Uploaded July 2025 | Updated September 2026, 3 days ago
The Wild Boar / Jobal Hunter / Abram Bailey / Old Bangum / Wild Hog in the Woods / Jovial Hunter of Bromsgrove / Sir Lionel (Child No. 18) - Song snippets and tunes played on the dulcimer by 86 year old Buna Hicks of Beech Creek, North Carolina. From the documentary "Buna and Bertha" (1973). Filmed and recorded by Thomas G. Burton and Jack Schrader in 1973.
00:00:00 Buna Hicks talks about her music
00:04:18 Plays the dulcimer
00:04:35 Sings a spiritual song, "Ship That's Sailing By" (Roud 16851)
00:05:57 Sings an old ballad, "The Wild Boar" (Child 18)
00:06:16 Plays "Pretty Fair Maiden" (Roud 264) on the dulcimer
The complete movie can be watched here:
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.
For a more complete rendition of Buna's "The Wild Boar" compare this recording made by Sandy Paton in 1961: youtube.com/watch?v=zDPN9ZLbOPg
Here is a complete text of the family version sung by Samuel Harmon of Maryville, Tennessee in 1939: youtube.com/watch?v=px7ov3u5rGw
Note by Kevin W.:
This fragment of the ancient Hicks/Harmon family version of Sir Lionel (Child 18) is important because it clears the confusion over the meaning of the word "Center" in the refrain. "Center" was a family name taken from "Center Hicks", a cousin of Samuel Harmon and Nathan Hicks. Amusingly one of the singers made him the hero of the song.
A longer text was recited by Rena Hicks: bluegrassmessengers.com/jobal-hunter--rena-hicks-nc-c1920-burton.aspx
"Abram Bailey" must be a phonetic corruption of "Egrabell (he) had three sons", the name as it appears in the earliest known text of the ballad, from Bishop Percy's Folio Manuscript of the middle decades of the 17th century: http://71.174.62.16/Demo/LongerHarvest?Text=Child_d01801
Song transcription:
Abram Bailey had three sons,
The youngest one was Center.
All through the wildwoods he went
Just like a jobal hunter.
Blowed his horn both east and west,
Blow your horn, Center.
And on his way he went again
Just like a jobal hunter.
The Wild Boar / Jobal Hunter / Abram Bailey / Old Bangum / Wild Hog in the Woods / Jovial Hunter of Bromsgrove / Sir Lionel (Child No. 18) - Song snippets and tunes played on the dulcimer by 86 year old Buna Hicks of Beech Creek, North Carolina. From the documentary "Buna and Bertha" (1973). Filmed and recorded by Thomas G. Burton and Jack Schrader in 1973.
00:00:00 Buna Hicks talks about her music
00:04:18 Plays the dulcimer
00:04:35 Sings a spiritual song, "Ship That's Sailing By" (Roud 16851)
00:05:57 Sings an old ballad, "The Wild Boar" (Child 18)
00:06:16 Plays "Pretty Fair Maiden" (Roud 264) on the dulcimer
The complete movie can be watched here:
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.
For a more complete rendition of Buna's "The Wild Boar" compare this recording made by Sandy Paton in 1961: youtube.com/watch?v=zDPN9ZLbOPg
Here is a complete text of the family version sung by Samuel Harmon of Maryville, Tennessee in 1939: youtube.com/watch?v=px7ov3u5rGw
Note by Kevin W.:
This fragment of the ancient Hicks/Harmon family version of Sir Lionel (Child 18) is important because it clears the confusion over the meaning of the word "Center" in the refrain. "Center" was a family name taken from "Center Hicks", a cousin of Samuel Harmon and Nathan Hicks. Amusingly one of the singers made him the hero of the song.
A longer text was recited by Rena Hicks: bluegrassmessengers.com/jobal-hunter--rena-hicks-nc-c1920-burton.aspx
"Abram Bailey" must be a phonetic corruption of "Egrabell (he) had three sons", the name as it appears in the earliest known text of the ballad, from Bishop Percy's Folio Manuscript of the middle decades of the 17th century: http://71.174.62.16/Demo/LongerHarvest?Text=Child_d01801
Song transcription:
Abram Bailey had three sons,
The youngest one was Center.
All through the wildwoods he went
Just like a jobal hunter.
Blowed his horn both east and west,
Blow your horn, Center.
And on his way he went again
Just like a jobal hunter.
![John of Hazelgreen (Child 293) - Victoria Shifflett Morris
John of the Hazelgreen / Johnny o Hazelgreen / Jock o Hazeldean / John of Hazelgreen (Child No. 293) - Sung by Mrs. Victoria Shifflett Morris (s.p Shiflett) (1895–1964) of Mount Fair, Albemarle County, Virginia, USA. Recorded by Arthur Kyle Davis Jr. on March 19, 1933.
00:00:00 John over the Hazelgreen - Victoria Shifflett Morris
00:03:02 John of the Hazelgreen - Lloyd Fitzgerald
00:05:16 John of Hazelgreen - Robert Shiflett
An excellent article by Mike Yates on Cecil Sharps and Maud Karpeles Appalachia trip in the 1910s can be read here: https://www.mustrad.org.uk/articles/sharp.htm
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 John of Hazelgreen (Child 293), the ballad upon which the Scottish poet Sir Walter Scott based his 1816 poem Jock of Hazeldean. Recordings of the traditional ballad are scarce. It had some currency in Albemarle County, Virginia and was noted from members of the Shiflett family and other singers in the area. Scotts poem which shares only the first stanza with the original song has mostly replaced it and is much better known nowadays.
George Foss account of the Browns Cove, Albemarle County singers is well worth a read: http://www.klein-shiflett.com/shifletfamily/HHI/GeorgeFoss/whall.html
This article is also helpful: http://www.bluegrassmessengers.com/john-of-the-hazelgreen morris-va-1933-davis-aa.aspx
Song transcription:
As I were walking one fair May morning,
All down by the greenwood side,
And there I spied a pretty fair miss,
And all alone she cried.
Youre welcome home, my pretty fair miss,
Youre welcome home with me,
And you may have my oldest son,
A husband for to be.
Oh, I dont want your oldest son,
For hes neither lord nor king,
I never intend to be the bride of none,
John over the Hazelgreen.
As I were riding an ink black road,
The road run near to the town,
All up stepped John my Hazelgreen,
And helped his lady down.
His hair were long, his shoulder were broad,
He was the flower of all his kin,
His hair hang down like links of gold,
John over the Hazelgreen.
Tis forty times he kissed her cheeks,
And forty times her chin,
And forty times her red and rosy lips,
And led his lady in.
If ever I a vow break on you my love,
Oh, heaven will forsake on me,
And send me down to the torment place,
Where never returntity. [*]
[*] Davis suggests Where I never return to thee but the line isnt clear. Robert Shifletts version has it as Forever and eternity. The last stanza is a floater from The Blackest Crow / Dearest Dear / The Time Draws Near (Roud 422) John of Hazelgreen (Child 293) - Victoria Shifflett Morris](https://i.ytimg.com/vi/Mbl6eW-kQ9Y/mqdefault.jpg)


![Clydes Water (Child 216) - John Strachan
The Clattering of the Clyde Waters / The Clattering o Clyde Waters / Clydes Water / Clydes Waters / Willie and May Margaret / The Drowned Lovers / The Mothers Malison (Child No. 216) - Sung by John Strachan of Fyvie, Aberdeenshire, Scotland. Recorded by Alan Lomax and Hamish Henderson on July 16th, 1951. From Scottish Tradition 5: The Muckle Sangs Classic Scots Ballads (1975) Tangent Records TNGM 119/D (2 LP, UK, 1975).
Note by Kevin W.:
A malison is a curse. And the bleeding at the nose is a bad omen, a sign of bad things about to happen.
Lines Notes by Hamish Henderson:
Child printed only three versions of this noble ballad, which has been carried forward strongly into our own day by oral transmission; all three are of surpassing interest to anyone wishing to survey the influence of remaking of various sorts on our balladry. Childs A [...] is a magnificent example of supple and flexible ballad Scots. His C (Peter Buchan), which is by far the longest (29 verses) [is] in its own way a powerful piece of work. [...] Childs B is from Mrs. Brown of Falkland [...].
Gavin Greig published a version - Peter Buchan nearly word for word - in his column in The Buchan Advertiser, and this may well have helped to keep the ballad in circulation in some areas; however, both versions you can hear now depend on family and local tradition going back before Gavin was born.
