Uploaded July 2025 | Updated September 2026, 3 days ago
A Conversation with Death / O Death (Roud No. 4933) - Sung by Berzil (Berzilla) Wallin of Sodom Laurel, Madison County, North Carolina. From the documentary "The End of an Old Song" (1969) about the ballad singer Dillard Chandler and the mountain people of North Carolina. Filmed and recorded by John Cohen in 1967.
The complete movie can be watched here:
folkstreams.net/films/end-of-an-old-song
I extracted the songs and used my knowledge on video editing to share them on Youtube in the highest possible quality, I used manual video upscaling (no AI was used!) for this, to further document variants of traditional ballads and songs which has been my hobby for many years. I claim no ownership of the video, all the rights belong with John Cohen.
Note by Kevin. W.:
According to a 2004 Journal of Folklore Research article by folklorist Carl Lindahl "A Conversation with Death" was written in 1916 by musician and Baptist preacher Lloyd Chandler (1896-1978), a cousin of Dillard Chandler's. However an earlier text under the title "O Death" had been collected from African American singers in Eastern North Carolina by W.O. Scroggs in 1908. Lloyd Chandler must've adapted an already existing folk piece for his song. It would explain why the lyrics and tune differ between the Chandler family version and seemingly independent versions recorded from other traditional singers like Moran Lee "Dock" Boggs from Wise County, Virginia and Nimrod Workman from Mingo County, West Virginia which are closer to the text from 1908.
The lyrics of the 1908 version are as follows:
Sinner, I come to you by Hebbin's decree;
This very night you must go wid me.
O-o death! O-o death!
How kin I go wid you?
"Jes' like a flower in its bloom,
Why should you cut me down so soon?
O-o death! O-o death!
How kin I go wid you?
It's thematically similar to an English folk song, "Death and the Lady" (Roud 1031), but that's probably a coincidence as it's such a common theme.
This has to be one of the most pessimistic folk songs I've ever listened to. But really you have to see it as a moral warning, to rethink your ways and be a kind person in your life.
Song transcription:
"Oh, what is this, I cannot see,
With icy hands take hold on me?"
"Oh, I am Death--none can excel.
I open the door of heaven and hell.
Yes, I come for to get your soul.
Leave your [body] and leave it cold,
To drop the flesh from off of your frame.
The earth and worms both have their claim."
"Now Death, O Death, please give me time
To fix my heart and change my mind."
"Your heart is fixed, your doom is bound.
I have these shackles to drag you down.”
"Too late, too late, to all farewell.
My heart is fixed. I'm summonsed to hell.
As long as God in heaven shall dwell
My soul, my soul shall scream in hell."
A Conversation with Death / O Death (Roud No. 4933) - Sung by Berzil (Berzilla) Wallin of Sodom Laurel, Madison County, North Carolina. From the documentary "The End of an Old Song" (1969) about the ballad singer Dillard Chandler and the mountain people of North Carolina. Filmed and recorded by John Cohen in 1967.
The complete movie can be watched here:
folkstreams.net/films/end-of-an-old-song
I extracted the songs and used my knowledge on video editing to share them on Youtube in the highest possible quality, I used manual video upscaling (no AI was used!) for this, to further document variants of traditional ballads and songs which has been my hobby for many years. I claim no ownership of the video, all the rights belong with John Cohen.
Note by Kevin. W.:
According to a 2004 Journal of Folklore Research article by folklorist Carl Lindahl "A Conversation with Death" was written in 1916 by musician and Baptist preacher Lloyd Chandler (1896-1978), a cousin of Dillard Chandler's. However an earlier text under the title "O Death" had been collected from African American singers in Eastern North Carolina by W.O. Scroggs in 1908. Lloyd Chandler must've adapted an already existing folk piece for his song. It would explain why the lyrics and tune differ between the Chandler family version and seemingly independent versions recorded from other traditional singers like Moran Lee "Dock" Boggs from Wise County, Virginia and Nimrod Workman from Mingo County, West Virginia which are closer to the text from 1908.
The lyrics of the 1908 version are as follows:
Sinner, I come to you by Hebbin's decree;
This very night you must go wid me.
O-o death! O-o death!
How kin I go wid you?
"Jes' like a flower in its bloom,
Why should you cut me down so soon?
O-o death! O-o death!
How kin I go wid you?
It's thematically similar to an English folk song, "Death and the Lady" (Roud 1031), but that's probably a coincidence as it's such a common theme.
