Uploaded July 2025 | Updated September 2026, 1 day ago
When I Look to Yon High Hills / My Ain Sailor Boy (Roud No. 23902) (1982) - Performed by Heather MacGregor at a ceilidh of the Travelling Stewart family of Blair. From the documentary "Gypsies Sing Long Ballads" (1982). Filmed and recorded by John Cohen in Blairgowrie, Perthshire, Scotland.
The complete movie can be watched here:
folkstreams.net/films/gypsies-sing-long-ballads
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 about the film:
Scotland’s Travellers have lived outside mainstream society for more than 500 years. Although some of the Travelling People still live by the sides of roads, most live today in houses and are under pressure to abandon their culture. This film celebrates their traditional music, especially the long unaccompanied ballads that date back hundreds of years and have been handed down by memory through the generations.
Note by Kevin W.:
I was delighted to discover this video documentation of Scotland's greatest tradition bearers. 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.
Song transcription:
It's a pink and blue cravat for my love I'll prepare
In the cold nights of winter for my laddie to wear
And when he returns I'll be his bride with joy
And I'll kiss the dear lips of my ain sailor boy
It's a bunch of white roses to my love I'll present
To live with my laddie ah I'll be content
And when he returns I'll be his bride with joy
And I'll kiss the dear lips of my ain sailor boy
Well I look to the high hills and my laddie's no there
I'll look all around me and my laddie's no here
I'll look to the salt sea and a tear blinds my ee
For the lad I love dearly lies a distance frae me
[Belle Stewart]
Well my children went to school in a hard, hard time because the word wasn't travelling people at that time, it was tinker, and it was tinky, tinky, tinkian. Well they wouldn't play with them on the playground. They wouldn't sit beside them if they could possibly help it in the classroom. When they grew up a bit too, they couldn't go to dancing or anything. Nobody would dance with them because they were tinkers.
When I Look to Yon High Hills / My Ain Sailor Boy (Roud No. 23902) (1982) - Performed by Heather MacGregor at a ceilidh of the Travelling Stewart family of Blair. From the documentary "Gypsies Sing Long Ballads" (1982). Filmed and recorded by John Cohen in Blairgowrie, Perthshire, Scotland.
The complete movie can be watched here:
folkstreams.net/films/gypsies-sing-long-ballads
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 about the film:
Scotland’s Travellers have lived outside mainstream society for more than 500 years. Although some of the Travelling People still live by the sides of roads, most live today in houses and are under pressure to abandon their culture. This film celebrates their traditional music, especially the long unaccompanied ballads that date back hundreds of years and have been handed down by memory through the generations.
Note by Kevin W.:
I was delighted to discover this video documentation of Scotland's greatest tradition bearers. 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.
Song transcription:
It's a pink and blue cravat for my love I'll prepare
In the cold nights of winter for my laddie to wear
And when he returns I'll be his bride with joy
And I'll kiss the dear lips of my ain sailor boy
It's a bunch of white roses to my love I'll present
To live with my laddie ah I'll be content
And when he returns I'll be his bride with joy
And I'll kiss the dear lips of my ain sailor boy
Well I look to the high hills and my laddie's no there
I'll look all around me and my laddie's no here
I'll look to the salt sea and a tear blinds my ee
For the lad I love dearly lies a distance frae me
[Belle Stewart]
Well my children went to school in a hard, hard time because the word wasn't travelling people at that time, it was tinker, and it was tinky, tinky, tinkian. Well they wouldn't play with them on the playground. They wouldn't sit beside them if they could possibly help it in the classroom. When they grew up a bit too, they couldn't go to dancing or anything. Nobody would dance with them because they were tinkers.

![Border Widows Lament (Child 106) - Ellen Mitchell
Ill Cut Off My Long Yellow Hair / My Brother Built Me a Bancy Bower / My Father Built Me a Shady Bower / Sweet William / The Small Birds Whistle / Dukes and Earls / The Border Widows Lament / The Famous Flower of Serving Men (Child No. 106) - Sung by Ellen Mitchell on Have a Drop Mair (2015) Musical Traditions MTCD315-6.
Liner Notes:
Ellen: I learned this ballad from Gordheanna McCulloch, of Glasgow, and she doesnt seem to sing it very often any more, which is a great pity. She is the only person I have ever heard singing it.
A very old ballad; among Rouds 72 instances F J Child quotes a collection from a Mrs Barnard in Ireland in 1776, but it is obviously older than that. It was printed as a broasdside all over these islands (including by both Anderson and Colquhoun of Edinburgh) and has been collected widely here and in the USA and Canada. It was printed in Scotts Minstrelsy of the Scottish Border (1806) and the Pocket Songster or Caledonian Warbler (1823), so its not surprising that most British examples have come from Scotland, where the present title seems the most common; elsewhere it is more often known as The Famous Flower of Serving Men.
Song transcription:
My love built me a bonny bower,
And clad it aa with a lily flower
A brawer bower you neer did see
Than my true love he built for me
There cam a knight by middle o day
He spied his sport and he went away
He brought the king at dead o night
Oh I brak my bower and slew ma knight
He slew ma knight so dear to me
He slew ma knight and he poined his gear [pawned]
Ma servants a for their lives did flee
And left me in extremity.
I saw his sheet makin ma main
I watched the corpse mysel alane
I watched his body baith night and day
And nae living creature came that way.
I took his body on my back
And whiles I gaed and whiles I sat
I digged his grave and laid him in
And happed him wi the sod so green.
But think na ye ma hairt was sair
When I threw the mold on his yellow hair
Think na ye ma hairt was wae
When I turned aroond awa to gae.
Nae livin man Ill loo again
Noo that ma lovely knight is slain
And wi a lock o his yellow hair
Ive chained ma hairt forever mair. Border Widows Lament (Child 106) - Ellen Mitchell](https://i.ytimg.com/vi/m4OPXLOO-uY/mqdefault.jpg)



![Mill o Tiftys Annie (Child 233) (1982) - Sheila Stewart Sings A Traditional Scottish Folk Ballad
Mill o Tiftys Annie / Mill o Tifties Annie / The Trumpeter of Fyvie / Bonnie Annie / Andrew Lammie (Child No. 233) (1982) - Sung by Sheila Stewart of the Travelling Stewart family of Blair. Sheila was the daughter of Belle Stewart (Isobella McGregor). From the documentary Gypsies Sing Long Ballads (1982). Filmed and recorded by John Cohen in Blairgowrie, Perthshire, Scotland.
The complete movie can be watched here:
https://www.folkstreams.net/films/gypsies-sing-long-ballads
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 about the film:
Scotland’s Travellers have lived outside mainstream society for more than 500 years. Although some of the Travelling People still live by the sides of roads, most live today in houses and are under pressure to abandon their culture. This film celebrates their traditional music, especially the long unaccompanied ballads that date back hundreds of years and have been handed down by memory through the generations.
Note by Kevin W.:
I was delighted to discover this video documentation of Scotlands greatest tradition bearers. 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.
Song transcription:
At the Mill o Tiftys lived a man,
In the neighbourhood of Fyvie:
For he had a lovely daughter fair
An they caed her Bonnie Annie.
Noo her hair was fair and her eyes were blue,
And her cheeks as red as roses;
And her countenance was fair tae view,
An they caed her Bonnie Annie.
[Belle Stewart] Several people could sing the same song but, we had a something that we called a coniach and a coniach in a ballad is a feeling. You could sit listening to several people maybe singing the same ballad and it didnt do a thing to you and suddenly someone with a coniach would get up and sing the same ballad and, God, you were just living it. I mean, it was something entirely different altogether.
“The first time me and my love met
“It was in the woods o Fyvie
An he cad me Mistress, I said No
Im just Tifty’s Bonnie Annie.
My love I go tae Edinburgh town,
An for a while main leave you.
Oh but Ill be deid afore ye come back
In the green kirkyard o Fyvie.
Noo her faither struck her wondrous sore,
An also did her mother;
And her sisters also took their score,
But woe be tae her brother.
Her brother struck her wondrous sore
Wi cruel strokes and-a many,
And he broke her back owre the temple-stane,
Aye, the temple-stane o Fyvie.
Oh mother dear, please make my bed,
And lay my face tae Fyvie,
For I will lie and I will die
For my dear Andra Lammie.
Noo when Andra hame fae Edinburgh came
Wi muckle grief and-a sorrow:
Oh my love she died for me last night,
So Ill die for her tomorrow.
[Sheila Stewart] It would be a terrible thing if the travellers was moved into houses because they lose their culture, they lose their identity. Maybe not to begin with because theres still older travellers, but I think its terrible for the younger ones. Theyll lose everything. Theyll even lose their language, their way of life, their freedom, and I think that is the biggest tragedy of all when the travellers put in houses.
This place here is gonna be the traveller site for the travelling people thats on the homages know, Perthshire site. All these houses in the background is where nearly all the travelers have lived at one time or other and this is why they object to this site so much because its in a very bad area. Its a ghetto. Dump the travellers right in the middle of centers of Perth I think its just terrible. I think itll never work.
(Coniach is a word of Gaelic origin translated by Dr John MacInnes as an intensity of melody.) Mill o Tiftys Annie (Child 233) (1982) - Sheila Stewart Sings A Traditional Scottish Folk Ballad](https://i.ytimg.com/vi/oi7yi95Qhro/mqdefault.jpg)
![Sir James the Rose (Child 213) - Martha Johnstone
Sir James the Rose (Child No. 213) - Sung by Mrs. Martha Peasie Johnstone (Martha Reid), a Traveller of Birnam, Perthshire, Scotland. She learned the song from her grandfather in Aberfeldy. Recorded by Hamish Henderson in February 1957 for the School of Scottish Studies.
Note by Kevin W.:
A beautiful fragment of Sir James the Rose (Child 213).
Interestingly it mentions Matilda by name which does not happen in Prof. Childs text:
http://71.174.62.16/Demo/LongerHarvest?Text=Child_d21301
There is a later ballad called Sir James the Ross, A Historical Ballad thought to have been composed by Michael Bruce (1746-1767) and printed in the Weekly Magazine or Edinburgh Amusement, September 20, 1770, IX, 371-73. It tells the same story in a much more stilted, literary style. None of its verses resemble the fragment recalled by Martha Johnstone.
This is indeed the older traditional ballad in which Matilda reveals the hiding place of Sir James the Rose to a band of men in search of him. It ends with the heart of the murdered Sir James being presented to Matilda as a reward and her request to have him buried under a green tree so she can come and visit him. The burial request is granted but his grave you may never see for a prisoner you will be.
Martha Johnstone learned the old songs from her grandparents and from older Travellers. Were indebted to her for sharing her songs with people and to Maurice Fleming and Hamish Henderson in the 1950s, Peter Shepheard in the 1960s and Linda Williamson in later years for visiting and recording her.
Martha told Linda Williamson how she tried to teach The Golden Vanity to her grandchildren, to get them interested in the old songs, but they had more interest in television than singing. Most singers, and especially Travellers felt regret at not being able to pass their songs on to a new generation. A song wasnt only a song, it was a living memory of their parents, their forebears. While singing there was a strong emotional connection with the person the song was learned from. When that person passed their memory lived on whenever the song was sung.
The original recording can be listened to here:
https://www.tobarandualchais.co.uk/track/21705?l=en
A biography of Martha Johnstone along with many further sound recordings can be found here:
https://www.tobarandualchais.co.uk/person/2719?l=en
Linda Williamsons thesis on Scottish Traveller singing can be read here, it is well worth your time if you are interested in Martha Johnstones song repertoire: https://era.ed.ac.uk/handle/1842/8223
Song transcription:
Matilda please do tell me where
Do tell me where Sir James Rose might be
Oh is he in yon hilltop
Or is he in his pasture land
He is not in thon high hilltop
Nor yet in his pasture land
He is not here, perhaps hes gone
Down yon valley
Oh please, oh please do tell me
Where Lord James he is gone
Were only here to detect [*] him
And guard him from his enemy
Oh if thats the truth that you tell to me
Ill take you to Lord James the Rose
Hes sleeping in his brechan plaid
Down by the river Tay
Into a gooseberry bush
Oh take me there, oh take me there
Your reward will be granted too
For when they come to that gooseberry bush
Sir James the Rose being sleeping in his brechan plaid
They stabbed him and gave her his heart
Saying there your reward Matilda too
Oh do not bury him in under land
Oh bury him beneath yon green tree
Oh bury him beneath yon green tree
That I can come and visit he
I will bury him beneath yon green tree
But his grave, his grave you will never see
For youre a prisoner for now and forever
For his grave you will never see
* protect? Sir James the Rose (Child 213) - Martha Johnstone](https://i.ytimg.com/vi/opii0W3Kz6Q/mqdefault.jpg)
![The Daemon Lover (Child 243) - Martha Johnstone
The Ships Carpenter / The Carpenters Wife / The Daemon Lover / James Harris / Ship Carpenter / House Carpenter / Well Met, My True Love (Child No. 243) - Sung by Mrs. Martha Peasie Johnstone (Martha Reid), a Traveller of Birnam, Perthshire, Scotland. She learned the song from her great-grandfather David Whyte from Aberdeenshire. Recorded by Hamish Henderson in February 1957 for the School of Scottish Studies.
Note by Kevin W.:
The first two stanzas may belong to The Lass of Roch Royal (Child 76). The stanzas about the hills of heaven and hell belong to The Daemon Lover (Child 243).
A similar fragment was sung by Andrew Stewart, a Traveller of Blairgowrie, Perthshire.
It was recorded by Hamish Henderson in August 1955:
https://youtu.be/qCubbAnsVow
Martha Johnstone learned the old songs from her grandparents and from older Travellers. Were indebted to her for sharing her songs with people and to Maurice Fleming and Hamish Henderson in the 1950s, Peter Shepheard in the 1960s and Linda Williamson in later years for visiting and recording her.
Martha told Linda Williamson how she tried to teach The Golden Vanity to her grandchildren, to get them interested in the old songs, but they had more interest in television than singing. Most singers, and especially Travellers felt regret at not being able to pass their songs on to a new generation. A song wasnt only a song, it was a living memory of their parents, their forebears. While singing there was a strong emotional connection with the person the song was learned from. When that person passed their memory lived on whenever the song was sung.
The original recording can be listened to here:
https://www.tobarandualchais.co.uk/track/21695?l=en
A biography of Martha Johnstone along with many further sound recordings can be found here:
https://www.tobarandualchais.co.uk/person/2719?l=en
Linda Williamsons thesis on Scottish Traveller singing can be read here, it is well worth your time if you are interested in Martha Johnstones song repertoire: https://era.ed.ac.uk/handle/1842/8223
Song transcription:
For who shall foot my glove to me
Aye who shall be a mother to my babe
Till I return once more
For your father he shall foot your glove
And your mother shall be a mother to your babe
Till you return once more
For whatna hill is thon she says
Its as white as any snow
For thons the halls of Heaven he says
Where you and I must go [*]
For whatna hill is thon she says
Its as black as any crow
For thons the halls of Hell he says
Where all bad people must go
* Usually the lines are reversed like this:
Thons the halls of Heaven
Where all good people go
Thons the halls of Hell
Where you and I must go The Daemon Lover (Child 243) - Martha Johnstone](https://i.ytimg.com/vi/pEI8mrGDvKQ/mqdefault.jpg)
![The Cruel Mother (Child 20) - Elizabeth Stewart
Doon By the Greenwood Sidie O / Down by the Greenwood Sidey-o / All Alone and a-Lonely-O / Shes Leaned her Back / The Cruel Mither / The Cruel Mother (Child No. 20) - Sung by Elizabeth Stewart (1939-2022) of the Travelling Stewarts of Fetterangus, Aberdeenshire, Scotland. She learned it from her aunt Lucy Stewart of Fetterangus, from whom the song had previously been recorded by Prof. Kenneth S. Goldstein in the 1950s. Recorded by the John D. Niles folklore research team for the Scottish Voices project in August 1988 at a house in St. Andrews, Fife, that John Niles and his research team were renting at that time.
The original recording can be heard here:
https://search.library.wisc.edu/digital/ARHXT3K4TSV4DD87
Note by Kevin W.:
The opening verse comes from a different song, Logan Water (Roud No. 6843).
The Stewart family version is remarkably independent of other versions from 20th century traditional singers Ive heard. In Elizabeth Stewarts text the babes are being choked with a ribbon instead of stabbed with a knife, thats a very uncommon feature.
Elizabeth Stewart was a wonderful singer, she had a great style. You can feel the passion in her voice.
Song transcription:
Its Logans woods and Logans braes,
Whaur I helped ma bonnie lassie on wi her claes;
First her hose then and her sheen,
She gaen me the slip when I wis deen.
Shes taen her cloak aboot her heid,
And shes gaen tae dee a gruesome deed;
Shes gaen tae tae dee a gruesome deed,
Doun by the greenwood sidie O.
Shes leaned her back against a thorn,
And twa bonnie bairnies she has born;
Twa bonnie bairnies she has born,
Doun by the greenwood sidie O.
Shes taen a ribbon fae aff her hair,
And shes chokit them though they grat sair;
Shes chokit them though they grat sair,
Doun by the greenwood sidie O.
Four days and nichts she grew wan and pale,
And what ailed her no theres nane could tell;
What ailed her no theres nane could tell,
Doun by the greenwood sidie O.
Four days and nichts she bore her bairn,
So that nane could meddle wi her guid name;
Nane could meddle wi her guid name,
Doun by the greenwood sidie O.
[Shes dug a hole beside a tree,
And shes beeried them whaur theres nane can see;
Shes beeried them whaur theres nane can see,
Doun by the greenwood sidie O.] *
Shes lookit ower the castle waa,
And she seen twa bonnie bairnies playin at the baa;
She seen twa bonnie bairnies playin at the baa,
Doun by the greenwood sidie O.
Oh bonnie bairnies if you were mine,
I wid hae fed ye on the white coo milk and wine;
I wid hae fed ye on the white coo milk and wine,
Doun by the greenwood sidie O.
Oh cruel mother when we were thine,
You didna feed us on the white coo milk and wine;
You didna feed us on the white coo milk and wine,
Doun by the greenwood sidie O.
But you took a ribbon fae aff your hair,
And you chokit us though we grat sair;
You chokit us though we grat sair,
Doun by the greenwood sidie O.
While we two now in Heaven do dwell,
Youve got tae face the fierce fires o Hell;
Youve got tae face thae fires o Hell,
Doun by the greenwood sidie O.
* Elizabeth didnt sing this verse this time, but she did in other recordings. The Cruel Mother (Child 20) - Elizabeth Stewart](https://i.ytimg.com/vi/pYB06WDM0Ew/mqdefault.jpg)
![Mary Hamilton (Child 173) - Katherine Campbell
Four Maries / The Four Marys / Mary Mild / Mary Hamilton (Child No. 173) - Sung by Katherine Campbell on The Songs of Amelia and Jane Harris - Scots Songs and Ballads From Perthshire Tradition (2004).
Note by Kevin W.:
Based on Child 173 Version J, taken from the Harris Manuscript as sung by Amelia and Jane Harris in Perthshire, Scotland, in the middle of the 19th century.
Liner Notes:
This lovely ballad, often known by the title The Four Maries, has been widely popular in Scotland during the last couple of centuries. The twenty eight versions in Child make it the most popular in his collection (Child 173; GD 195) and Bronson included the Harris tune among twelve. Whether the ballad reflects a historical event associated with Mary Queen of Scots is by no means certain. When Mary Stuart was sent to France in 1548 at the age of five or six she had four companions of her own age all by the name of Mary and when she returned in 1561 the four Maries returned with her. They were named Fleming, Seaton, Livingstone and Beaton and some of these names are retained in the still popularly known verse:
Yestreen the queen had four Maries,
The nicht she’ll hae but three;
There was Mary Bethune and Mary Seaton,
An Mary Carmichael and me.
The story takes place in the court of Mary Stuart where the unfortunate heroine is one of the queen’s four maries (i.e. her ladies in waiting, coincidentally all named Mary). The young Mary (Hamilton) has fallen pregnant as she says:
Queen Mary’s bread it was sae sweet,
An her wine it was sae fine;
That I hae lien in a young man’s arms,
And I rued it aye sin syne.
In many versions the father is given as “the highest Stewart of all”, that is Henry Darnley, but this is unlikely. Mary gives birth to the babe who the queen “hears greetin sae sair,” but Mary says it is herself in pain from colic. However, they search high and low and “there they got the wee, wee babe, but its life was far awa.” Mary is summoned to Edinburgh where she is tried and the ballad ends as ‘the bonniest Mary amang them a’ was hanged upon a tree.” Historical evidence suggests that the actual event referred to was the murder of a child born to a French maidservant of Mary Queen of Scots, for which she and her lover, an apothecary to the queen, were executed in 1563 and not to any of her maids-of-honour (the “Queen’s Maries”).
Song transcription:
My mother was a proud, proud woman,
A proud, proud woman and a bold;
She sent me to Queen Maries bour,
When scarcely eleven years old.
Queen Maries bread it was sae sweet,
An her wine it was sae fine,
That I hae lien in a young mans arms,
An I rued it aye synsyne.
Queen Marie she cam doon the stair,
Wi the goud kamis in her hair:
Oh whare oh whare is the wee wee babe
I heard greetin sae sair?
Its no a babe, a babie fair,
Nor ever intends to be;
But I mysel, wi a sair colic,
Was seek and like to dee.
They socht the bed baith up an doon,
Frae the pillow to the straw,
An there they got the wee wee babe,
But its life was far awa.
[Go dress, go dress, Marie Hamilton,
Go dress and make you fine,
For you maun gang to Edinborough,
And stand up for your name.] *
Youll no put on your dowie black,
Nor yet your dowie broun;
But youll put on your ried, ried silk,
To shine through Edinborough toun.
Yestreen the queen had four Maries,
The nicht shell hae but three;
There was Marie Bethune, an Marie Seaton,
An Marie Carmichael, an me.
Ah, little did my mother ken,
The day she cradled me,
The lands that I sud travel in,
An the death that I suld dee.
Yestreen the queen had four Maries,
The nicht she has but three;
For the bonniest Marie amang them a
Was hanged upon a tree.
* This verse was incomplete in the Harris MS and has been reconstructed. Mary Hamilton (Child 173) - Katherine Campbell](https://i.ytimg.com/vi/pjjq-1F8UuY/mqdefault.jpg)
