THE
BALLAD
I N BLUEGRASS MUSIC%- Thomas Adler F o l k l o r e I n s t i t u t e I n d i a n a U n i v e r s i t y Bloomington, I n d i a n a PREFACE <This paper, a , s t u d y o f t h e b a l l a d a s found i n b l u e g r a s s music, i s i n t e n d e d not as a f i n a l s t a t e m e n t b u t o n l y a s a beginning. I have been involved w i t h b l u e g r a s s music i n one way o r a n o t h e r f o r t h e p a s t t h i r t e e n y e a r s , y e t I d i d n o t r e a l i z e t h e f u l l e x t e n t o f t h e problems which would r i s e t o plague me i n t h e c o u r s e o f t h e r e s e a r c h f o r t h i s paper. The method seemed simple enough; my i n t e n t i o n was ( i n e f f e c t ) t o f l i n g a l l of my b l u e g r a s s r e c o r d s i n t o t h e a i r , l e t t h e b a l l a d s drop o u t onto t h e ground, and t a k e a look a t them as t h e y l a y t h e r e .
U n f o r t u n a t e l y , i t i s n o t e a s y t o s e p a r a t e t h e b a l l a d s from a l a r g e r corpus of m a t e r i a l - - t h e paper r e f l e c t s t h i s , It i s even more d i f f i c u l t t o make g e n e r a l s t a t e m e n t s about t h i r t y - t w o d i f f e r e n t b a l l a d t y p e s . The s t a t e m e n t s which can be made may seem t a u t o l o g i c a l and commonplace. The a u t h o r must *maintain t h a t t h e y a r e n o t , however, f o r t h e demonstration through a c t u a l
examples o f '~cornmonplace" o b s e r v a t i o n s c o n s t i t u t e s t h e o n l y r e a l proof accep- t a b l e t o any s c i e n c e ,
I n t h e i n t e r e s t s of s c i e n c e , t h e n , I have reached c o n c l u s i o n s i n t h i s paper. I n t h e i n t e r e s t s o f t h e a r t s , however, t h i s p r e f a c e has been designed t o warn th-e r e a d e r t h a t f u l l e r understanding demands c l o s e r examination o f t h e t e x t s themselves. They have been t r a n s c r i b e d and provided; t h e y deserve t o be read. The b a l l a d t e x t s should be thought o f a s t h e t r u e b e a r e r s o f meaning here; t h e paper i s lagniappe.
Bluegrass music p r e s e n t s t h e f o l k l o r i s t w i t h a unique s e t of problems. It i s unquestionably a s i g n i f i c a h t a s p e c t of American c o u n t r y music, y e t it l i e s o u t s i d e %he mainstream of t h e commercial country-music phenomenon. The con-
nections between b l u e g r a s s and t r a d i t i o n a l song e x i s t on many l e v e l s , y e t s u r p r i s i n g l y l i t t l e a t t e n t i o n hag been given t o such r e 1 a t i o n ~ h i ~ s . l H i s t o r i - c a l , c u l t u r a l , and m u s i c o l o g i c a l s t u d i e s e x i s t ; s t i l l , t h e y s r e a l l p i o n e e r works, and many a r e a s have not been s y s t e m a t i c a l l y i n v e s t i g a t e d a t a l l . It would undoubtedly n o t be u n f a i r t o s a y t h a t w i t h a l l t o o few exce t i o n s , t h e b e s t work done on b l u e g r a s s music has been by d e d i c a t e d amateurs.
3
*
This paper was o r i g i n a l l y w r i t t e ni n t h e f a l l of 1771;
it was t o be i n - . eluded i n a B i b l i o g r a p h i c and S p e c i a l S e r i e s i s s u e of t h e Forum on coun- t r y and western music planned a t t h a t time.Any s t u d y i n t h i s a r e a must begin with t h e r e c o g n i t i o n of bluegrass as a s t y l e . F i r s t performed i n 1945 by B i l l Monroe and h i s
Blue
Grass Boys'(from
which group t h e g e n e r i c name d e r i v e s ) , b l u e g r a s s i s a s o p h i s t i c a t e d ,commercial form of h i l l b i l l y music, c h a r a c t e r i z e d p a r t i c u l a r l y by i t s
in-
astrumental aspect. It i s most o f t e n performed by "from f o u r t o seven male
musicians who p l a y n o n - e l e c t r i f i e d s t r i n g e d instruments and who a l s o s i n g w a s many a s f o u r p a r t s . 1 t 3 The instruments involved a r e u s u a l l y g u i t a r ,
banjo, f i d d l e , mandolin, and b a s s , and t h e i n t e r a c t i o n o f t h e instruments i s complicated and jazzy, y e t p r e d i c t a b l e w i t h i n c e r t a i n limits.
Although b l u e g r a s s i s u s u a l l y dated t o no e a r l i e r t h a n 1945, i t i s c l e a r upon even cursory examination t h a t most of i t s s i g n i f i c a n t e l e m e n t s ' a r e much o l d e r . v o c a l s t y l e s , i n s t r u m e n t a l s t y l e s , conventions of p u b l i c per- formance, and of course t h e instruments.themse1ves a l l have e x t e n s i v e h i s t o r i - c a l antecedents. R e F o i r e i s no - e x c e p t i o n ; c l o s e a t t e n t i o n t o t h e items performed by b l u e g r a s s bands has l e d L . Mayne Smith t o t h e conclusion t h a t . a t l e a s t a f i f t h , and p o s s i b l y a t h i r d of a l l performed p i e c e s d e r i v e from o r a l t radition.4 Though Smith c o n j e c t u r e s t h a t t r a d i t i o n a l m a t e r i a l s a r e , s t r e s s e d because t h e y a r e o f t e n noncopyright ( and t h e r e f o r e mo're e a s i l y and p r o f i t a b l y employed i n commercial performances o r r e c o r d i n g s ) , one must a l s o b e a r i n mind t h e h i s t o r i c a l and c u l t u r a l importance of d r a d i t i o n a l song i n t h e southern United S t a t e s - - f o r t h e audience a s w e l l a s
f o r
t h e perfonners.5
A suc.cessfu1 performer must p l e a s e h i s audiences, and audiences, p r t i c u l a r l y of intimately-presented musical s t y l e s l i k e bluegrass, demandnot
o n l y inno- v a t i o n , b u t a l s o t h e f u l f i l l m e n t of o t h e r e x p e c t a t i o n s . I n most a r t i c l e s o r interview*. with b l u e g r a s s musiciansj t h e emphasis i s on s t y l e ; r e p e r t o i r e6
w i l l be. a t b e s t i n d i c a t e d by a discography of t h e a r b i s t s r e l e a s e d records. Yet r e p e r t o i r e must s u r e l y , be a major f a c t o r i n 'the c r e a t i o n of audience ex- ' ' p e c t a t i o n s . Repe,rtoire c h a r a c t e r i z e s groups a s much a s does s t y l e , andi t
must' t h e r e f o r e be. concluded t h a t deeper i n v e s t i g a t i o n s of t h e t r a d i t i o n a l b a s i s of b l u e g r a s s r e p e r t o i r e a r e i n o r d e r , s o t h a t o u r understanding o f blue-
g r a s s music, a s w e l l as o u r understanding o f - t r a d i t i o n a l song, may be enhanced. . . Ballads a r e ,one obvious v e h i c l e f o r such' s t u d i e s . They have g e n e r a l l y been invest5gated f a r more thoroughly and methodically t h a n l y r i d folksong. The n a t u r e of n a r r a t i v e (which w i l l l a t e r be sho'm t o be p r o b l e m a t i c i n s e v e r a l . ' ways) makes b a l l a d s more e a s i l y c l a s s i f i a b l e . Perhaps pfost 'important, t h e prio-p s t u d i e s of b a l l a d s - - p a r t i c u l a r l y American b a l l a d s --help t o make sub- ' sequent work l e s s onerous and hopefully. more' productive.
. .
The g o a l o f t h i s paper i s to. educe t h e b a l l a d s from a p a r t f c u l a r sample of b l u e g r a s s music and t o explore t h e i r c h a r a c t e ~ i s t i c s , e s p e c i a l l y t h e i r establishment i n t r a d i t i o n . Since t h e a r e a of s t u d y i s d e l i m i t e d by a musical s t y l e ( b l u e g r a s s ) and t o some e x t e n t by
-
form ( t h e recorded..format. - -i m ~ o s e s i t s own l i m i t a t i o n s ) , t h e assumption i s t h a t t h e b a l l a d r e p e r t o i r e e l i c i t e d . w i l l be reasonably Yepresentative of t h e e n t i r e f i e l d o f . b l u e g r a s s music. . . - - . -
Two major q u a l i f i c a t i o n s must be given: f i r s t , t h e d e f i n i t i o n o f "ballad" used f o r s e l e c t i o n was f a i r l y i n t u i t i v e . The songs which were s i n g l e d out
f o r t r a n s c r i p t i o n were n a r r a t i v e songs which were f e l t t o p r e s e n t a reasona- b l y coherent s t o r y ( r a t h e r t h a n merely h i n t i n g a t a s t o r y ) . It s h o u l d be q u i t e c l e a r ",hat what i s " r e a s o n a b l y coherent" t o t h e a u t h o r may n o t be t o a n o t h e r worker. Second, t h e sample of r e c o r d s i n v o l v e d c o n s i s t e d o f t h e en- t i r e long-pLaying b l u e g r a s s r e c o r d c o l l e c t i o n of t h e a u t h o r : seventy-nine r e c o r d s i n a l l , comprising approximately
850 songs.
S i n c e t h e r e c o r d s have been purchased over a span of n e a r l y t h i r t e e n y e a r s , t h e c o l l e c t i o n may be s e e n t o r e p r e s e n t t h e a u t h o r ' s changing t a s t e s and c h r o n i c impecuniousness more o b j e c t i v e l y t h a n it does t h e t o t a l range o f b l u e g r a s s r e c o r d i n g s . Nevertheless, it was f e l t t h a t t r e a t i n g t h i s c o l l e c t i o n a s a t y p i c a l cross- s e c t i o n of b l u e g r a s s r e p e r t o i r e i s d e f e n s i b l e r.n t h e grounds t h a t ( a ) a l l major b l u e g r a s s groups a r e i n c l u d e d and ( b ) even much l a r g e r samples would be open t o t h e same c r i t i c i s m s of s u b j e c t i v e s e l e c t i o n . S i n c e t h e c o l l e c t i c n w a s a c q u i r e d t o s a t i s f y a c r a v i n g f o r music of a p a r t i c u l a r s t y l e , one can o n l y hope t h a t t h e sample i s reasonably random w i t h r e s p e c t t o c o n t e n t , and t h e r e f o r e t h e a u t h o r would assume t h e v a l i d i t y o f t h e f i n d i n g s u n t i l t h a t a s s l ~ m p t i o n can be proven f a l s e ,This c o l l e c t i o n , t h e n , was examined one r e c o r d a t a t i m e , and a l l b a l l a d s , i.e., n a r r a t i v e songs, were noted. I n a d d i t i o n , a l l examples o f i n s t r u m e n t a l arrangements of b a l l a d t u n e s were noted. The b a l l a d t e x t s were t h e n t r a n - s c r i b e d f o r i n c l u s i o n i n t h i s p r e s e n t a t i o n ,
The p r o c e s s of p i c k i n g t h e b a l l a d s o u t of a l a r g e body o f song i s n o t d i f f i - c u l t t o do, b u t i t i s d i f f i c u l t t o e x p l a i n . The problem ( l i k e t h e advantages mentioned e a r l i e r ) seems t o l i e i n t h e n a t u r e of n a r r a t i v e ; i t i s h a r d t o de- t e m i n e t h e p o i n t a t which i s o l a t e d emotions and i n c i d e n t s end and a s t o r y begins. I n b l u e g r a s s and c o u n t r y music p a r t i c u l a r l y , t h e range o f l y r i c song seems almost t o o v e r l a p w i t h n a r r a t i v e song. Thus we o f t e n encounter such p r o b l e m a t i c items a s t h e f o l l o w i n g :
L e f t New York t h i s morning e a r l y Facked w i t h m a i l s o wide and high S a i l i n g through t h e w i l d b l u e yonder I t l s t h a t Airmail S p e c i a l on t h e f l y . L i s t e n t o t h e motors humming
See h e r s t r e a k i n g through t h e sky Like a b i r d t h a t ' s f l y i n g homeward I t ' s t h a t A i r m a i l S p e c i a l on t h e f l y . Gver p l a i n s and hightop mountains Over r f v e r s deep and wide
Like a mighty g a l l a n t w a r r i o r
I t ' s t h a t Airmail S p e c i a l on t h e f l y . Gver clouds s o dark and stormy
Over rugged peaks s o high Carrying m a i l t o C a l i f o r n i a
Watch h e r c i r c l e f o r a l a n d i n g Hear h e r a o t o r cough and s i g h Now s h e ' s comins down tb.e runwry
I t ' s t h a t A i r n a i i S p e c i a l on t h e fly!
The a c c o u n t . o f a f l i g h t from Nevr Yo~!c t o C a l i f o r n i a on t n e A i r n a i l Special.-- o r r a t h e r , t h e r e l a t i o n of t h e s c e n e s and emotions produced by f l y i n g ( b u t n o t a p a r t i c u l a r f l i g h t ) - - - l e a v e on3 w l t l i t h e f e e l i r L g t h a t he has h3ard a nay.- r a t i v e where none e x i s t s .
It i s
~ o s s i b l e t h a t t h e e x i s t e n c e o f a l a r g o nurrber of t h e s e i m p r e s s i o n , i s t i c s t o r y - s o n g s i n b l v - € p a s s m d c o u n t r y r e p l r t o i r ? ? r e - f l e c t s T r i s t r a m C o f f i n ' s well-t-ca,dc p o i n t :.
.
.Anglo-American b a l l a Z s s t r e c s irr.p~.c- o c c r a c t i o n and r e t a i n , i n t h e long rL::i, c ~ l y enou:h o f thz o r i g l n a la c t i o n o r p l o t u n i t y t o h o l d t h i s c o r s cf e m t i o n i n s c n e
s o r t o f f o c u s . I n o u r b e l l a d , G s c a i l s s r o k e p t and dis- carded t o f i t t h ? c o r e , ai:d l i t t l e r e e l a - l t c n t i o n i s ? a i d t o p l o t c o n s i s t e n c y o r s t l - u c z 7 1 r s , ? l o t i s p r c s z n t , b u t i n t h e background. The e - ( l o t i o n a l core, a part o; t h e mu.siczl a s w e l l a s t h e t e x t u a l m9ailinr; o f t h e con:, i s emph?si.;er:. and c h e r i s h e d , g
P o s s i b l y t h i s e ~ p h - r s i s on t h e ' ! t n ~ o t i o ; i c l cors'l r a t h - r t h a n on p l o t e q l a i n s t h e f r e q u e n t l y - e n c o u n t e r e d s t a t ~ y z n t t h a t n o s t b l u e ~ r a s s / h i l l b i l l y / c o u n t r g songs a r e n a r r a t i v e s . Some such e x p l a ~ z t f o n sz-.rns n e c c s s ~ l r y - - - f o r 01 the esti,-- mated 850-song sample used Tor t h l s s t u d y , 01117 i;zkrt,y-nine perforr:,anccs ( r e p -
r e s e n t i n g t h i r t y - t w o b a l l a d t y y e s ) Irere found.
I n a d d i t i o n t o t h e v o c a l exzrnples ( t h e t e x t s o f which ars g i v e n as a n a p p e n a ~ x i n
this
p a p e r ) f i v e b a l l a d t u n e s rrrrire er.countered s t r i c t l y i n t h e i r instrume:18 t a l forms. This a l o n e i s i i i d i c a t i v e of 2n i ~ p o r t - n t a s p e c t o f b l u r e r a s ; ifiusi.~, n o t u n r e l a t e d t o C o f f i n ' s o b s e r v a t i o n s above: t h o r e seems t o b e a widespread a t t i t u d e among b l u e g r a s s r,lusicia.r.s, p r o f e s s i o n a l aqd arrateur a l i k e , thzt %kLcs t y l e r e a l l y i s what i s i m ~ o r t a ; ; . ~ , ?rid a g i v e n song--ballad, l y r i c , o r i n s i r o - mental--is merely a v e h i c l e f o r t h e expressio:l o f t h ? t s t y l e . E- en t h e aui+i.-- ences a t b l u e g r a s s f e s t i v z l s ; i f questt~::.sd n.Zter t h e p e r f o n a n c e o f a nar.r-2.~-. t i v e song, w i l l l i k e l y be found t o h a - ~ a coi-nle-toly missed t h e m-mine o r ever!
t h e t h r e a d o f t h e p l o t . The a c t i o n i n n a r r a t i v e song is n o t f e l t t o be i ~ ~ o r - t a n t , o r a t l e a s t i s c o n s i d e r e d r;.uch 123s i n p r t a n t t h a n o t h e r r s a t t e r s s u c h i s instrurriental t e c h n i q u e , s t a g e p r z s e n c e , aztd t h e " e m o t i o n a l c o r e . " hs 2 1/L-t; e - known b u t a p t b l u e g r a s s l y r l c p u t s i t : Doin! i t up r i g h t P l a y i n ' a l l night l o n g T r y i n 1 t o t h i n k o f somethin e l s e To me,ke a b l u e g r - s s sor.g.,
.
.
f
0 i s t h e i m p o r t a n t p a r t . .Henc$, t h e i n s t r u ~ e n t a l v e r s i o n s o f b a l l z d t u n e s may be c o n s i d e r e d borrowings from t r . d i t i o n , b u t i t should b e k e ? t i n m i ~ d t h a t t h e s e t u n e s a r e n o t t h o u g h t of 2 s bei::: r e l z t c d t o t h e s t o r i e s t o l d by ' h e i rl y r i c s . They a r e v e h i c l e s f o r t h e s t y l e , and i t i s h i g h l y l i k e l ; ~ t h a t most musicians and a u d i e n c e s t h i n k of t h e i n s t r u m e n t a l v e r s i o n oi' "Jakn Henry" as
b e i n g no ' d i f f er,ent from any o t h e r t r a d i t i o n a l t u n ? . On. d7csn1 - i i even t h i n k
o f t h e words w h i l e p l a y i n g t h e tune.
What of t h e v o c a l examples o f t h e b a l l a d s found i n b h l . e & ~ a c - - ? L s a g e n e r a l h i n t , , o n e can b e g i n w i t h some o f t h e , s t a t e m e n t s ma?.: b y S n i t h and Rosenberg:
Among' 5he b a l l a d s , most a r e of b r o a d i d e o r i g i n and alynost a l l were f i r s t sung i n t h e U n i t e d S t a t e s .
91
A
s u c c e s s f u l b l u e g r a s s performance o f a s t a n d a r d song o r f o l k s o n g n o t o n l y m a i n t a i n s a t r a d i t i o n a l t e x t and t u n e of t h e . . song; L t c o n t a i n s a s t y l i s t i c i n n o v a t i o n a t t r a c t i v e t o t h e audi-ence. 12
The l a c k o f E n g l i s h and S c o t t i s h b a l l a d s among borrowed i t e m s i s a n i n d i c a t i o n t h a t t h e p o e t i q s t y l e of .many t e x t s i s ' c l o s e r . t o t h e b r o a d s i d e t h a n t o t h e & i l d b a l l a d t r a d i t i o n ; i n
most c a s e s t h i s p r e f e r e n c e s e c x s t o ,h-ve been e x e r c i s e d i n s e l e c t , - -
, i n g r a t h e r t h a n chanzing i r a d i t i o n z l t e x t s , however.l3
. . The most common s u b j e c t o f b a l e d c i s v i o l e n t d e a t h , i n h-hizn
, a l o v e r e l a t i o n s h i p i s u s u a l l y invo!:rcd: one l o v e r ' k i l l s a?-~-,-Lhs;.
o r . h i s r i v a l , o r cornrixits s u i c i d e w h ~ n r e j e c t e d . The theme c r
irnpendirng execution o r a l i f e t i ; & i n p r i s o n as punishment f~: rriurder i s a common c o r r e l a t i v e ,-
Negro t r a d i t i o n i s o n l y s l i g h t l y r e p r e s e n t e d i n t h e borrcw- irig o f s p e c i f i c i t e m s
. .
c l e a r l y t h e f i v e s t a t e m e n t s g i v e n h e r e a r e s u p p o r t e d by tile q r ~ i d ~ n c e pro- v i d e d by t h e b a l l a d s from t h e sample c o l l e c t i o n . Cilly two o f -the thirty-5wo b a l l a d t y p e s a r e C h i l d b a l l a d s . Two " b a l l a d s of t h e N e ~ r o " ( a s Laws c a l l s them) a r e g i v e n . F i v e o f t h e b a l l a d s - - " K n o x v i l l e Girl," "One Morning i n May," l l P o l l y VaughnY1l " P r e t t y F a i r Maiden i n t h e Garden," acii " ~ i e t t y Polly1)-- '&re 'If ram B r i t i s h B r o a d s i d e s u i f we a r e t o b e l i e v e La.~-s c l a s s i f i c a t i o n s .
-.The m a j o r i t y a r e p a t e n t l y American b a l l a d s , though each i s c c l o r e d by t h e l l s C ~ l i s t i c , i n n o v a t i o n " o r c h a r a c t e r i s t i c sound o f i t s r e s p e c t i v e performing . group.
Perhaps t h e most i n t e r e s t i n g a s p e c t o f ' t h e b a l l a d s i n b l u e g r a s s i s t h e i r ' t r a d l t i o n a l i t y . E e s p i t e I t h e aforementioned l a c k o f erriphasis'on p l o t , t h e
, examples e x h i b i t a n ' a s t o n i s h i n g d e g r e e of correspondence w i t h v a r i a n t s known
t o have come d i r e c t l y from o r a l t r a d i t i o n . F o r example, "Cone All You Tender-. h e a r t e d , " performed by t h e S t a n i e y B r o t h e r s , i s almost a-word-for-word doub1.a of a song known o n l y a s ' ! F i r e Tragedy" and c o l l e c t e d i n % t h e 1960s f r a n a
f a m i l y where ii; had b e e n p a s s e d through t h r e e g e n e r a t i d n s
,I6
Another exzrny~t, "The Erunken Driver,ll whgch by i t s v e r y ~ s t u r e c a n n o t , b e ' a t e r r i b l y o l d scng; a n d ' w h i c h ' w a s assumed by t h i s a u t h o r $ 0 have been w r i t t e n by t h e g r o w tlha.lr.
$erforms it, t u r n s up a s nufibber326
Ln Brdce R o s e n b e r g f s Checklist o f - f o l k s o . : g 5 ~P,-'
-
from Virginiz: Moreover, t h e
----
C h e c k l i s t - e n t r i e s under number3.c
wzre z o l l - e c ~ t i.
i n 1940--more t h a h s i x y e a r s b e f o r e t h e Stan!.ey B r o t h e r s began t h e i r recordS.ng c a r e e r ,J u s t a s i n t e r e s t i n g a s t h e s i m i l a r i t i e s w i t h v a r i a n t s c o l l e c t e d from o r a l t r a d i t i o n a r e t h e d i f f e r e n c e s manifested b y t h e b l u e g r a s s b a l l a d s . The
"Barbara Allen" t e x t i s n o t a b l e f o r s e v e r a l reasons: f i r s t , a t f i f t e e n v e r s e s it i s w i t h o u t doubt one of t h e l o n g e s t songs e v e r recorded in blue- g r a s s s t y l e . It should be k e p t i n mind t h a t most songs r e q u i r e from two t o t h r e e minutes a t t h e most; p o s s i b l y t h i s self-imposed time l i m i t a t i o n i s a l e g a c y from t h e days of
78
rpm r e c o r d s , on which a song could l a s t f o r a maximum of about t h r e e minutes. P a r e n t h e t i c a l l y , i t can be added t h a t 5 5 1 3three-minute l i m i t i s g i v e n by Smith 2,s a p s i b l e e x p l a n a t i o n f o r t h e " c a p s u l i s i n g " o f b a l l a d p l o t s i n blucgrass,"but even i f t h a t i s so, "Bar- b a r a Allen" i s c e r t a i n l y a n exception. Another unusual a s p e c t of t h i s v a r i z n t o f t h e b a l l a d i s t h e d i s t ~ ~ r b i n g r e v e r s a l i n t h e l a s t l i n e o f t h e l a s t s t a n z a ; t h e butchered rhyme of t h e comrnonplace ending draws t h e a t t e n - t i o n of even t h e s l e e p i e s t l i s t e n e r t o t h a t b a l l a d ,
Another noteworthy p o i n t i n t h e p r e s e n t a t i o n of b l u e g r a s s b a l l a d s (and
probably o t h e r t r a d i t i o n a l m a t e r i a l s ) i s secn i n t h s n o t e s t o t h e B i l l Monroe v e r s i o n of "Roane County P r i s o n . " The song i t s e l f e x i s t s i n o r a l t r a d i t i o n , a s i n d i c a t e d by i t s presencp i n V i r g i n i a i n 1 9 4 0 . ~ ~ Hovever, on t h e Monroe v e r s i o n , c r e d i t i s given t o a "Joe Ahr." The same n2.m i s c r e d i t . ? .with " o L ~
i n t h a Cold World,I1 a n o t h e r t r a d i t i o n a l song. It would 2-ppear t h a t M r . Ahr h a s c o p y r i g h t e d c e r t a i n t r a d i t i o n a l songs i n h i s own neme, a p r a c t i c e which t h e a u t h o r f i n d s d p p l o r a b l e b u t n o t uncomnon. Ho:cever, t h e r e i s a l s o t h e s t r o n g p o s s i b i l i t y t h a t "Joe Ahr" i s a f i c t i t i o u s ncme, i n v e n t e d f o r t h e purpose o f c o p y r i g h t i n g t r a d i t i o n a l m a t e r i a l s and y e t n o t r e v e a l i n g t h e i d e n t i t y o f t h e c o p y r i g h t h o l d e r (which may be t h e r s c o r d i n g company) on t h e r e c o r d j a c k e t . Tt:-.j p o s s i b i l i t y i s b o l s t e r e d by t h e o p i n i o n o f W . K . 1 h 9 ? e i l , who p o i n t e d o u t t h a t t h e name " W i l l i m York, " used on S t a r d a y r e c o r d s , i s
known t o be a c r e a t i o n o f t h i s type.
89
The songs which a r e known t o have been composed r e c e n t l y demand t h e a t t e n t i o n o f t h i s s t u d y too. It i s important t o n o t e t h a t such songs a s "The Flood," "The P i c t u r e of S t . Helene, 'I " T r a i n Number 1262, I' ar,d "That B e a u t i f u l Woman"
c o n t e i n elements which s e r v e t o r e l a t e them t o t h e t r e d i t i o n a l b a l l a d s . Lay-
i n g a s i d e such n e c e s s a r y b u t mundane m a t t e r s a s s t a n z a i c p a t t e r n s , rhyme
schemes, and b a l l a d rhythm, one can s e e t h a t thgse songs f u l f i l l t h e t r a d i t i o n - a l b a l l a d r o l e w i t h r e s p e c t t o theme ( d i s a s t e r , i n s p i r a t i o n , s u p e r n a t u r a l v i s i - t a t i o n , e t c . )
,
dramatic a c t i o n , " l e a p i n g and l i n g e r i n g ,"
2nd t h e aforementioned "emotioxal core." These s i m i l a r i t i e s a r e important; t h e y a r e t h e c o n s t a n t s i n t h e v a r i a b l e e x p r e s s i o n ws c a l l a b a l l a d , and t h e i r p a r t i c u l a r arrangement i s s u r e l y r e l a t e d t o t h e c u l t u r a l l y - d e t e r m i n e d e x ~ z c t a t i o n s and s t a n d a r d s of t h e i r a u t h o r s , performers, and audiences.I n terms of s t r u c t u r e , t h e b l u e g r a s s b a l l a d s do n o t p r e s e n t any b i z a r r e o r i n e x p l i c a b l e t r c n d s . The most ccmmon rhyme schems i s ---- abcb, though one also f i n d s Y,,,2b2.b
--
2-abb, and abcd p a t t e r n s ; i n s h o r t , one f i n d s what one f i n d s f o rmost A ~ e r i c e n o r b r o e d s i d e b a l l a d s . F i f t y p e r c e n t o f t h e s2,mple have r e f r a i n s . Those w i t h r e f r a i n s a r e about e q u a l l y d i v i d e d betwzen t h e " c a r o l " ( s i n g l e l i n e o r r e p e a t e d l a s t l i n e o f s t a n z a ) and t h e '!ballad burden" ( r e f r a i n s t a n z a ) t y p e s . The s i n g i n g of t h e " b a l l a d burden'! t y p e o f r e f r a i n i s g e n e r a l l y i n q u e s t i o n .
h e t o t h e method o f n o t a t i o n o f many e a r l y b a l l a d s , it has n o t bee2 c l e a r whether o r n o t t h e r e f r a i n i s understood t o be r e p s a t e d a f t e r each s t a n z a , A c l o s e look a t t h e b a l l a d s i n t h i s sarzple which were of t h e " b a l l ~ d burdon?! t y p e r e v e a l e d t h a t ( o f n i n e t y p e s r 2 p r c s e n t e d by e l e v e n performances) --- f i v e a l t e r n a t e d t h e r e f r a i n w i t h t h e n a r ~ a t i v e s t a n z a s , t h r ~ e i n t r o d u c e d t h e rc- f r a i n somewhere i n t h e course of t h e s o r z and r e p e a t e d it 2 - t t h e c:ld, and o n l y
one
p l a c e d t h e r e f r a i n stcinza a t b o t h beginning and end ( ' I c o ~ R A . 1 1 YOU T e n d e r h e a r t e d f 1 ) . A s can be sezn, conclusions t e n d t o become l e s s %ha2 mezning-. f u l when one p u t s o n e ' s b a l l a d s i n t o a s t a t i s t i c a l n o r t e r a ~ d g r i n d s t h m i n t o n u l l i t i e s and n o n e n t i t i e s , and no m o r t a l can t e l l what o t h e r k i n & of q u i d d c t i e s and q u o d d i t i e s ,Performance s t y l e v a r i e s widely, y e t r e m i n s i n accordance w i t h t h e e s t a b l i s h e d p a t t e r n s of t h e g r o u p i n v o l v ~ c l . The txro p19;es preccdin:, t k 3 t r m s c r i b o d bzl- l a d t e x t s p r e s e n t i n t a b u l a r form t h e b a l l a d t i t l e s , some s t a n d ~ r d r c f e r ? n c e s , and t h e groups who perforrn t h e n , I n a d d i t i o n , t h e f u l l n a m s of t h e groups, where t h e y a r e known t o t h e a u t h o r , a r e given i m n e d i a t e l y f o l l o w i n g t h e t,l->le, I n v e s t i g a t i o n o f t h e s e groups w i t h r e s y e c t t o t h e i r u s u x l performrnce s t l y l e s
-
r e v e a l s a l n o s t complete correspondence w i t h t h e v o i c i n g i n t h e b a l l a d record-.i n g s ; t h a t i s , groups whose u s u a l v o i c i n g i s t h e d c e t (e.g., J i r o & ~ e s s e ) do n o t change t h i s a s p e c t of performance when t h e y s i n g a b a l l a d .
The conclusions of t h i s paper m2y l e a v e t h e r e a d e r u n s a t i s f i e d , Those con-. c l u s i o n s which can be o v e r t l y drawn appear t o be e i t h s r p l a t i t u d i n o u s , o r ( i f a s l i g h t paraphrase w i l l be p e r m i t t e d ) must be t a k e n w i t h a t o n of s a l t . S t i l l , t h e conclusions deserve s t a t e m e n t :
F i r s t , it must be grirnted t h a t b l u e g r a s s music, though d e f i n ~ d s t y l j - s t i c a l l y r a t h e r t h a n i n terms of i t s c o n t e ~ t , tm d s t o u t i l i z e a r e p p r t o i r e vhic!, hag i t s r o o t s deep i n t h e t r a d i t i o n s o f t h e r u r a l South, and by extension, i n t h o t r a d i t i o n s of England, S c o t l z ~ d , and I r e l e n d ,
Second, a n important p a r t o f t h e t r a d i t i o n a l a s p e c t o f blv-egrass music i.- made m a n i f e s t i n t h e b a l l a d s whi-ch havo been and contj-nue t o be ussci a s an a c t i v e p a r t of b l u e g r a s s r e p e r t o i r e s .
T h i r d , b l u e g r a s s ballads a r e not alwsys e a s i l y d i s t i n g u i s h e d from o t h e r blue.- g r a s s songs. The d i f f i c u l t y seems t o l i e i n t h e n a t u r e of t h z n a r m t i v s -
l y r i c dichotony, which makes s e n s e i n t u i t t v c l y b u t which i s d i f f i c u l t tq a ~ p l y
a n a l y t i c a l l y . Furthermore, i t h a s been suggested t h a t i n b l u e g r a s s and coun-- t r y music ( i f n o t i n a wider r m g e of Jrnericp-n music) t h e "emoticnal c o r s ' ' oi a song i s o f primary imnor-tmce t o both audience and performer, A s a r e s u l t , t h e importance o f t h e u n i f i e d a c t i o n i s l e s s e n e d , and w i t h i t t h e a t t c n t i o a p a i d t o t h e p l o t . P o s s i b l y t h i s a c r o u n t s f o r t h e l a c k o f d i f f e r e n t i a t i o n of b a l l a d from l y r i c song among b l u e g r a s s musicians a s w e l l a s f o r t h e
sta-•
t i s t i c a l unimportance o f n a r r a t i v e song which was r e v e a l e d by t h i s study. F i f t h , t h o s e b a l l a d s which come from t r a d i t i o n a l s o u r c e s and s u r v i v e i n t h e b l u e g r a s s idiom r e t a i n e n amazing correspondence w i t h t h e i r o r a l c o u n t e r p a r t s .
S i x t h , a number of b a l l a d s which appear t o have been w r i t t e n . - r e c e n t l y were seen i n t h e course of t h i s study t o be traditional,ar a t loast, t o have docu-
mented t r a d i t i o n a l predecessors.
Seventh, those b a l l a d s which a r e t r u l y of more r e c e n t o r i g i n , and whose composers a r e o f t e n w e l l known, can be seen t o mimic many of t h e most impor- t a n t a s p e c t s of t h e t r a d i t i o n a l b a l l a d s . It can be assumed t h a t such mimicry i s s i g n i f i c a n t , and i s perhaps due t o t h e o p e r a t i o n o f c u l t u r a l c o n s t a n t s on t h e composers, performers, and audiences.
Eighth, r e f r a i n s were noted t o appear i n almost p r e c i s e l y h a l f t h e sample of b a l l a d t y p e s . Both t y p e s of r e f r a i n s , " c a r o l " and " b a l l a d burden," were
represented, b u t t h e i r d i s t r i b u t i o n and p o s i t i o n i n g ~ Y i t h i n t h e song could not
be seen as having, any s i g n i f i c a n c e (though t h e problem may l i e i n t h e small sample s i z e ) .
The n i n t h p o i n t which must be made h e r e i s a c t u a l l y a r e s t a t e m e n t of p a r t of t h e preface: t h e most v a l u a b l e conclusions which can be reached by both a u t h o r and reader a r e those more i n t a n s i b l e ones which stcm from reading-or l i s t e n - i n g to-the b a l l a d s themselves,
APPENDIX I :
SUMMARY
OF BALLADS, REFERENCES, AND GROUPS-
-
Ballad Reference
1. Barbara Allen Child
84
2. C h a r l i e Lawson Laws F
35
Group
L i l l y Bros. &. Don S t o v e r Country Gentlemen
3. Come A l l You , ' Kentucky F o l k l o r e Record S t a n l e y Bros.
Tenderhearted
'9:3(1963)7
4.
Don1 t Make Me Go To w r i t t e n by Hugh Cross, Mac Wiseman Bed and 1 1 1 1 Be Good 19435.
The runk ken Driver Rosenberg, Checklist, S t a n l e y Bras. no. 3266.
E l l e n Smith 7. The FloodLaws F 11 Country Gentlemen
recorded a t WCB, S t a n l e y Bros. B r i s t o l , Tenn,, i n Feb.,
o r March,
1957
8.
The G i r l i n the. Blue Randolph, Ozark Folk- Doc Watson, B i l l MonroeVelvet -and ( 2 ) songs, no. 672
9. G i r l on the Green- C a r t e r Family recording, The Greenbrlfloys b r i a r Shore Bluebird
8947 (1941)
B a l l ad Reference Group
1 0 . J e s s e James Laws E 1 Country Gentlemen
11. John Hardy Laws I 2
- - - - -
-
L i l L y Bros, . . . & Don S t o v e r1 2 . Knoxville G i r l .Laws P
35
Country GentlemenI
.
13.
The L i t t l e G i r l and w r i t t e n by A l b e r t ' p r i c e Red A l l e n & Frank Wakefield '.he E L - e a r n Snake1 . L i t t l e
lass
o f Wine Kentucky F o l k l o r e Recqrd Lonesome P i n e F i d d l e r s-):59
1 L i t t k Paper B0.y. , c f . Cox, F o l k Songs of J i m & J e s s e t h e ~ o u t h S ? i ; ; . m
-
--
16.
Long Black V e i l ( 2 ) Mari john Wilkin B i l l Monroe ; Country Gentlemen1 7 .
M i l l e r ' s Cave w r i t t e n by ClarenceE
.
~ i l l y - Bros.
"Hanku Snow : ' q
1 8 . ~ o l l y and Tenbrooks Laws H 27 Osborne Bros,
19.
One Morning i n May Laws P14
B i l l Keith & Jim Ftooney , ,20. On t h e Banks of t h e Laws F
5
B i l l and C h a r l i e ibIo2roe;Ohio ( 2 ) L i l l y Bros. 6: Sto-c/-er
+
..
21. The P i c t u r e a t c r e d i t t o Wayne
R
>.ne y oS t . Helene tlDriftwoodtl , I . ,
.
22. P o l l y Vaugh & a w . D
36
, The D i l l a r d s23. P r e t t y F a i r Maiden Laws N 42 B i l l Monroe i n t h e Garden ' rn
c-
24.. : P r e k t y P o l l y (3) . Laws P
36
8.
D i l l a r d s ; B i l l Keith 8, J i i c Rooney; Buzz Busby25. Roane County ( 2 ) Roser.berg, C h e c k l i s t , B i l l Monroe; Rod Moag 6.
no, 1204 Rusty Marshall
26. Roving Gambler Laws H
4
Country Gentlemen27. S t a g o l e e Laws I
15
28. That B e a u t i f u l Woman-
29. S i l v e r Dagger ( 2 ) Laws G 21 Bluegrass A l l i a n c e Ralph S t a n l e y S t a n l e y Bros , ; Country GentlemenB a l l a d Reference
-
Group30.
Tragic Romance f i r s t recorded by Mac Wi semanMorris Bros., on V i c t o r 58-0027
31.
T r a i n Number 1262 W i t t e n by Carson F I a t t and ScruggsRobison, recorded by Vernon D a l h a r t
32. The Waves o n thd Child 289 L i l l y Bros. & Don Stever
Sea
B i l l Keith and J i m Reoney: William B. Keith and James Roomy B i l l Monroe : B i l l Monroe and hi-s Blue
Grass
Boys- - ,C h a r l i e Monroe
The Bluegrass A l l i a n c e
Buzz Busby (no band name known t o author) The Country Gentlemen
The D i l l a r d s Doc Watson
F l a t t and Scruggs: L e s t e r F l a t t and Earl Scruggs and t h e Foggy Mountain Boys ,
The Greenbriar Bmys
J i m & Jesse: J i m and J e s s e ( ~ ~ R e y n o l d s ) and t h e V i r g i n i a Boys L i l l y Sros. : The L i l l y Brothers and Don Stover
Lonesome Pine F i d d l e r s ( a l s o l a t e r known a s the Goins B r a t h e r s ) Mac Wiseman (no r e g u l a r band)
Osborne B r o t h e r s
Ralph S t a n l e y : Ralph S t a n l e y and t h e Clinch Mountain Boys ( a f t e r Carter
S t a n l e y ' s death i n 1766)
Red Allen and Frank Wakefield: Red A l l e n , Frank Wakefield, and t h e Kentuckians
Rod Moag and Rusty Marshall Wayne Rayney
1. -E w b a r a A l l e n I _
-
APPENDIX
11: TEXTSY31kday~
FA
2433---11F~1!( Song5 frorn t h e Southern Mountains" TileLilly
B r o t h e r s a?-:d Don S t o v e rCredit: " l c a r n e d Trorn Lilly gran6parentsf'
R c f r a i n : r a ~ 811:~rfie : abcb
Voices: s o l o throcghout Reference: C h i l d
84
I n S c a r l e t tow;? where I w3.s b o r n There was a f a i r maid d w e l l i n g M2d.c every youth say "Well-a-day" And h e r n a m w r s Barbr ry Allen,
1 .
It was i n t h e merry month of J u ~ e
T T
nhan 33-1 t h i i l ~ s t h c y w r e blooming Swezt W i l l i a n o n h i s death-bed l a y For t h e lova o f BarbT r;r k l l e n .
H7
s e n t his scrva.n-'c; t o t h e town '&ere E z ~ b a r a was a - d ~ ~ ~ e l l i n gI1St.seet TiJillicml s s i c k 2i3d he s e n t f o r you I.? .. yaar n3z3 i s C a r b t r y Allen."
Slcwlg slowly s'12 g o t up And s l o t r l y she went nigh him AL1 shc s2,id when she g o t t h 5 r e
"Young rxn I t h i n k y - u l r o dying," "Oh y e s I 1 n sic!;, 2nd
I'm
very s i c k A;id Oeat-h i s dwzlling nigh meNo t n t t e r , no b ~ t t e r I never w i l l be If I ca.iirt h a v ~ Barb
Ira
A l l e n , ""Oh ye? y o u l r o s i c k , end y o u ' r e v e r y s i c k And D c l t h i s 6w.wclli;l3' n i z h ysu
I:o b o t t e r , no b e t t e r you never will be For you c x t l t h w e B a r b t f r y Allen."
. -
"Oh, do you r c r
-.--
in y o n d z r ' s townIn
yonder s t r i w i l 'a-drilikinzYou gave your d r i n k t o t h e o t h e r g i r l And yau s l i g h t e d Bnr3..ry i l l l e n , "
. .
"Oh y e s I r e m , -;in y c - ,-'s town
I n yond?~'s t0r.m a - d r i n k m e
I Z ~ V C IIIY d r i n k t o t h e o t 5 e r g i r l
A s she was on h e r pathway home The b i r d s t h e y kept a - s i n g i n f
They sang s o c l e a r t h e y seemed t o s i n g "Hard-hearted B a r b 1 r y Allen."
A s s h e was a--walking a c r o s s t h e . f i e l d She h e a r d t h e d e a t h - b e l l s r i n g i n g - They rang s o c l e a r t h e y seened t o r i n g , "Hard-hearted -3 aybl-ry Allen.
"
She looked t o t h e e a s t , s h e looked t o t h e o w e s t She s p i e d a c o r p s e a-cominf , . , ,
"Lay down, l a y down, t h a t corpse' o f clay
That I may l o o k upon him."- . .
The more she looked, t h e more she mourned
' T i 1 s h e f e l l t o t h e ground a - c r y i n ' , ,
-S E - Ing, "Pick me up and c a r r y me home , ,
For I am now a-dying. I t , - -
, .
"0 F a t h e r , 0 F a t h e r , go d i g my grave
Dig i t long and narrow - - . , .
Sweet William d i e d -for me t o d a y - . . .
IT1l d i e f o r him tomorrow."
Sweet William was b u r i e d i n t h e o l d churchyard
. . And Barbara b u r i e d n i g h him
On l d i l l i a m ' s grave grew a r e d r e d $rose
On Barbaraf s grew a g r e e n b r i a r - r o s e .
They grew t o t h e t o p o f t h e o l d church tower
l T i l t h e y c o u l d n l t g r o w a n y h i g h e r .
They t v i s t e d and t i e d i n a t r u e - l o v e r s
knot
The gyeen b r i a r grew around the r e d r o s e .2.
-
The S t o r y .of
C h a r l i e ~ a w s o n Folkways FA 2409--"Country Songs Old and New"The Country Gentlemen I , . , . C r e d i t : none g i v e n
R e f r a i n : none . Rhyme: abcb
Voices: t r i o throughout ,
.
Reference: LawsF
' 3 5
' <It h;aS on l a s t Christmas eve,ning The snow was on t h e ground ' A t h i s home i n North C a r o l i n a '
His name was C h a r l i e Lawson He had a l o v i n g wife
But t h e y never knew what caused him To t a k e h i s f a m i l y ' s l i f e .
They s a y he k i l l e d h i s w i f e a t f i r s t While t h e l i t t l e ones d i d c r y
" P l e a s e Papa, won't you s p a r e o u r l i v e s For i t i s s o h a r d t o die."
But t h e raginlman .could n o t b e stopped He would n o t h e e d ' t h e i r c a l l
He k e p t on f i r i n g f a t a l sho&s U n t i l he k i l l e d them aLl.
b
They d i d n o t c a r r y him Co j a i l No lawyer would he pay;
H e ' l l have h i s t r i a l i n a n o t h e r land On a f i n a l judgment day.
They a l l w e r e b u r i e d i n a p r i v a t e grave
While t h e a n g e l s watched a l l above; "Come h o w , cone home, my l i t t l e ones To t h e l a n d of p e ~ e and loye.''
And now f a r e w e l l , k i n d f r i e n d s and home 1'11 s e e you h e r e no more;
But when we meet in a1iother l a n d
Our t r o u b l e s w i l l . be . o e r , , t
. . . .. .*
3,
--
Come A 1 1 111You Tenderhearted-
S t a r d a y SLP 201-.-!'The Mountain
Music
.Spund of t h e $ t a n l e y fkos.'I The S t a n l e y Bros , and t h e c l i n c h ' Mtn. BoysC r e d i t : none given
R e f r a i n : b a l l a d burden Rhyme: Refrain &, 1st verse: abab
' a % h e r verses: abcb
Voices: Cuet on refrajn, . , References: KF,r?t,uc'+
f
h ~ i l l j r ~ - ? ~ ' : h * - . i *-
' * * 's o l o on v e r s e s ' .
9s~n$3'Fss
R e f r a i n : Come a l l you t e n d e r h e a r t e d 'Your a t t e n t i o n I w i l l c a l l
. I t . l l t g l l you how it s t a r t e d , - ,
3 , I
Come l i s t e n one and a l l ,
Last Wedneqday n i g h t t h e r e was a l i g h t . . I
Seen s h i n i n ' away "gut
-
uponthe hill
. . . k motlp,r she r a n $i$h a l l h e r ; f i g h tShe went i n t o a n e i g h b o r ' s house Some few hundred y a r d s away
She s e t down and s h e t a l k e d w i t h 'em But s h e d i d n ' t mean t o s t a y .
"Now d o n ' t s t a y t o o long, d e a r Mother, t h e r e , F o r we 11 be lonesome. h e r e .
"Well, 1'11 g i v e some l i n i m e n t " she s a i d "Then 1'11 r e t u r n a g a i n .
"
But you know when sh-e s t a r t e d h~me: again Her house was i n a flame
She cried "0 Lord!
Ny
babies!They're gone, and I'm t h e one t h a t ' s t o blame." She c r i e d "Alas, how s a d t h e y s l e e p
Wrapped up i n a red-hot flame. "
She b u r s t e d a l l asunder t h e n
And t h e flames, t h e y r o l l e d o v e r h e r head.
T h e i r l i t t l e bones, t h e y l a y t h e r e on t h e ground They both l a y f a c e t o f a c e .
And each 0 t h - r t h e y d i d entwine And each o t h e r t h e y d i d embrace. Ref r a i n .
4.
- - -
Donr t Make Me Go t o Bed and 1'11 Be Good Dot DLP 25731--"BluegrassttMac Wiseman
C r e d i t : adapted by Mac Wiseman
Refrain: ballad burden Rhyme: abcb
Voices : s o l o throughout Reference: none
O G r l z u g h i n g baby boy, one evening i n h i s play Disturbed t h e household w i t h h i s noisy glee . -. .- . ..-+.. . .
---
I
.-- warn+--him to. b e ' q u i e t , b u t soon he disobeyedFor he'would soon f o r g e t a word from me.
I c a l l e d him t o qy s i d e and s a i d "Son, you must go t o bed,
Your conduct h a s been v e r y very rudett
With q u i v e r i n g l i p s and t e a r - f i l l e d eyes he pleaded t h e n with me, "Don't make me go t o bed and Ill1 be good."
0 u r . l i v e s had j u s t been gladdened by h i s bright ascending beams Our boy now i n o u r h e a r t a . w a s v e r y dear; ,
I h a s t e n e d t o h i s bed, found him t a l k i n g i n his sleep,
I took him i n my arms and found h i s body racked w i t h pain To e a s e h i p a i n we d i d t h e b e s t we c o u l d
It broke my h e a r t t o h e a r h i n c r y i n g l o u d l y i n h i s s l e e p "Don't make rnc go t o b3d and I!11 be good."
R e f r a i n : "Don't, Paps, and I ' l l be good, P 9 n 1 t , P2-pa, and 1'11 be ~ o o d . "
That s what I heard K i m * s2y And i t haunts me n i g h t and day
Don ~ a k e ms go t o bed and I t 11 be good."
How sorrow f i l l s t h e h e e r t , and how f e a r s o p p r e s s t h e mind,
When danger hovers ' r o ~ i l d t h e one we love;
He l i n g e r e d b u t a day, t h e n h i s s p i r i t passed away To j o i n t h e a n g e l chorus up above.
A l l n i g h t and day we watched and prayed and never l e f t h i s s i d e , To g i v e hix up i t seensd lie never could
It broke my h e a r t t o h e a r him ss;ring j u s t b e f o r e he died, " D o n f t make me go t o bed, and 1'11 be good."
Ref r a i n ,
King 791--"Award Winners a t t h e Folk Song F e s t i v a l " The S t a n l e y Bros. and t h e Clinch tlountain Boys C r e d i t : Paul Westmoreland
Refrain: nons
Voices: d u e t throughout
Rhyme: abcb
Reference : Rosenberg, Checklist,r
326
Now l i s t e n you drunken d r i v e r s .While h e r e on E a r t h you dwell:
Y o u ' l l never k n ~ w when t h e time will come, Y o u ' l l have t o s a y ' l f a r s w e l l . "
I saw an a c c i d e n t ons day Should charm t h e h e a r t of man, And t e a c h him never t o d r i n k a drop
While a s t e - = . i n f -w h e e l T s i n h i s hand. This a v f u l a c c i d 3 n t occurred
On t h e t w e n t i e t h day of M2.y It caused two l o v i n l c h i l d r e n To s l e e ~ beneath t h z cla.y,
These two d e a r k i d s walked s i 6 e by s i d e Upoi the s t z t e highway
T h e i r l o v i n f mother she had d i e d T h e i r f a t h 2 r had run
They were t a l k i n 1 of t h e i r l o v i n l p a r e n t s How sad t h e i r h e a r t s d i d f e e l
When around t h e curve come a s p e e d i n r c a r With a drunk man a t t h e wheel.
The d r i v e r saw t h e s e two d e a r k i d s And hooted a d r u n k a r d ' s sound:
"Get o u t of t h e road, you l i t t l e f o o l s n And t h e c a r i t knocked t h e n do-.
The d r i v e r s t a g g e r e d from h i s c a r To s e e what he had done
H i s h e a r t sank w i t h i n him When he sar~r h i s dyl.nl Eon.
He t h e n picked up h i s l i t t l e ones And c a r r i e d t h c n t o h i s c z r
And k n e e l i n 1 on t h s r u n n i n l - b o a r d He prayed a d r u n k a r d ' s p r a y e r . S a y i n ' " P l e a s e , 0 Lord, f o r g i v e me For t h i s awful crime I ' v e done" H i s a t t e n t i o n t h e n was c a l l e d away To t h e h - : r d ~ of h i s d y i n l son: S a y i n r "Teke us t o o u r mother, Dad, She s l e e p s benep-bh t h e ground;
It was you and h e r we were t a l k i n r about When t h e c a r i t knocked u s d o ~ n . "
"And p l e a s e , d e a r Dzd, don1 t d r i n k no more While d r i v i n l on your way,
But meet us w i t h o u r mothor, Dad, I n hez-ven some sweet da.y,I1
6,
- -
E l l e n Smith FolkwaysFA
2409--"Country Songs Old and Newt1The Country G e n t l e ~ e n
C r e d i t : P e t e r de G r a f f . -
R e f r a i n : none Rhyme: aa
- : s o l o throughout Reference: Laws
F
11Poor E l l e n Smith, how was she f o u n d .
Shot through t h e h e a r t , l y i n l c o l d on t h e ground.
Her c l o t h e s were a l l s c e t t e r e d , and f a l l e n o n t h e ground
They p i c k e d u-9 t h e i r r i f l - e s ai?d hunted me down
They found rre a - l o a f 2 n f a l l around town.
I
g o t a l e t t e r gcsterday,I
read i t t o d a y jhe
f l o w e r s o n h a r grave havs a l l f a d e d away.. ,
Sorned~y. I '11 go hoas, and say, .when I go,
On poor E l l e n ' s g r a w p r c t t y f i o w e r s 1'11 stow. I ' v e been
,in
. - - . - . t h i s pri.sqn. f o r th-enty long yea,rsEach n i g h t I s e e T l l e n thTough my b i t t e r t e a r s . That warden j u s t t o l d re th,z.t soon 1'11 be f r e e To go t o h e r grzve ' n e a t h t h a + o l d willow t r e e ; , . . . . My days,
in
t h i s . p i 5 5 0 9 are ending a t l a s t-, . .
' I ' l l n e v e r be f r a e from t h e s i n s of
my
p a s t . Poor E l l e n Si?ith? how was she fov-ndShot throvoh tk-. h e a r t , l y i : ~ ' c o l d on t h e ground.
Thf. Flood
- 7 .
--
--
Mercury MG 20349--''Country Pick5rl.l and S i z g i n n ' The S t a n l e y Bros. and t h e Clinch X t n , Esys C r e d i t : none g i v e n
Ref r a i n : none Rhyxe: asbb
Voices: h e t throughcut . Xcference: none
Now l i s t e n good people. wherever you a r e And h e a r a s a d s t o r y youlve bneii w a i t i n g f o r About t h e f l o o d o f
'57
as i t happezed t o be I n Kentucky, Old i i n and e a s t Tennessee. How t h e r a i n s came down and w e o f t e n had s e e n To s w i m a b r o a d r i v e r 01- s o ~ s little stream But this one was d i f f e r e n t , and we soon r e a l i z e dThat t h e f l 0 3 d s wers raging, and we fought f o r our l i v e s . Many were praying 2.s peaer b e f o r e . -
A s t h e high muddy water came i n through t h e i r door Some were let-t h ~ a e l e s s , t h e i r l i f e - s a v i n g s gone
But t h e i r l i v e s had bezn spared, and t h e c o l d r a i n s came on.
L i t t l e b a b i e s were c r y i n ' , end o t h e r s were s a d For i n a l l o u r l i v e s w e ' d seen nothing s o bad
But t h e brave 2 r d t h e s t r o n g were t h e r e by t h e s c o r e
How we a 1 1 e s c a p e d i t , I n e v e r w i l l know
It must have been God's w i l l , i t was n o t time t o go; And by t h e h e l p o f His Nercy, some managed t o smile,
And f a c e t h e d i s a s t e r , w h i l e t h e w a t e r s r u n w i l d .
8.a-
-
The G i r l i n t h e Blue V e l v e t Band---
-. ----
--- -*----
v Vanguard VSD-79276--"Good Decl! (Doc Watson) i n N a s h v i l l e t '
Doc Watson
C r e d i t : C l i f f C a r l i s l e and Me1 Foree
Ref r a i n : none Rhtma: abcb
Voices: s o l o t h r o u g h o u t Reference : Randolph, One n i g h t w h i l e o u t f o r a ramble
The h c u r was j u s t a b o u t n i n z I met a young maiden i n ! F r i c s o
On t h e c o r n c r of Cherry 2.nd P i n e . On h e r f a c e th.ere was b e a v t y of Nature And h e r e y e l i d i t soemed t o expand Her h a i r was s o r i c h and s o b r i l l i a n t Entwined .in.. a b l u ? v s l v s t band,
We s t r o l l e d down t h e long s t r e e t t o g e t h e r I n my pocket s h e p l a w c l h e r s r ; ? a l l hand P l a n t e d t h e e v i d e n c e 02 me
That g i r l i n t h e b l c e velve-5 band,
Then I h e a r d t h e w i l d screzrn of t h e s i r e n And t h e g i r l i n t h e b l u z v e l v e t band She l e f t me t o f a c 3 a l l t h e t r o u b l e With a d i a ~ o n d t h a t TJas worth t e n grand. They s e n t me t o San Q u e n t i n f o r s t e a l i n ' And God knows I ' m an i n ~ o c e n t man
F o r t h e g u i l t y one now, she l i e s dying That g i r l i n t h e b l u e v e l v e t band, 1'11 be o u t i n a year t h e n
I1m
l e a v i n g But 1'11 carry t h e name of a manWho 'spent t e n y e a r s i n t h i s p r i s o n F o r t h e g i r l i n t h e b l u e v e l v e t band, L a s t n i g h t , G h i l e bsdtirne w2.s r i n g i n g I was s t a n d i n g c l o s e t o t h e b a r s
-
I f a n c i e d I could h e w h e r v o i c z c a l l i n g From f a r o u t on t h e ocean of s t a r s , 1'11 be o u t i n a y e a r , t h e n I'm? l e a v i n g But I ' l l c a r r y t h e narze of t h e man Who s p e n t t z n y e a r s i n t h i s p r i s o n F o r t h e g i r l i n t h e b l w v e l v e t band.8 . b , The G i r l 5-n t h o Blue V e l v e t Band I--- . I.
-
I__Harmony
HL
7290--"The Great B i l l Nonroe"B i l l Monroe and h i s 9 l u e G r x s EOYS C r e d i t : M.Foree and C l i f f C a y l i s l e
Ref r a i n : none Rhyme: abcb
Voices: s o l o througn3vt Reference : Randolph, Ozark Folksongs
,r.:
672
One n i g h t ~;1i1.3 o u t f o r a rain'ale The hour was jl~.sC, a ' a ~ u t n i n s I met a young aide-i i n ' F r i s c o On t h e c o r m r of C ! x : ~ y a.nd Pine. On h e r f a c e t h e r e w ~ s b e z u t y o f n a t u r e And h e r eye'id i - t ceer::-.d t o - expand Her h a i r was s o r i c h and s o b r i l l i a n t E n t v i n e d 5 . ~ 2 (;. b l c e vel-vzt b2n.d.
We s t r o l l e d down th- s t r e e t t o g e t h e r I n my pncket -Ye p l c ~ i ? < her s m a l l hand P l a n t e d t h e eT~id5ncc? on ns
That g i r l i n t t o b l ~ c v e l v e t band.
Then I hcxrd t h ? w i l c l scrzam of t h e s i r e n And the g i r l i~ th.3 b l u e v e l v e t band She left Pe t o f a c e a l l t h e t r o u b l e F o r a di,?rioud th:it. wns woyth t e n grand. A t n i g h t w k n bedtime was r i n g i n !
Standin1 c l o s e 't6 t h e b m s
I f a n c i e d I h e a r d v o i c ? c a l l i n T F a r o u t ~n t h c o c m n o f s t a r s .
They s e n t ice t o San Q u e n t i n ' f o r s t e a l i n 1 ,
And God knows I ' m an i n n o c e n t man For t h e g u i l t y on2 TOY, she l i e s d y i n l
That g i r l i n t h e b1v.e v c l v e t band. 1'11 be o u t ix a year, then I'm leaving b u t 1711 c a r r y the n s m o f t h e man Who s p e n t t e n y e a r s i n t h i s p r i s o n For t h e g i r l i n t h e b l u a v e l v e t band, And when I g e t ou-u 1'11 ende,-.Vor To l i v e i r ,o9,-2 c t h c n laxd
1'11 b i d f a r e ; ~ e l l t o o l d ' F r i s c o And t h e g r w e o f ny b l u e v e l v e t band.
G i r l on t h e Greenbriar Shore
3.
- - -
-
Vanguard ~ ~ ~ - 9 1 0 4 - - ~ ~ ~ h e G r e s n b r i a r 3 0 ~ s " The G r e e n b r i a r Boys
C r e d i t : A .Pa Carter--.Peer I n t e r n a t i o n a l Ehyme : . .
R e f r a i n : none Reference : Carter Family recording,
Voices: d u e t throughaut B l u e b i r d 8947 (1941)
'Twas i n t h e X c Z r of 192 I n t h e merry month of June
I l e f t my mother, ar-3 a home so dear
To c o u r t t h a t g i r l on t h e G r e e n b r i a r s h o r e . Ply mother d.ear, she C W ? t o 1x3
S a i d tlSon, 0 Son, d o n ' t go
D o n ' t leal-3 youy mothey, and a home so d e a r To cov.rt t h a t g i r l on t h s G r e e n b r i a r shore." When I was youi1g 2nd reclcless t o o
And I cravzd a reclr,7.e~s l i f e
I l e f t my n o t h e r , end, a home s o dear And I t o o k t h ~ t g i r l ko be my w i f e . Well, h e r h a i r was d a r k end c u r l y t o o And h e r ey2c; v e r e l o v i n ' b1v-s
Her c:ieeks tx?re l i k e t , ' ~ r e d r s d r o s e That g i r l I lov3d on t h e G r e e ~ b r i a r s h o r e .
Well, Vfle y c a x r o l l e d on, and t h e months r o l l e d by She left Re a l l a l E n e ,
Now I r e ~ z c b e r , my n ~ t b e r s a i d ,
lrNever t r u . r ; t t h a t g i r l or? t h e G r e e n b r i a r shore."
, .
Folkways FA 2 4 0 9 - - ~ ~ ~ o u ? t r ~ Sbncs Old 2nd Ncw" The Country G e n t l e m : ~
C r e d i t : I1arranged by John Dui'f )-"
R e f r a i n : b a l l a d b i ~ r L c 2 Rhyme: abcb
Voices: s o l o on v e r s e s , t r i o on r e f r a i n s Reference: Laws E l
. , I
J e s s e Ja.?es was a l a d ~ ~ h d rob5ed many a man
He s t o p r e d t h z Glenda!-c3 t r a i n
Took fzon t2ie r i c h 2 . ~ ~ 3 h c gava t o the poor
He'd a h n q r t , a hand, 2nd a b r a i n . ,
R e f r a i n : J e s s e had a wife, t o mour? f o r h i s life
Thrcc c h i l d r c r t h e y : J X Z brave
Gut t h a t d i r t y l i t t l e coward, who s h o t M r . Howard Has la:-d p m r J e s s e i n h i s grave,
It was on a Wednesday n i g h t when t h e moon was s h i n i n ! b r i g h t He stopped t h e Glendale t r a i n
People t h e y d i d s a y f o r many miles away It was robbed by Frank and J e s s e James,
R e f r a i n ,
It was Robert Ford,, t h a t ' d i r t y l i t t l e coward I wonder how he f e e l s
For he a t e o f J e s s e ls bread and he s l e p t i n Jesse's bed And he l a i d poor J e s s e i n h i s grave.
R e f r a i n .
It was on a Saturday night, when J e s s e was a t home T a l k i n r t o h i s f a m i l y brave
Robert Ford came along l i k e a t h i e f i n the n i g h t And he l a i d poor J e s s e i n h i s grave.
Refrain..
11. John Hardy
- _ _ I _
Folkways FA 2433--11~olk Songs from the. Southern Mountainsll The L i l l y Brothers and Don Stover ,
C r e d i t : C a r t e r Family, V i c t o r
40190
Ref r a i n : Carol . Rhyme: abcb
Voices :
SOLO throughout
Reference: Laws I 2John H9rdy he was a desperate l i t L l e man He c a r r i e d twc) guns every day
.He 6ho-L a man bn t h e West V i r g i n i a l i n e
And you ought t o seen John Hardy. g e t t i n g away, Lord, Lord, You ought t o seen John Hardy g e t t i n g away.
John Hardy g o t down t o t h e East S t o n e bridge He t h o u g h t - th e r e he ~ u l d go f r e e
But up stepped a. man and took him by h i s arm Johnny walk; along with me, poor boy,
Johnny walk along with me.
They took John Hardy and t h e y locked him i n a c e l l They t r i e d t o go h i s b a i l
But money won't go a . murderer! s b a i l
So t h e y locked John Hardy back i n c e l l , Lord, Lord, They l o c k e d J o h n Hardy back i n c e l l .
John Hardy h e had a p r e t t y l i t t l e g i r l The d r e s s she 5:are was b l u e
She came a - s k i p p i n ' through t h e o l d j a i l h o u s e Saying, f l P o p p a , I ' v e been t r u e t o youl1 Lord, Lord, llPoppa,I f v e been t r u e t o you,r1
John Hardy he had a p r e t t y . l i t t l e g i r l The d r e s s she wore was r e d
She came a - s k i p p i n ' through t h e o l d j a i l h o u s e
S a y i n ! IfPoppa, I would r a t h e r be i!ead," Lord, Lord, - I1Poppa, I would r a t h e r be dsad,ll
I ' v e been t o t h e e e s t and I ' v e been t o t h e w e s t , I ' v e been a l l arouad t h i s w r l d
Been t o t h e r i v e r and I ' v e been b a p t i z e d And now
I'm
on my hrnging ground, Lord, Lord, Now I Tm on my hanging ground.1 2 . Knoxville G i r l Design S D L P - ~ ~ ~ - - H H ~ O t e n a n n y ~
John Duffy and t h e Country Gsntlemen C r e d i t : none given
R e f r a i n : none Rhyme: aabb
Voices: d u e t t h r o u g h o u t . R e f e r e n c e : Laws P
35
I met a l i t t l e g i r l i n ;in9xville, a town we a l l know w e l l And e v e r y Sunday e v e n i ~ g , o u t i n h e r h a l l I ' d d w e l l
We went t o t a k e an evenin; walk, about a m i l e from town
I p i c k e d a s t i c k up o f f t h e ground, and knocked t h a t f a i r g i r l down. She f e l l dotm on h e r bcnd3d knees, f o r rriercy she did- c r y
" 0 W i l l i e , d e a r , d o n ' t k i l l xz h e r e , I 'm unprepared t o die,lr She never spoke a n o t h e r word, I o n l y b e a t h e r more
U n t i l t h e ground around me, w i t h i n h e r blood d i d flow.
I took h e r by her. golden c u r l s , and drug h e r t round and 2 round
Throwing h e r i n t o t h e r i v e r , t h a t f l o h ~ s t h r o u g h K n o x v i l l e town
"Go down, go down, you Knoxville g i r l , w i t h t h e d a r k and t h e r o v i n g eye, Go down, go dorm, you kno:rville g i r l , you c o u l d n e v e r be my b r i d e .I1
I s t a r t e d back t o Knox-sille, g o t t h e r e about midnight My mother s h e x a s w o r r i e d , and woke up i n a f r i g h t
Saying I1Dear Son, wh2.t have you done, t o b l o o d y your c l o t h e s so?" I t o l d my amrious mother, I was b l e e d i n g a t t h e nose.
I c a l l e d f o r ne a c a n d l e t o l i g h t myself t o bed
I c a l l e d f o r me a handk?rchief t o b i n d my a c h i n l h e a d
R o l l e d and turrbled t h z TLiole n i g h t t h r o u g h , a s t r o u b l e s was f o r me,
They c z r r i e d me down t o Knc: v i l l e , and p u t Ke i n a j a i l
My
f r i e n d s a l l t r i e d t o g e t ne o c t , b u t noEe c o u l d go my b a i l ,I l m h e r e t o waste rny l i f e atray, to xi^ i n t h i s d i r t y o l d c e l l ,
Because I mu-derzd tl.la-5 Knoxville g i r l , t&e g i r l I l o v e d s o w e l l ,
13.
--
Ths 1 , i t t l c G i r l . -------
-- --
a2d thq Dre~~dfu!. ---.----. Sazks .-- Folkways FA 2 4 0 8 - - ~ ~ b l v - e g r ~ s s ~ ~Red A l l e n , Frank inTal;e f i e l d , and t!ie Kcl-:tucl:iar,s C r e d i t : B i l l Monrce
R e f r a i n : b a l l a d buden Voj c e s : t r i o thr01.1ghoui;
R h p ~ 2b:b p l u s some i n t e r n a l r h p e s 12eZer~'ilce: i 1 ~ ~ 2
Our d s r l i n g w a d e r e d f a r at:2y, ~ ~ i n r i l c z'n? t:as o u t 2 t p l a y
L o s t i n t h c woods, s h e c a u l d n l - t h e x - a cocn(-i
She was o u r d a r l i n g g i r l , t h e sw?c test, thin: i n a l l t h e m r l d We s e a r c h e d f o r h e r , bxt, ~ b . 3 ~ 0 1 ~ 1 C J i 1 f - t ; '32 f 0 ~ 1 l d n
R e f r a i n : I h e a r d t ' h e scream of 3 . 1 - i t t l e g,5-rl, f s r away, "Hurry, Dzddy, t l i e r e
'
s 2n z-wzul d r e a d f u l snake,"
I r a n a s f a c t ~ , 3 I C O U ~ C ; , tklYl2u,;!~ 5113 dark and wzar;. woods
But I reached o u r d s l i n g . g i r l tco lat?.
Oh,
I
began t o s i g h , I 'kmw t h t soon clield hnTrs t o d i e For t h e sn,.r.lte was -rT,o,yning n;3 c l o ~ e 17;.I h e l d h z r c l o s e t o . my f z c c , s;i- s5.2 I1Deddy, 1.511 t h a t snakc, I t i s g e t t i n g darlr, t e l l Ma: j- l g ~ o ~ y a '
R e f r a i n .
To a l l p a r e n t s I icust say, do??% 1zt ysur child'en s t r a y awey They need ;-ovr l o v e t o @id- them a,lonz
0 God, I p r a y w + l l sea our d t t r l l r g s o n ~ 2 cl2y
It seems I s t i l l c a n h72- h e r volce around o u r horn,
Refrain.
14.
L i t t l e GI-asr o f Wine A---.--
---S t a r d a y SLP 201--11The Nouatain Musi-c S o u ~ d o f t h z S t - n l e y Bros." The Lonesom3 Pine
fiddler:^
C r e d i t : nonz g i v e n
Ref r a i n : none
,
Rln:~.?
: abcbV o i c e s : d u e t throughout ~ , ~ f e r e n c e : ---- Kentuclcy F o l k l o r e Record
2 :2 (1956)
:59
I1Corne l i t t l e g i r l , l e t ' s 69 g e t m a r r i e d M My l o v - e r s s o g r e a t , how czn shc l i k e I%?
I1I111 work f o r you bb'th l a t e and e a r l y . A t my wedding my l i t t l e t L f e your11 b9.11