This has to be one of the most pessimistic folk songs I've ever listened to. But really you have to see it as a moral warning, to rethink your ways and be a kind person in your life.
Song transcription:
"Oh, what is this, I cannot see,
With icy hands take hold on me?"
"Oh, I am Death--none can excel.
I open the door of heaven and hell.
Yes, I come for to get your soul.
Leave your [body] and leave it cold,
To drop the flesh from off of your frame.
The earth and worms both have their claim."
"Now Death, O Death, please give me time
To fix my heart and change my mind."
"Your heart is fixed, your doom is bound.
I have these shackles to drag you down.”
"Too late, too late, to all farewell.
My heart is fixed. I'm summonsed to hell.
As long as God in heaven shall dwell
My soul, my soul shall scream in hell."

![Sixteen Next Sunday (Roud 277) / The Broken Token (Roud 264) (1973) - Bertha Baird Sings Folk Songs
The Southern Soldier (Roud No. 4770) / Sixteen Next Sunday / How Old Are You My Pretty Fair Maid / Seventeen Come Sunday / As I Roved Out (Roud No. 277) / A Pretty Fair Maid / A Lady in Her Fathers Garden / The Broken Token (Roud No. 264) - Sung by 92 year old Bertha Hubbard Baird of Rominger, North Carolina. She learned her songs from her father. From the documentary Buna and Bertha (1973). Filmed and recorded by Thomas G. Burton and Jack Schrader in 1973.
00:00:00 Bertha Baird introduces herself
00:00:37 Sings Sixteen Next Sunday (Roud 277)
00:02:00 Asked to sing Bo Lamkin (Child 93)
00:02:17 Sings Pretty Fair Maid (Roud 264)
The complete movie can be watched here:
https://www.folkstreams.net/films/buna-and-bertha
I used my knowledge on video editing to share the film on Youtube in the highest possible quality, I used manual video upscaling (no AI was used!) for this, to further document variants of traditional ballads and songs which has been my hobby for many years. I claim no ownership of the video, all the rights belong with Thomas G. Burton.
Note by Kevin W.:
Berthas first song is a conflation of two different songs, The Southern Soldier (Roud 4770) and Sixteen Next Sunday (Roud 277).
I wish we couldve heard Berthas version of Bo Lamkin (Child 93). It was printed in Thomas G. Burtons book Some Ballad Folks pp.53-54, 103. I dont know if a sound recording of it exists.
Song transcription:
I was born in Alexander County in North Carolina in a little place they call the ... Mill. And the song that Im supposed to sing now is I learned it from my father. He sung it many years ago. I was born in 1880. Is that all you want to know?
[Tom Burton] And your full name?
Yeah, Bertha Hubbard Baird.
Ill put my knapsack on my back,
My rifle on my shoulder.
Ill march away to New Orleans,
And there Ill be a soldier
Fa-dle lik-kle doo, doo-dle-doo
And a fa-dle lik-kle doo-dle di dee.
How old are you, my pretty little miss,
How old are you, my honey?
She answered me with a modesty,
Ill be sixteen next Sunday.
Fa-dle lik-kle doo, doo-dle-doo
And a fa-dle lik-kle doo-dle di dee.
Will you marry me, my pretty little miss,
Will you marry me, my honey?
She answered me with a modesty,
Youll have to ask my mommy.
Fa-dle lik-kle doo, doo-dle-doo
And a fa-dle lik-kle doo-dle di dee.
Ill put my knapsack on my back,
My rifle on my shoulder.
Ill march away to New Orleans
And there Ill be a soldier.
Fa-dle lik-kle doo, doo-dle-doo
And a fa-dle lik-kle doo-dle di dee.
Well, the coffee grows on white oak trees,
And the river flows with brandy.
The streets are lined with ten dollar bills,
And the girls all sweet as candy.
Fa-dle lik-kle doo, doo-dle-doo
And a fa-dle lik-kle doo-dle di dee.
Thats it.
[Tom Burton] Would you sing Bo Lamkin now?
Oh, no.
[Burton] Sing just a little
Its too long.
[Burton] Just a little bit of it though. Please?
I think Pretty Fair Maid would be prettier than that.
[Burton] Thats good. All right, go ahead..
Or One Morning In May, either one.
[Burton] All right, either one.
I dont know whether I can sing either one of them, or not.
Pretty fair maid, all in a garden.
A soldier boy were passing by.
All in these words he did address her,
Saying, Pretty fair lady, will you marry me?
No sir, no sir, Ive got a father.
A man of honor you may be.
How can you force a poor young lady
To marry you, your bride to be?
I have a true love on the ocean,
For seven long years been gone away.
And if hes gone seven more years longer,
Not a man on earth can marry me.
Perhaps your true love has got drownded,
Perhaps hes in some battle slain
Perhaps hes got some girl and married,
Whose face you never again can see.
Perhaps my true love has got drownded,
Perhaps hes in some battle slain.
And if he stole some girl and married,
Ill love the girl that married him.
He ran his hands all in his pocket.
His fingers they were neat and strong.
Saying, Heres the ring I keep out on there.
Straight down before him she did fall.
He picked her up, all in his arms, Kisses gave her one, two, three.
Saying, If Id stayed seven more years longer, Not a girl on earth could have married me. Sixteen Next Sunday (Roud 277) / The Broken Token (Roud 264) (1973) - Bertha Baird Sings Folk Songs](https://i.ytimg.com/vi/2F2xpR-2hH0/mqdefault.jpg)


![The Death of Queen Jane (Child 170) - Mary Williamson
The Death of Queen Jane (Child No. 170) - Sung by Mary Williamson, a Traveller at Lochgilphead, Glassary, Argyllshire, Scotland. Recorded by Dr. Linda Williamson on June 23, 1976.
Mary Williamsons father was Duncan Townsley and her mother was Belle Williamson, Duncan Williamsons aunt. They were from Campbeltown.
Note by Kevin W.:
This song enjoyed some popularity among Scottish Travellers but always in a condensed form that leaves out much of the story.
The original recording can be listened to here:
https://www.tobarandualchais.co.uk/track/29899?l=en
A biography of Linda Williamson along with many further sound recordings can be found here:
https://www.tobarandualchais.co.uk/person/4291?l=en
Linda Williamsons thesis on Scottish Traveller singing can be read here, it is well worth your time if you are interested in Mary Williamsons song repertoire: https://era.ed.ac.uk/handle/1842/8223
Song transcription:
Oh mother dear mother will you do this for me
Will you send for the doctor to come and see me
For the doctor being sent for to come and see me
For my two sides are weary my back it is sair
I never got a wink o sleep in six weeks and mair
Oh doctor dear doctor will you do this for me
Will you send for my mother to come and see me
My mother being sent for to come and see me
My back it is weary my twa sides are sair
I never got a wink o sleep for six weeks and mair
Oh mother dear mother will you do this for me
Oh send for my sister to come and see me
My sister was sent for to come and see me
My back it is weary... [*]
* Very regrettably it seems the tape ran out at this point, the song is left incomplete The Death of Queen Jane (Child 170) - Mary Williamson](https://i.ytimg.com/vi/3FeMqt1k7sY/mqdefault.jpg)
![Beneath the Window of My Cell (Roud 5122) - Christina MacAllister
Beneath the Window of My Cell / The Swallow in My Prison Cell / The Prisoners Song / The Convicts Song (Roud No. 5122) - Sung by Christina MacAllister of Aberdeenshire, Scotland. Recorded by Ewan MacColl and Peggy Seeger in 1962. From Travellers Songs from England and Scotland (2015) MTCD254.
Note by Kevin W.:
This song is rare, apart from Christina MacAllister only Sheila Stewart has been recorded singing it. Sheila learned it from Christinas singing while working in the berryfields of Blairgowrie in the sixties.
An Irish singer, Willie McElroy of County Fermanagh, has been recorded singing a related song in 1977 which came to be known as The Swallow in My Prison Cell (Roud No. 8122). The two songs share the same opening and ending verse but McElroys song continues with the prisoner lamenting the loss of his companion when the bird makes its leave in winter.
If Christinas second verse was brought into the text from The Boston Burglar (Roud No. 261) or another transportation ballad it might be argued that her song is but a fragment of McElroys longer text.
Song Notes by Ewan MacColl and Peggy Seeger:
Scots travelling folk who sing this song all appear to have learned it from the same source - an Irish Traveller named Docherty. Intermittently, over the past five or six years, the editors have questioned Irish singers but have not succeeded in finding any who know the song. That it is Irish is beyond doubt, but that is all that can be said of it with any certainty. The final stanza is one which occurs in many versions of The Boston Burglar (our No.92). Indeed, the use of the word penitentiary and the ball and chain reference in the second stanza suggest that the song may be of American-Irish origin - unless, of course, the equivalent stanza in The Boston Burglar has been culled from an earlier transportation ballad.
