Uploaded September 2021 | Updated September 2026, 3 days ago
Lady Margaret / Sweet William's Ghost (Child No. 77) - Sung by Gordie Willis of Fogo Island, Newfoundland, Canada. Recorded by Prof. Kenneth S. Goldstein in July 1985.
Note by Kevin W.:
A traditional Newfoundland version of this rare ballad. Lovely performance too, with the foot stomping to the tune, I like that. The "three hell hounds", one for drunkenness, one for pride and one for deluding of a pretty fair maid seem to be a common trait of Canadian texts.
Song transcription:
Lady Marg'ret was sitting in her own home one night,
When a knock came at her door,
And she went out for to see what it was,
It was never heard anymore.
Are you the father of the king, she cried
Or are you my brother John?
Or are you my Willie, my own true love,
From Scotland lately come?
No, I'm not the father of the king, he cried
No, I'm not your brother John.
But I am Willie, your own true love,
From Scotland lately come.
Did you bring to me any gold, she cried,
Did you bring to my any ring?
Did you bring to me any token of love,
That a true love ought to bring?
No, I brought to you no gold, he cried,
No, I brought to you no ring,
But I brought to you my cold winding sheet,
What the dead do be buried in.
She took the cloak up to her knees
And she tucked it above her knee
And 'twas over the hill on a cold, frosty night,
In the dead man's company.
She followed him to the green churchyard,
Where the grass grew grassy green, (rank and green)
Saying, is this your home, or your resting place,
Or where you have lately been?
Are there any room at your head, my love,
Are there any at your feet?
Are there any room in your arms, my love,
Where I may lie and sleep?
No, my mother lies at my head, he cried,
And my father lies at my feet,
And there's three hell hounds around my graveside,
Waiting my soul for to take. (keep)
Oh, one of them is for my drunkenness, he cried,
And the other is for my pride,
And the other for deluding of a fair pretty girl, (maid)
And staying out late by night. (that should have been my bride)
She took a cross off from her bosom,
And she placed it on his breast,
Saying the lord be with you forever, my love,
And grant your soul at rest.
Oh, I thank you, I thank you, Lady Margaret, he cried,
And I thank you heartilee,
And if ever the living ought to pray for the dead,
You will always pray for me.
* the words in brackets I memorized from another similar Newfoundland text of the ballad. Perhaps they improve the ryhming a bit in those places. That's the way the song has been stuck in my head since I learned it.
Lady Margaret / Sweet William's Ghost (Child No. 77) - Sung by Gordie Willis of Fogo Island, Newfoundland, Canada. Recorded by Prof. Kenneth S. Goldstein in July 1985.
Note by Kevin W.:
A traditional Newfoundland version of this rare ballad. Lovely performance too, with the foot stomping to the tune, I like that. The "three hell hounds", one for drunkenness, one for pride and one for deluding of a pretty fair maid seem to be a common trait of Canadian texts.
Song transcription:
Lady Marg'ret was sitting in her own home one night,
When a knock came at her door,
And she went out for to see what it was,
It was never heard anymore.
Are you the father of the king, she cried
Or are you my brother John?
Or are you my Willie, my own true love,
From Scotland lately come?
No, I'm not the father of the king, he cried
No, I'm not your brother John.
But I am Willie, your own true love,
From Scotland lately come.
Did you bring to me any gold, she cried,
Did you bring to my any ring?
Did you bring to me any token of love,
That a true love ought to bring?
No, I brought to you no gold, he cried,
No, I brought to you no ring,
But I brought to you my cold winding sheet,
What the dead do be buried in.
She took the cloak up to her knees
And she tucked it above her knee
And 'twas over the hill on a cold, frosty night,
In the dead man's company.
She followed him to the green churchyard,
Where the grass grew grassy green, (rank and green)
Saying, is this your home, or your resting place,
Or where you have lately been?
Are there any room at your head, my love,
Are there any at your feet?
Are there any room in your arms, my love,
Where I may lie and sleep?
No, my mother lies at my head, he cried,
And my father lies at my feet,
And there's three hell hounds around my graveside,
Waiting my soul for to take. (keep)
Oh, one of them is for my drunkenness, he cried,
And the other is for my pride,
And the other for deluding of a fair pretty girl, (maid)
And staying out late by night. (that should have been my bride)
She took a cross off from her bosom,
And she placed it on his breast,
Saying the lord be with you forever, my love,
And grant your soul at rest.
Oh, I thank you, I thank you, Lady Margaret, he cried,
And I thank you heartilee,
And if ever the living ought to pray for the dead,
You will always pray for me.
* the words in brackets I memorized from another similar Newfoundland text of the ballad. Perhaps they improve the ryhming a bit in those places. That's the way the song has been stuck in my head since I learned it.
![Singing Blow the Candle Out
Singing makes me happy and comforts me, even if Im not particularly good at it.
I have mild autism, if I happen to be slightly awkward its because of that.
I hope its okay.
Heres the text as I sing it:
Its of a young appretice went to his love one night,
The candles were all lighted, the moon was shining bright,
He went to his loves window to ease him off his pain,
She quickly rose to let him in and went to bed again.
Your mother and your father in yonder room do lie,
Enjoying of one another, so why not you and I?
Enjoying of one another, without a fear or doubt,
So take me in your arms, love, and blow the candle out.
Twas early the next morning, just at the break of day,
The young man rose, put on his clothes and made to go away,
She was so loth [*] to part with him, but dare not speak it out
Saying take me in your arms, love, and blow the candle out.
When nine months they was over, nine months and a day,
He wrote his love a letter that he was going away,
He wrote his love a letter without a fear or doubt,
Saying he never would return again to blow the candle out.
* reluctant
The word loth was unknown to me before I looked up a transcription. I made slight nonsense of that line, but it should be fine. Singing Blow the Candle Out](https://i.ytimg.com/vi/5YdXBqONrR8/mqdefault.jpg)





![The Famous Flower of Serving Men (Child 106) - Martha Johnstone
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 Mrs. Martha Peasie Johnstone (Martha Reid), a Traveller of Birnam, Perthshire, Scotland. She learned the song from her grandmother Martha MacKenzie of Strathpeffer Wells. Recorded by Hamish Henderson in February 1957 for the School of Scottish Studies.
Note by Kevin W.:
The usual opening My father built me a dandy bower is missing but this is the most complete text of The Famous Flower of Serving Men (Child 106) recorded in Scotland in modern times as far as I can tell. Martha said her grandmother called the song Ill Cut Off My Long Yellow Hair.
Perhaps this story needs some explanation. This young woman cuts off her long hair and dresses in mens clothes. And she goes to the Kings hall and offers to work as a servant there. One day when all the ladies and gents left to go hunting the woman sings to herself lamenting her fate. No one is in the hall except a silly old man who overhears her lamenting and understands that shes really a woman in mens clothes. So when the ladies and gents come back from hunting the silly old man tells the King what he found out. And the King when he sees for himself offers to make her his Queen all in the robes of green.
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/31551?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:
Ill cut off my long yellow hair,
And Ill put myself into mens roparrl.
To the kings own hall to do some work;
Sayn, What work, what work, oh its can you do?
Sure its anything that you put me to,
To be a hasher all in your hall.
[To be a hasher all in your hall,
To please your ladies and nobles all.] *
To make your beds all both soft and fine,
To please your ladies and obles all.
For as the gentry gane to hunting one day,
They left sweet William that silly old man.
Sometimes she sang and sometimes she mourned,
Sayn, God help, God help, all poor womankind.
For when ladies and gent from a-hunting came,
Sayn, What news, what news, has sweet William to tell?
Good news, good news, that I have to tell,
For a gentleman to become a queen.
If thats a lie that you tell to me,
Your head it lies, all into my gate.
If thats the truth that you tell to me,
I shall make you the laird of a high degree.
For they took her to aye a silent room
And the found thye breast all it give the sook.
Oh fetch to me aa the robes of green,
To see hoo a gent shall become a queen.
Ats pay to me my fee and let me be gone
No longer do I stay here.
Its fetch to me aa the robes of green.
To see hoo a gent to become a queen;
* This verse was sung on other occasions but missed this time. The Famous Flower of Serving Men (Child 106) - Martha Johnstone](https://i.ytimg.com/vi/8NyODl1QhQE/mqdefault.jpg)
![The Clattering of the Clyde Waters (Child 216) (Kinross Festival 1973) - Stanley Robertson
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 storyteller, ballad singer and piper Stanley Robertson (1940-2009) of Aberdeen, Aberdeenshire, Scotland. Stanley was born into a Traveller family in Aberdeen and he was the nephew of famous Scottish traditional singer Jeannie Robertson. Recorded by Ailie Edmunds Munro at the Kinross Festival of Traditional Music and Song on September 8th, 1973. Another recording of the same performance by Ian Sinclair was included on Scots Songs and Music (1973) by Springthyme Records but I dont own the record so I cant say how it compares.
The original can be listened to here:
https://www.tobarandualchais.co.uk/track/67182?l=en
Note by Kevin W.:
Prof. Child titled this ballad The Mothers Malison (Child 216). A malison is a curse. Childs three texts have the mother lay a curse on Willie for visiting his lover against her will. It is implied that the curse causes the tragedy. However the handful of texts from 20th century traditional singers lost the mention of the mothers curse. The bleeding at the nose in the opening verse of John Strachans text is a bad omen, a sign of bad things about to happen.
Gin ye winna stay, my son Willie,
This ae bare night wi me,
Gin Clydes water be deep and fu o flood,
My malisen drown ye!
A rare traditional Scottish ballad. Stanley learned it from his aunt Margaret (Maggie) Stewart of Banchory, Kincardineshire whom he regarded as his adoptive grandmother.
This is a powerful performance. Perhaps the concert setting with a larger audience inspired Stanley to put more force to it. Sadly the tape ran out at the end, the song is incomplete.
An earlier recording made by Bill Leader in February 1973 can be heard here:
https://youtu.be/u3Rv7VAB0jI
Margaret Steward can be heard singing it here in a recording by Hamish Henderson from August 1954:
https://youtu.be/Md3nQPl69yM
Song transcription:
I hae a steed in my stable
Cost me twice twenty pound,
And Ill put trust in his four legs
That hell carry me safe tae the land.
For hes gaed ower yon high, high hill
And doon yon dowie den,
And the clatterin o the Clydes waters
Wad fear ten thousand men.
Spare me, spare me, Clyde water,
Oh spare me as I gang;
Ye can mak me a wreck when I come back,
But spare me as I gang!
When he got tae his Maggies bower,
Oh Maggie, let me in,
For ma boots are full o the Clyde waters
And Im tremblin tae the chin.
My loft is fu o hay an corn,
My stables fu o steed,
An ma bower is fu of gentlemen
And they wont remove tonight.
He turned his horse roond aboot
Wi a salt tear in his ee.
For its goodbye, false Maggie, he cries,
And its goodbye, Maggie, cries he.
An hes gaed ower yon high, high hill
An doon yon dowie den,
And the clatterin o the Clydes waters
It would fear ten thousand men.
His first step intae Clyde water
Taen Williams hat frae him,
And the clatterin o the Clydes waters
Taen Williams cane fae him.
William bent low ower his horse
Tae catch his hat befores,
An the clatterin o the Clydes waters
Taen William frae his horse.
Williams brither was on the bank,
Oh William, will ye droon?
For if ye catch haud o yer stallions heid
Hell learn ye how tae swim.
How can I catch my stallions heid
An he learns me tae swim?
For sleep or awake, false Maggie [ dear,
For she widnae let me in.
Noo shes gaed ower yon high, high hill
An doon yon dowie den,
An the deepest pools intae Clydes waters
Shes found her William in.
William, William, please forgive,
Forgive for no comin doon!
For its here that well get wir stepmothers prayer,
And its here that well baith maun droon. ] *
* Last two verses missing because the tape ran out. The Clattering of the Clyde Waters (Child 216) (Kinross Festival 1973) - Stanley Robertson](https://i.ytimg.com/vi/8Orv-eYOWHo/mqdefault.jpg)
![Mary Hamilton (Child 173) (Fragment) - Charlotte Higgins
Four Maries / The Four Marys / Mary Mild / Mary Hamilton (Child No. 173) (Fragment) - Recited by Charlotte Higgins of Blairgowrie, Perthshire. Recorded by Hamish Henderson in 1958.
Song transcription:
A knock came tae the kitchen door,
It soonded through aa the room,
That Marie Hamilton had a ween
Tae the highest man in the toon,
Whaur is the ween ye had last nicht?
Whaur is the ween, I say?
They looked high and they looked low,
And they looked below the bed,
And there they found the dear wee ween,
Laying in a pool o blood.
...
Sink ye, or swim ye, yell get nae mair frae me.
Oh rise, Mary Hamilton, and come alang wi me.
This day yere gaun tae Edinborough toon,
A rich weddin for tae see.
...
...
She went up the tall booth stair,
And the heels did click o her sheen,
[And she was smiling,]
When she came doon again,
The tears did blind her ee,
For she was condemned tae dee. Mary Hamilton (Child 173) (Fragment) - Charlotte Higgins](https://i.ytimg.com/vi/8Pe-wHnZnp4/mqdefault.jpg)
![The Unwilling Bride (Child 277) - John Jacob Niles
Dandoo / The Wee Cooper o Fife / The Scolding Wife / Gentle Fair Jenny / Jennifer Gentle / As the Dew Flies over the Green Vallee / Robin-a-Thrush / Rissolty Rossolty / Hobblety Bobblety / Nickety Nackety / The Wife Wrapt in Wethers Skin (Child No. 277) - Sung by John Jacob Niles on The Ballads of John Jacob Niles (1960).
Note by Kevin W.:
Likely a ballad recreation based on traditional Kentucky texts.
Niles was very good at writing or fixing up tunes. His idiosyncratic singing style may be an aquired taste, but some of the ballads he arranged from print texts are fine, singable pieces.
Song transcription:
Oh, I married a wife and I tuck her to home,
As the gentle young Jenny, the rosemary tree,
And I many times wished Id let her alone,
As the doe skims over the green valley.
But I, bein young, I tuck me to wife,
As the gentle young Jenny, the rosemary tree,
A woman who plagued me out of my life,
As the doe skims over the green valley.
Oh, for fear of her spoilin her pretty cloth shoes,
The pots in the kitchen she never would use.
Oh, first day when so weary I come from my plow,
Say, Wife, dearest wife, can I eat a bit now?
Lays a piece of stale pone on yon highest shelf,
If you want more for dinner, go git it yourself.
Oh, next day, as before, come I in from my plow,
Say, Wife, dearest wife, can I eat a bit now?
Oh, she grabbed a hot spider, [*] said, You git away,
Cause they haint no more cooked than they was yesterday.
Oh, I went to my woodland, aside of my barn,
And I cut me a hickory as long as my arm.
And then, in a twinkle, I quickly went back,
And I whacked my woman a lackety-smack.
Oh, next een, as before, come I in from my plow,
Say, Wife, dearest wife, can I eat a bit now?
Oh, she flew and she fluttered, the board it was spread,
And when I bespoke me, twas Yes, sir! she said.
* Skillet, frying pan. The Unwilling Bride (Child 277) - John Jacob Niles](https://i.ytimg.com/vi/8bvt58DfU4M/mqdefault.jpg)
