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FOLKWAYS RECORDS Album No. FA 2005 © 1957 Folkways Records and Service Corp., 701 Seventh Ave., NYC USA

AmERICAn fOLK SonGS Sung by the Seegers

Peggy, Penny, Barbara and Michael with notes by Charles Sr. acc. byautoharp, banjo, mandol in, fiddle and guitar.

FA 2005 folkways records & service corp. ny, usa.

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Notes by CHARLES SEEGER

The interplay of survival. and revival. of folk sone within the Enslish-speoY~nc maj ority of the population of the United Statez durine the tlid-century decades of the ~oth century has been led by two mnin types of sinc­er. The one, bred in the llIIlin1y oral tradition current in rl\ra.l areas, hao 11 ttle by 11 ttle taken over miscel­laneous deviceo of the oineine style of the =inly written trad!tion of the popular and fine: arts current in urban areas typical of Broadway and CarneGie 1Iall, J.lanhattan. The other, bred :!.n the larcer Cities, has follO\red an oppeoi te direction and reached out tcn/ard the country for tile repertory of Anglo-Ar1erican song that had bcen all but extiIJllUished in the cities by 1900. Unlike their European prototypes who emerGed during the 19th century and operated solely by persen­to-person contact of s I nger and audience, both k leri c"" deocendants spreng into ey~stence with the development of modenl mass colilmlllications and ho.ve eX'oloi ted these­or been exploited by them - consistently ever since.

The transforce.tian of the country sineer sineing country sones in the country to a oineer of these S8l:le

sones in a city (or \lnder what arolOunts to the S£J:le

thing - city aus?ices) involved several way-station phases, some of whicll becar ... widely and well enough known by the 1920' s to be recognized as established, independent cenres. Sucll were the blues and hill-billy. Frol:l L\:)c Borns and Ha Rainey, through Bessie Smith, the Carter Family end the Coon Creek Girls, to !lank HilliEll:lS and Lester Flatt with ilarl SCl'll{;8s, an enon:>:lUS out-put, mostly on records, has been produced. Both blues and hill-billy are what must be re(;8rded as "sub-idions" -hybridizations of folk and popular idioms that can be designat;ed "follt-popular". Some si"'''''1"& and players retain oore of the fo:n:oer, others oore of the latter, ingredient. The General trend of the s1ncinc styles is, however, away from the oral tradition of folk sone toward the writtan tradition of the popular idiom.

Transformation of a city sincer of city songs in a city to a Singer of country songs in a city is a very dif­ferent matter. It has also Gone through way-station phases. They are not so well-marked as to produce in­dependent sub-idionlS but rather a welter of individual singine styles that have been desic;nated "city-billy". This loosely defined cate60ry is mostly a hybrid not of folk and popular but of folk and fine arts. Neverthe­less, a hill-billy procressing "upwards " (no invidious distinction intended!) from country to city may, at specific points in his caraer, produce e practical re­sult sometimes not too unlike his opposite nwnber, the city-billy, on his way "dawnwards" from City to - well, perhaps not the country itself but to a conception of it. The pro(lreSS of both has taken place ulDn the rails of mass communication, though most of the way they ... y pBss unheard by each other upon different tracks. The differences are often too subtle for our' still crude musicological techniques to describe accurately. But the knowing ear can usually tell which is which. By and larCe, it seems that the born folk singer who aspires to "biC time" operates decidedly less self­consciously than his opposite nwnber. He acquires the new tricks of slowing down at the end of a sene, dramatizing key words and syllables, puttinc in the pathos, prettifyine his voice and diction, etc., little by little in the course of recording and broadcasting trials and perfo=ces at which technicians and ad­ministrative people accustomed to the platform graces of the IIII1sical comedy stage and ni8ht-club are present and anxious to streamline him accordipgly. To the ex­tent he adapts himself, to that extent his contract benefits. The process is obviously not planned and is probably larllely unconsciously operated. The tendency is to make fun of the oral tradition, its sineine style and its repertory. Even the most lachrymose hill-billy can imply satirization. More typical, however, is the outlandish clowning that delights so many millions to­day WIder the name of "country nnwic: and the sponsor­ship of the Gmnd Ole Opry in Nashv1.lle, Tennessee.

2

The city folk sincer, on the other hand, acquires his repoertory m?stly from books and records in a llXlre or less planned manner and deliberately self-conocious. The tendency m:y be, perhaps, to be 0. little too serious - sometines "o.ffected", even mis:J ionary­minded. Some borrow only the notes of skeleton nota­tions and resolutely sine them in the style of the concert-sone, Gennan lied or Italian opera ari a, or in some apprex:!lnation of bel canto. Richard Dyer­Bennett is the outstanding example that comes to mind. Some try to imitate the naeal t\/ane or dia.lent ;:>re­nunciation of rural sincers. Perhaps we should spare mention of cxamples.

A few sineers of both urban and rural ori[lins sin­cerely try to strike a happy ,""dium between prococi t;r and vulOJ.l'ity. They respect the intec;rity of the repertory, avoid intrusions of platform marmerisms and use the llnaturo.rl voice. SoCle uold time" folk singers and players who have come to town - I thin], of Uncle Dave Vacon end Leo.dbelly - talte only a l i ttle or a few thinGs from the popular art and build up a formidable s't;aae presence and personalized manner by which they are known and which almosts sets them apart from any claGsification we mi8ht dare to give thel:l. Some others - I think of J osh Hhi te and Burl lves - keep (lOine end one wonders where they will land up. Still, a few - Jack Niles is the best known example - extend their evolution to a very succeGsful compos inc of sones in the folk Gtyle, as the Germans put it, "Volksweise." Hoedy Guthrie did some very effective puttinc to.,ether of existinc fragments of oral tradition, but it is a ~uestion whether it would be widely Ilccepted as "composition" in thc ordinary sense of the word.

Perhaps the "¥:1st str1kine innovation of the city revival. llXlvement hos been the develo,.,.ent of atuiience participation. Pe'wr SeeCer, especially, haG sparked and built repertoX"J and teclln:!.ques for this • With the exception of its Afro-American branch, the tradition of An(ll.o-American folk sone - that is to say, folk sone; in the English languaCe - has been very weak in chora.l perfornnnce. Shape-note hymn singinc in the Southern churches was all but dead by 1940. Elsewhere, in city and country alike, singing in the cIlurches has rarely been =h more than stilted unison note-readinc with scanty or inaudible tenor and bass parts, Descants - "second" and even third parts" have been heard in some of the older hill-billy. During the 1940's and '50's, free use of negro spirItuals and work-songs (in both of which fine chordal texture and sometimes remark­ably free independent improvisation by individuals is foWld) and introduction of Gongs of other pee, les (especially the African, such as "Wim:>weh") might eventus.lly lead out of the vacuum left by the barber­shop quartet when it became embalmed. in virtuosity by the SPEBS0$ (Society for the Preservation and Encouragement of Barbershop Quartet Sineing in America).

~!ichael, Pese;y, Barbar and Penny Seeger, whose voices are heard on the enclosed disc, do not belong to either of the above-mentioned types of folk singer. They are representatives of a second generation in the Anglo-Afro-American folk song survival.-revival. complex. They came of a strictly urban, unhybri­dized musical ancestry. Both parents ~re pro­fessional musicians rather antipathetiC to popular music and as ic;nornnt of folk music as most pro­fessional musiciens. But at the time the children were born, both parents were in the process of "discovering" that Anglo-American folk song was a going concern in the United States. The actual break in their hard shell of music-professional prejudice had been made by Tom Benton, George Pul.len Jackson and John 'Lomax in 1933. This had led to renw:>val. of the family from New York to Waahlngton, D. C., where the father (Charles Seeger) was engaged to administer the IIII1sic activity of a colllllllll1ty social and educational program in 300 rural re­settlement projects designed by the New Deal tc

offset the Great Depression where it hit rural populations the hardest. Only too well aware of the folly of imposina foreien musical and lin­{lUistic patterns upon groups of any kim or status, his plan wv.s to beGin with whatever music-repertory and leadership existed in each locality am to build up from that in whatever direction seemed practicable. This surely meant \IOrking with a mixture of folk, folk-popular and popular materials. Naturally, the Archive of American Folk Song in the Library of Coneress was drawn upon. It was not long before the childrens' mother (nuth Crawford) was \IOrking at the music editorship of the Lomax's "Singill6 Country." The house resounded morning, noon am night to the nearly 1000 discs involved in their parents' occupations. The children - at the time of the me.kill6 of the present disc respec­tively 23, 21, 19 and 13 .,.,ars of aGe - had not, therefore, learned their otuff later in life after :first becomina saturated with urban popular and fine arts, as has the usual city-billy, but rather in their basinettes and pens, years before Jmlch of any other kind of JmlSic reached their ears. Dy the time she was three, PeGeY, for example, had a very respect­able repertory of ballads, eame and love sonas. "Singillll-to-sleep" was an almost nightly routine. Defore they reached their teens, ~lichael and Peggy lIere delighting miscellaneous eatherillllS and meetings wi th "My Father is a Drunkard," "The ROving Gernbler and "Careless Love" (unexpur(,'Bted and lUlBCcompanied) with original descants. Their type of oral tradition is not to be confused with that inherited by the typical rural carrier of oral tradition. His was of a small locality only - a county or section of a stete, in some cases of a mere family. Theirs, to the contrary, was of the whole Southeastern region from which the Archive deposits were mostly drawn. The traditional singer as a rule had no such breadth of musical experience. He had, however, greater concentration and depth - an essence, even - of' the general tradition. At his beot, such a carrier of the oldest tradition has been disappearing at an alarming rate, JIDWed down, io it were by the "com­bines" of maso COmmunication, Wile the city singers of hio songo were increasillll faoter than they could be counted.

This novel inveroion ot music history in which a folk art rapidly dying out in the country was being kept on ice by tolkloriots and rev:lved among the young people in the cities, became noticeable during the 1940's. Survivals of the old I.W.W. songs ("Pie in the sky"), fortified by infusion of somewhat more "authentic" folklore, crept into the labor union educational and recreational movement and thence into picket lines and political campaigns. The \IOrdo "f'olkJ.ore li arxl "folk BOne" have surely taken a beat­ing. Songs known to have been copyrighted such ao "Red River V&U.ey," "Irene," "Casey Jones," "Wreck of the Old '97," circulate widely as folk songo. Whether their composero and copyright claimants swiped the", whole or in part from the older repertory of oral tradition as Stephen Footer did with "Oh, Susannah," (see Reed Smith, South Caroline Da.lJ.ads, page 81) is often difficult or impossible to prove or dioprove. Dictinctions between folk and popular, folk and primitive - never technically defined by scholaro - remain hazy. Styles of singing, never ocientifically described, exe experimented with, discarded, revamped ad infinitum. As SaIl! Bayard has ph1looophically, and truthfully, remarked "You can do anything to a folk song." To which may be added "even copyright it," ao not a few have claimed to do with ''llarbara Allen."

We must remember that wilen we generalize "what one doeo" to a oong of any kind - that 1s, 'When a oufficiently large number of people do about the same sort ot thing to a sufficient number of eOlllls over a ontti­cient length of time - we begin to define the content of a repertory and the singing otyle of a repertory ot a music idiom. UMoubtedly, in this mid-20th century, there io a cationawide resurgence of singing

3

by people of roost diverse kindo. Undoubtedly, also, a some~That new nrusic idiom or type of music idiom is beine evolved by a !>O?ulation less crystallized in social classes than in 1900 and LlOre conscious, undcr the impact of mass communication techniques, of a new way of life. Such an idiom may become recognized as lJBr\; and parcel of that way of life, to embody, com­municate, project or express meanings relative to that way of life. lIi th us, in the tr.>A, these are the land, the people >Ie live with, how we face the exigencies of health and sicy~eso, of poverty and affluence, of life and death - In Ghent, what Ire deoire, fear, value, approve or disapprove. Such a kind of music may at t:lJlles cxhibit the strm[;;c. Dut its main streIlc.....-th is that it communicates the conm:>n. Evidence that it does tItio is plain enoUGh throU{!heut the country. If lie '/ant "",re, we can :find plenty in other countries, indeed, throughout the \IOrld, where it is not our "modern composers II but our popular and folk music that is known c.nd loved. As mi&ht be expencted ot 0. comparativcly new country, these are not riChly elaborated arts such as are touni in many Old World countries. Rather, it is their simpliCity and dixectncss - a certain freshness and verve -that is cheracteriotical,ly Anerican and is accepted as ouch. The puMits may still hold that by compari­oon with the world' 0 best it ia crude and a poor thine. Hevertheless~ we may still add, "but our own." At least, we and 0. lot of othero, like it the better for that.

!larES ON THE SONGS

OLD HOLLY lIA,\E - A Scots-Irish fiddle tune, without words in the "Old countries," but acquirine them in the new. !\.lan Lomax sueeests 0. ?Ossible factor in this miCht 'cc -;';,hc :;t.outh music" t~ tD.t sub atitu \;.cd for instJ'.'ll"U.:n:AlJ. ..:.><.-:::.'.::'Ol, J...'\l1ces of da.nce IlD.lSic. See ~olumbia Horlc~ __ !~~::"!~:L9f Fo~ Primitive I~usic, Vol. VI, No. 33, where a reel, OWlll in vocables, parodies the bBG-pipe. The Seer;ers learned this particular sone from a record of Uncle Eck Dunford (Library of CongreGs) 1Iho also made records for Victor with E. V. Stoneman arr:l others in the late 1920'0.

wm:tl I FIRST OOIE TO THIS WID - Learned from Tony Saletan, 1955, in ljooton, thio sone is believed to be of Pennsylvn.nia Dutch oriGin. It's relativeo and ancestry, throu;;h "Twinkle, tvinkle, little star" to "Ah, vous dirai' je, marnan" are probably leeion.

JAllE JANE (TlIIlEE MOCKIJIGDIRDS) - a lIecro ring ~ from l-I1ssiooippi, in vlach there is one jll.ayer who oteals partners and jW!IpS while the song is sWIll· ~lelodically it io akin to Stewball, with its ans>rer­back cho:r\1S and short solo, and is a po?Ular Neero song pattern.

THE RICH IRISH IADY - This widely knDwn ballad is regarded by some ( Sharpe, Davis, etc.,) to be variant of "The Drown Girl" (Child 295). Delden, however, onys: "In ;fact the figure of the Irioh lady io American; The British broadside, (Christie's Sootch text, Charpe' 0 from Somerset, even the Beaton broadside (printed in lritish Dallads from Haine by Phillips Barry et al., y;;r., University Press, 1929) know nothing of her. The nan's declaration that he will dance on her erave ••• goes back' to Child's two. versions of 295, and his suggestion that she has called him in as a doctor is at leaot implied in Child D tho1l6h not developed fully till later."

MY HOME'S ACROSS THE Sl-lOKY MOUI';TAINS - Probably a Horth Carolina song only. Learned from Daocome Lam&r Lunsford and Elizabeth Cotten, of whom more is said below.

FREIGlfr TRAD! BLUES - Learned from Mrs. Elizabeth Cotten, a gifted folk musician from Chapel Hill, North Carolina, this seems to be a white blues very much like "Railroad Bill" and Stegolee" in both tWle and harmonic proc;resoion. The blues break in the middle 10 an entirely different song, the "Wilson Rag. " Mrs. Cotten ta1l6ht herself both banjo and

{;Ui tar and played with her brothers until about 1935 "hen she r;nve up nrusic to join the church. Even 15 to 20 years later, her extraordinary inatrumental technique (she played both inatruments left-handed but in their riGht-handed strillGing and tuning) were sure and clear-cut. Peggy plays right-handed the left-handed accompaniment that she lenrned by rote. The nrusic texture, as a whole, is predominantly in the popular idiOlil.

SIDE II

\E:DDDlG mlESS SO~iG - A frtl(91lent from Tennessee.

THE BROHI1 GIro. (LOaD THOI·IAS AND FAIR ELLENDER) -(Chil:l 73, "Lord ThorJas and Fair Annet"). Tune and text learned from a record loaned by }Ialter Garwick, a :free-lance collector in the mid-1930' s • Probably from a Kentucky singer. The earliest printed version is a broe.dside of Charles Il' s reilll1. Textual. vari­ationa have been found in Nonmy, De=k and France, end frau.lents in Italy. In some, the heroine is slain by the brown C;irl, as here; in others, she dies of grief, as doe" the lover also. Compare with Child 74 "Fair J.iarc;arct and sweet Vlillinm."

FIVE TlMES FIVE - Hultiplication tablcs, as well as other schoOIVOrk (alphabets, verb conjUQltiotlll, and 00 on) were often facilitated and made more pleasant by the improvisation of e;ames about them. Here, the arithmetic forms a chorus and verses are extm­curricular, perhap" taken from another sOIlG.

KICKlNG HULE - Froln the Kill{; Family (Visalia, Calif­ornia) record (Library of Congress), this cODlllOn boe-down tune pattern is very similar to "Fly Around 1.1y Blue-Eyed Girl" and llBl'lY dance tunes.

OOr.::E TO YOUR DI\JJr1't - A 1I0rthumbrian lullaby, still widelY SWlS, especially in the N",,,,,,stle district. It was a creat favorite in the NortbuJ:tbrian coal mining villall"s and was regarded as exclusively a coal minitl{l sotl{l. These v1llaees were once fish1tl{l villages, hence the reference to fish (in JIIIUJ;)" such towns, mining and fishing went on side by side). 'DIe melody was ori(linally a bornpi pe tune.

GOODBYE, Lrl"lLE BONNIE - A scntimental, perhaps hill­billY-influenced, song.

4

SIDE I, Bend 1: OLD MQIJ,Y HARE

I·like Seeeer: vocal, mandolin and fiddle Pe!lCY See&",r: banjo Ralph Rinzler: emtar

"Old Molly Hare, \>/hat you doing there~" "Sitting on the fireplace A-srookinc lllY c1ear. 1t

"Old Molly Hare, ~/hat you doing there?" "Runnitl{l throUGh the cotton-patch As faot as I can tear."

"Old }.lolly Hare, . \·/hat you doitl{l there?" "Sitting on a haystack SllOOtitl{l at a bear."

"Old l-kllly Hare, Riding of the coat ~/hat you doing there?" "Sittitl{l on the butter dish A-picld.ng out a hair."

And a-leading of the sheep, And I won't be back Till the middle of the week.

Does say boo "Old l-kllly I!al'e, And they bark too, And I haven't (lOt time For to talk to you.

Vlhat you doing there~" "Si ttitl{l on the fireplace SlWkine my cir;nr."

SIDE I, Band 2: WHi!:l1 I FIRST CAJolE TO THIS LAND

Peggy Seeeer: vocal and banjo Penny Seell"r: vocal and guitar Barbara Seeger: vocal and auto-harp

\>/han I first came to this land I was not a wealthy man; So I got myself a shack --I did what I could. And I called my shack "Brenk my back." For the land was sweet and (lOod i I did what I could.

HOOn I first came to this land I was not a wealthy man; So I (lOt myself a cO\( --I did what I could. And I called JJY oov "No milk now" And I called JJY aback "Break my back". For the land was sweet and (lOod; I did what I could.

So I (lOt myself a duck. And I called my duck "Out of luck".

So I /lOt myself a wif". And I called my wife "Run for your life".

So I /lOt myself a oon. And I called my son '~1Y work' s done".

SIDE I, Band 3: JANE, JANE

PellllY Seeger, vocal and banjo Barbara and Penny, vocal

Leader: Group: Leader: Group: Leader: Group: Leader: Group: Leader: Group: Leader: Group:

Hey, he-ey, JaDe, Jane, JoIy Lordy, Lord, Jane, Jane I'm a-gem. buy, Jane, Jane

Leader: Group: Leader:

Three IIIOCk.1:os birds, Jane, Jane, ODe for to whistle, Jane, Jane, ODe tor to sing, Jane, Jane,

One for to do, Jane, Jane, Most 8Z1If little thing.

Hey, he-ey, My Lo~, Lord, I'm a-gonna buy, Three huntinG ~6S, One for to run, One for to shout, One to talk to, \fuen I go out.

Hey, he-ey, My Lo~, Lord, I'm a-gonna buy, Three lIIlIley COl(S,

One a-for to milk, One to ploUGh 11ry corn, One for to pre;y i On ~stmas JlDrn.

Hey, hey-ey, Hy Lo~, Lord, I'm a-gonna buy, Three little blue birds, One a-for to weep, One for to llDurn, One for to grieve, When I am gone.

(REPEAT FIRST VERSE.)

SIDE I, BIIXld 4: THE RICH IRISH LAD'!

Peggy Seeger: vocal IIXld (lUi tar

A rich Irish lady from Ireland came, A beautiful lady called sara by name. Her riches ""s JlDre than a kiD8 could possess, Her beauty was JlDre than her wealth at its best.

A lofty young eentleman courtin' hercame Courtin' this lady called Saro by name. ' ::0, Sara: 0, Saro! 0, Saro!" said he, I'm afraid t1Bt 11ry ruin forever you'll be.

"I'm afraid t1Bt 11ry :ruin torever you'll prove, ?,nless you turn all of your hatred to 10Y<:."

No hatred to you nor to no other man, But this, tor to love you, is JlDre than I can.

"So, end all your sorrows, IIXld drop your discourse, I never shall. have you unless I. am forced." Six JlDnths appeared IIXld five years had passed, When I beard of this lady's mistortune at last.

She lay wounded by love, and she knew not for wily; She sent for this young man wbom she had denied. ~ by her bedside these words they were said:

There's a pain in your side, love, there's a pain in your head."

"Oh no, kind sir, the right you've not (lIlessed; ~ pain that you speak ot lies here in "'If breast." 'Then am I your doctor, and am I your cure?

Am I your protector that you sent for me here?"

''You are 11ry doctor, and you are 11ry cure; Without your protection I'll die I am sure." "0, Saro! 0, S&rol 0, Sera!" said be, ''Don't you remember vben I first courted thee?

"I asked you dn :kindness, you answered in scorn I 'll never forgive you tor t1Jlles past IIXld gone. r. "Times past and gone I hope you'll torgive, And grant me some longer in comfort to live."

"I'll never forgive you as long as I live, I'll dsnce on your grave, love,

vben you're laid in the ground." Then oft of her fiDBers bold riDBs she pulled th:Pee Sayill8, "Take t.heI:l and wear them vben you're '

c1allCiD8 on me.

"Adieu, kind triendo, adieu all around; Adieu to 11ry true love -- God make him a crown; I t~ forgive him, although he won't me, My follies ten thouaand t1Jlles over I see."

SIDE I, B8Xld 5: MY roME'S ACROOS THE SKl(Y /oI)tJm)\m

Mike Seeger, banJo Ralph R1nzl.er, mandol1n Peggy Seeger, guitar voeal trio.

5

CHORUS: lo1y home's across the SIlDky /.fountain, J.ly home's across the Sr.x>k;y Mountain, My home's across the SIlloky Mountain, 11ry Lord, And I never expect to see you any more.

Goodbye, little sU(lar darling, (THREE TIMES) And I never eXj?Elct to see you any JlDre.

(CHOrtUS)

I'm leaving on e. Honday morning, (THi1EE TnlES) And I never eXj?Elct to see you any more.

(CHORUS)

Rock "'If baby, feed it candy, (THREE TII.IES) And I never eXj?Elct to see you any more.

(CHOROO)

SIDE I, Band 6: ~~~

Pe(l8Y Seeger: vocal and guitar

(Words and music by Elizabeth Cotton. Copyright 1957-) (Melody Trails - ~([ )

Freight train, freic;ht train, going ro fast, Freight train, freight train, eoine so fast, Plense don't tell them vbat trnin I'm on So they won't know vbat route I have go~.

When I die Just bury me deep, Down at the end of old Chestrrut street; So I can't hear old NUlllber lIine, As she goes roarinG on by.

When I die Just bury me deep, Down at the end of old Chestnut Street; Place a stone on 11ry head and my feet, And tell 'em all I've gone to sea.

(REPEAT FIRST VERSE)

SIDE II, B8Xld 1: THE J..IEDDING DRESS SONG

Pell8Y Seeger: vocal and banjo

Hey, 11ry little Pol, Don't you guess You'd better be a-mald.1l8 your wedding dreS8, Wedd11l8 dress, wedding dress, You'd better be ~lDIIking your wedding dreos.

Hey, it' s already made, Trimmed 1n brown, Stitched around with a golden crown, Golden crown, Stitched around with a golden crown.

Hey, it's already made, Tr:lmDed in green, Prettiest thine that you ever seen, Ever seen, ever seen.

Hey, it's already~, Tr:lmDed in wIli te , Gonna (let married on Sunday night, Sunday night, ~ night, I'm BOnnB get married on Sunday night.

Well, she wouldn't say yes, An' wouldn't say no, All she'd do vas Just set and sew, Set and sew, set and sew, All she'd do ""8 just set and aev.

(REPEAT FIRST VERSE)

SIDE IT, Band 2: FAIll ELLENDER

Mike Seeger: vocal and mandolin Peggy SeeGer: vocal and flUi tar Ralph Rinzler: autoharp

"Oh, father, oh, father, come riddle to me, Come riddle it all as one; And tell me whether to marry Fair Ellen Or bring the Brow Girl home."

"The Brow Girl, she hao house and land, Fair Ellender, she has none; And there I charee you with a blessine To brine the Brown Girl home."

He got on· his horse and he rode aDd he rode, He rode till he core to her home; And no one so ready as Fair Ellen herself, To rise and welcome hilll in.

"Hhat news have you broueht unto me, Lord Thornns, What news have you brousht unto me ?" III've come to aalt you to D'\Y weddine, A sorrcrnf'ul ,reddillG to be."

"Oh, nx>ther, oh, roothcr, would you GO or stay?" "Fair child, do as you please. But I'm afraid if you go you'll never return, To see your dear I'!X>ther £lny more. II

She turned around all dressed in uhi te, Her sister I s dressed in green; And every town that ',;hey rode throuch, They took her to be some queen.

They rode and they rode till they come to the he.ll, She pulled on the bcll and it rane; h. .... d no one so ready as Lord Thomas hi.r.1self' J

To rise end bid her in.

Then tal:inc her by her lily-,rh1 te hand, J\nd leadill(; her tltroueh the hall; Sayine, "Fi1'ty (Jly ladies are here today, But here is the flower of all. II

The Bro>m Girl, ohe wa3 standillG by, 1-lith knives (;round l:een and sharp; Bet>Teen the lOll(; ribs and the short, She pierced Fair Ellender' 0 heart.

Lord Thomas, he waD standill(; by, Hith knife (7ound keen and sharp; Between the lone ribs and the short, He pierced his own bride's heart.

Then placine the handle against the wall, The point aca1nst his breast; SayillB, "This is the endine of three true lovers, God sends them all to rest •.

"Oh, father, oh, father, go dig my crave, Go dill it wide and deep; And place Fair Ellender in my arms, And the Bro>m Girl at my feet."

SIDE II, Band 3: FIVE TINES FIVE

Peagy: vocal and banjo Penny: vocal and CUi tar Barbara: vocal and auto-harp

REFIlAIN: Five times five is twenty-five, Five timeG six is thirty, Five times seven is thirty-five, Five times eight is forty; Five times nine is forty-five, Five times ten is 1'ifty, Five times eleven is fifty-f~.ve,

Five times twelve is sixty

6

Hay down yonder in a maple swamp, The water's deep and rm..tddy, There I spied my pretty little miss, There I spied my honey.

I take that little miss by her hand, Lead her like she was a pigeon, I-!ake her dance one more reel, Scatter her relieion.

Hell, the raccoon's out a-choppine ,rood, The possom,he I 5 a-haulina, !-ly old doe sittine on a log, Splittine his tItroat a-sque.lline.

(r.EFMIli)

Final REFRA.Ill: Five times five is ~renty-rive, Six tiJ:tcs five is thirty, Seven tir.les five is thirty-five, Bicht ..•. et.c .....

SIDE II, Band 4; TI!E KICKIlIG HULE

lUke; PeGGY: Ralph:

voool, f:lddlc and malluolin vocal and bo.njo L'Uitar

lIell, I went a"'lIl to the huckleberry picnic, Dinner all over the (;l'Ound, Skippers i n the n:cat ,ras rot 1'i t -00 eat And the {7Ccn 1'lie 0 W!'.ll:ill(; all around. Hell" the biscuits in the oven ~rore n-bc.kinG" The beefstee.!< :['ryine in a prul,

Pretty Girl sittina in the parlor" Lord God-a-mielt;;:!, "hat 0. hand he stand.

m:FIlJ\IN: i7ii0ii:"'there, nrul.e, I tell you, Hiss Liza, you keep cool, I ain't aot time to ):iS3 you no", I'm busy ,,~tll this nrul.e.

My uncle had an old nrul.e, His name liaS S.lloon SliCk" Above everythine I ever did see lias how that nrul.e could kick. I-lent to feed tllat nrul.e one morning, He met me at the door with a smile, He backed one ear and he winked one eye And he kicked tta half a mile.

He really ani a kicker, He's cot a hard jaw, He's the very thine to have about To tame your .!Other-in-law. lie really am a Idckcr, He's cot a hard back, He headed orr a Texas railroaU train And kicked it clear 0' the track.

(IlEFIlAIN)

He picked a feather from a £,'oose, He pulverized a hog, He kicked up three dead hiGhwaymens And swatted him a yeller doa.

(I1EFl1AIN)

llhen I seen !-!iss Dinah the other day, She was bent all over her tub, Hhy, the more I'd asl: her to IDJJ:rry me, Hell, the harder she would rub.

(REFIlAIN)

SIDE II, Band 5: DANCE TO YOUR MDDY

Peggy: vocal and banjo

Dance to your daddy, my 1i ttle laddie I Dance to your daddy, my little man. Thou shalt have a fish, and thou shalt have a fin, Thou shalt have a coddJ.in' wen the boat comes in; Thou shalt have a haddock boiled in a pan. Dance to your daddy, my 11 ttle man.

Dance to your daddy, my little laddie, Dance to your daddy, my 1i ttle lamb. When thou art a lOO.n and come to take a wife, Thou shalt wed a lass and. love her all your life, She shalt "red a lass and love her all yo-qr life, She shalt be you lass and thou shalt be her man, Dance to your daddy, my 1i ttle lamb.

(REPEAT FrnsT VERSE)

SIDE II, Band 6: GOODBYE, LITTLE BONNIE

Mike: Peggy: Ralph:

REFRAIN: . Goodbye, Goodbye, I'll see Goodbye,

vocal and r!'andolin vocal and guitar auto harp

little Bonnie, goodbye, little Bonnie, goodbye, you again, but the Lord knolTS when, little Bonnie, goodbye.

I asl\.ed your mother for you, I asked your papa too; They both said, "No , little Bonnie can't go;" I'm sorry that's all I can do.

My trunk is packed and gone, My trunk is packed and gone, My trunk is gone and I'm alone, Goodbye , little Bonnie, goodbye.

(REFRAm)

There's more pretty girls than one, There's more pretty girls than one, ,.,ith all this 'l-lOrld I've travelled 'round, There's more pretty girls than one.

(REFRADI) 7

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