Song transcription:
[One morning fair], I strayed where the sparrow built its nest,
For to see the liberty of that bird which did me sorrows pressed [*];
It hops along from bar to bar just the same as it could say:
Cheer up, old lads, and dont be sad, some day youse will be free.
It would [break the heart] of any man, or the heart of any stone
To see so many strapping fellows reduced to skin and bone;
Theyre all tied round with iron chains, theyre attached to a ball of lead;
You can hear them praying from all their hearts, and a-wishing they were dead.
But come all youse roving fellows, a warning take by me:
O, never you stay out late at night nor keep bad company;
For if you do, youll sure it rue, youll bring yourself like me,
For Im doing seven-and-twenty years in the penitentiary.
* sore oppress Beneath the Window of My Cell (Roud 5122) - Christina MacAllister](https://i.ytimg.com/vi/3bYOatOA8p0/mqdefault.jpg)
![Mary Hamilton (Child 173) - Alfreda M. Peel / Texas Gladden
Four Maries / The Four Marys / Mary Mild / Mary Hamilton (Child No. 173) - Sung by Miss Alfreda Adelaide Marion Peel (1890–1953, she never married) of Salem, Roanoke County, Virginia, USA. Recorded by Arthur Kyle Davis Jr. on August 9, 1932. She was the daughter of William Charles Peel (1863–1930) and Marion Georgiana Frances Chandler (1865–1897). Miss Alfreda Peel first recalled a fragment from the singing of her grandmother, Mrs. Marion Chandler, originally of Bristol, England, later living in Salem, Virginia. Her memory of the song was later refreshed by hearing it sung by her uncle, Henry St. Lawrence Chandler (1869–1926), of Chicago, Illinois, when he was visiting Virginia about 1924. Alfreda Peel said her family came from England, and her grandmothers family all fought with the Stuarts.
00:00:00 Mary Hamilton - Alfreda M. Peel
00:04:33 Mary Hamilton - Texas Gladden
A selection of 1930s phonograph recordings made by folklorist Arthur Kyle Davis Jr. (1897–1972) of Virginia ballad singers has been digitised and made available for listening online: https://avalon.lib.virginia.edu/collections/7m01bk901
We get a chance to listen to some of the very same people Cecil Sharp and Maud Karpeles met and noted songs from in the 1910s.
The audio quality of these recordings is relatively poor, being made with portable equipment at that time, but the songs are interesting and worthy of attention. I had the idea of creating small compilations of related versions of each song for these videos. This is because I noticed that I often had more than one recording of each song available from singers who were related or lived in the same area.
Arthur K. Davis Jr. published the hundreds of Virginia ballads he collected in two books, Folk-Songs of Virginia (1949), and More Traditional Ballads of Virginia (1960) with the editorial assistance of Paul Clayton Worthington.
Note by Kevin W.:
A traditional Virginia version of Mary Hamilton (Child 173). This text, if authentic, and it appears to be, is an important version of Child 173, one of few recorded texts to preserve the original story about the infanticide. Nearly all recent texts have reduced the ballad into a short lyrical lament in which no reason for Mary Hamiltons hanging is given.
What makes the text slightly suspicious is that Alfreda M. Peel first sent two fragmentary texts to Davis on May 14, 1922 and on April 23, 1922, which were all she could recall of the song at the time, having heard it as a little child from her grandmother, Marion Chandler, who originally came from Bristol, England. The fragments are the standard lyrical lament with none of the infanticide story.
On August 9, 1932, Arthur Kyle Davis Jr. recorded Miss Peel singing the longer ballad which she learned from her uncle, St. Lawrence Chandler, of Chicago, Illinois, when he was visiting Virginia about 1924. On the same date when the phonograph recording was made Davis also transcribed the text from the singing of Miss Peel and her aunt, Miss Letha Chandler, of Salem. This text differs only very slightly from that taken from the record.
Miss Peel later taught the ballad to Texas Anna Smith Gladden (1895–1966) of Salem, the two women were near neighbours and shared a love for old ballads. Alan Lomax recorded it from Mrs. Gladden in August 1941.
Song transcription:
Word has come from the kitchen,
And word has come to me,
That Mary Hamiltons slain her babe
And thrown him in the sea.
Down came the old Queen,
Gold tassels in her hair,
O Mary Hamilton, wheres your babe?
I heard it greet so sair.
Mary put on your robes of black,
Or yet your robes of brown,
That you can go with me today
To see fair Edinburgh town.
She put on her robe of black, [*]
Nor yet her robe of brown,
But she put on her robe so white
To see fair Edinburgh town.
When she went up the Canno gate,
The Canno gate so free,
Many a lady looked oer her casement
And wept for this ladye.
When she went up the Parliament stair
A loud, loud laugh laughed she.
But when she came down the Parliament stair,
A tear was in her ee.
O, bring to me the red, red wine,
The best you bring to me,
That I may drink to the jolly bold sailors
That brought me oer the sea.
Little did my mother think,
When first she cradled me,
That I should die so far from home,
So far oer the salt, salt sea.
Last night there were four Maries,
Tonight therell be but three;
There was Mary Seaton and Mary Beaton
And Mary Carmichael and me.
Last night I washed the old queens feet,
And carried her to her bed;
Today she gave me my reward,
The gallows hard to tread.
Theyll tie a napkin round my eyes
And neer let me see to dee;
Theyll neer let on to my father and mother
That Im far away oer the sea.
Last night there were four Maries,
Tonight therell be but three;
There was Mary Beaton and Mary Seaton
And Mary Carmichael and me.
[*] The MS text reads put not on, which the sense demands Mary Hamilton (Child 173) - Alfreda M. Peel / Texas Gladden](https://i.ytimg.com/vi/3ohhuxLVW6k/mqdefault.jpg)
![The Caber (Duncans Own Song) (1986) - Duncan Williamson (Scottish Traveller Traditional Singer)
Tossing The Caber (Duncans Own Song) - Sung by Duncan Williamson (1928-2007), a Traveller of Furnace, Argyllshire, Scotland, later settled in Fife. Filmed and recorded by David Kotyk as part of the John D. Niles folklore research team for the Scottish Voices project in the sitting room of Duncans home at Kincraigie Farm Cottage, near Strathmiglo, Fife, where he was living with his wife Linda and their two children Betsy and Thomas, on August 8th, 1986.
00:00:00 Tells the Story
00:01:46 Sings The Caber
00:04:39 Demonstrates How Jack Falls on his Back
00:05:24 Video Ends
The original movie can be watched here:
https://search.library.wisc.edu/digital/A6SOLSRJEQ7IVJ8S
A biography of Duncan Williamson can be read here:
https://www.tobarandualchais.co.uk/person/4292?l=en
Linda Williamsons thesis on Scottish Traveller singing can be read here, its well worth your time if youre interested in Duncan Williamsons song repertoire: https://era.ed.ac.uk/handle/1842/8223
I used my knowledge on video editing to share the films on Youtube in the highest possible quality, I used manual video upscaling (no AI was used!) for this, to further document variants of traditional ballads and songs which has been my hobby for many years. I claim no ownership of the video, all the rights belong with the University of Wisconsin which houses the John D. Niles Collection.
Note by Kevin W.:
I was delighted to discover these videos of Scotlands great tradition bearers in the John D. Niles Collection. The often poorly treated Scottish Travellers honor the memories of their ancestors through songs, music and storytelling. They are proud of their culture and kept old traditions alive for hundreds of years. Many of our most gifted traditional singers and storytellers are Travellers.
Scottish Travellers are an indigenous ethnic minority in Scotland who live or traditionally lived a nomadic lifestyle and for centuries were unfairly shunned by the settled population. For that reason the singing culture of the Travelling people had not been well documented before the 20th century when non-Travellers with an interest in folklore visited and befriended Travellers and started recording their songs, music and stories.
The videos give us an impression of what Duncan Williamson was like as a person and they show us how he performed his songs and stories to an audience. The visual aspect of performance is completely missed when we listen to sound recordings.
My main interest are the songs and ballads from Traveller tradition which Duncan kept alive. His interest in folklore led him to seek out other Traveller singers and storytellers and learn songs and stories from them, many of which were on the verge of being lost forever. In a way Duncan was a folklore collector himself.
The Caber tells of a young bothy worker whose fellow farmworkers persuade him to try to toss the caber a tree trunk that resembles a telephone-pole at the local Highland Games. The results are predictably comic.
Song transcription:
He said, Noo Im tired o my fairm wark,
Noo Im tired o my labor,
Im gang awa doon tae the Games,
Im-a try and toss the caber.
Chorus:
Wi my doo dum dae, my diddie dum da,
My diddie dum doo dum duddie-O.
I gangs doon tae the Games park,
The first thing I did see
Was twenty kilted Highland lads
A-gaithered roond a tree.
Chorus
They were fairmers in their Sunday best,
Babies in their prams,
But me jist like a muckle fool
There in my nickie tams.
Chorus
Then a lassie she cries oot,
Oh Jeck, she cries to me,
Come show these kilted Highland lads
The way tae toss the tree!
Chorus
Noo I been fed on tattie kail
An I been fed on brose, [**]
But hoo Im gonnae toss that tree
Oh God he only knows!
Chorus
So I took twa steps forward,
My banes begin tae crack,
Oh and the next thing that I kent
I was lying on ma back.
Chorus
Noo I hae courted a maiden
Aroond the barn door,
But tae lie an cuddle a big pine tree
I never done before!
Chorus
Tae mak your fortune at the Games
Is a thing you cannae do.
So I warn all youse plooman lads
Just bide around your ploo!
Wi my doo dum dae, my diddae dum da,
My diddae dum doo dum duddie-O.
[*] Like David here: this is David Kotyk, one of the volunteers on Niless research team. David was operating the video camera.
[**] Tattie kail: a mixed dish of potatoes and kail. Brose: oatmeal, mixed with boiling water and allowed to stand for a while, then customarily eaten with salt and a serving of milk. The Caber (Duncans Own Song) (1986) - Duncan Williamson (Scottish Traveller Traditional Singer)](https://i.ytimg.com/vi/4VXNTxNbmwI/mqdefault.jpg)
![The Scotland Man (Child 68) (1967) - George Landers Sings An Old Mountain Ballad & Plays Banjo
The Scotland Man / The Poor Scotchee / Come In My Own True Love / Love Henry / Loving Henry Lee / Lady Margaret / Young Hunting (Child No. 68) - Sung by George Landers of Marshall, Madison County, North Carolina. From the documentary The End of an Old Song (1969) about the ballad singer Dillard Chandler and the mountain people in North Carolina. Filmed and recorded by John Cohen in 1967.
The complete movie can be watched here:
https://www.folkstreams.net/films/end-of-an-old-song
I extracted the songs and used my knowledge on video editing to share them on Youtube in the highest possible quality, I used manual video upscaling (no AI was used!) for this, to further document variants of traditional ballads and songs which has been my hobby for many years. I claim no ownership of the video, all the rights belong with John Cohen.
Quotes about George Landers from John Cohen:
“George Landers lived in a small wood house by the road that leads to Peter Gott’s place. Peter encouraged the elderly Landers to pick up his banjo again, and then Landers remembered a wealth of songs and distinctive banjo picking. He had a sharp understated sense of humor and could always be heard from the road, playing and singing”
George Landers sense of time and phrasing cant be imitated, it can only be wondered at and admired.
George Landers employs a two finger style of picking, quite common in the mountains around North Carolina, where the melody is plucked by the index finger, and the thumb drones on the fifth string, or moves to secondary notes of the melody. Landers brushes them them up and down [!] with his index finger to achieve his sound.
In 1963, when Peter Gott first met him, Landers wasnt playing music. Peter encouraged him to play and from then on, every time Peter passed Georges cabin, he was sitting and playing his banjo. When he was finally sent away to the old folks home, he took his banjo with him, playing it from his wheel chair up until the day he died.
Note by Kevin W.:
This is an old Scottish ballad, but performed in the style of the mountain people of North Carolina. Such songs were brought over from England, Scotland and Ireland with the early settlers and lived on in the memory of the mountain singers.
The same family version of The Scotland Man was first collected by Cecil Sharp from a Miss Linnie Landers in Carmen, Madison County, North Carolina in 1916 and sound recorded by Maud Karpeles in 1950: https://www.youtube.com/watch?v=2ca9KByxB2M
John Cohen also recorded the complete ballad from George Landers in 1965: https://www.youtube.com/watch?v=pCaT_xPoGNM
Song transcription:
Come in, come in, my own true love
And stay all the night with me
For I have a bed and a very fine bed
Ill give it up to thee, thee
Ill give it up to you.
I cant come down, no I aint a-coming there
To perch – said - all on your thumb
For [Im] fraid youd rob me of my tender little heart
Just like the Scotland man, man
Just like the Scotland man
If I had my bow and arrow
My arrow and my string
Id shoot you right to your tender little heart
Just like the Scotland man, man
Just like the Scotland man.
If you had your bow and arrow
Your arrow and your string
Id fly away to the heaven so high
Id never be seen any more, more
Id never be seen any more The Scotland Man (Child 68) (1967) - George Landers Sings An Old Mountain Ballad & Plays Banjo](https://i.ytimg.com/vi/4qSdkOfpSqs/mqdefault.jpg)

