Billy Muggins

AKA
First Published1906

Writer/composerCharles RidgewellRoudRN23307

Music Hall PerformersCharles R Whittle
Folk performancesCollected from the singing of:
Smith, Bill ; England : Shropshire ; 1979
Jones, Frank ; England : West Midlands ; 1984
Modern performances
Chas N Dave
BILLY MUGGINS
Written and composed by Charles Ridgwell - 1906
Performed by Charles R. Whittle (1874-1947)
 
My name is Billy Muggins, but for that I'm not to blame
Some people say that I am just as silly as my name
I'm working at a factory, my work mates never mix with me
Each night they all go in the pub, while I go home and have some grub.

I'm Billy Muggins - commonly known as a Juggins
Silly Billy, that's what my friends call me
I'm quite content with my own little lot
I mean to stick to the money I've got
I'm Muggins the Juggins, and Muggins I'll always be...

I had an invitation from some friends the other day
They'd got a big card party on, so I went there to play
When I arrived 'twas plain to see, a fool, they thought, they'd got in me
But when I'd finished playing there, I'd won ten pounds I do declare.

I'm Billy Muggins - commonly known as a Juggins
Silly Billy, that's what my friends call me
When I had got their ten sov'reigns all right
Why did I get up and bid them good night?
I'm Muggins the Juggins, and Muggins I'll always be...

My brother lost a breach of promise case, and had to pay
The nice love-letters he wrote to the girl gave him away
I courted once that self-same Miss, she might have breach of promised this
Although I said she should be mine, to her I never wrote a line.

I'm Billy Muggins - commonly known as a Juggins
Silly Billy, that's what my friends call me
When she said love-letters gave her delight
Why did I tell her I could not write?
I'm Muggins the Juggins, and Muggins I'll always be...

I never stay out late at night, I never want to roam
My landlady is good to me, so Muggins stops at home
My landlord thinks it only right for him to stop out late at night
Why does he leave a chap like me to keep his missus company?

I'm Billy Muggins - commonly known as a Juggins
Silly Billy, that's what my friends call me
Why does my landlady call me a 'dear'
Treat me to 'smokes' and to bottles of beer?
I'm Muggins the Juggins, and Muggins I'll always be.
 

A song written and composed by  Charles Ridgwell, performed on the Music Hall stage by Charles R Whittle. The surname “Muggins” has been in use in comic settings since the late 18th century to indicate a foolish person, early examples include Matt Muggins the Excise Man in the play Tony Lumpkin in Town (1774) and Miss Margery Muggins in the song of the same name in The Agreeable Songster (1794).

The song was popular with troops in the First World War and was widely sung by Australian, Canadian and British servicemen.

An early 20th century recording:

A late 20th-century recording by Chas n Dave:

Sources:

Baby’s got a tooth (EH Jones)

AKAThe Baby’s got a tooth
Oh George
First Published1878

Writer/composerJE TooleRoudRN5260

Music Hall PerformersSam Torr
Folk performancesCollected from the singing of:
Devlin, Jennie : USA ; Massachusetts : 1936
Unknown singer : England : Gloucestershire ; 1974
Baby's got a tooth
Written By J.F. Mitchell. Music By E.H. Jones.
[Early UK / US  Version from sheet music published by Oliver Ditson, 451 Washington St, New York, undated, the Levy Collection]

The sun will soon refuse to shine, we're going to lose the moon
There will be a great catastrophe, twill happen very soon,
The age of wonders has revived,
Old age will turn to youth,
And you agree that I am right when you have heard the truth…

Spoken:	The other morning I was suddenly awakened by a violent nudge from the partner of my joys,who cried "Oh, George, George dear, George you brute, put your finger in the baby's dear little mouth"....I did, and found a tooth.

George dear, George dear, would you guess the truth... 
George dear, the baby dear, bless the little youth...
Do get up and light the fire; 
Turn the gas a little higher; 
Run and tell my Aunt Maria
Baby's got a tooth.
[twice]

Now since that wonderful event the house both day and night, 
Is crowded with mamma's who come to wonder at the sight
Of baby's wond'rous primal tooth, to dance it on their knees, 
And hum their approbation like a hive' of busy bees.

Spoken: Yes,they are all busy, some are busy eating, some are busy drinking, and all are busy singing...

My wife will get up a party in honour of the day,
I dare not utter one protest, but must the piper pay;
The house from top to bottom looks as if 'twere wreck'd with bombs.
Because the kid has push'd a bit of ivory thro' his gums.

She says I am a nasty brute without an ounce of sense, 
That I think not of the honour but only the expense;
But if I must speak the honest truth before you all to-night, 
I wish the kid had kept his masticator out of sight.



Baby's got a Tooth.
[UK version c1890, from The Funniest Song Book in the World]
By kind permission of Howard & Co., 25, Great Marlborough Street, London.

WELL there, I'm so delighted, I don't know what to do,
I feel so awfully proud; now tell me wouldn't you?
I'm married just a twelvemonth,
And, to my heartfelt joy, 
Our union has been blessed
With a bouncing little boy.

Georgey, Georgey, can you guess the truth? 
Georgey, Georgey, bless the little youth!
Do get up and light the fire; 
Turn the gas a little higher; 
Go and tell your Aunt Maria
Baby's got a tooth.

Now, maybe, you would not believe how happy I did feel; 
The day I lost my mother-in-law, of course I did not squeal, 
My mind was occupied that day
With only one idea-
Twas baby's got a tooth, oh, Lor'!
The precious little dear.

I let him bite my fingers; I let him bite my thumbs;
I let him do whatever he likes—oh, bless his little gums! 
The day twas born, I ne'er forget—
It was something after this ;
Our baby's got a tooth, oh, Lor'!
Excuse a father's bliss.


BABY'S GOT A TOOTH
Copyright, 1881, by J. W, Pepper. All rights reserved.
[a US version of the Mitchell/Jones song]

I'm the father of a bouncing boy,
He looks just like his pa;
He's the picture of his mammy,
And the image of his dada.
He was eight months old the other day-
He is a noble youth;
We have been almost crazy since
He got his first front tooth.

George, dear, George, dear, can't you guess the truth?
George, dear, George, dear, bless the little youth;
Do get up and light the fire, turn the gas a little higher
Go and tell your Aunt Maria baby's got a tooth.

I went home late the other night,
And soon was sound asleep,
When suddenly I was awoke
By sounds that made me weep;
My wife she grabbed me by the arm,
And says, get up you brute.
The pride and joy of-all of us
Has got a nice front tooth.- Chorus.

Now married men take my advice:
When first you do get wed,
Don't ever try to go to sleep,
Dont ever go to bed;
But to save yourself from trouble of
The darling little pet,
Don't wait until it gets a tooth-
Buy it a nice false set.-Chorus.

At least two different songs called Baby’s got a Tooth were performed in the UK and the USA in the last quarter of the 19th century. Both were published as official sheet music and in songsters and on broadsides. A song called Baby’s got a tooth was published in New York in 1875 with words and music credited to Rollin Howard. That song, which is sung to a different melody and at least initially appears to have had completely different lyrics, is discussed on another page.

This song, given in three variants above, was also called Baby’s got a Tooth. It was a big hit in the Music Halls of late 187os for comic singer Sam Torr. Outside London it was performed by by EH Jones who was credited with composing the music – it was relatively common for one artist to hold the performing rights for London, whilst another held it for the “provinces”. The words were credited to JF Mitchell. After establishing the song as a hit, in 1877 Torr sold publishing rights to music publisher H Davison, apparently with the agreement of Jones and Mitchell.

This song was also sung in the halls by George Lewis (aka ‘Jolly Little’ Lewis ) and it became the subject of a brief but bitter ownership dispute in the pages of The Era and other publications. The dispute was settled, apparently without going to court, when Lewis eventually gave a fulsome apology :

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London and Provincial Entr’acte, 29 Sept 1877

For those interested I have included a number of cuttings which summarise the dispute in the Appendix below.

In both the UK and the USA in the 1880s and 1890s, the song became associated with black face minstrel singers, appearing, for instance, in the repertoire Haverley’s Minstrels. The chorus remained more or less the same as the one that Mitchell/Jones wrote, but the verses tended to vary, sometimes including ones apparently borrowed from Howard’s earlier song – for example, see the lyrics printed in Cole’s Funniest Song Book in the World (c1890) given above. These variants on the Mitchell/Jones original sometimes credited other composers/lyricists, as for example in the version credited to JW Pepper above.

Traditional singer Jennie Devlin recited the chorus of the Mitchell/Jones for collectors Catherine Newman and Alan Lomax in the late 1930s. In 1974 an unknown singer from Gloucestershire sang what appears to be a song derived from the Mitchell/Jones song for collector Kay Davies

Sources:

Appendix: Dispute over rights to perform Babies got a Tooth:

The Era, 19 Aug 1877

The Era, 19 Aug 1877
The Era, 26 Aug 1877,
The Era, 09 Sept 1877
The Era, 07 Oct 1877
London and Provincial Entr’acte, 29 Sept 1877

settled out of court

Baby’s got a tooth (Rollin Howard)

AKA
First Published1875

Writer/composerRollin HowardRoudRNtbc

Music Hall PerformersRollin Howard
Folk performancesCollected from the singing of:

Modern performances
Baby's Got a Tooth!
COMIC SONG FOR LADY OR GENTLEMAN
WORDS and MUSIC by Rollin Howard.

Well there, I'm so delighted,
I don't know what to do, 
I feel so awful proud, boys,
Now tell me wouldn't you? 
When married but a twelvemonth,
Yes, to my heart-felt joy, 
Our union it was blest —
With a bouncing little boy.

Spoken: I was delighted at hearing one day:

Da-da! (Ma-ma!) come see! well I declare !
Baby's got a tooth, did you ever! well there!
Tra-la! I'll strike you, pray share my joy¬
What is more delightful than a first tooth in one's boy?

Yes I was sitting smoking (sewing)
Was reading "Tweed" had gone;
Wondered if he'd met Genet,
If Connor felt forlorn
When to my great surprise a shout 
Rang shrilly in my ear – 
Our baby's got a tooth da-da! (ma-ma!), 
Come kiss the little dear

Spoken: Who could resist it? Kiss it! Of course I did, over and over again! Nurse says it's the picture of its dada (mama) of course it is! Well, it's no use talking, all I can think of is: 
Chorus

Now may be you will not believe 
How happy I did feel,
That day I (dear) lost some thousands, 
But then I didn't squeal;
My mind was occupied that day 
With only one idea— 
"Twas Baby's got a tooth, oh! joy 
The precious little dear!"

Spoken: It's true I had to walk the door with it half the night, and heat the Paregoric over the gas, and nearly froze; but then imagine a father's (mother's) joy as he (she) thought of....    
Chorus.

I'd let it bite my finger,
And then 'twould chew my thumb; 
It seemed to please it, really
With joy I was quite dumb.
The day 'twits born, I felt o glad-
"Twas nothing unto this!
Our Baby's got a tooth, I know,
Excuse a father's (mother's) bliss.

Spoken why, really I had to avoid all my intimate acquaintances that day; for I felt so happy that I'd have given my last cent away, I actually believe. Why Arminta Flapjack came in with tears in her eyes and said: "have you heard the news?" "Why, of course! our baby's get a tooth." "Oh no!" she cried, with an additional burst of grief,"My mother is dead!" Well then, you can imagine my ecstasy, when I could not see her grief without being told. I said "My dear, I sympathize with your grief, but I'm so overjoyed,: for, this morning dada (mama) said ...
Chorus.

S493393, B316357

At least two different songs called Baby’s got a Tooth were circulating in the last quarter of the 19th century.This song,with its first line: Well there, I’m so delighted, is credited to US burlesque artist Rollin Howard and was published in New York in 1875. Both the lyrics and tune published in the sheet music are quite different from the song Baby’s got a Tooth, usually credited to EH Jones, that is discussed on another page, here.

In addition to the Blume Sheet music Howard’s song was also published in the following American song books (the lyrics in each case are identical):

  • c1876, Henry de Marsans Singers Journal No 124, p189
  • c1876, Jeremy Jollyboy : songster
  • c1878, Beadle’s Half Dime Singer’s Library, no. 10

Rollin Howard (c1840- 1879) was the stage name of Ebenezer GB Holder, a white American performer who spent five years of his professional life as a legitimate actor before becoming a blackface minstrel in 1860, appearing with several American minstrel companies throughout the 1860s. He left minstrelsy for the variety stage in 1870, briefly becoming a theatre manager before his death in 1879. During his time as a minstrel he specialised in female impersonation. He was also credited as a songwriter and musical arranger of a number of well-known minstrel songs.

Sources:

Hard working snob, The

AKA
First Published1871

Writer/composerHJ Whymark / Alfred LeeRoudRN22072

Music Hall PerformersHJ Whymark
Folk performancesCollected from the singing of:
unknown singer, England : Wiltshire ; 1914-16
The hard working snob
Written by HJ Whymark, composed by Alfred Lee

My name's Jemmy Raynor and I'm a cordwainer
Or, speaking much plainer, by trade I'm a snob
And there's no bootmaker as is more awaker
Of that I will stake a half-a-crown to a Bob 
I stick to my tether in rough or smooth weather, 
And knocks boots together as quick as can be; 
At round toes or square toes
For plump or for spare toes, 
As fashion may wear toes, there's none to beat me.

With my balls of wax, lasting tacks, soles, heels and fronts and backs, Sixpence I charge for a four-penny job, 
With my rap away, slap away, rap tap tap away,
Pleasant's the life of a hard working snob.

When weather is melting, I'm into it pelting,
A stiching, or welting, or pegging away ;
Unless it's that one day that comes after Sunday,
Well-known as "Snob's Monday," when I make a day; 
I keep up the charter, but then the day arter,
I'm quickly a starter, once more at my work ;
And when I begin it, I sing like a linnet,
And not for one minute my stiching I shirk.

Old men who go hobbling oft bring me their cobbling, 
But set to a-squabbling when I make a charge;
It makes me feel outish, for they, being stoutish, 
Have for their feet goutish, boots as big as a barge;
Some folks have big bunions, like small Spanish onions,
Their feet are such funny uns, as ugly as sin; 
To them I'm a treasure, so well I them measure,
They wear them with pleasure, and part with their tin.
 
At boots called Oxonians, also Wellingtonians, 
And likewise Napoleons, like lightning I'm quick;
A dabster at dubbin', which briskly I rub in,
At what will bring grub in, I work like a brick.
Tho' there are snobs many, who're not worth a penny, 
Can't tell difference any 'twixt awl, last, and haft ,
I work like old bellows, I'm one of those fellows, 
Who never get jealous with those of my craft.


["Snob" was originally a dialect term for cobbler before it became associated with its modern meaning.]

HJ (James) Whymark was an actor, comic and songwriter active in the Halls of the 1860s and 70s. He wrote a number of songs for George Leybourne and Fred French and was involved in an early copyright litigation abut the origins of the song Jolly Dogs: Slap Bang Hear we are again. I have not been able to find any documentary evidence of him singing this particular song on the stage, but it is reasonable to suppose that he did sing it at some point. There are numerous reports of amateur performances, the earliest of which seems to be in March 1871 at a Penny Reading in Tweedmouth (Berwick Advertiser, 10 Mar 1871)

Alfred Williams collected the song from an unknown singer in or around Wiltshire in the early 20th century.

Sources:

Won’t Go!

AKAFather got a job
First Published1925

Writer/composerHarry Castling / JA TunbridgeRoudRN13703

Music Hall PerformersSW Wyndham
Folk performancesCollected from the singing of:
Palmer, Freda ; England : Oxfordshire ; 1978
From Feldman's Sheet Music (personal copy)

WON'T GO
Words by Harry Castling. Music by JA Tunbridge.

A year ago our homestead was busy as a hive, 
Everybody was alive, 
And went off to work at five; 
But now nobody seems to want to earn their daily bread, 
And when it's time to go work 
They all go up to bed. 

Father's got a job and he won't go, 
Maria won't go, and the fire won't go; 
On our divan, he came there in a van, 
Is a six-foot broker's man, and he won't go. 
The hens won't lay, the cocks won't crow, 
The lodger in the attic and the clock won't go; 
And mother's got a pimple on the tip her nose, 
Oh, Jerusalem, and that won't go.

The only one who tries now is our little servant Jane 
She gets up in a hail or rain. 
Then goes back to bed again; 
Our yellow Persian cat he used to wander miles and miles 
But he's too lazy now to go 
Gamboling on the tiles

To mention work to father now, he says it makes him ill, 
Its the same with uncle Will, 
Down his spine it sends a chill; 
Once Ma was so industrious and round the house she'd buzz, 
But poulticing the pimples now is
The only work she does!

Won’t Go! was a hit in the Halls of 1925 for former blackface minstrel SW Wyndham.

The song was published by Feldman’s, who advertised it as a follow up to Turned Up, an earlier song also co-authored by Harry Castling. Feldman’s also promoted it for use in the coming pantomime season (1925/26).

It featured in the repertoire of Freda Palmer of Leafield who learnt many of her songs whilst working as a child glove-maker.(She remembered the chorus)

Freda Palmer sings the chorus (downloaded from VWML)

Sources:

Father’s got a job

AKA
First Published1910

Writer/composerJean HavezRoudRNV7454

Music Hall PerformersMaidie Scott, Frank Seeley
Folk performancesCollected from the singing of:
none
From monologues.co.uk at The Wayback Machine
Father's got a job

The chord of discontent once sounded in our domicile
And on the family physog you scarce could see a smile
Because a nasty rumour went around with such a vim
It was that Father would not work, and everybody worked but him
When Father heard the rumour, how bitterly he swore
He'd sit beside the fire for hours, and cuss and sleep and snore
His friends came to his rescue, and it made his poor heart throb
Before he could defend himself, they got poor Dad a job.

Mother's delighted, sister is glad
Everybody's happy now but poor old Dad
He's got a job of work at last. It's time that he began
He cannot shirk, he's got to work, has our old man.

Our friends and neighbours sympathise with poor old Father so
They formed a Willing Worker's Club to keep him on the go
Poor Dad got sick and would not take the pills Ma bought so cheap
Because he saw upon the box 'We work while you're asleep'
The butcher and the baker, and everyone Dad owed
All joined the Club to find Dad jobs, such loyalty they showed
They set him sweeping out a bank. He worked on such a scale
He swept the safe, as well as floor, so now Dad works in jail.

The Willing Worker's Club worked hard to keep poor dad in jail
But there they worked the old man so, that he grew thin and pale
His friends they found a home for him where he'd grow good and strong
That he might live to fill the job they'd hunted up for him so long
The place, which they had found, was called the home for working men
When Father saw the name, he said 'That's back to jail again'
One Sunday Father went to church. This hymn the preacher read
'Work for the night is coming on' and poor old Dad dropped dead.

This is not the song that was collected by Steve Roud from the singing of Freda Palmer – so far as I know it has not entered the repertoire of traditional singers.

A sequel to Everybody works but father, which itself was derived from an earlier song, We all go to work but father. The sequel was written and composed by the American songwriter Jean Havez and sung in the British Halls both by Frank Seeley and Maidie Scott whose brief biography appears below.

In 1891 Paul Pelham also sang a song called Father got a job, almost certainly a different song.

File:Maidie Scott.jpg

Maidie Scott (1881-1865) was born in Ireland, but moved to Manchester as a child. She was a comic, singer and dancer who seems to have first appeared on stage in 1902, working in provincial theatres and pantomimes until her London debut in 1906. She toured the States in 1908 . She was described as a graceful and ingenious comedian with a quietly effective style and seemed to specialise in tragicomic songs like Father Got the Sack from the Waterworks. Sam Beale, in her excellent book on the legacy of music hall women describes Scott as transgressive in that many of her comic songs rejected the traditional female role, quoting in particular the song If the wind had only blown the other way. The chorus of that song is:

If the wind had only blown the other way,
I might have been a single girl today,
Instead of putting carbolic,
Into kids who’ve got the colic,
If the wind had only blown the other way
.

A 1912 recording of Fathers got a job by Maidie Scott:

Sources:

My wedding day: Half past nine

AKAHalf past nine
My wedding day
Next Monday morning is my wedding day
First Published1921

Writer/composerCharles CollinsRoudRN30005

Music Hall PerformersNellie Wallace
Folk performancesCollected from the singing of:
Lane, Ernie ; England : Gloucestershire : 1993
From monologues.co.uk via the Internet Archive:

I'm longing for next Monday 'cos I'm going to tie the knot
With little Georgie Puddingy-Pie, a nice young man I've got
And when the parson says the word that makes two into one
I want you all to just come round and join us in the fun.

For next Monday morning is my wedding day
When the Supper's over if the company wants to stay
Me and my Georgie we shall decline
We're going to blow the candles out at half past nine.

Now when we get back from the church, and the friends have all been in
And wished us joy and happiness in little drops of gin - hic - Oh dear
We want to both be on our own, I think it's only fair
You may be sure that we don't want a lot of people there.

Now after we've had supper, I shall soon shut up the show
I will cut them all a slice of cake, and tell 'em all to go
And when I take the Vee of orange blossoms off me head
I shall tell them all it's time that we, were fast asleep in bed.

A song from the 1920s with words and music by Charles Collins., performed by Nellie Wallace whose brief biography appears below. It featured in the repertoire of Ernie Lane, a traditional singer from Gloucestershire. Not to be confused with Half past nine, a hit in the early 1890s …

Nellie Wallace sings Half-past nine, from archive.com

Nellie Wallace (1870-1948) was often described as “the greatest grotesque comedienne of the halls”. She was born to a family of Music Hall performers and toured with her sisters as a child entertainer in the 1880s. As an adult she played in “provincial” halls for many years without enjoying any great success. Eventually the years of hard slog paid off and she enjoyed great success after her London debut in 1903. Wallace used make-up and costume to exaggerate her “grotesque” appearance and she drew comedy from self-deprecating material in which she could not understand her inability to “attract a man”. She collapsed and died in 1948 after singing A boy’s best friend is his mother at the London Palladium. Her curtain speech gives a taste of her risque humour:

A man may kiss a maid goodbye,
The sun may kiss a butterfly,
The morning dew may kiss the grass,
And you my friends… farewell.

Sources:

Boy’s best friend is his mother, A

AKA
First Published1883

Writer/composerHenry Miller / JP SkellyRoudRN1756

Music Hall PerformersBohee Brothers, J Fuller, Harry Hunter, Will Raymond, Nellie Wallace
Folk performancesCollected from the singing of:
Deacon, Gertrude; USA; 1893
T., J.; USA : New York : 1897
Jones, Leonard W.; USA : California : 1939
Weddle, Mrs. Susan; USA : N. Carolina : 1939
Woods, Mrs. Jessie USA : Arkansas : 1959
Scarce, Bob; England : Suffolk : 1964-5
Master, Mac; Canada : Newfoundland : 1969
Hancock, George; England : Yorkshire : 1970
McGrath, John; Canada : Newfoundland : 1972
Beeforth, Jack; England : Yorkshire : 1974
Bridger, Charlie; England : Kent : 1983
Huntington, Gale / Welcome Tilton; USA : Massachusetts : no date
From US Sheet Music
A Boy's Best  Friend is his Mother
Words by Harry Miller, Music by JP Skelly


While plodding on our way, the toilsome road of life,
How few the friends that daily there we meet!
Not many will stand by in trouble and in strife,
With counsel and affection ever sweet!
But there is one whose smile will ever on us beam,
Whose love is dearer far than any other,
And wherever we may turn,
This lesson we will learn:
A boy's best friend is his mother.

Then cherish her with care,
And smooth her silv'ry hair.
When gone, you will never get another;
And wherever we may turn,
This lesson we shall learn:
A boy's best friend is his mother.

Tho' all the world may frown and ev'ry friend depart,
She never will forsake us in our need!
Our refuge evermore is still within her heart.
For us her loving sympathy will plead!
Her pure and gentle smile, forever cheers our way.
'Tis sweeter and 'tis purer than all other!
When she goes from earth away,
We'll find out while we stray,
A boy's best friend is his mother.

Her fond and gentle face not long may greet us here;
Then cheer her with our kindness and our love!
Remember at her knee in childhood bright and dear,
We heard her voice like angel's from above!
Tho' after years may bring their gladness or their woe,
Her love is sweeter far than any other!
And our longing heart will learn,
Wherever we may turn,
A boy's best friend is his mother.

A sentimental American song from the early 1880s, first sung by black-face minstrels on both sides of the Atlantic, it later became part of the repertoire of the Music Hall comedian Nellie Wallace. It has entered the repertoire of traditional singers in both America and the British Isles.

I suspect there may be several similar sentimental songs which on occasion have got mixed up with this one. Nonetheless if you come across a song called A boys best friend is his mother it’s likely to be this one. Joseph P Kelly – its composer, reputedly wrote hundreds of songs, but sold them for a pittance to fund a dissipated lifestyle. I have found out little about the lyricist Harry Miller, other than the fact that a black-face performer of that name appeared with a number of touring minstrel troupes and was still performing in 1914.

At least one other American song was published with the same or a similar name in the 1880s – credited either to Frank Mills or Ben Williams, its first line was I’ve been thinking, of late, of the time that’s passed away (RNV38845)

Another song from Nellie Wallace which has entered the repertoire of traditional singers is Half Past Nine

An American version from 1925:

Sources:

Rose in a garden of weeds, A

AKAJust a rose in a garden of weeds
First Published1925

Writer/composerR.B. Saxe & Reed StampaRoudRN13303

Music Hall Performers
Folk performancesCollected from the singing of:
Poacher, Cyril; England: Suffolk; 1974
From Sheet Music published by Worton David Ltd
A Rose in a Garden of Weeds
by R.B. Saxe & Reed Stampa

Down in the devil's own garden,
‘Midst all the weeds on the ground,
‘Twas there in the gloom, 
I found a sweet bloom,
That was shedding it's perfume all around.

Just a rose in a garden of weeds, 
No-one knows why they planted you there,
Although you're alone, 
How sweet you have grown,
With no-one to tend you or care.
Never mind little rose, never mind,
Though you're lonely and nobody heeds,
When the night sheds its dew, 
It's a tear shed for you,
Just a rose in a garden of weeds.

Sleep little rose till tomorrow. 
Though night seems dreary to you
When the day brings the dawn
You'll wake with the morn
To find a new sun smiling through.


A ballad written in the mid-1920s, later sung by Vera Lynn and many others. I wouldn’t really classify it as a music hall song – it was first marketed as a song to be sung in the pantomimes in the 1925/26 season, described “an ideal Fairy Queen song”.It was later arranged for dance bands as a waltz.

It featured in the repertoire of Cyril Poacher, one of the famed traditional pub singers of Suffolk. He was recorded singing it in 1974 at The Ship Inn in Blaxhall

Cyril Poacher sings it, downloaded from VWML

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She stood behind the parlour door

This song reflects racist, misogynist and/or colonial ideas that were commonplace at the time it was first written and performed but are no longer acceptable today

AKAShe stood behind the parlor door
First Published1888

Writer/composerSam Potter and Walter HastingsRoudRN22882

Music Hall PerformersHarry Freeman
Folk performancesCollected from the singing of:
Beeforth, Jack; England : Yorkshire : 1974
Springhall, Mr.. England : Oxfordshire : 1967
A certain girl once courted me called Mary Ann Maloney
Who simply talked of nothing else but love and matrimony
And tho' I often told her that to marry would not suit me
She swore unless I named the day, she'd have revenge and shoot me.

She stood behind the parlour door, then began to lock it
Glared at me. looked at the key, and placed it in her pocket
Held a pistol near my nose, gave a tiny snigger
And swore unless I married her that she would pull the trigger.*

While she stood there arms in hand, I pictured my poor mother
And thought with grief the many times I'd whacked my little brother
I closed my eyes, sank on my knees, Oh, how I craved for pardon
Expecting every moment to be blown into the garden.

'Marry me,' said she, 'Or else this weapon I will use it.'
I said, 'My dear, if that's your love, I really must refuse it
Fire away whene'er you like,' but lor, how I did shiver
Said she, 'Consent or in a trice, I'll pop it through your liver!'

I rushed and seized her tiny hand, but all my strength was needed
I tried to grasp the weapon, and at last I just succeeded
And oh, the joy I felt to think, the thing had not exploded
But when I came to look, I found the darn'd thing wasn't loaded.

* Coles Funniest Song Book in the world (c1890) has:
Held a pistol near my nose, and jumped just like a nigger
And swore unless I married her that she would pull the trigger.

A song first performed by the comedian Harry Freeman (whose brief biography appears below) in 1888 in London:

London and Provincial Entr’acte – Saturday 17 March 1888

In versions of the song published in the late 19th century the chorus featured a word which we now would consider racist (see note above in the lyrics).

The song has been collected from two traditional singers based in Yorkshire and Oxfordshire: Jack Beeforth (collected by David Hillery) and Mr Springhall (collected by Bill Crumley).

Harry Freeman (1858-1922) was a highly successful comedian and songwriter, first performing in Walsall in the English Midlands in 1877, debuting in London in 1881. He regularly appeared in the Birmingham Halls and often appeared in pantomime there. His hit songs, like Can’t Stop and They’re After Me were extremely popular at the time, but are no longer well-known today. He was still performing at the time of his death in 1922. Freeman was a founding member of The Grand Order of Water Rats and the first “King Rat”. The Order was founded by a group of friends from the Halls who gambled on horses, using their winnings to support fellow artistes suffering hard times. The Order evolved into a formal charitable organisation which still exists today.

As yet I have been unable to source any available recordings of the song.

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