threelegsoman
Guitar and Harmonica: Rakes Of Mallow (Including lyrics and chords)
updated
In Joe Offer's collection the following information was included as a footnote:
Collected from Walter Diment, Cheddington, Dorset. July 1906 by Hammond (D.570)
Vaughan Williams arranged a version of this for choir which is similar to the first few verses of the above.The most common version in the folk clubs and recording these days (in my experience!) uses a returning lover theme, an example of which is performed by Shirley Collins on the Albion Country band "No Roses" recording(1971) which has also been recorded by 10,000 Maniacs on "The Wishing Chair" (1984).
As with most of the songs in this collection, the score was published so I was able to work out the melody with the help of MuseScore, but the chords are of my own devising.
The poem was set to music by Peter Bellamy as explained in the following article from "Mainly Norfolk: English Folk and Other Good Music:
[ Roud 25475 ; Henry H494 ; Ballad Index HHH494n ; words Rudyard Kipling, music Peter Bellamy / Tim Laycock]
A Smuggler's Song is a poem from Rudyard Kipling's book Puck of Pook's Hill. Peter and Anthea Bellamy and Chris Birch sang it in 1972 on Bellamy's second album of songs set to Kipling's poems, Merlin's Isle of Gramarye. He commented in the album's sleeve notes:
A Smuggler's Song is one of Kipling's best loved poems. It presents a somewhat romantic view of the cut-throat Sussex smugglers of the Eighteenth Century. The melody is derived from that of The White Cockade, a song which survives in the repertoire of a family in a village in which Kipling himself lived for a period: the Copper family of Rottingdean, Sussex. The harmonies were arranged by Chris Birch.
The chord I have named as Aadd9 is sometimes written as A2 which I am playing as 022220
These lyrics to the Arkansas Traveler according to Wikapedia are the Peter Pan version.
Wikipedia has the following article about the song:
"If Tomorrow Never Comes" is a song by American country music artist Garth Brooks. Written by Brooks and Kent Blazy, it was released in August 1989 as the second single from his album Garth Brooks and also appears on The Hits, The Limited Series and Double Live. This was his first number-one single on the US Billboard Hot Country Singles chart. It is also sometimes referred to as his signature song. "If Tomorrow Never Comes" was named Favorite Country Single in the American Music Awards of 1991.
The song subsequently became one of Brooks' most popular songs for other artists to perform. In 2002, Irish singer Ronan Keating released a version that reached number one in the United Kingdom and three other countries, and it became a top-five hit in several additional territories.
Source: Everyman's Book of English Country Songs, Ed Roy Plamer, ISBN 0-460-12048-1
Notes:
Roy Palmer altered the words of the first verse. "In verse 1, line 1 'when' has been substituted for 'oh' and in the last line of the same verse 'none' for 'more'"
Mr Rose, landlord of Bridge Inn, Acle Norfolk, 14.4.1908
Ralph Vaughan Williams, MS I 34(2)
Database entry is here
The lyrics of this version seem to be in a state of decay, at least as regards rhyme. The version recorded by the Watersons is improved in that respect, but I am uncertain the extent to which they modified the song
As with most of the songs in this collection, I have made up my own chord progression for the song.
Source: Cyril Winn, A Selection of some less known Folk-Songs, Vol 2, Novello.
Notes:
No date or ISBN is available for this book. The song was collected by Vaughan Williams, but no further information was provided.
The following quotation is from www.contemplator.com:
The Pretty Ploughboy was printed on a broadside by Burbage and Stretton sometime between 1797 and 1807. It appeared on numerous broadsides throughout the 19th century. Several of these can be found at the Bodleian Library.
W. Percy Merrick collected a version of The Pretty Ploughboy in Sussex. The version collected was incomplete and was supplemented by verses from broadsides and versions collected by others. The arrangement is by R. Vaughan Williams.
The song was also known as The Jolly Ploughboy, The Simple Ploughboy and Little Plowing Boy. It was collected by Rev. S. Baring-Gould and others throughout England. It was also collected in Scotland, Limerick, North Carolina, Virginia and Nova Scotia.
Source: Sabine Baring Gould, 1895, Old English Songs from English Minstrelsie
Notes:
This is taken from the selection of the eight volume work by Baring Gould of the same name, reprinted by Llanerch Publishers.
From Frank Kidson - Grove entries:
Miller Of The Dee, The
A song which has attained great popularity, commencing 'There was a jolly miller once lived on the river Dee'. It first appeared in print in the opera Love in a Village, 1702. It was then, apparently, an old song used by the compiler of the opera, and only the first verse was employed: the full song will be found in many 18th-century songsters, such as St Cecilia, Edinburgh 1779, etc. The tune was one originally adapted to a cant song, and under the title The bludgeon it is a fine Trade was used in several ballad operas, as The Fashionable Lady, 1730, The Devil to pay, 1732, etc. Without any title the air is given in the Quaker's Opera, 1728.
Curious traditional versions survive in the south of England, as Here's a Health unto our Master, and The Jolly Woodcutter. See Sussex Songs and English County Songs.
As with most of the songs from Joe Offers' collection, the music score is written out, but the chord progression is of my own devising.
A footnote included with the song reads:
Source: Songs Of The West by S. Baring-Gould.
Notes:
Baring Gould notes:
Melody taken down from H. Westaway to "The Nawden Song," which begins-
"I went to my lady the first of May,
A jolly goss-hawk and her wings were grey,
Come let us see who'll win my fair ladye-you or me.
To the 2nd of May is "a two twitty bird," "a dushy cock," a "four -legged pig," "five steers," "six boars," "seven calves calving," "eight bulls roaring," "nine cocks crowing," "ten carpenters yawning," "eleven shepherds sawing," "twelve old women scolding," Mr C Sharp has taken it down in Somersetshire.
A Scottish version in Chamber's "Popular Rhymes of Scotland" 1842; as "The Yule Days," A Northumberland version; " The XII Days of Christmas," with air not like ours, in "Northumbrian Minstrelsy," Newcastle, 1882 p. 129.
A Breton version, "Gousper ou ar Ranad," in "Chansons Populaires de la basse Bretagne,"by Luzel, 1890 p94.
The West of England song has got mixed up with the "Goss-Hawk," another song. See "The Fond Mother's Garland," B. M. A companion song to this is "The Bonny Bird,". The song in Devonshire, goes by the name of "The Nawden Song.
Wikipedia has the following about the song:
"Star of the County Down" is an Irish ballad set near Banbridge in County Down, in Northern Ireland. The words are by Cathal MacGarvey (1866–1927) from Ramelton, County Donegal. MacGarvey's song was first collected in Herbert Hughes Irish Country Songs. The tune is traditional, and may be known as "Dives and Lazarus" or (as a hymn tune) "Kingsfold".
The footnote below the song reads: This is taken from Oxford School Music Books Junior II from the Oxford University Press.
As with most of the songs from this series, I have made up my own chord progression for the accompaniment.
Gorrie Crovan is better known here in the Isle of Man as Godred Crovan or King Orry.
He was a Viking who in the late 11th century conquered the Isle of Man at the Battle of Sky Hill. He was king of Dublin and the Isles.
The theme for the September meeting of the Manx Autoharpers is "Royalty", and I am going to perform this song at that meeting on Saturday.
(Having listened carefully to my recording, I realise that my pronunciation of the name "Chrobhain" (Crovan) is not clear and sounds as if I am singing "Grovan". I will make sure I correct that on Saturday.)
I chose this as the first of two songs I performed at the monthly Zoom meeting of the Facebook group "UK Autoharpers and Friends" this evening.
I intend to perform this children's nursery rhyme as one of my pieces.
The tune this version is set to is "Lillibullero".
Source: Milner D and Kaplan P, 1983, Songs of England, Ireland and Scotland, Oak, New York
Notes:
Milner reported he had taken this song from The Scots Musical Museum by J Johnson.
There are two main branches of this song, identical except for the ending where the beggar is, or is not, a gentleman.
Roud: 118 (Search Roud index at VWML) Take Six
The chord progression I am using is of my own devising.
John of Hazelgreen is related to the song "Jock o' Hazeldean".
In the discussion on the song, Jim Irvine states: "This seems more likely to be an Americanized version of "Jock o' Hazeldean" rather than anything else."
In response to this, Contemplator replied: "These lyrics were written by Sir Walter Scott (1771-1882) and published in 1816 in Albyn's Anthology. However, the ballad is much older. It was originally John of Hazelgreen. C. K. Sharpe, who sent the ballad to Scott said it was from a manuscript dated "probably one hundred years" earlier, placing the original manuscript in the 1700s."
The song comes from the U2 album, "Rattle and Hum".
U2’s classic 1980s track “Van Diemen’s Land” is actually dedicated to a famous Irish born American poet named John Boyle O’Reilly. As a young man, O’Reilly joined a revolutionary group known as the Irish Republican Brotherhood (IRB).
Van Diemen's Land was the colonial name of the island of Tasmania used by the British during the European exploration of Australia in the 19th century. A British settlement was established in Van Diemen's Land in 1803 before it became a separate colony in 1825. Its penal colonies became notorious destinations for the transportation of convicts due to the harsh environment, isolation and reputation for being inescapable. Macquarie Harbour and Port Arthur are among the most well-known penal settlements on the island.
The island was named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s. In 1642 Tasman became the first known European to land on the shores of Tasmania. After landing at Blackman Bay and later raising the Dutch flag at North Bay, Tasman named the island Anthoonij van Diemenslandt (Anthony Van Diemen's land) in his patron's honour.
The demonym for inhabitants of Van Diemen's Land was "Van Diemonian", though contemporaries used the spelling "Vandemonian".
In 1856, Van Diemen's Land was renamed Tasmania; removing the unsavoury link the name Van Diemen's Land had with its penal settlements (and the "demon" connotation). Tasmania was chosen as it honoured the explorer Abel Tasman, the first European to visit the island. Within 21 years the last penal settlement in Tasmania at Port Arthur was permanently closed in 1877.
Written by John Prine, this sadly was the last song he recorded before his death, he being one of the first Country celebrities to succumb to the Covid epidemic.
I have uploaded a guitar accompanied version recently, but wished to hear what it would sound like using the autoharp.
The song is particularly poignant for me as I visited Dublin in 1962 and regret that I did not make more of a brief holiday romance with a lovely girl I met there.
I am doing my own version but using my guitar for accompaniment rather than the autoharp.
"Islands in the Stream" is a song written by the Bee Gees and recorded by American country music artists Kenny Rogers and Dolly Parton. It was released in August 1983 as the first single from Rogers's album Eyes That See in the Dark; and named after the Ernest Hemingway novel.
In their version, Kenny Rogers and Dolly Parton start the song in the key of C, but then modulate up to G#. I have the capo at the second fret to begin the song, so using chord shapes for the key of C, am playing in D, but as I am unable to play the necessary chord shapes that go with G#, I moved the capo up one fret to play using chord shapes for the key of G and am playing the remainder of the song in Bb.
A couple of days ago, it shared a video of a concert featuring three of the tutors from the Scottish Autoharp Workshop Weekend in Moniaive. Patrick Couton in his programme included The Tennessee Waltz, and I felt certain that shortly after hearing it, I had intended to try it for myself but as it does not appear in my Channel's videos, I am now correcting that omission.
Wikipedia has the following about the song:
"Tennessee Waltz" is a popular country music song with lyrics by Redd Stewart and music by Pee Wee King written in 1946 and first released in January 1948. The song became a multimillion seller via a 1950 recording – as "The Tennessee Waltz" – by Patti Page. As of 1974, it was the biggest-selling song ever in Japan.
All versions of the lyrics narrate a situation in which the persona has introduced his or her sweetheart to a friend who then waltzes away with her or him. The lyrics are altered for pronoun gender on the basis of the gender of the singer.
The popularity of "Tennessee Waltz" also made it the fourth official song of the state of Tennessee in 1965.
I only heard it for the first time last Wednesday when it was performed at a Zoom gathering of the UK Autoharpers and Friends. It was played and sung by an American lady, Karen Torell-Hoffman, and I enjoyed her performance so much I just had to give it a go myself. However, where Karen played it on her autoharp, I am using my six-string guitar for accompaniment.
Alternate verses are sung in the keys of D and C, and changing from one to the other proved quite difficult for me, so I had to include a short instrumental intro to each verse to help me sing in the correct key.
Multiplication is a song written by Walden Robert Cassotto under his stage name, Bobby Darin. he first recorded and released 15th August 1961 and it has since been covered by many well known artists.
Notes abridged from S. Baring-Gould.
Words and air from Mr M Rowe, Longabrook, Milton Abbot.
Another set, slightly different, from Mr Crossing. As 'Robin's Courtship' the song was recovered in Somersetshire. It has also been noted in the same county by Mr Sharp as 'William the Rose,' sung to the tune of 'Lillibulero.' It is found in 'The Universal Songster' circ. 1830, as 'Poor Bob.'
In the 'Roxburgh Ballads,' vi. pp. 216-217, is what is probably the earliest form--'Come here my dutiful Son, and take counsel of me.' This was sung to the air 'Grim King of the Ghosts.' Another version is referred to in 'The Beggar's Opera,' Act 111. Sc viii. 'Now Roger I'll tell thee, because thou'rt my son.'
Our tune is more rugged in character. It is in the Aeolian mode.
The chord progression I am using is of my own devising.
The song is "Jack Gardner's Crew" which is a folk song of the Catskills Mountain Region attributed to Norman Cazden, Herbert Haufrecht and Norman Studer. No further information was published with the song other than a note stating: Approved by Publisher as being available to public.
During my recording, my watch pinged two-thirds of the way through the second verse, but rather than re-record the whole song, I left it in.
The chord progression is of my own devising.
The song, of course, is Ed Sheeran's "Perfect Symphony" which he sang with Andrea Bocelli in the version I have based my own performance on.
My apologies to any Italian speakers for any mistakes I have made.
"I Remember Everything" is the last song John Prine recorded before his death from COVID-19 on April 7, 2020. A quintessential Prine ode to love, it finds him recalling a romance from its beginning:
The way you turned and smiled on me
On the night that we first met
To the couple's farewell:
How I miss you in the morning light
Like roses miss the dew
Prine wrote the acoustic song with longtime collaborator Pat McLaughlin. Nashville hitmaker Dave Cobb produced the track, recording it in Prine's living room with the singer accompanying himself on guitar.
My friend Peter Corkhill introduced this song to me and often sings it at our Tuesday night sessions at The Manor Hotel in Willaston, Douglas, Isle of Man.
Written by Graeme Miles, the song is "May El Dorado" and is about the hopes and dreams of a young man as seen through his older self.
The bristlecone pine stands monument to a conquering will to survive against all odds. In a way, it stands as an example to us all. No matter what life throws at you, if ou have the determination, you can overcome any and all troubles.
The song lyrics and tune are by Hugh Prestwood.
I first learned the song from a cover of it by Brian Bowers, the renowned autoharper.
This is my own interpretation and arrangement of the song about which I found the following information:
William Barnes's poem My Orcha'd In Lindèn Lea was set to music in 1901 by the English composer Ralph Vaughan Williams (1872-1958).
At the age of 29, Linden Lea was Vaughan Williams's first publication, marking the beginning of a long career that produced no less than nine symphonies, as well as countless other works. It is written in the key of G major, and uses a "Common English" translation of Barnes's original Dorset dialect for the lyrics.
There are a couple of differences worth noting between the original poem and this translation:
In Verse 2, the fourth line in the translation reads "Up upon the timber-tops", whereas in the poem the line is "Up upon the timber's tops".
In Verse 3, again the fourth line in the translation reads "Though no man may heed my frowns", but in the poem the line is "Though noo man do heed my frowns".
These changes may have been made to improve the flow of the words when sung, as one can easily comprehend the meaning of either version.
The song was written as a poem by Edes Sargent (1838) and was set to music by Henry Russell.
The chord progression I am using is of my own devising.
The chords I am using are of my own devising and I have attempted to be true to Woody's own version but have included a verse he did not sing on the video I watched..
This is my arrangement for the autoharp.
Written at the time of the American Civil War, the song tells of a soldier's dreams of returning to his girl back home.
The chord progression is of my own devising.
When I created this video, I accidentally clicked on 3D. so if you have 3D glasses the picture will be in better focus.
youtu.be/p4npKT70eE0
To learn to play this, I had to detune my guitar by half a tone to match their version and play along with it until I felt confident enough to give it a go by myself.
The chords shown are the shapes used for normal tuning and are:
G 230033 D/F# x00233 (alternating with the normal D x00232) Em7 020000 and Cadd9 032030
The chord progression is of my own devising.
The ballad is Guthrie's re-telling of the story of John Steinbeck's "The Grapes of Wrath".
The chord progression I am using is of my own devising.
This is my own arrangement of the song. The chords shown are what you might use if strumming the accompaniment, but I have attempted to play it finger-style, so at times I do not play full chords.
The following comes from "Student Writing Centre" on figurative language:
(1789) "John Anderson, My Jo" has been called one of the most moving of all love poems recorded by the Scottish poet Robert Burns. The song had existed in the oral tradition for some time before Burns committed it to writing. Its appealing voice is that of an elderly woman expressing her love for her equally aged "jo," or sweetheart. Its appeal in two brief eight-line stanzas lies in its simplicity.
Transparent in its heartfelt expression, nothing in the poem confuses the reader except perhaps for the native dialect, always present in Burns's poetry. The first line replicates the title as the speaker addresses her love, "John Anderson, my jo, John." She reminds him that a great deal of time has passed since their first acquaintance by describing his appearance as a youth:
When we were first acquent, Your locks were like the raven, Your bonnie brow was brent, meaning his forehead lacked wrinkles. The lines include alliteration, common to songs, which lends a pleasant effect and enhances rhythm. The next two lines describe John's present appearance, offering a striking contrast to the previous description: "But now your brow is beld, John /," or bald, "Your locks are like the snow." Then the speaker concludes the first eight-line stanza by declaring, "but blessings on your frosty pow, / John Anderson, my jo," with pow corresponding to the English term pate. In a graceful moment, the speaker counteracts time's ravages by declaring John's bald head blessed, a simple gesture brimming with grace and an easy redemption.
In the second stanza, the speaker repeats the affectionate opening line, then reminds her love, "We clamb the hill thegither; / And mony a cantie day, John," where cantie means "cheerful," and the climbing of the hill represents the exertions that their lives together comprised. Despite having to surmount many problems, they remained cheerful and positive, mainly because they shared life's demands by meeting them head on as a team. She looks toward their imminent and predictable physical demise and eventual death, easing the moment's solemnity by reminding him they will face the end together, just as they have the rest of their existence:
We've had wi'ane anither: Now we maun totter down, John, And hand in hand we'll go, And sleep thegither at the foot, John Anderson, my jo.
Terms such as totter and sleep counter the harsh realities all humans must eventually face by setting a light and positive tone, leaving both the characters within the ballad and its listeners/readers feeling hopeful. The poem clearly makes the point that both the pains of life and the fear of death can be eased through companionship and love. Human interaction remains a saving grace.
Lorena's Reply is also known as "Paul Vane".
It was written by the same lyricist and composer, Henry De Lafayette Webster (1824-96) and the unrelated Joseph Philbrick Webster (1819-75).
It is a poor imitation of the original with the same or virtually the same melody.
An edition was published by C. Sheard of Holborn, London, in 1874, though it appears to have been published initially in an American compilation, The Jack Morgan Songster of 1864.
I have arranged this version using my own chord progression.
According to Wikipedia:
"When It's Springtime in Alaska (It's Forty Below)" is a 1959 single by Johnny Horton released through Columbia Records. The single was Johnny Horton's sixth release on the country chart and the first of three number ones on the country chart.[1] The single spent twenty-three weeks on the chart.
I fell into the trap of copying the lyrics from an internet page and did not spot that they had been transcribed incorrectly.
The first line of verse 1 should have been:
I mushed from Fort Barrow through a blizzard of snow...
Not as I copied as "Port Barrol"!!!
French: The tune is "Aupres de Ma Blonde".
It is a singable translation of the opening verses of the French song.
I attempted to sing "Aupres de Ma Blonde" in its native French in 2012, that version can be seen at: youtu.be/5h3FtM2_Gj0
From North Countrie Folk Songs for Schools, Ed Whittaker, Pub Curwen, 1921
I uploaded a song twelve years ago entitled: "The Farmer's Three Sons" which is another variant of this song.
youtu.be/-A3oCZqfr6A
The song was written on a hot summer night in Cleveland while Lightfoot was performing there. He was missing his wife of the time, Brita Ingegerd Olaisson, and his thoughts turned to winter.
The Manx Autoharpers' group are meeting this afternoon and the theme for performances is "Winter" or "New Beginnings", so I thought I would give this song a go.
The chord progression I am using is of my own devising.
The following is the footnote in the collection:
Source: Purslow, F, (1968), The Wanton Seed, EDFS, London
Notes:
Frank Purslow's notes are:
Gardiner H 325. Tune and text from George Blake, St Denys, Southampton. Although 78 years of age Blake was a very fine and intelligent singer and this song is worth including if only for its tune which I find rather "handsome." The words are typical broadside stuff but in the mouth of a good singer can sound impressive. I find that young singers, when faced with a long song, tend to hurry the song along in case their audience gets bored. I think this a great mistake because the listeners usually miss half the words, lose the thread of the narrative and do get bored; whereas if the full meaning is given to the text - and the singer sounds as if he is convinced at least - then the audience enjoy the performance. Incidentally, the tune is again a veritable patchwork of "folk-phrases."
The following footnote is included with the song:
Source: Lucy Broadwood and J A Fuller Maitland. 1893, English County Songs, Leadenhall Press, London
Notes:
Dorsetshire. Words and tune from H. Strachey, Esq.
Lucy Broadwood wrote:
The tune was heard whistled by a labourer at Shillingham, Dorsetshire, in 1889, and was afterwards taken down from a collier at Bishop Sutton, Somerset. "Come down, the and open the door, love" is often sung to this tune in both counties, but the words of this song have not been procurable. Compare the tune with "Old Rosin the Beau" in Barrett's English Folk Songs, the editor of which claims that it is a modification of an older song and that Whtye Melville's "Wrap me up in my old stable jacket" is an adaptation of a more modern form. Compare also "The Old Farmer" and "The Gallant Hussar" in the same collection, also "Adam and Eve" in Baring Gould's Songs of the West and "Green Mossy Banks of the Lea", a song well known to the oldest singers in Sussex and Surrey. J Markordt, in his ballad opera of Tom Thumb has a similar air. "In hurry post-haste for the license."


