots of songs, but that was the best—the best song, the best story.” Loy’s older brother Cliff learned it from Brian, and Loy learned it from Cliff.
The Boy That Wore The Blue captivated me the first time I heard Loy sing it, and was the first of many songs I learned from him. It was “Loy’s song” in Chapeau: if I asked someone else to sing it, they’d demure: “That’s Loy’s song”—meaning not his property, but that he sang it best.
The Bay of Biscay
introduced by Harry Tuft
The origin of this song, "The Bay Of Biscay" eludes me, even after a search of the internet. It appears that versions have been done by Shirley and Dolly Collins and Tim Hart and Maddy Prior, before the version I heard and have used in my own singing, by Norma Waterson on the album Waterson/Carthy. I imagine it would fall into the category of the ghost return of a dead lover. The melody is appropriately haunting, and Ms. Waterson's version is impressive. I included it on an album I released in 2011, Treasures Untold, on my own label, Manasses Records.
Here is a link to Norma Waterson singing “The Bay of Biscay” (also embedded above).
Song, Composed in August (Now Westlin Winds) by Robert Burns
introduced by Andrew Calhoun
This was first published in the Kilmarnock edition of Robert Burns' Poems: Chiefly in the Scottish Dialect, in 1786. Burns' first draft was written ten years before in 1776. Robert was then 17 and its addressee, Peggy Thomson, of Kirkoswald, was 13. Burns indicated that it was to be sung to the tune of a humorous Ayrshire ballad, "I Had A Horse, I Had Nae Mair."
Here is the first verse of the model:
'I had a horse, and I had nae mair,
I gat him frae my daddy;
My purse was light, and my heart was fair,
But my wit it was fu' ready.
And sae I thought me on a time,
Outwittens of my daddy,
To see mysell to a lawland laird,
Wha had a bonny lady.'
Mr. Burns later sent his lyric to The Scots Musical Museum, indicating that it could be set to the tune, "Port Gordon." Scholars for well over a century have taken this gesture as evidence that Burns was disaffected with his original choice, which has never been published with the lyric; but they are missing something. "I Had a Horse, I Had Nae Mair" (I Had No More) had already been published, with its tune, in the second volume of the Musical Museum, where it is song #185; James Johnson (and Burns) preferred not to repeat melodies, hence his flexibility. The tune to which this is now commonly sung is neither of those to which he assigned it. Robert Burns is unique among major poets of his time in composing to melodies; he played fiddle, and needed to become deeply engaged with a tune before he could write lyrics for it; he was also a major collector of traditional lyrics and tunes. I explain in the linked video why this particular tune is of inseparable artistic importance to this particular lyric.