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Barney, Leave the Girls Alone/Molly Put the Kettle On
Old-Time, Breakdown. USA; Georgia, Mississippi, Virginia, Missouri.
ARTIST: From American Memory collection from the 1840's to 1860's, no date given. Published Boston, Massachusetts by L. Deming.
CATEGORY: Fiddle and Instrumental Tunes;
DATE: Mid 1800’s in US;
RECORDING INFO: Leake County Revelers (Miss.). Columbia 15746 (78 RPM), Gid Tanner and His Skillet Lickers (N. Ga.). County 506, The Skillet Lickers- "Old Time Tunes." County 529, Leake County Revelers- "Traditional Fiddle Music of Mississippi, Vol. 2." Folkways FA 2399, New Lost City Ramblers - "Vol. 4." Global Village C217, (Black fiddler and banjo player) Joe and Odell Thompson - "Old Time Music From the North Carolina Piedmont." Marimac AHS #3. Cahan, Andy; Laura Fishleder and Lisa Ornstein. Ship in the Clouds, Folkways FTS 31062, LP, cut# 3; Ennis, Seamus. Folk Songs of Britain. Vol 2. Songs of Seduction, Caedmon TC 1143, LP (1961), cut#B.06; Gellert, Dan; and Brad Leftwich. Moment in Time, Marimac 9038, Cas (1993), cut#B.02; Hartford, John. Wild Hog in the Red Brush, Rounder 0392, CD (1996), cut#13; Holt, Bob. Got a Little Home to Go To, Rounder 0432, CD, cut#20; Lundy, Emmett. Fiddle Tunes from Grayson County, String 802, LP (1977), cut# 11; Milnes, Gerry; and Lorraine Lee Hammond. Hell Up Coal Holler, Shanachie 6040, CD (1999), cut#13; Old Hollow String Band. Virginia Carolina Sampler, Flying Cloud FC 007, LP (1988), cut#B.02; Red Clay Ramblers. Merchants Lunch, Flying Fish FF-055, LP (1977), cut# 4; Smith, Glen (Virginia). Say Old Man, Marimac AHS 3, Cas (1990), cut# 2; Thompson, Joe. Family Tradition, Rounder 2161, CD (1999), cut# 4; Ward, Wade. Close to Home, Smithsonian/Folkways SF 40097, CD (1997), cut#19; Anderson, Virgil. On The Tennessee Line, County 777, LP (1980), cut# 13; Stecher, Jody; and Kate Brislin. Our Town, Rounder 0304C, Cas (1993), cut# 3b; (Jenny Put the Kettle On) Macon, Uncle Dave. At Home, His Last Recordings, 1950., Bear Family LC 15214, LP (1987), cut# 20; Politte, Joe. I'm Old But I'm Awfully Tough, MFFA 1001, LP (1977?), cut# 39; Wallace, Gusty. I Kind of Believe It's A Gift, Meriweather Meri 1001-2, LP (198?), cut# 33; (Molly Put the Kettle On); Blevins, Haywood. Old Originals, Vol. 2, Rounder 0058, LP (1978), cut# 11 (Molly Put the Kettle On); Brush Creek Cut-Ups. Fiddler's Grove. Old Time Fiddler's & Bluegrass ... 1975. Vol. 6, Galaxie, LP (1975), cut# 37 (Ma Put the Kettle On); Cahan, Andy; Laura Fishleder and Lisa Ornstein. Ship in the Clouds, Folkways FTS 31062, LP, cut# 17; Davis, Luther. Old Time Way, Heritage (Galax) 070, LP (1986), cut# 4 (Molly Put the Kettle On); Dickel Brothers. Dickel Brothers Volume One, Empty Records MTR 376, LP (1999), cut#B.07 (Molly Put the Kettle On); Ebenezer. Fox Hollow Lodge String Band Festival, Vol. 1. Comin' Home, Biograph RC 6008, LP (1976), cut# 14 (Molly Put the Kettle On); Hotmud Family. Till We Meet Here Again, or Above, Vetco LP 501, LP (1974), cut# 12; Jarrell, Tommy. Joke on the Puppy, Heritage (Galax) 044, LP (1992), cut# 11; Leake County Revelers. Traditional Fiddle Music of Mississippi, Vol. 2, County 529, LP (1975), cut# 6 (Molly Put the Kettle On); New Lost City Ramblers. New Lost City Ramblers, Vol. 4, Folkways FA 2399, LP (1962), cut# 6 (Molly Put the Kettle On); Pickin' Around the Cookstove. Pickin' Around the Cookstove, Rounder 0040, LP (1975), cut# 2; Rutherford, Ernest; and the Gold Hill Band. Old Cap'n Rabbit, Heritage (Galax) 080, Cas (1989), cut# 12; Skillet Lickers. Skillet Lickers, Vol. 1, County 506, LP (196?), cut# 1 (Molly Put the Kettle On); Skillet Lickers. Going Down The Valley; Vocal & Instrumental Music from the South, New1 World1 NW 236, LP (1977), 10 (Molly Put the Kettle On); Smith, Glen. Traditional Music From Grayson and Carroll Counties, Folkways FS 3811, LP (1962), cut# 3; Steamboat Entertainers. Galax International, Heritage (Galax) 067, LP (1988), cut# 2; Stoneman, Ernest; and the Blue Ridge Corn Shuckers. Day in the Mountains, County 512, LP (196?), cut# 8b (Seranade in the Mountains); Thompson, Joe; and Odell Thompson. Oldtime Music from the North Carolina Piedmont, Global Village Global-C217, Cas (1989), cut# 5 (Molly Put the Kettle On); Ward, Wade. Uncle Wade. A Memorial to Wade Ward, Old Time Virginia Banjo ..., Folkways FA 2380, LP (1973), cut# 5; Block, Allan; and Ralph Lee Smith. Allan Block & Ralph Lee Smith, Meadowlands MS 1, LP (1971), cut#B.01 (Polly Put the Kettle On);
RELATED TO: “O Du Lieber Augustin,” “Old Molly Hare;” “Yew Piney Mountain;” “Behind the Bush in the Garden (Reel);” “Sourwood Mountain” “Nancy Ann” “Old Virginia Reel”
OTHER NAMES: Jinny Put the Kettle On; Polly Put the Kettle On; Sally Put the Kettle On; Jenny's Bawbie; Jenny's Baby-Reel;
SOURCES: The Skillet Lickers (north Georgia) [Brody]; Emmet Lundy (Va.) and Joe Politte (Mo.) [Phillips].Brody (Fiddler's Fakebook), 1983; pg. 194. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 154. Columbia 15380 (78 RPM), Glen Smith - "Say Old Man" (1990. Learned from Creed Smith). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time" (may be version #4). Rounder 0058, Haywood Blevins (southwestern Va.) - "Old Originals, Vol. II" (1978). Victor 21518, Ernest Stoneman - "Serenade in the Mountains;" Traditional Music in America, Folklore Associates, Bk (1940/1965), p399; Traditional Music in America, Folklore Associates, Bk (1940/1965), p 85b; Forrester, Howdy. Devil's Box, Devil's Box DB, Ser (196?), 22/3, p22b
From fiddler Henry Reed’s Web-site: "Jenny Put the Kettle On" is an old favorite in the British Isles and America. American sets are usually entitled "Molly (or Polly) Put the Kettle On." An eighteenth-century Scottish version appears in Johnson, Scots Musical Museum (1853 edition), vol. 3, 512 (#496), entitled "Jenny's Bawbie." Similar sets are Davie's Caledonian Repository, p. 83; Stewart-Robertson, Athole Collection, p. 88; One Thousand Fiddle Tunes, p. 19 "Jenny's Baby-Reel." American sets include Gentleman's Amusement . . . for the Clarionet (ca. 1825), No. 3, p. 5 "Polly put the kettle on"; Ford, Traditional Music of America, p. 85 "Polly, Put the Kettle On"; O'Neill's Music of Ireland #1363 "Molly Put the Kettle On."
NOTES: “Molly/Polly/Jinny Put the Kettle On” is a breakdown that originated in England and has been played as a fiddle tune and a song by country music favorites Gid Tanner and the Skillet Lickers and Uncle Dave Macon. The tune has been in the black and white fiddling traditions since the mid to late 1800’s.
The melody of this reel (4/4 time) is also associated with the German waltz tune, “O Du Lieber Augustin” from which the popular songs, “Did You Ever See a Lassie?” and "The More We Are Together" have sprung.
“The melody [of "O Du Lieber Augustin"] is frequently associated with the song < Kettle Put (Polly)>, the opening notes of early printings of which are identical with those of O Du Lieber Augustin. Chappell, p. 795, says that Polly was arranged for piano by Dale about 1794, but no publication by Dale has been located before ca. 1809-1810 under the title Molly Put the Kettle On or Jenny Baubie; JF. Jenny's Baubie or Jenny Put the Kettle On was published by McDonnell, Dublin, ca. 1790-1810, and Molly Put the Kettle On was published by Paff, New York City, 1803-7--both at JF. The melody is also used in connection with Did You Ever See a Lassie? the earliest known printing of which is in Jessie H. Bancroft, Games for the Playground, Home, School anf Gymnasium (New York, N.Y., 1909), p. 261, published Dec. 8, 1909; LC. --From James J. Fuld, The Book of World-Famous Music, 4th ed. (Dover, 1995, pp. 400-401).
NOTES ON “POLLY PUT THE KETTLE ON/ JENNY'S BAWBEE”: "Chappell in Popular Music of the Olden Time says 'The well-known country dance and nursery song, Polly Put the Kettle On, was transformed into a Scotch tune for Johnson's Scots Musical Museum in 1797. This was about three years after Polly had become very popular with the young ladies by means of Dale's variations for the pianoforte.' It was hardly, however, a question of transformation. The tune had long been known as Jenny's Bawbee, which was mentioned by Herd in 1776, and given by Joshua Campbell in 1778. Possibly the words were old English. The rhyming of tea with away is as in Pope's The Rape of the Lock (1714), though it still survives in some country districts. Polly was a common pet-form of Mary, as was Sukey of Susan, in middle-class families in the mid-eighteenth century. Grip, the raven in Barnaby Rudge, when very much exited cried, 'Hurray! Polly put the ket-tle on, we'll all have tea; Polly put the ket-tle on, we'll all have tea. Hurrah! hurrah! hurrah! ' Around 1870 'Polly put the kettle on and we'll all have tea' was a much repeated catchphrase.
The Oxford Book of Nursery Rhymes (Iona and Peter Opie, 1951) has the following entry:
Polly put the kettle on,
Polly put the kettle on,
Polly put the kettle on,
We'll all have tea.
Sukey take it off again,
Sukey take it off again,
Sukey take it off again,
They've all gone away.
Old Nurse's Book, Charles Bennett, 1858:
Sukey take it off again,
It will all boil away.
With additional verse
Blow the fire and make the toast
Put the muffins down to roast,
Blow the fire and make the toast
We'll all have tea.
Sheffield Glossary, S.O. Addy, 1888:
Come Betty, set the kettle on,
Let's have a cup of tay;
Sukey take it off again,
We'll have no more today."
JENNY'S BAWBEE (BABY) Scottish, English; Reel. England, Northumberland. D Major. Standard. AB (Cole, Honeyman): AAB (Athole, Gow): AABB (Kerr): AABB' (Glen, Skye). The antiquarian William Chappell claimed the melody as English in origin, though he accuses his countryman, Stephen Clarke (c. 1797) of making changes in the tune formerly called "Polly Put the Kettle On" and re-titling it to fit the Scottish taste for the Scots Musical Museum (1797). "Polly Put the Kettle On" had three years previously "become very popular with young ladies, by means of Dale's Variations for the Pianoforte." The collector John Glen (1891), however, in espousing Scottish origins for the tune, finds the first Scottish printing in Joshua Campbell's 1778 collection (pg. 79), and subsequently in Scots publications dating 1778 and 1788, which predate the Museum. "Mr. Chappell further had the hardihood to say that 'the words of 'Jenny's Bawbee' were adapted to (Polly Put the Kettle On); although as they begin, 'A' athat e'er my Jenny had, my Jenny had, my Jenny had,' they were evidently intended for the tine of 'Sike a wife as Willy had, as Willy had, as Willy had,'" (Glen, 1891). In a work entitled Introduction to the Ballads and Songs of Ayrshire (1846) "Jenny's Bawbee" is attributed to John Riddell of Ayr (1718-1795), who published one of the first collections of Scottish music around 1766, although as Kidson points out there is no corroborating evidence to sustain the claim. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and was one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. Cole (1001 Fiddle Tunes), 1940; pg. 19 (appears as "Jenny's Baby"). Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 5. Gow (Complete Repository), Part 1, 1799; pg. 36. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 34. Kerr (Merry Melodies), Vol. 1; Set 2, No. 4, pg. 4. MacDonald (The Skye Collection), 1887; pg. 72. Stewart-Robertson (The Athole Collection), 1884; pg. 88.
POLLY PUT THE KETTLE ON [1]. AKA and see "Jenny's Bawbee." Irish, English; Reel. A Dorian (Roche): D Major (Hardings): D Major {'A' and 'B' parts} & A Dorian {'C' and 'D' parts} (Kennedy, Raven). Standard. AABB'CCDD' (Kennedy, Raven): AABB (Hardings): AAB (Roche). The collector John Glen (1891) finds an early printing of the tune in Dale's "Variations for the Pianoforte" (1794) and remarked it was became at that time "very popular with young ladies." O'Neill (1913) relates that a London Uilleann piper, one Thomas Garoghan, enthused his audiences by the trick of uttering intelligibly on the chanter "Polly put the kettle on." