Mudcat Café message #855439 The Mudcat Café TM
Thread #55131   Message #855439
Posted By: Genie
30-Dec-02 - 03:10 PM
Thread Name: Mudcat CD Strawberry: Liner Notes PermaThread
Subject: Lyr. Add: Mudcat CD Strawberry Liner Notes
This is a PermaThread™, maintained by Genie. Feel free to post to this thread, but be aware that all messages in this thread are subject to deletion and editing.-------------------------

1.  Rag, Eh?   (R.  Fielding)  -   Rick Fielding  1:28
2.  Rolling Down To Old Maui  - (trad.)  - 3:08   Celtic Soul, with Pyrates Royale
3.  Beyond the Stone Circle   (A. Boyd)  -  Alison  3:46
4.  Chicagotown Blues   (A. Thieme)  -  Art Thieme   4:04
5.  Blue Eyed Mountain Maid   (B. Staines)   -  Musicman  (Paul Evenden)   4:03
6.  Girl On the Rim of the World   (M. Reynolds)   -  WyoWoman   2:36
7.  Galway City   (trad.)  -   Uisce Beatha IAPM   2:59
8.  Billy the Kid   (trad.)  -  Steve-O (Steve Noceti)   2:19
9.  Fly Me Away   (Cooke/Jessup)  -  Áine (Anne Cooke), with Layne Cooke   3:32
10.  Handful of Songs   (J. Rasmussen)  -  Francy   2:50
11.  Feels Like the Blues  (R. Horvath)  -  DharmaBum (Ron Horvath)   4:26
12.  The Bigot's Song (Present Company Excepted)  (R. Gall)  -   The Shambles (Roger Gall)   3:46
13.  Hangman   (trad.) -  (Telynor) John (John P) & Anna Peekstock    4:00
14.  This Time Again   (Gregson)  -   KarenK (Karen L. Kobela)  4:19
15.  Harmony (One Out of Many)   (Jeanene Pratt)  -   Genie (Jeanene Pratt) -   2:08
16.  Carrickfergus   (trad.) -  Harpmaker (John & Christine)   3:43Ê
17.  Bold Jackie Tar   (trad.)  -  English Jon   2:27
18.  Bold Carter   (trad.)  -  Chris Amos & treewind   3:51
19.  I've Had That Happen To Me  (S. Rich)  -  Stephen L. Rich   2:37
20.  Young Redin   (trad.)  -  Treewind & Mary Humphreys   4:20
21.  Walla Walla Woman Blues   (A.  Jessup)  - Amos   4:39
22.  Lovely Joan   (trad.)  -  Llanfair   2:33
23.  The Song   (Reprise)  (H. Andrews)  -  Harvey Andrews   1:39

1.   Rag, Eh?    composed & performed by Rick Fielding   1:28
I'm not sure these are the exact lyrics on the CD.  Brad sent them & he wasn't sure, either.  Anyone got time to check?  -- Genie
2.  Rolling Down To Old Maui   (trad.)  - 3:08    Celtic Soul, with Pyrates Royale

 It's a damned tough life, full of toil and strife we whalermen undergo
 And we don't give a damn when the gale is done how hard the wind did blow.
 We're homeward bound!  'Tis a grand old sound,  with a good ship taut & free,
 And we don't give a damn when we drink our rum with the girls on old Maui.

Chorus:    Rolling down to old Maui, my boys, rolling down to old Maui.
                 We're homeward bound from the arctic ground, rolling down to old Maui.

 And now we sail with a northerly gale towards our island home.
 Our mainmast sprung & our whaling done, & we ain't got far to roam.
 Our stuns'l booms is carried away.  What care we for that sound?
 A living gale is after us--thank God we're homeward bound!   (Cho.)

 Once more we sail with a northerly gale through the ice & wind & rain.
 And them coconut fronds in them tropic lands we soon shall see again.
 Six hellish months have passed away in the cold Kam-chat-ka sea,
 But now we're bound from the arctic ground, rolling down to old Maui.  (Cho.)

 How soft the breeze through the island trees, now the ice is far astern,
 And them pretty maids in them island glades is awaiting our return.
 Even now their big black eyes look out, hoping some fine day to see
 Our baggy sails running 'fore the gales rolling down to old Maui.   (Cho.)
3.  Beyond the Stone Circle   by Alison Boyd  -    Alison: harp & low whistle

 I wrote my tune after visiting a stone circle (in Oz believe it or not).... reminded me of the circles back home...
 so I sat down with the harp, closed my eyes and pictured my favourite stone circle (Beltany, Co Donegal)
 and let her play what she wanted... this is the tune that she played.    -   Slainte,  Alison

4.  Chicagotown Blues  -  by Art Thieme (Public Tomane)  - © For Sale (by owner)

Recorded in September of 1979 at the EQINOX FESTIVAL in the middle of State Street --- Madison, Wisconsin.
"This is one of the 3 songs I've written that I bothered to learn.   Just a tongue-in-cheek love song to the grand old place.   
 There is an extra verse printed here that I rarely sang.  It isn't on the CD."  -  Art

Chorus:      There ain't no limit,  To the things you see in Chicago town,
                   Just one thing, babe,  Ya gotta be sure not to let it get you down !

 I went walkin' 'round town, just seeing the sights,
 Saw a whole bunch of winos,& one or two fights,
 Saw the dead rise up, for a five dollar note,
 Saw 'em walk to the poll, saw 'em go in and vote !     Chorus

 I went walking down Rush Street, saw a gal standing there,
 She had wonderful legs, & beautiful hair,
 I said, "Hey baby, I could love you 'til I drop."
 She read me my rights, 'cause he was a cop!      Chorus

 A patronage worker died, one day at City Hall,
 The undertaker came at noon, to make his grisly call,
 He didn't get back to the mortuary, until six o'clock & he said,
 "I had to wait around 'til quitting time to figure out which one was dead."      Chorus

 A speed freak walking down Lincoln, just as hip as he can be,
 He bit off half a capsule & threw the rest away.
 His friend said, "Man, that's wasteful!  What's the big idea?
 Don't you know there are millions of people sleeping in India ???"      Chorus

 Well, my mother became my father; my father is now my mom;
 My uncle got silicon injections, & my aunt calls herself John.
 Some o' that silicon got mixed in with a batch of refried beans,
 Made the best damn silicon-carne that you have ever seen!      Chorus

 There are hookers in New York City, & winos in D.C.
 Gamblers out in Frisco & moonshine in Tennessee,
 Gambling in New Orleans, corruption all around,
 And I bet you'll find 'em all, in old Chicago town.     Chorus (twice) 
5.  Blue Eyed Mountain Maid  words & music by Bill Staines  
    Musicman (Paul Evenden)  - vocals, autoharp ?

 Walking down the road, the autumn rain is falling,
 driving hard and cold against his hair.
 The trees have lost their leaves, the wild birds are calling,
 Winging on their way to anywhere.

 Chorus:      He remembers how her golden hair did flow,
                    He remembers how the summer wind did blow
                    In the morning when he sat within the shade
                   All alone with the blue-eyed mountain maid.

 Beneath the summer skies, the fields were green and growing,
 The purple flowers were blooming in the glade.
 "As long as these remain, my love for you is growing."
 This promise he gave to the mountain maid.     Chorus

But promises undone can pave the way to sorrow,
And words alone can't make the flowers grow;
What looks like love today may have another face tomorrow;
As quickly as it comes, you watch it go.      Chorus

 And now he wanders lost and all alone
 Beneath the mountain trails he used to roam
 A fool in the foolish game he played
 For the love of a blue-eyed mountain maid.     Chorus
6.  (Girl) On the Rim of the World   words & music Malvina Reynolds © 1973 (Shroeder Music Co.)
     Sung by  WyoWoman

Wyo sang "Girl on the Rim of the World" on a summer night in my backyard in Colorado, accompanied by the quiet
faraway thunder of a 747 rolling off to somewhere.  Perfect, actually, as you all will hear. -  Lonesome EJ

She (C)inches along on the rim of the world  /  (F)Always about to go (C) over.
(F)How she can manage, I (C) never will know,  /  To(D7) get from one day to an(G7)other,
(C)Scrounging a(G7) buck or a (C) bed  /  Or the (E7)share of a roof for her (Am) head,
This (F) nobody's child, this pre(C)carious girl  /  Who (G7)lives on the rim of the (C) world.

She looks like a princess in somebody's rags,  /  She dreams of a world without danger,
Climbing the stairs to a room of her own  /  With someone who isn't a stranger.
But now she eats what she can,  /  And accepts what there is for a man,
This nobody's child, this precarious girl  /  Who lives on the rim of the world.
7.  Galway City    (trad.)
    UB Ed   (Uisce Beatha)
   Uisce Beatha , both merry & sad are: Jim Guy - guitar; Judith Guy - recorder; Dan Guy - bodhran;  Sajji Hussain - bass;
   Henry Robb - violin;  Ed Tatum - guitar  
We play this as the second song of a "roving trilogy".  As the first song has the young man getting the best of his roving ("As I Roved Out"),
we thought some turnabout would be "correct" as our young rover is spurned by the fine Spanish Lady.  But be careful with that attitude
to the extreme, lest you wind up an "Old Maid in the Garrett!"
  The recording was made directly from the sound board at
Rare Olde Times in Richmond, VA. Uncut, unedited (as should be fairly obvious by our technical

As I roved out thro' Galway City, at the hour of twelve at night,
Who should I see but a handsome damsel, combing her hair by candlelight.
"Lassie, I have come a-courtin', your kind favours for to win;
And if you'll but smile upon me, next Sunday night I'll call again."

 Chorus:    Raddy a the toodum, toodum, toodum,  /  Raddy a the toodum, toodum day.   [2 x]

"So to me you come a-courting, my kind favours for to win;
But 'twould give me the greatest pleasure if you never did call again.
What would I do when I go walking, walking out in the morning dew?
What would I do when I go walking, walking out with a lad like you?"     (Cho.)

"Lassie, I have gold and silver.  Lassie, I have houses and lands.
Lassie, I have ships on the ocean; they'll be all at your command."
"What do I care for your ships on the ocean? What do I care for your houses & lands?
What do I care for your gold and silver?  All I want is a handsome man."       (Cho.)

Did ever you see the grass in the morning all bedecked with jewels rare?
Did ever you see a handsome lassie, diamonds sparkling in her hair?
Did ever you see a copper kettle mended with an ould tin can?
Did ever you see a handsome damsel married up to an ugly man?         (Cho.)
8.  Billy The Kid    (Trad., Arr.- Oscar Brand)    2:19
     Steve Noceti (Steve-O) - vocals, guitar        (Photo/profile in Mudcat Member Photos*)

I'll sing you a true song of Billy the Kid.  I'll sing of the desperate deeds that he did,
Way down in New Mexico, time long ago, when a man's only friend was his own 44.

When Billy the Kid was a very young lad, in old Silver City he went to the bad.
Way out in the West, with a gun in his hand, at the age of twelve years he first killed his man.

Fair Mexican maidens play guitars & sing about Billy the Kid, the boy bandit king,
How a young man & he reached 21, for twenty men dead he'd a notch on his gun

It was on the same day when poor Billy died he said to his friends, "I am not satisfied.
There's 21 men I have put bullets through, and Sheriff Pat Garrett will make 22."

The bright moon was shining, the hour was late the night that poor Billy the Kid met his fate.
Shot down by Pat Garrett, who once was his friend, the young outlaw's life had now come to its end.

Now there's many a lad with a face fine & fair who starts out in life with a chance to be square,
But just like poor Billy he wanders astray and loses his life in the very same way.
9.  Fly Me Away        Words & Music by Anne Cooke & Amos Jessup  © ???
     Áine (Anne Cooke), vocals; Layne Cooke, strings & sound engineering

Fly me away to the days down in Lafayette, when we were the talk of the town.
You took my hand when they played "Jolie Blonde," & I laughed as you waltzed me around.

Raised up three girls by the glow of a fire, taught them the old Cajun tunes.
We built a life, and did it with nothing but iron pots ---- & wooden spoons.

Bring me back home to the place by the bayou to a dance floor lit by a blue moon.
Shadows of Spanish moss painted the wind, and the night owl kept calling the tune.
On a small wooden porch with a tar paper roof we rocked to the song of the loon.
We built a life, and did it with nothing but iron pots ---- and wooden spoons.

Oh, won't you fly me away back to Lafayette, where only memories remain.
You'd take my hand once more for a waltz, and I'd do it all over again.
We found a treasure there under the pines that time will take from us soon.
We built a life, and did it with nothing but iron pots ---- and wooden spoons.
10.  Handful of Songs   (words & music by Gerald (Jerry) Rasmussen - © Crystal Springs Music Company,
      Jerry R., president and sole volunteer part-time employee)
     Francy (Frank [Jones] of Toledo [OR]), instrumentals, vocal

All that I have is my grandfather's hammer,  /  His old railroad watch with the casing all worn,
And the Bible my grandmother bought her last Christmas,  /  Left to my mother.   Now she's passed it on.

Chorus:      Some may leave money from a lifetime of saving,    Some just their names on a marble stone.
                   It's not what you leave, it's the joy of remembering,   /  And all I can leave you is a handful of songs.

Some may leave stories, well tuned in the telling;  /  Some may leave jokes that can still make you laugh;
Some may leave lessons, hard in the learning;   /  Some just a smile in an old photograph

Oh, how many days slip away without notice?  /  How many friends have we lost on the way?
How many good times are taken for granted   /  and only remembered when they've passed away?
11.  Feels Like the Blues    words & music by DharmaBum (Ron Horvath)      
      DharmaBum (Ron Horvath) - vocals & guitar

Recorded live at the Manasquan Folk Festival,May 2001.  This is one of those songs where I had the melody & chords
kicking around in my head for months before the words came to me.  I ended up with this bittersweet blues tune. - DB.

You say that you're leavin',you say you've had enough,   /   Packed up all your bags,and you boxed up all your stuff,
You cleaned out the closet of those 68 pairs of shoes,  /  If I'm so glad you're leavin', Why does this feel like the blues.?

I've longed for this moment,to be single once again,  /  Just fancy & free,don't have to answer who,what,why or when,
You think I'd be happy,when you gave me the news,  /  But if I'm not mistaken,  This sure does feel like the blues.

(Chorus)  Since you've been gone,  I've been havin' quite the time,
                 Tell my friends how happy I am,    /   But I can tell,  They know that I'm lyin'.

Livin' this bachelor life has got to be the best,   /   I lay around the house all day, don't even have to get dressed,
Playin' poker with my buddies, you know,  I just can't seem to lose,
So could someone please explain,  Why does this feel like the blues?      (Chorus)

It's obvious I miss you, can't deny a well known fact,  /  I just don't know how to grovel & keep my dignity intact,
So I'm pullin' out the stops, Babe, usin 'all I got to use,   /   'Cause I got to get you back home    To cure these ailin' lovesick blues.

Livin' like a free man just isn't where it's at,  /  An' even though I'm allergic, you can bring home that long haired cat,
An' when your mama comes to visit, I'll mind my Ps & Qs,  /  'Cause this happiness ain't worth it    When you're sufferin' with the blues. ______________________________________________________________________________________________
12.  The Bigot's Song (Present Company Excepted)  composed & performed by The Shambles (Roger Gall ©1997)

This song appears in The Mudcat Songbook (with a bit of explanation/blub) under the title of 'The Bigot's Song'.
As for bigots: SONG WARNING! - SONG WARNING!  This one is down to my Geography teacher & it was just about
the only constructive thing I remember learning there.  He told me that the phrase, 'present company excepted', was the
last refuge of the bigot.  It enabled the bigot to give full rent to her prejudice, whist seeming to excuse the individuals
present, from it.  Sorry about that.... I was only teasing.  I was going to say 'he', and 'his' but stopped & went to put
'them & 'their', but then I just couldn't resist it.  Would anyone have picked me up for saying 'he' & 'his', in this context,
I wonder, or are all bigots male?  Just to add yet another subject to this thread.  --   The Shambles 

Present company excepted, they're robbing us blind,
It's my view, that I'm entitled to and its true I'm 'gonna' speak my mind.

Present company excepted, they think that they're 'high fliers',
It's understood, that they're no good and should be known as cheats and liars.

Present company excepted, you're the only one, that I might trust,
It's clear to see, you're a lot like me and nearly could be one of us.

Present company excepted, they've got it laid on a plate.
Its such a shame, they're all the same.  I blame it on the Welfare State.

Present company excepted, they seem to need to shout it,
With that hair and the clothes they wear, can't bear to even think about it.

Present company excepted, well you wouldn't know it,
You look all right, appear quite bright, well you might be but you don't show it.

Present company excepted; do they really believe it?
All the fuss they make, for religion's sake!  Well me, I can take it or leave it.

Present company excepted, I'm sorry if I tread on your toes,
I want to make it clear, to all those here, you don't appear to one of those.

Present company excepted,...  Why has everyone departed?
Well it goes to show, they have to go, when they know that they've been out-smarted!
13.  Hangman  (Traditional US)
      Telynor (Anna Peekstok - octave mandolin, vocals; John Peekstok (JohnP) - cittern

Hangman is an American version of a song with many versions in the British Isles and America: The Gallows Pole, The
Maid Freed From the Gallows, The Prickle Berry Bush, Hangs-a-man, etc.  Anna learned this one from her mother.

Anna's octave mandolin is tuned GDAE.  She's playing Am chords but has a capo on the third fret, so the song's in Cm.  
My cittern is tuned EAEAE & is capoed on the 15th fret.  I stole a riff from "Battle of Evermore" by Led Zeppelin & stuck
it in between the verses. -- JP

Hangman, slack the rope, slack it for a while,
I think I see my sister coming, travelling many a mile, O, travelling many a mile.

Sister, did you bring me silver, did you bring me gold?
Did you bring me anything to save me from the gallows pole,  O, save me from the gallows pole?

No, I didn't bring you silver, didn't bring you gold,
I have come to see you hang from the gallows pole, O, hang from the gallows pole.

Hangman, slack the rope, slack it for a while,
I think I see my father coming, travelling many a mile, O, travelling many a mile.

Father, did you bring me silver, did you bring me gold?
Did you bring me anything to save me from the gallows pole, O, save me from the gallows pole?

No, I didn't bring you silver, didn't bring you gold,
I have come to see you hang from the gallows pole, O, hang from the gallows pole.

Hangman, slack the rope, slack it for a while,
I think I see my true love coming, travelling many a mile, Yes, travelling many a mile.

True love, did you bring me silver, did you bring me gold?
Did you bring me anything to save me from the gallows pole, Yes, save me from the gallows pole?

Yes I brought you silver, and yes I brought you gold,
I have brought you everything to save you from the gallows pole,
O, save you from the gallows pole, save you from the gallows pole.
14.  This Time Again    words & music by Anne Gregson, Bradford-on-Avon, England 
      (with permission kindly granted by the author)

      KarenK (Karen L. Kobela) - lead vocals

"I learned this in 1999 -- don't know if you remember when "Catspaw" (Pat Patterson of the Mudcat) was really sick
& in the hospital for a long time.  I posted this song after he turned the corner & things started looking good for him. 
I then went to the 1999 Washington Getaway & sang this at the Mudcat workshop.  Later, when I got quite sick myself,
Catspaw posted part of this song in an email to me.   It's a special song to me with a tie to the Mudcat.  Mudcatter Kath
Westra cries when she hears me do this song.  This was recorded in Sept 1999 at a gospel sing in South Dartmouth,
Massachusetts in a 1700's Quaker meetinghouse with great acoustics and about 50 voices joining in."
- ConcertinaChap
This story about the song "This Time Again" moves me a lot.  My partner Anne wrote it (though -- don't tell anyone --
I did contribute 2 verses) & it has for long been a favourite song of our repertoire.  But the amazing thing is that,
considering we're Brits, we know these places.  We stayed a few days in South Dartmouth a few years back, with our
friends Jim & Cindy Bean.  I've not been inside the Quaker meeting house, but I've seen the outside.  Furthermore, a
year or so before KarenK, we sang the song ourselves at the Washington Getaway.
  We are both delighted to see the
song here, and can't wait to hear it.
...  We have a real interest in where our songs end up (& take great pleasure in
people picking them up).  If anyone wants to sing This Time Again, perhaps you could drop us a line?  Just for the interest.

Cheers, Chris Timson
Refrain:       This time again, this time again, / We'll not see this time again.  (x2)

In all the world there'll never be / Such a time as this again,
For who can tell what will befall / Before we meet again.

There will be changes to our lives, / Maybe sorrows & maybe joys,
And many bridges to be crossed  Before we meet again.

I'll see your likeness everywhere, / In the face of every friend.
I'll hear your voice in quiet lands / Until we meet again.

From the injustice all around / And the sorrows and the pain,
I pray a better time will come / Before we meet again.

So take good care in all you do / And keep your spirits high.
My thoughts will always be with you / Until we meet again.

I've left this [verse] out but since Anne wrote it I'll put it in here:  (Chris)

Now I can see the way ahead / And the road that I must tread.
I shall not wander from my path / Until we meet again.
15.  Harmony (One ,Out Of Many)   words & music by  R. Jeanene Pratt © 1986*   Genie (Jeanene Pratt): guitar, vocals

I wrote this for a U-U summer camp in 1988 (theme: "Harmony (Unity In Diversity)").   In my head, I 'hear' it as a
full SATB choir song, complete with counter-melodies, counterpoint, & other choral shenanigans.  All I could do
when I recorded it in 1998 was overdub a couple of counter-melodies/harmonies on my own.  

In 1990 I added a chorus so folks who didn't know it could sing along.  Verse #4 was added for an environmental-theme camp. 
The version on this CD is the original 1988 recording (though it lost some clarity in transition from tape to CD).  -   RJP

 C       G                                C         C     (Am)    D7                  G
Many instruments and melodies, /   Many voices form a symphony:
  F                C         F                    G        C      F      C  (Am)      G       C
One Out Of Many.  Let the music be  /   Sung not in unison, but harmony.

Many textures in one tapestry, / Ev'ry thread with its own specialty:
One, Out Of Many.  Let the fabric be / Woven with loving hands in harmony.

Many colors, each with its own name, / In one rainbow burst as if in flame;
One, Out Of Many.  Let the colors be / Rich in their character and harmony.

*Verse #4 (© 1988  R. Jeanene Pratt)
Many creatures, marvelous to see, / Share with us the earth and sky and sea:
One Out Of Many.  Let all nature be / Rich in diversity and harmony.

Many roots must feed one growing tree -- Unity, not uniformity:
One, Out Of Many.  Let the branches be / Balanced to bend and dance in harmony.

One true light from vantages diverse; / One community is all this earth:
We are One, Out Of Many.  Let the music be / Sung, not in unison, but harmony.

 C                 F                  C         F                   G          C      F      C               G     G7       C
Yes, we are One, Out Of Many.  Let the music be    /  Sung, not in unison, but as a symphony!

*Chorus: (© 1990 R. Jeanene Pratt)
                G                      C   F C
       C       F      C (Am)       G       C
  So let us all sing out and let it be   /  Sung, not in unison, but harmony
     G    (G7) C F  C        C      F       C  (Am)      G       C
  Harmony,  let it be   /  Sung, not in unison, but harmony.

(The chorus goes after verses 2, 4, and 6, and the tag occus after the last chorus.)
16.  Carrickfergus  (Trad. Irish)      3:43
       Harpmaker (Christine ? -  Vocals, John ? -  Harp)

I wish I was in Carrickfergus, only for nights in Ballygrant
And I would swim over the deepest ocean, only for nights in Ballygrant,
But the sea is wide & I can't swim over & neither have I the wings to fly.
I wish I had me a handy boatman To ferry me over, to my love and die

Well in Kilkenny, it is reported, oh, on marble stones there as black as ink,
And with gold & silver I will support her.  Oh, but I'll sing no more untill I get a drink,
For I'm drunk today, & I'm seldom sober, A handsome rover from town to town,
Ah, but I'm sick now, & my days are numbered, So come all you young men and lay me down.
17.  Bold Jackie Tar    (trad.)        Artist: English Jon
18.  Bold Carter      Trad.,  arranged  by Anahata & C. Amos     Chris Amos: Guitar & Vocals;  Anahata: Anglo Concertina

This song was collected by Vaughn Williams from Mr Whitby, the Sexton of Tilney-All-Saints near Kings Lynn Norfolk. 
It is a variant of Polly on the Shore & various versions have been collected around England and Ireland. 
They have all evolved from a song published in Ireland in 1744 in the Irish Boys' Garland.   -    Chris Amos

Come all you wild young men, and a warning take by me,
Never you lead your life astray unto bad company.

Bold Carter is my name, and hard is my intent;
Till I got pressed by a press merchant, & on board a man of war got sent.

We'd not been sailing long 'fore the first thing that we spied,
It was five French men came sailing to down, and at length they were going to draw nigh.

We hoisted our main colours, Our bloody bloody flag we let fly,
Let every man stand to his gun, for the Lord knows the day we must die.

Our captain got wounded most wonderfully sore, and so did most of his men;
Our main mast rigging got all shot away, so at length we were forced to give in.

Our decks were all splattered with blood, so loud did the great guns roar;
I wished myself back home again with my Polly that I left upon the shore.

She's a tall and a handsome girl, she's a dark and a rolling eye;
And here upon the deck where I lay shot for her sweet sake I must die.

Here's adieu to my father and mother, and my friends and relations, too,
I never would have crossed the salt seas so wide if I had been ruled by you.
19.  I've Had that Happen to Me  (words & music by S. L. Rich)        Artist: Steven Lee Rich
As for an explanation of the song?  Suffice to say that while there are countless drinking songs in folk music,
"I've Had That Happen To Me" is about PAYING for the drinks. ...  
Somewhere in the neighborhood of one's
30th birthday one hits a brick wall at which one realizes "I cain't party like I used to did!"  This song is [also]
about the moment of impact.  -  Stephen Lee;
20.  Young Redin   (trad., arr. Treewind)     Artists: Mary Humphreys and Anahata

This is a reconstruction of a traditional ballad found in England, Scotland and the USA.   I compiled the lyrics using
F. J. Child's ballad collection & composed the tune myself, using as a model a version found in the Appalachians by
Cecil Sharp in the early 1900s.
  The song details an incident of trial by fire, which was a mediaeval means of testing
for guilt.  It also has some events based on mediaeval superstition - such as the murdered corpse spurting forth blood
when the murderer approaches.  The whole story turns on a bad joke made by Young Redin ( some versions call him
Young Hunting) where he tells his mistress that he will not spend the night with her because there is another lady waiting
down the road for him who is much more attractive!   Then he goes & eats the dinner she has cooked for him & drinks
the wine she has poured for him.  I think he deserves everything that happens later!   Anahata (for Mary Humphreys)

Young Redin he is a hunting gone with 30 lords and three,
And he has to his true love gone as fast as go can he. (2)

"You're welcome here, my Young Redin, with coal & candlelight.
You're welcome here, my Young Redin, to lie with me tonight."

"I thank you for your candlelight, I thank you for your coal,
But a lady thrice as fair as thee meets me at Brandie's well."

When they were both at supper sat & merrily drinking wine,
The lady's taken a strange sickness, unto her bed has gone.

Young Redin, he follwed after her, a sorrowful man was he,
For he found his lady in her bed weeping bitterly.

When he was in her two arms laid and giving her kisses sweet,
The lady's taken out a little penknife & wouded him full deep.

"O long long is the winter's night & slowly dawns the day.
There is a dead knight in my bower & I wish he were away.

"Now keep this secret, bowerwoman, & keep it now for me,
 And all the gowns in my chamber tomorrow shall be given to thee"

So they booted him & spurred him, as he was wont to ride,
And in the deepest Clyde's waters, it's there they've made his bed.

By there came seeking Young Redin many's the lord & knight.
By there came seeking Young Redin many's the lady bright.

"O I haven't seen my Young Redin since yesterday at noon.
He turned his high horse head about and rode off through the town."

They searched Clyde's waters up & down they searched them out & in,
And in the deepest Clyde's waters they found Young Redin in.

O white, white were his wounds washed white as a linen clout,
But when his lady she came near the red blood, it gushed out.

"It must have been my bowerwoman -- an ill death may she die!
I never would have slain my Young Redin & thrown him in the Clyde."

So they have built a big bonfire the bowerwoman to burn,
And the fire it took those cruel hands that threw Young Redin in.

And they have taken out the bowerwoman & thrust the lady in.
The fire it took those cruel cruel arms Young Redin he lay in.
21.   Walla Walla Woman Blues  words & music by Amos Jessup © 19??      Amos: guitar & vocals
This original blues is loosely based on the Barrelhouse style made famous by stars like Bessie Smith, in the days before
microphones were used for live performance.  It was written to raise some working cash for the Mudcat on commission
from a lovely Mudcatter in, of all places, Walla Walla, Washington, the town so fair they had to name it twice.  -  Amos

                     E                                                             B7
You know, flakie cats just want to stone you And big cowboys they just want to own you
            A              A7                                            C#m
For a reg'lar jelly roll, And the losers want you to roll them
         C#7                                            F#7                      F#6                     B7
And  beg you to control them    And  grind 'em til they find they souls.      Oh,
                E                       E7                          B               B7
I 'm not about  to start contraction    From  a masculine reaction,
                  C#m              G#7                          A
'Cuz I'm a real woman right down to my shoes,
               A7                  E7                C#7           F#7               B7  B7aug(?) E
But I'm getting those Walla Walla's wasting  A Walla Walla  Woman        blues.

Big bikers want to play you, / & maybe want to flay you.  /  Hey, wouldn't you rather burn yo' bra?
Then the SNAGS want easy living, / Got no-o-o sense of rhythm  /  They can't figure out just who they really are.
Hey, Mister big iron pumper / Got a motion, like a bumper,   /  Ain't got enough plain soul to shine my shoes,
But I'm gettin those Walla Walla's wastin' A Walla Walla Woman Blues.

Bridge:      G#7                               C#m                         G#7                           C#m
                I like to do that hootchie kootchie thing, But no one here to kootchie me.
               F#                                F#7                     B                                  Bm               B7
I like to run a nice strong coffee grinder  And the men around here drink tea, cold tea!  Oh

I got three hot kitties begging, pretty pretty,  /  Just to go out on the town at night.
Jes' see how they carry on,  Hear them whine an' moan.  /  They don' believe it's right!
Sometimes I turn-a my back & they slip through a crack,  /  And those down town pussies get more than I do!
Leaves me them Walla Walla's wastin' a Walla Walla Woman blues.

Bridge:                   G#7             C#m                     G#7                  C#m
               I'm not excessively demanding That's no way for a good woman to be
                         F#                 F#7                                 B              Bm    B7
               All I want is some plain understanding & some congeniality, Oh,

I don't want a man on booze -- They always seem to lose,  /  Except for that one out Chicago way,
'Cuz I can still recall, He would play that Cannonball,  /  And that was what he did to steal my heart away.
I'm gonna move it, yes move it  /  Till someone finds that groove,  /  Go out in white bread city& cruise,
Gonna shake them Walla Walla's Wasting a Walla Walla...
A Walla Walla Woman Blues....oh, yes.
22.   Lovely Joan  (trad.)  -2:33 Llanfair (Bron) - vocals, instrumentals

"It's me!!!!!!!! I'm on this one!!!!!!!! Between Amos and Harvey Andrews!!!"
"THE Harvey Andrews?"  Jim said!
"Oh yes," sez I, "he's a mudcatter like me.
Oh YES!!!!!!" - Llanfair

Lovely Joan is a traditional song that I learned from one of Martin Carthy's recordings.  The tune is featured in Vaughan
Williams' "Greensleeves fantasia," transposed into a minor key.  The fiddle in the recording is played by David Bannister,
a local artist and musician. The song was recorded in our front room, and the technical stuff was done by my husband, Jim.
Cheers, Bron.

A fine young man he was indeed,  /  He was mounted on his milk-white steed.
He rode, he rode all alone  /  Until he came to lovely Joan.

"Good morning to you, my pretty maid,"   /  & "Twice good morning, sir,"  she said.
He tipped her the wink; she rolled her eye.  /  Says he to himself, "I'll be there by and by."

"Oh don't you think those pooks of hay  /  A pretty place for us to play?
So come with me my a sweet young thing.  /  I'll give to you this golden ring."

"Give me that ring into my hand  /  & I will neither stay nor stand,
 For this would do more good to me  /  Than twenty maidenheads," said she.

And, as he made for the pooks of hay,  /  She leaped on his horse & she tore away.
She rode, he called, he called in vain,  /  For Joan, she ne'er came back again.

Nor did she think herself quite safe  /  Until she came to her true love's gate.
She dropped him off his horse & reign  /  & left him to rage in the meadows green.
23.  The Song (Reprise)  composed and performed by Harvey Andrews

Songs to make you dance & sing, Songs to make you sigh,
Songs to make you laugh & bring a tear to your eye.