John Strachan opens with the omen of ill fortune (nose bleeding) which is also to be found in Peter and the Buchanie, but his text is markedly different from theirs. It omits the motif of Willies mothers curse which has provided the name for one of the titles given to the ballad (The Mothers Malison) although it might be argued that the curse is implicit in her strongly expressed disapproval.
Willie Edwards version, a superbly enunciated example of auld style ballad Scots, gives us the second half of the ballad. He starts at the point where Willie appeals to Maggie to let him in, and Maggies mother (counterfeiting her daughters voice, like another cruel mother in The Lass of Roch Royal) turns him away. Again, the text is different from both Peter and The Buchan Observer [sic].
Both our versions have the episode of Willies brother standing on the river bank and telling him to turn to his high horse heid and learn how to swim. This episode, which is in Peter Buchans text but not in Mrs. Browns, is dismissed by Child as absurd. However, if we look at the structure of the ballad, we can see that it is not so absurd after all. The opening scene of Clydes Water is really a variant of a familiar folktale lead-in; Willie is offered his mothers warning (by implication with her blessing) but takes instead his much-prized horse, with her curse. It is therefore wholly in accordance with the techniques of oral composition that Willie, in extremis, should be reminded of his earlier trust in his ain horse heels. And why should it be his brother who gives him this reminder? To an audience of earlier days, the minds of all its members saturated with the elemental folk motifs which link ballads and tales, there would have been no mystery - and no absurdity - about this one either. There are several ballads in which a mothers curse is associated with the death of one brother and the survival of another; [e.g. The Twa Brithers].
Song transcription:
Willie stood at the stable door,
A-leaning ower his steed,
A-looking at his white fingers
Till his nose began tae bleed.
“O bring some corn to my horse,
And gie my young man meat,
And I’ll awa to Maggie’s bower,
I’ll be there afore she sleeps.”
“O Wilie, Wilie, dinna gang,
It’s sair against my wil,
Ye’ve the deepest pot in the Clyde to cross,
And it’s there that ye will droon.”
“The horse that I’m to ride upon
Cost me twice thirty pound.
And I’ll put trust in my ain horse heels,
And he’ll cairry me safe and soun.”
So he rid o’er hills and rid doon dales
And doon yon dowie den,
But the rush that rose in Clyde’s water
Wad have feared a hundred men.
“O Clyde, ye Clyde, ye rollin Clyde,
Yer waves are wondrous strong,
Mak me a wreck as I come back,
But spare me as I gyang.
“O Maggie, Maggie, Maggie, dear.
O rise and lat me in,
For my boots are fu o Clyde’s waters
And I’m shiverin tae the skin.”
“My stables are full o horses,
My sheds are fu o hay,
My beds are fu o gentlemen
That winna leave till day.”
Maggie wakened in the morning
An to her mother she run,
Says, “I dreamed that Willie was here last nicht
An ah widna lat him in.”
So he rid ower hills and he rid doon dales
And doon yon dowie den,
But the rush that rose in Clyde’s water
Took Willie’s cane fae him.
Leanin ower his saiddle bows
Tae catch his cane through force,
The rush that rose in Clyde’s water
Took Willie fae his horse.
Willie’s brother stands on the bank,
“Now, how can Willie droon?
O turn ye to yer high horse heid
And he’ll learn ye how to sweem.” Clydes Water (Child 216) - John Strachan](https://i.ytimg.com/vi/NLxLNfJEZ5I/mqdefault.jpg)





![Hieland Laddie (Roud 4691) (1982) - Pipes & Ceilidh Dance by The Travelling Stewart Family of Blair
Highland Laddie / Bonnie Maggie / Donkey Riding / Hieland Laddie (Roud No. 4691) (1982) - Performed on the bagpipes by the Travelling Stewart family of Blair at a ceilidh. Bonnie MacGregor was the dancer. 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.
Transcription:
[John Cohen] At a party in Blairgowrie, the Stewart family celebrates their sons return home from Australia with songs and dances. But these are not ordinary Scotch people. They are gypsies, whove been forced to live on the edge of society for more than 500 years. Hieland Laddie (Roud 4691) (1982) - Pipes & Ceilidh Dance by The Travelling Stewart Family of Blair](https://i.ytimg.com/vi/OT_UHiF83M0/mqdefault.jpg)
