Bonnie Jeanie Deans

AKAJeanie Deans
First Published1887?

Writer/composerHarry LinnRoudRN6129

Music Hall PerformersHarry LInn
Folk performancesSource Singers
Mrs Thom 1908 Scotland
Far awa' frae Bonnie Scotland,
I have often spent my time,
By the mountains, lakes, and valleys,
In some distant, foreign clime.
There I'd sit and sometimes ponder,
'Midst their bright and varied scenes,
But my thoughts would always wander
To the hame o' Jeanie Deans.

Here's to Auld Reekie, and its glorious Princess Street,
Here's to Auld Reekie, and its famous Arthur's Seat,
Here's to Auld   Reekie, and   its grand historic scenes,
The hame o' Scotland's bravest lass, my bonnie Jeanie Deans.

Oft I see her sad and dreary,
Wi' tartan plaid and hame-spun gown;
Broken-hearted, worn, and weary,
Tramping on to London town.
Leaving those behind who missed her
Those who knew what true love means,
Seeking pardon for her sister,
Brave, true-hearted Jeanie Deans.

Fancy oftimes brings before me
Jeanie's simple, winsome style,
As she told her sad, sad story,
When she met the great Argyle.
Hear her pleading in the garden,
Asking mercy from her Queen;
See her joy, she's got the pardon
Brave, victorious Jeanie Deans.

"Jeanie, woman," though departed,
We will keep the honoured name,
Of one so true and loyal hearted,
Written on the scroll of fame.
Sir Walter Scott immortalised you - 
"Thou wert one of nature's queens;"
And in our hearts we'll ever prize you,
Gallant, Scottish Jeanie Dean

Another song from the pen of Harry Linn, this one appears in handful of broadsides, and was remembered by one source singer in 1908. It tells the story of the heroine of one of Walter Scott’s novels, The Heart Of Midlothian. Linn was keen to alert his fellow professionals and the wider British public to his success with the song in Scotland and to establish his ownership of it – making these announcements in The Era in 1880:

The Era Aug 29 1880
The Era Sept 5 1880

“Modern Athens” was a proud nickname for Edinburgh..

I have not found a recording of it – yet!

Sources:

Auld pair of Tawse, The

AKA
First Published1876?

Writer/composerHarry LinnRoudRN23431

Music Hall PerformersHarry Linn
Folk performancesSource Singers
Clachrie, William 1944 USA : Rhode Island
Mathieson, Willie 1952 Scotland : Aberdeenshire
Weel dae I remember when I was but a bairn
The lickings that I used to get when I did ony hairm;
For mother she was very strict, though loving, kind and good,
She made me aye behave mysel', as a guid bairnies should,
But sometimes I'd forget mysel', and maybe brake her laws
Then I was glad to see her lift the Auld Pair o' Tawse.
                                       
Sometimes she'd take her bauchel, sometimes she'd take the cane,
Sometimes she'd put me ben the room, and mak' me bide my lane;
Sometimes she'd take her open hand and clash me on the jaws,
I'd rather hae a licking wi' the Auld Pair o' Tawse.

The pair o' tawse my mither had were nice and saft and thin
The poor auld body clipped them frae a piece o' auld sheepskin,
They were just as licht's a feather, and sae little strength had she
That though she tried wi' a' her micht, she couldna hurt a flee ;
AI'd roar and great, and stamp my feet,as if 'twas awful sair,
Then laugh just like to crack my sides when I got doon the stair.

I never liked to see my mother gang and lift the cane,
I hated when she put me ben the room to bide my lane ;
And when she took her open hand 'twas sure to bring the tears,
It made me think a thousand bells were ringing in my ears;
The only time that I felt glad, that's when I gave her cause,
Was aye to see my mither lift the Auld Pair o' Tawse.

A pair o’ tawse: in the 19th century, leather straps for beating children, used in Scotland and Northern England.

The Auld Pair of Tawse is a Harry Linn song written in the Scottish vernacular – found in several 19th century broadsides and remembered by a small number of source singers. Linn was a Scottish Music Hall singer and songwriter, hugely popular in both Scotland and Northern England and writer of a number of well known traditional songs.

The song appears in Harry Linn’s Fireside Songbook which I am taking as evidence that Linn wrote it as well as sang it. There is plenty of independent evidence that it was in his repertoire, and I have found no evidence so far that any of the songs in his songbook were written by anyone else.

Two recorded versions are available on the rather wonderful Tobar an Dualchais/Kist o Riches site, one sung by Willie Mathieson and the other by Lucy and Jean Stewart

Sources:

Wake up, Johnny

AKA
First Publishedunknown

Writer/composerHarry LinnRoudRN13646

Music Hall PerformersHarry Linn, Fred B Norton
Folk performancesSource Singers
Pardon, Walter 1980 England : Norfolk
Unwin, Jean no date Scotland / South Africa
I have a wife, the funniest wife that ever you did see 
Morning, evening, noon or night 
There is no rest for me
Whenever I lie down to sleep 
And tried to close my eyes, 
My wife she jumps right out of bed 
And this is what she cries 

Wake-up Johnny, wake-up John, 
Wake-up Johnny put your "Sydenhams" on, 
The clock's struck six, and the mornings fine, 
And this week I want a little bit of overtime.

I am a very steady chap, 
I never take the booze, 
But when I've done a hard days work 
I like a little snooze 
Of course I tumbles into bed, 
But as sure as I'm alive, 
My wife shouts out "it's half past six" 
When it's only half past five

[Spoken] Talk about the nightmare, she never gives me time to have it, for directly I lay my head on the pillow, she cries –

My wife is fond of overtime, 
She has got it on the brain, 
When I work 12 hours a day, 
She never will complain,
She hates the nine hours movement 
And says "It's all my eye"
For man was only made to work 
And that's what make makes her cry

I've got three little daughters, 
I've got three little son, 
They'll keep shouting "Wake-up John!"
As soon daylight comes 
I'm very sad, I'm nearly mad, 
For as I walk along 
The people say "There's overtime!"
And "Won't you wake-up John?" 

[Spoken] Yes it's hard lines, when I go out for a stroll on Sundays, dressed in my best, fancying I am Lord Copall or Major Stick-to-it,to hear the lads say...

A song by Harry Linn which does not appear in any broadsides that I can find, and only in one song book. It was remembered by Walter Pardon.

It was adverised in 1877:

The Era 26 1877

The song was sung as part of a series of fragments by Walter Pardon alongside Saving them all for Mary,  When the cock begins to crow, and Down by the old abbey ruins. You can here them at the Vaughn Williams Memorial Library

Sources:

Jim the carter lad

AKAJimmy the Carter
Little Jim the Carter Lad
First Published1875

Writer/composerHarry Linn / Rowland RoudRN1080

Music Hall PerformersHarry Linn
Folk performancesSelected Source Singers (before 1945 only)
unknown , 1890s England : Gloucestershire
Carter, John 1905 England : Hampshire
Robb, Alexander 1906 Scotland
Duckenfield, Miss E. / Barnes, Mrs. 1907 England : Yorkshire
Wight, John 1908 Scotland
Angus, James 1909 Scotland
Beterige, Tom 1913 England : Gloucestershire
Howe, Mrs. George 1930 USA : Vermont
Bye, Mrs. 1938 England : Gloucestershire :
Fitzgerald, Mary 1945 USA : Rhode Island
Modern performances
Isla St Clair
The Yetties
Lyrics as published in Harry Linn's Fireside Songster

My name is Jim the Carter, a jolly cock am I,
I always am contented be the weather wet or dry.
I snap my fingers at the snow and whistle at the rain,
I've braved the storm for many a day and can do so again.

Crack, crack, goes my whip, I whistle and I sing.
I sit upon my wagon I'm as happy as a king.
My horse is always willing, and for me, I'm never sad,
There's none can lead a jollier life than Jim the carter lad.

My father was a carrier, many years e'er I was born;
He used to rise at daybreak and go his round each morn.
He'd often take me with him especially in the spring,
I loved to sit upon the cart and hear my father sing:

I never think of politics or anything so great, 
I care not for their high-bred talk about the church or state; 
I act a-right to man and man, that's what makes me glad, 
You'll find there beats an honest heart in Jim the Carter Lad

The girls all smile on me as I go driving past,
My horse is such a beauty, as he jogs along so fast.
We've travel'd many weary miles but happy days we've had;
There's none can use a horse more kind than Jim the carter lad.

Now friends, I bid you all good night, 'tis time I was away.
I know my horse will weary if I much longer stay.
To see your smiling faces here it makes my heart quite glad
And I know you'll grant your kind applause to Jim, the carter lad.

This song has been collected from a huge number of traditional singers (over 60) from the early 20th century on, it appears very widely in broadsides and songbooks. It was originally written by Harry Linn and was sung in the Halls by him.

Harry Linn (1846-90) was a huge star in the Music Halls of northern England and Scotland. In the language of the day he was a “Scotch comedian” who apparently wrote all his own songs . Records in British newspapers indicate that the song Jim the Carter Lad was sung regularly in the halls and amateur concerts from 1868 on. The song was always associated with the name of Harry Linn:

The Era Aug 22 1869

The earliest evidence of published sheet music I can find is in it 1875, this may either reflect an incomplete historical record, or that it took a while to get published…

Sources:

Graeme Knights & Jim Mageean at The Star, St Mary’s in the Marsh, Kent..


	

Nora Magee

AKASweet Norah Magee
Nora McGee etc
Come back to old Ireland
First Publishedc1870-75

Writer/composerHarry Linn?RoudRN4718

Music Hall PerformersHarry Linn
Folk performancesSource Singers
Smylie, Jock / John Brennan 1938 N. Ireland : Co. Antrim
O’Keefe, Art 1947 Ireland : Co. Kerry
From Harry Linn's Fire Side Song Book 1880

Nora, dear Nora, I can't live without you
What made you leave me to cross the wide sea?
Norah, dear Norah, oh! why did you doubt me
The world seems so dark and so dreary to me?
Why from old Ireland have you been a ranger
Why have you chosen the wide world to roam
Why did you go to the land of the stranger,
And leave your own Barney alone, all alone?
 
Come back to old Ireland the home of your childhod
The old village well, and the old willow tree,
Come back to the mountain the valley the wild wood
I can't live without you, sweet Norah Magee.

What have I done that my Norah should leave me?
Oh! how I loved her, and thought that she knew,
Her leaving old Ireland, so sadly would grieve me,
Was she afraid that my heart was not true?
Why was I silent when I might have spoken
And told her my heart was her own, all her own
A true Irish heart that is shattered and broken
Why did she leave her own Barney alone?

I wander all day by the field and the farm.
I wander at night by the hill and the dell.
Life's all a blank, it has lost all of its charm
How I loved Norah, no tongue e'er could tell
Still I must wait while the pain here is burning,
I'll watch and I'll pray, when the wild billows roar
That the ship may be safely with Norah returning.
Back to old Ireland and Barney once more.

As Norah Magee appears in his songbook we can reasonably assume that this was a song in the repertoire of Harry Linn and its pretty certain that he wrote this song. Several songs were published between 1870 and 1920 with similar names, or called Come back to old Ireland so its not always easy to be certain its this song. Newspaper searches indicate that various amateur and professional singers were singing a song called Norah MaGee from 1875 on.

Norah Magee was remembered by traditional singers from Ireland in the mid-20th century: collected by Sam Henry who described it as “a song very popular in the 1870s.”

Thanks go to Rosa Michaelson, who has found further information about this song:

“I have just found 4 of Harry Linn’s songs listed on the back of a copy of James Kerr’s “Collection of Reels, Strathspeys, Highland Schottisches, Country Daces, Jigs, Hornpipes, Flirtations, etc. arranged for the Pianoforte” in the National Library of Scotland. This music is found in Mr Moffat’s Owner Bound Music Volume, which has the date May 1883 inscribed inside the frontispiece. The songs listed are: “I love the Bonnie Lassie’s, The Grass Will Grow Again”, “The Highlandman’s Toast” and “Come Back to Old Ireland”. This means that Kerr had published these songs by at the latest 1883. In addition, so far the earliest date I have found for any of Kerr’s publications is 1879.”

Sources:

Out in the green fields

AKAThe Haymaking Song
First Published1874?

Writer/composerWilton Friend/Edward SolomonsRoudRN2670

Music Hall PerformersJW Rowley
Folk performancesSource Singers
Styles, Charles 1926 England: Buckinghamshire
House, Bill 1986 England: Dorset
Modern performances
The Yetties
Out in the Green Fields
Sung with great success by JW Rowley the celebrated London and provincial comique

A country lad am I
A rustic bred and born,
The birds do sing and so do I,
And rise early in the morn.
To reap and to mow, till and sow,
The land with plough and team,
There's nought can beat a country life,
Out in the fields so green.

[Spoken] Ah, I be a happy lad, morning, noon, and night, rain or shine, blow or snow, it's all the same to I, while…

Out in the green fields, so happy and so gay,
Out in the green fields, a raking of the hay,
Out in the green fields, I pass my time away,
And like the lark I whistle in the morning.

When the sun be hot, and land be dry, 
I gets the same 'tis clear, 
'Tis then I stopped to take a drop 
Of stunning home brewed beer; 
With a tidy snack of luncheon, aye, 
At plough tail all serene
Cold beans and bacon that's the tack, 
Out in the field so green.

[Spoken] Ah, bacon and cold greens, thems the sort for me, and wash em down, with a drop of good home brewed beer, it makes I whistle in single day long.

My Dolly she's the finest lass, 
For twenty miles around, 
The country girls have rosy cheeks, 
Their equal can't be found. 
When harvest home comes round, my boys, 
Each lass looks like a queen, 
Then Doll and I, oh! Don't we dance? 
Out in the fields so green

Some say the jolly joys of town,
Are just the proper sort,
Give I the chase and hurdle race
And other country sport,
Breaking the rest with sprees at night,
Fast men are never seen,
We like the open sunlight best
Out in the fields so green.

Another song popularised by  JW “Over” Rowley  (1847-1925), which turns up in the repertoire of several 20th century traditional singers. The first reference to it I can find is in 1874, though Rowley’s name is not associated with the song:

Graphic (London) Feb 7 1874

The original sheet music may not have survived, but some years later Rowley wrote a letter to The Era about his songs, and gave details of the writer and composer:

The Era Aug 21 1897

Sources:

A version by The Proper English:

Eggs for your breakfast in the morning

AKAA country life
First Published1878?

Writer/composerHarry LinnRoudRN1752

Music Hall PerformersHarry Linn, JW Rowley, Edward Cunningham
Folk performancesSource Singers
Walker, Mrs. no date Scotland
Randall, William 1905 England : Hampshire
Longino, Mrs. Grace 1939 USA : Texas
Dunn, George 1971 England : Staffordshire
Pardon, Walter 1978 England : Norfolk

Modern performances
The Watersons
Eliza Carthy
Many more..
From Harry Linn's Fireside Songbook (1880)
I love to roam through the bright green fields
I love to live on the farm.
I love to take a stroll where the primroses grow,
For a country life's a charm.
I love to wander through the old barn yard,
Round by the old hay stacks,
And listen to the cackle of the chickens and the chucks,
And the pretty little ducks quack quack,
 
Quack! Quack! Quack! go the pretty little ducks.
The hens chuck, chuck, gives you warning,
When the old cock crows, then everybody knows
There's an egg for your breakfast in the morning.

I love to gaze on the ripe yellow corn,
I love to roll in the grass.
I love to take a ramble through the new-mown hay
With a pretty little country lass.
I love to wander by the old mill stream
And catch every breeze that blows;
And see the lambs as they gambol in the fields
In the morning when the old cock crows.

I love my home on the little white farm,
Where the ivy entwines round the door.
I love to hear the lark when he soars on high
And listen to the old bull's roar.
I love to hear the milkmaid's song,
And the humming of the busy little bee.
Well you can have your cities and you can have your towns,
But a country life for me.

A song closely related to this one: A Country Life, was famously sung by Mike Waterson and The Watersons, that version has a different tune but overlaps in several verses – see Mainly Norfolk for more on this. The song sung in the Halls is much closer to the version remembered by Walter Pardon and the other source singers listed above.

Eggs for your breakfast was a huge hit in the late 1870s for our old friend JW “Over” Rowley. It was written by Harry Linn and also sung by Edward Cunningham. The first printed reference to it I can find is this advert from 1878:

The Era Oct 13 1878

There are also references to it later being sung at minstrel shows.

The sheet music was published in roughly 1878, I can’t find an exact date. It was clearly a big money spinner for the publishers and for Rowley, who published a proud announcement: “publicly thanking Mssrs Francis Brothers and Day, Music Publishers, for their very handsome present of a purse of gold for the successful rendering of “Eggs for your breakfast in the morning” (The Era, Jan 29, 1879).

Regular readers will be relieved to hear that Rowley did not limit his gamboling to his song about the Derby, as testified in this brief but telling review of a performance in 1879:

Mr JW Rowley sang “Eggs for your Breakfast,” danced, and turned over.

Review of benefit for Herbert Sprake, Collins’s, The Era Apr 6 1879

I like to imagine him gambolling alongside the lambs…

George Dunn’s version, as collected by Ewan MacColl and Peggy Seeger in 1971

Downloaded from the Vaughn Williams Memorial Library

Sources:

Nobody noticed me

AKA
First Published1918

Writer/composerNat D. Ayer and Bert LeeRoudRN18433

Music Hall PerformersJack Pleasants
Folk performancesSource Singers
Cann, Bob 1969 England : Devon
Arnold, Bob 1993 England : Oxfordshire
Modern performances
Although I've a striking appearance no doubt
Nobody notices me when I'm out
I can't understand it, it doesn't seem right
In fact as I walked on the stage here tonight.

Nobody noticed me, nobody noticed me
It's always been so since that wonderful morn
That wonderful morn on the day I was born
The room I was born in was large
And I was so tiny you see
That I never got fed for the first seven weeks
'Cos nobody noticed me.

One day for excitement I rode in a train
I sat with my nose glued right up to the pane
A bridegroom got in with his blushing young bride
I sat very still with my head on one side.

Nobody noticed me, nobody noticed me
We entered a tunnel without any light
I heard the bride giggle and whisper in fright
'Oh do give up kissing me, George.'
'I haven't kissed you.' answered he
She said, 'Well if you haven't, somebody has.'
But nobody noticed me.

Once with some pals at the sea-side I saw
A young ladies school bathing down on the shore
They bobbed up and down in the water so clear
A board on the beach said 'No mixed bathing here.'

Nobody noticed me, nobody noticed me
So I got my new little bathing suit out
And went in the sea and floated about
They never suspected at all
Except one young lady, and she
Said, 'It's queer, but a crab keeps on nipping my leg
But nobody noticed me.

Last leap year I met a young lady named Flo
She quickly proposed and I daren't say no
The day we were married I stood by her side
The parson shook hands with the best man and bride.

Nobody noticed me, nobody noticed me
Behind her bouquet I stood quiet and still
And just popped my head round and answered 'I will'
And when we got home later on, I felt so dead tired don't you see
I crawled under the bed and I laid there all night
And nobody noticed me.

An early 20th century song from the Halls, remembered 50 years later by traditional singers in the south of England. Bob Cann recalled hearing it from “a travelling drover that would travel around local markets and fairs” – so it wasn’t directly remembered from Music Hall performance.

Jack Pleasants (1874-1924) was a Bradford comedian whose act involved him playing an extremely shy young man. His career started at a Talent Night at the Scarborough Hotel, where his act impressed the booker for a chain of northern music halls. One of his biggest hits was I’m Twenty-one Today, a song which has not been forgotten, even if the name of the original singer largely has… Nobody notices me was another song which played on his characters bashfulness. e was particularly popular in Lancashire:

Nelson Leader – Friday 16 September 1921

Sources:

Charming Young Widow I met on the train, The

AKAThe Charming Young Widow
I Live in North Wales
First Published1865

Writer/composerW.H.CoveRoudRN3754

Music Hall PerformersWilliam Randall
Folk performancesSource Singers
Woods, Anna 1928 USA : Pennsylvania
Barbee, Fred 1933 USA : Missouri
Kennison, J.C. 1939 USA : Vermont
Fish, Lena Bourne 1940 /41 USA : New Hampshire
Moody, Lewis Winfield 1940 USA : Wisconsin
Lobdell, Hamilton 1941 USA : Wisconsin
Boutilier, Sydney 1950 Canada : Nova Scotia
Mathieson, Willie 1952 Scotland : Aberdeenshire
Kerr, Della 1953 USA : Arkansas
Collicott, Edward 1960 Canada : Nova Scotia
Pronger, Mrs. Fanny 1960 England : Sussex
Sellick, Edward 1962c Canada : Prince Edward Island
McClung, Tom 1978 N. Ireland : Co. Armagh
Carey, Michael 1978 Canada : Newfoundland
From UK Sheet music:

I live in North Wales and one morning last summer
A letter informed me my uncle was dead,
And also requested I'd come on to London,
As he'd left me a very large sum of money, it said.
Of course I determined of making the journey
And to book myself by the First Class I was fain;
Tho I had gone Third I had never encountered
The charming young Widow I meet in the train

Yes! Scarce was I seated within the compartment
Before a fresh passenger enter'd the door
Twas a female, a young one and dress'd in deep mourning
An infant in long clothes she gracefully bore,
A whitecap surrounded a face ... oh so lovely!
I never shall look on one like it again.
I fell deep in love, over head in a moment
With the charming young Widow I met in the train

The Widow and I side by side sat together
The carriage containing ourselves and no more;
When silence was broken by my fair companion
Who enquired the time by the watch that I wore;
I of course satisfied her, and then conversation
Was freely indulged in by both, till my brain
Fairly reeled with excitement, I grew so enchanted
With the charming young Widow I met in the train

We became so familiar I ventured to ask her
"How old was the child that she held at her breast?"
"Ah sir", she responded, and into tears bursting,
Her infant still closer convulsively pressed,
"When I think of my child I am well nigh distracted
Its father, my husband, oh my heart breaks with pain."
She choking with sobs lean'd her head on my waistcoat,
Did the charming young Widow I met in the train

By this time the train had arrived at the station
Within a few miles of the great one in Town,
When, my charmer exclaimed as she looked through
the Window,
"Good gracious alive! Why there goes Mr Brown,
He's my late husband's brother, Dear sir would you
kindly
My lost beloved child for a moment sustain?"
Of course I complied, then off on the platform
Tripp'd the charming young Widow I met in the
train

Three minutes elapsed when the Guards whistle sounded,
The train began moving - no Widow appeared,
I bawled out "Stop, stop!" But they paid no attention,
With a snort and a jerk starting off, as I feared.
In this horrid dilemma, I sought for the hour?
But my watch - ha ! Where was it? Where - where
was my chain?
My purse too, my ticket, gold pencil-case - all gone!
Oh! that artful young Widow I met in the train.

While I was my loss thus deeply bewailing,
The train again stopped and I "Tickets, please!" heard;
So I told the Collector - while dandling the infant,
The loss I'd sustained, but be doubted my word;
He called more officials, a lot gathered round me,
Uncovered the child, oh! how shall I explain?
For behold, 'twas no baby, 'twas only a dummy!
Oh! that crafty young Widow I met in the train.

Satisfied I'd been robbed, they allow'd my departure,
The of course I had settle my fare the next day;
And I now wish to counsel young men from the country
Lest they should get served in a similar way;
Beware of young Widows you meet on the Railway,
Who lean on your shoulders, whose tears fall like rain
Look out for your pockets - in case you are familiar with
The charming young Widow I met in the train

Alternative version
Whilst in South Wales a letter was sent to me
From London, which bid me quickly repair
To an uncle; it stated: fast he was dying,
The wish had expressed to make me his heir.
So, hurriedly packing a few things together,
Wishing that London quickly might gain,
By a first-class express went; in the same carriage,
A charming young widow I met in the train.

An infant she had, so fondly caressing;
I ventured to ask: "If that was her own?"
She answered, in words appearing distressing:
"Yes; and its Papa is dead and gone!"
When the question I asked, in my face looking..
That look I shall ne'er be forgetting again!
In fact, fast my heart to herself was hooking,
Was the charming young widow I met in the train.

As the train it was stopping, the engine to water,
She asked, in a hurry: "Would I be so kind
Her infant to take it, the darling so quiet?"
"Of course" I replied, I didn't mind.
To the refreshment-room she went into.
The signal for starting I heard, but in vain,
Not a glimpse could I see of her; the train without started,
The charming young widow I met in the train.

Loud I was shouting, the train to be stopping,
Out of the window putting my head;
No answer receiving, the infant I took it,
Discovered, O horror! it was dead!
On its bosom was sewn a note: which on reading,
Found I was taken in, done for, quite plain:
It begged me bury the child for the sake of
The charming young woman I met in the train.

It was strange to myself that I was remarking
How quiet a child, not hearing a sound..
The sweet little creature asleep was, she told me;
Quite dead in sleep..so, in truth, I found.
I took it, and buried the poor little creature,
Its age or its name I could not explain;
On a stone was inscribed: "Underneath was bequeathed me
By a charming young Widow I met in the train".

A song from the Halls which appears widely in 19th century broadsides and songsters, and has firmly established itself in the repertoire of traditional singers on both sides of the Atlantic. It has been adapted to numerous localities by exchanging place names, but broadly exists in two versions. Both involve the deception of a gullible male: one involves a robbery, the other leaves him holding a dead baby. Both versions appear in print both in the British Isles and North America. It appears that the version with the robbery was the original – at least that was how it was published in around 1865

Some sources suggest it was written in the 1840s , but the earliest evidence of it I can find it in the 1860s when it was officially published and regularly performed in the Halls by William Randall (1830-98). The writer, WH Cove (sometimes misspelled as Gove) is a bit of a mystery to me, his most famous songs are this one and The Matrimonial Swindle – both were sung by Randall.

London Evening Standard – Friday 20 January 1865

There is a US version of the sheet music in the University of Michigan library, credited to Gove with an estimated publication date of 1860 – but this is an estimate not a firm date.

Hear Della Kerr sing it from the Ozark Folksong collection, and Mrs Fanny Pronger on the Sussex Traditions site.

A version found on YouTube …

Sources:

How Paddy stole the rope

AKAWhen Paddy stole the rope
Paddy stole the rope
First Publishedc1885

Writer/composerFred Albert / Frank W EgertonRoudRN2037

Music Hall PerformersPat Feeney
Folk performancesSource Singers
Mannering, Fred 1942 England : Kent
Cornealy, Tom 1950 Canada : Nova Scotia
Molloy, J. 1950-1951 Canada : Newfoundland
Knight, Harry 1952 England : Sussex
Scarce, Bob 1953 England : Suffolk
Tunney, Paddy 1976 N. Ireland
List, Billy 1977 England : Suffolk
Grant, Jimmy 1988 Ireland : Co. Donegal
Modern performances
Tim Hart/Maddy Prior
There was once two Irish labouring men, to England they came over;
They tramped about in search of work
From Liverpool to Dover.
Says Pat to Mick, 'I'm tired of this;
We're both left in the lurch;
And if we don't get work, begad,
I'll go and rob a church.'

'What, rob a church?...' says Mick to Pat;
'How dare you be so vile
There's something sure to happen
As you're treading down the aisle.
But if you go I go with you;
We'll get out safe, I hope;'
So, if you'll listen, I'll tell you here
How Paddy stole the rope.

Well off they went with theft intent,
The place they wanted finding;
They broke into a country church
Which nobody was minding.
They scraped together all they could
And then prepared to slope,
When Paddy cries out, 'Hold on, Mick,
What shall we do for rope?

We've got no bag to hold the swag,
And e'er we get outside,
With something stout and strong, my lad,
The bundle must be tied.'
Just then he spies the old church bell,
And quick as an antelope,
He scrambled up the belfry high
To try and steal the rope.

Now when Paddy up the belfry got,
'Ah-hah, begad, but stop;
To get a piece that's long enough,
I must climb to the top.'
So, like a sailor, up he went,
And near the top, says he,
'I think the piece that's underneath's
Quite long enough will be.'

So, holding by one arm and leg,
He drew his clasp knife out,
And right above his big fat head
He cut the rope so stout.
He quite forgot it held him up,
And, by the Holy Pope,
Down to the bottom of the church,
Fell Paddy and the rope.

'Come out of that,' says Mick to Pat,
As he on the floor lay groaning,
'If that's the way you cut a rope,
No wonder now you're moaning.
I'll show you how to cut a rope,
So just lend me the knife.'
'Be very careful,,' cries out Pat,
'Or else youll lose your life.'

He clambered up the other rope,
And, like an artful thief,
Instead of cutting it above,
He cut it underneath.
The piece fell down and left poor Mick
Alone up there to cope;
Says he, 'Bad luck it was the day,
When we came stealing rope.'

Now with Paddy groaning on the floor
And Mick hung up on high,
Says Pat, 'Come down.' 'I can't,' cried Mick,
'For if I do, I die.'
The noise soon brought the beadle round,
The sexton and the police,
And although they set poor Micky free,
They gave them no release.

They marched them to the county jail
Where their conduct now they rue,
And if they'd got no work before,
They've plenty now to do;
And for their ingenuity
They now have larger scope
Than when they broke into church
To try and steal a rope.

A song collected from source singers in England, Ireland and Canada in the second half of the 20th century. It appears in a number of broadsides and songsters published on both sides of the Atlantic.Another example of a song which draws on national and/or racial stereotypes for comedic effect, like so many of these it seems to have become popular amongst the people it was targeted at.

It was a hit in the Halls for Pat Feeney, with words by Fred Albert (brief biography below) and music by Frank Egerton

Pat Feeney (1850-89) seems only to be mentioned in passing in the major histories of the Halls. According to Kilgarriff he had a repertoire which favoured humorous songs about the Irish. He seems to have been a big star but died relatively early. His friends in the halls organised a number of testimonials to raise money for his dependents.

Fred Albert (1845-86) was both a songwriter and performer. He seems to be one of the few music hall stars to have come from a better off, middle-class background – he was educated at the Birkbeck School, and worked in an office in the City of London for a while. He was known for his fast singing and fast writing – he turned out a large number of songs many of which were never published, perhaps because they were very topical and had a short shelf life. His successes included  The Mad Butcher – a big hit for Henri Clarke and Perverted Proverbs. One of his topical songs which actually was published was Brave Captain Webb! written in 1875 to celebrate the first person to swim across the English Channel .

The topicality of many of his songs means that very few were remembered in the 20th century – it seems that the only song of his which passed into traditional singing was How Paddy stole the rope, but I am still looking … The spreadsheet below represents my most complete list of his songs that were published as sheet music with cross-references to the Roud Indexes where they exist.

fred-albert-1DOWNLOAD

Tim Hart and Maddy Prior sing Paddy Stole the rope:

Sources: