For old times sake

AKAFor old time’s sake, don’t let our enmity live
First Publishedc1899

Writer/composerCharles OsborneRoudRN15476

Music Hall PerformersMillie Lindon
Folk performancesCollected from the singing of:
Rowe, Cliff; England : Somerset; 1984
Withers, George; England : Somerset; 1995
Down in a lane two men had quarrelled
Over a girl whom they both admired
Brothers in name but foes in feeling
Passion, alas, their hearts had fired
One said “You traitor, you stole her from me
Hence-forth a stranger to England I'll be”
”If we must part” said the other with pain
“Don't part like this, we may ne'er meet again

For old time's sake, don't let our enmity live
For old time's sake, say you'll forget and forgive
Life's too short to quarrel, hearts too precious to break
Shake hands and let us be friends, for old times' sake

Anger prevailed, as foes they parted
Parted as brothers have often done
Jack sailed away to drown his sorrow
And left Tom at home with the bride he'd won
Twelve months after, and then he was left
Left with a babe of its Mother bereft
How like she grew to her, when he revealed
The cause of the quarrel, and how he appealed

Time rolled away, then the brothers one day
Met face to face, and then turned away
But the little peacemaker, their rough hands she grasped
And whispered so softly as their fingers she clasped
“In her sainted name, who looks down from above
My own angel mother you both used to love"

In the late 1890s and early 190os this sentimental number was Millie Lindon’s most popular song – her brief biography is given below. The song was written for her by Charles Osborne.

A song collected twice by Bob and Jacqueline Patten and available on the British Library site: from the singing of Cliff Rowe in 1984 and from George Withers in 1995.

Not to be confused with an old-time/traditional American song of the same name: For old times sake, written and composed by Charles K Harris in 1900 (first line: “You ask me why upon my breast I wear this photograph”). This song was collected by Sidney Cowell from the singing of Californian singer Sam Blackburn in 1939.

Millie Lindon (1869-1940 ) was the stage name of Fanny Elizabeth Warriss, the daughter of a tailor whose Music Hall career lasted less than a decade. During her years in the halls she had a relatively short marriage to the comedian TE Dunville. She left her career in the Halls to marry the wealthy newspaper owner Sir Edward Holton, followed by later marriages to a wealthy British Major General and a Baron from Czechoslovakia. She appears to have been the archetypal beautiful Music Hall star who used her career to move “up in society”!

Sources:

My wife’s gone to the country

First Published1909

Writer/composerGeorge Whiting and Irving Berlin / Ted Snyder.RoudRN29794

Music Hall PerformersPhil Parsons
Folk performancesCollected from the singing of:
Bentall, Brenda; England; 1970
When Missus Brown told hubby, "I just can't stand the heat
Please send me to the country, dear, I know 'twould be a treat"
Next day his wife and fam'ly were seated on a train
And when the train had started, Brownie shouted this refrain:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need a rest, that's why she went away
She took the children with her, hurrah, hurrah!
I don't care what becomes of me, my wife's gone away

He kept the 'phone a-going, told ev'ryone he knew
"It's Mister Brown, come on downtown, I have some news for you"
He told a friend reporter just why he felt so gay
Next day an advertisement in the papers read this way:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need a rest, that's why she went away
She took the children with her, hurrah, hurrah!
I don't care what becomes of me, my wife's gone away

He sang his joyful story into a phonograph
He made a dozen records and I say it was to laugh
For when his friends had vanished and Brown was all alone
His neighbors heard the same old tune on Brownie's graphophone

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
Like Eva Tanguay, I don't care, my wife's gone away

He went into the parlor and tore down from the wall
A sign that read "God Bless Our Home" and threw it in the hall
Another sign he painted and hung it up instead
Next day the servant nearly fainted when these words she read:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
Now I'm with you if you're with me, my wife's gone away

He called on pretty Molly, a girl he used to know
The servant said "She left the house about an hour ago
But if you leave your name, sir, or write a little note
I'll give it to her when she comes" and this is what he wrote:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
I love my wife, but oh! you kid, my wife's gone away

He went and bought a parrot, a very clever bird
The kind that always would repeat most anything she heard
So when his voice grew husky and Brownie couldn't talk
While he'd be taking cough-drops, he would have the parrot squawk:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
I knew my book, she left the cook, my wife's gone away

American composer Irving Berlin’s first big hit, written when he was 21 years old. In the early 20th century many of the most popular songs sung in the vaudeville theatres of America crossed over and were performed in the British Music Halls. In Britain it featured in the repertoire of the British singer Phil Parsons, but it was widely sung and recorded..

In 1970 a fragment of the chorus was collected from the singing of Brenda Bentall by Roy Palmer; her version can be found on the British library website

A contemporary recording:

Sources:

Manx Cat, The

First Published1913

Writer/composerWorton David and George ArthursRoudRN27911

Music Hall PerformersWilkie Bard
Folk performancesFound in the notebook of Harry Cox
When people go to the Isle of Man,
They must sing an Isle of Man song,
At least so I've heard; so I thought I'd look out,
And find a new subject to write one about.
This morning, I saw a Manx Cat on a wall:
I thought to myself "This'll do!"
So I wrote a chorus about a Manx cat,
And I mean to try to you

Manx Cat, Manx Cat,
Why have you got no tail?
You seem all wrong,
With nothing behind you to steer you along.
Manx Cat. Manx Cat.
Something you seem to lack
Without your tail, we really can't tell
If you're going or coming back!

There's something sad about poor Manx Cats
They've got to be like that for life,
We've all seen false hair and false teeth up for sale,
But no one has invented as yet a false tail
You've heard of the Manx man of course with three legs
I don't know if that's only bluff,
But still it's not fair to give Manx men to much,
While Manx Cats have not got enough!

A song copied out by hand into the notebook of the Harry Cox, one of the most widely respected English traditional singers. It may or may not be significant that it is the first song on page 1 of his first manuscript song book… It seems reasonable to assume that it may have appeared in his repertoire at some point but I’ve not able to find any evidence of him singing this song. The words written out in the manuscript are exactly the same as those in the Weekly Dispatch so it is very likely to have been copied out from a printed source.

From the 1870s the availability of steam ships from Liverpool made The Isle of Man a favourite holiday destination for the working classes of Northern England:

The Isle of Man is but little known to the higher classes of holiday-makers, though it is annually visited by many thousands of strangers. Those who flock thither are almost all persons of the lower middle class, and operatives from the thickly-populated towns of Lancashire and Yorkshire. They make but a short stay, they ramble over the island, and their loud provincial tones are heard in boisterous merriment. …. You see the best of the working class of the North away from their factories and workshops, and though your taste may be oftentimes offended at rude jokes and noisy merriment, yet they are essentially an independent and hard-working class, even in their amusements. 

The Spectator (London), December 1880

A series of music halls and theatres were built to entertain the holiday makers and many stars of the Halls would spend time every Summer appearing there. The popularity of these holidays was reflected in the repertoire of Music Hall artists with songs like this one, others include:

  • Has anyone here seen Kelly ? (Florrie Forde)
  • What happened to the Manx Cat’s tail? (Florrie Forde)
  • Flanagan (Florrie Forde)
  • They can’t find Kelly (Billy Merson)
  • I’m the man that buried Flanagan (Billy Williams)
  • I met Mary Ellen at the Isle of Man (Ella Retford)

Sources:

Follow the sergeant

First Published1915

Writer/composerAJ Mills, Fred Godfrey and Bennett ScottRoudRN25965

Music Hall PerformersEsta Stella
Folk performancesCollected from the singing of:
Hall, Mabs; England : Sussex; 1989
Sergeant Brown came up to town, with several new recruits;
They one and all were pals.These territorials,
"I learned some tricks in India" said he, "You bet that's true!
And I also learnt some wrinkles, at Aldershot too
I know a place where the girls are simply fine;
So if you want a barrel of fun, now just fall into line

Follow the sergeant, follow the sergeant!
I've been there before many a time.
Eyes right! Lots of fun in store.
Eyes left! As you were before!
When you're in khaki, merry and larky,
You're a military man in all your prime.
Who is it gets you into trouble and gets you out again?
Why the good old sergeant, ev'ry time!

What a noise when all the boys got to a music hall
To see a smart revue, The beauty chorus too.
A girl sang: "I should like to kiss a soldier boy tonight!"
And the sergeant said, "Lads this is a bit of all right!"
As on the stage he hopped up like a bird. 
"She wants to kiss a soldier tonight – we'll take her at her word"

Home again through pouring rain, went Sergeant Brown and squad
When nearing his street door, there Missis Brown he saw
The danger light in wifie's eyes shone halfway down the street;
So he boldly said, "Boys, right about turn and retreat!
Oh! What a night!" Said Sergeant Brown "By Gosh!"
As he went sliding over the road in all the slippery slosh


A huge hit for Esta Stella in the Halls. One of the many recruiting songs that were popular in the early years of World War I, a style which became significantly less popular as the war dragged on. As was often the case in this period, a song that establish itself in the halls transferred into other types of entertainment – it was widely sung in pantomime and revue and was recorded by Harry Fay amongst others.

There is more information about this song on the excellent Fred Godfrey website.

In 1970 a fragment of the song (the chorus) was collected from the singing of Mabs Hall by Roy Palmer, whose version can be found on the British Library site.

Harry Fay’s version:

Sources:

Every morning I meet Rosa

First Published1909

Writer/composerRP Weston, FJ Barnes and Maurice ScottRoudRN29706

Music Hall Performers Rosie Lloyd
Folk performancesCollected from the singing of:
Bentall, Brenda; England; 1970
Sammy Simpson ev'ry morning used to ride
To the city in the tram and by his side
Sat a little lady who would blush so red...
Ev'ry time he smiled but not a word was said...
Rosa was the name upon her brooch, that's so
And Sammy sighed "This girlie I should like to know"

Ev'ry morning I meet Rosa,
Riding on the tramway car
Smile a loving smile which shows her
Just how things are.
Though I'd like to speak to Rosa,
Silent I must be.
For nobody who I know knows her,
To introduce her to me.

Riding home at even-time that lovelorn boy
Watch'd for her to board the tram and thrill'd with joy
When the car was crowded she forgot her pride
And would seem to nestle closer to his side
If she saw her standing then the spoony chap
Would offer her his seat and wish it was his lap

Sammy now quite happy says he's free from care,
Once she forgot her purse he paid for her fare;
"Take my card" she whispered in a grateful way
"Call and I'll repay you" so he call'd next-day
Popped the question quickly, "Now she's mine" says Sam
"We had a silent courtship in the dear old tram"

A song written by three different songwriters: RP Weston, FJ Barnes and Maurice Scott. It was performed by Rosie Lloyd in around 1909/10. Rosie (1879-1944) was the sister of Marie Lloyd, but was a well-known performer in her own right.

In 1970 a fragment of the chorus of this song was collected from the singing of Brenda Bentall by Roy Palmer, whose version can be found on the British Library Website

I have failed to find any recordings …

Sources:

I do like a s’nice s’mince s’pie

AKAOh I do like a nice mince pie
First Published1914

Writer/composerWorton David and Bert LeeRoudRN29712

Music Hall PerformersJay Laurier
Folk performancesCollected from the singing of:
Bentall, Brenda; England; 1970
I'm so fond of what I like,
And what I like, I like it
Some like this, and some like that
Some like lean, and some like fat
Some like pudding, some like pie
With which to fill their phiz
But there's one thing I like best
I'll tell you what it is

Oh I do like s'nice s'mince s'pie
Oh I do like s'nice s'mince s'pie
Don't like lamb, ham or jam
And I don't like roly-poly
But when I see a s'nice s'mince s'pie
Then I ask for a helping twice
For I do like a s'nice s'mince s'pie
'Cos it's s'nice, s'nice, s'nice

I've a sweetheart all my own,
There's no one else would have her
Her face I've not tasted yet
It's so slobbery and so wet
We sat in the Park, last night
She nudged my arm and sighed
'What do you like the best of all?'
I grinned, and then replied


Once I went to Parliament
I'd been sent there to dust it
Found a meeting on inside
One young member loudly cried
'Matters we'll no longer mince
Our country must be led
We can't mince matters' I said 'No
Lets all mince pies instead'

A war-time hit for Jay Laurier in 1914, written and composed by the prolific Worton David and Bert Lee. In 1970 a fragment of the chorus was collected from the singing of Brenda Bentall by Roy Palmer, whose version can be found on the British library website

As pointed out by a Mudcat contributor, it was a popular song amongst the troops in the trenches. In his autobiography, the poet Robert Graves recalled the humour and horror of waiting hours to go over the top:

We waited on the fire-step from 4 to 9 o’clock with fixed bayonets, for the order to go over. My mind was a blank except for the recurrence of

…s’nice s’mince s’pie
Don’t like lamb, ham or jam
And I don’t like roly-poly

The men laughed at my singing. The acting CSM said “It’s murder Sir”. “Of course it’s murder I agreed, but there’s nothing else for it…”

But when I see a s’nice s’mince s’pie
Then I ask for a helping twice

Robert Graves, Goodbye to all that, 1957, p144

A modern version on Zoom by the London Music Hall Choir:

Sources:

Things that a man can’t do

AKAThat’s what a man can’t do
First Published1906

Writer/composer Chas Collins and Chas RidgewellRoudRN37493

Music Hall PerformersWhit Cunliffe, Joe Archer
Folk performancesCollected from the singing of:
O’Donnell, Seamus; Ireland : Co. Clare; 2007
From the Weekly Dispatch, which published a song a week between 1903 and 1917: 

A woman is a creature who can do a lot of things
Things that a man can't do
Every time I see a woman, to my mind it always brings
Things that a man can't do
A parrot talks a little, but a man can talk a lot
A woman can talk until she drives you off your dot
Fellows think they get the best of women but they don't,
To make a woman do a thing when she says she won't

That's what a man can't do, do, do, do
That's what a man can't do
When you see the parson on your wedding day,
He says you must get your wife to honour and obey
That's all right for him to say - but -
That's what a man can't do, do, do, do
That's what a man can't do

A woman does a lot of things for matrimonial bliss,
Things that a man can't do
She can square the tallyman by giving him a kiss,
That's what a man can't do
When the kids begin to cry it makes the father wild
He gets the feeding bottle tries to pacify the child
The woman picks the baby up, but doesn't stop to think,
She knows exactly what to do when baby wants a drink

That's what a man can't do, do, do, do
That's what a man can't do
Woman with a figure and a lovely face
As an artist's  model she can always get a place
Pose as Venus full of grace
That's what a man can't do, do, do, do
That's what a man can't do

A woman she can do her golden hair up in a bun
That's what a man can't do
A woman can declare that she's the mother of a son
That's what a man can't do
A woman is very smart when there's a mystery about
She'll try to keep a secret, but she can't she lets it out
She can tell you what's inside a sack of coal 
But cannot tell you what's inside a penny sausage roll

That's what a man can't do, do, do, do
That's what a man can't do
He can do a lot of funny things I'm sure
Stop a parrot talking if he throws it to the floor 
But to stop a woman's jaw - 
That's what a man can't do, do, do, do
That's what a man can't do

To stop a woman going down your pocket for your purse
That's what a man can't do
A woman can always get a job as monthly nurse
That's what a man can't do
Always let the woman do the shopping if you can,
She can do it cheaper than the silly little man
A woman's only got to show a little bit of lace,
To make a lot of Johnnies follow her about the place.

That's what a man can't do, do, do, do
That's what a man can't do
A fellow goes to work he is the poor old Jay
Goes without breakfast he hasn't time to stay 
His wife lies in bed all day - 
That's what a man can't do, do, do, do
That's what a man can't do

A song sung in the Halls by the comedian Joe Archer, though it was also recorded by the well-known music hall star Whit Cunliffe. In 1908 the publishers Feldman’s advertised it as a “pantomime song, ” but it appears to have been circulating somewhat earlier than this. Library catalogues suggest it was published in 1906, and there are a number of references to amateur performances of the song between 1906 and the First World War.

It was remembered by the late Seamus O’Donnell who is shown singing it here:

Sources:

Won’t you come to me in Canada

AKAWill you come to me in Canada
First Published1908

Writer/composerS Fortescue-Harrison / John NeatRoudRN13634

Music Hall PerformersKittee Rayburn
Folk performancesCollected from the singing of:
Pardon, Walter; England : Norfolk; 1978
Across the broad Atlantic, in Canada's domain,
A colonist was working for the lass he longed to gain.
Inside his little cabin, he pictured day by day
The image of his sweetheart, with longing he would say:

Won't you come, come, come to me in Canada
In Canada, in Canada?
Won't you come, come, come to me in Canada
Far away across the foam?
With the church bells ringing on our wedding day
We'll drive away upon the sleigh,
So if you'll be my wife, we'll be happy for life
In my cosy Canadian home 

The girl at home was waiting to be his cherished wife
To share his little cabin, and to cling to him through life 
She knew that he would claim her when with fortune he was blessed 
And often she would fancy he was calling from the West: 

The columnist succeeded, the lass became his own 
And now the little cabin to a larger one has grown 
And as they sit together, beneath the maple tree 
He tells how he called her long ago across the sea: 

A song reflecting the pains of emigration which later featured in the repertoire of the great traditional singer Walter Pardon.

It was originally written specifically for Kittee Rayburn (aka Kitty or Kitty Rayburn), a serio comic singer, often billed as The Girl in Black and White. She toured the country with an act featuring the song – described in 1908 as “the chorus song of the season”.

In 1910 the song was recorded as a “Vivaphone Singing Picture” an early attempt at producing movies with sound. It involved synchronising a silent film of the singer with sound from a gramophone record. The material I have found doesn’t make it clear who sang on the Vivaphone recording.

As recorded by Jack Charman in 1908:

Sources:

Hiawatha: His song to Minnehaha

AKASong to Minnehaha
First Published1903

Writer/composerJames O'Dea / Neil MoretRoudRN18960

Music Hall PerformersThe Two Bees
Folk performancesCollected from the singing of:
Spann, Mrs SR; USA : Florida; 1940
From original sheet music:

Oh the moon is all agleam on the stream
Where I dream here of you my pretty Indian maid.
While the rustling leaves are singing high above us overhead
In the glory of the bright summer night
In light of the shadows of the forest glade
I am waiting here to kiss your lips so red.
There's a flood of melodies on the breeze
From the trees and of you they breathe so tenderly
While the woodlands all around are resounding your name,
Oh my all in life is you only you
Fond and true and your own forevermore I'll be.
Hear then the song I sing with lips aflame.

I am your own your Hiawatha brave
My heart is yours, you know
Dear one I love you so
Oh Minnehaha gentle maid decide 
Decide and you'll be,
My Indian bride.

In the tresses of your hair, lies a snare and it's there
Where my heart a willing captive is.
Oh my woodland queen I pray you'll hold it ever in your care
In my little birch canoe love with you
Just we two down the stream of life in wedded bliss
I would drift sweetheart with you my lot to share.
When the birds upon the wing in the spring
Gaily sing of the green and golden summer time
When the snows of early winter robe the woodlands in white,
Then your Hiawatha free I will be
And to thee ev'ry thought of mine will o'er incline.
Heed then the vows I pledge to thee this night.

An early 20th century stage song, extremely popular throughout the English-speaking world. It was collected once from the singing of a traditional singer in Florida, Mrs SR Spann

The song was sung on the British music hall stage by a duo known as The Two Bees – this extract from a contemporary review gives a flavour of their performance:

The star turn is the performance of The Two Bees (Harry and Flora Blake) well-known Aberdeen favourites, who appear for the first time the first time in this city with their latest success “Hiawatha.” The performance is beautiful, both in its scenic effects , and in the words of the love song which Hiawatha sings to the Indian maid Minnehaha. The curtain goes up revealing an Indian camp with the maid sitting by the campfire. The moon shines on the waters of the lake across which in the distance Hiawatha is seen paddling his canoe . He lands on the shore and by the tent door sings his love song to Minnehaha to the accompaniment of the music of the birds in the trees. It is a beautiful performance and delighted the large audience who insisted upon a repeat.

Aberdeen Press and Journal, 8 Mar 1904

The tune was written by Charles K Daniels and was first performed in 1901 in the US as “In Hiawatha: A Summer Idyll” by John Phillip Sousa

The “Hiawatha” here was …. the name of a small town in Kansas. Daniels’s girlfriend lived in Hiawatha, and the rhythm of his piano piece was supposed to capture the rolling wheels of the train that often took him to that idyllic town. Daniels…published the “idyll” with his own music company in St. Louis under the pseudonym “Neil Moret.” In 1903 publisher Jerome Remick of Whitney-Warner in Detroit bought Daniels’s tune for a reputed $10,000 …. Remick thought an Indian subject would sell more copies, so he asked 21 year-old James O’Dea, fresh from his success with The Wizard of Oz, to add lyrics.

“Hiawatha (His Song to Minnehaha)” was sung in March 1903 in Show Girl, [a] revue at the Detroit Opera House, and with the assistance of a Victor recording sung by Harry Macdonough, it proved an instant sensation. Even a reviewer in London wrote that “the bands here play it, the boys whistle it, hand organs grind it out, and the hawkers of pirated music sell it on the street.”

Michael Pisani, Imagining native America in music (2006) p249

The Harry MacDonough recording:

Sources:

Strolling round the town; or The Rickety Rackety Crew

AKAA birthday song
First Published1893

Writer/composerHarry CastlingRoudRN13322

Music Hall PerformersCharles Deane
Folk performancesCollected from the singing of:
Neal, Jesse; England : Gloucestershire : 1960
Belton, George; England : Sussex : 1971
Poacher, Cyril England : Suffolk : 1972
The refrain quoted in 1894:
Strolling round the town.
Knocking people down,
Tasting every kind of wet,
Having a rare old time you bet, 
Mashing all the girls,
Having a row or two
We're the rare old, fair old, Rickety Rackety Crew.

From the 1893 Sheet Music in the British Library
A birthday comes but once a year
Then its everyone's delight to keep it up_ To keep it up 
We start it getting down the wet and finish with a fight,
And then there's always half a dozen run in for the night.
It was just the same boys yesterday with me,
Twas my birthday you know, and how the wine did flow;
We all got jolly then full of devilment.
We left our darling wives at home, then arm in arm we went... 

Strolling round the town, rolling up and down,
Tasting every kind of wet, having a fine old night you bet, 
Treating all the Boys, we didn't care a sou,
A fair old,rare old, rickety rackety Crew.

We started drinking champagne, 
But the money wouldn't last to keep it up_ To keep it up
The fifty bob I started with was withering too fast,
And just as I was counting up, two charming ladies passed.
They called me Charley (that's not my proper name)
But still I gave a wink, then shouted have a drink,
They both said yes and soon "full up" they got,
We made them both as bad as us, then all the blessed lot... 

At three this morn we all were leaning 
Up against a wall to keep it up_ To keep it up.
Surrounded by a dozen police who'd come at "Duty's" call,
And when they shouted "Move on", Straight, we couldn't move at all.
From every station round about the town,
An ambulance was fetched, then on them we were stretched.
Before his nibbs next morning we were sent
Who fined us forty bob a piece just because we went...

A big hit for comic Charles Deane (see brief biography below)) in the mid-1890s. It was written by Harry Castling and a hit throughout the English-speaking world. It was remembered by traditional singers in the UK in the 1960s/70s and a song of a very similar title was collected in Canada by Edith Fowke from the singing of LaRena Clark

Charles Morton, veteran manager of the Palace Theatre was one of many who saw drinking songs of this type as being exactly the sort of thing which gave modern Music Hall (i.e. in the 1890s) a bad name.

There are hints that the published sheet music may have been slightly politer than the version sung in the Halls. In the interview Morton suggested the chorus quoted above, which involved “knocking people down” rather than “rolling up and down”. As far as I can ascertain all 20th century renditions of the song use “knocking people down”

The Era – Saturday 02 September 1893

The song inspired this cartoon of street singers produced by Phil May for Punch magazine.

Cartoon by Phil May, Punch, 21 September 1895

Charles Deane (1866-1910) was a Jewish comedian and songwriter who started his working life as a porter in Billingsgate Fish Market and according to his obituary remained popular with the porters throughout his stage career. He was best known as a comic singer and “teller of amusing Jewish stories”. By all accounts he was extremely successful, but he died in relative poverty at the age of 44, leaving behind a wife and four daughters “totally unprovided for”. He was unable to join a benefit society as he had been diagnosed with consumption (tuberculosis) – he spent the last 18 months of his life unable to work.

Here’s a version of The Rickety Rackety Crew sung by traditional singer Cyril Poacher in 1972:

Cyril Poacher sings it on  Musical Traditions MT CD 303 (‘Plenty of Thyme’)

Sources: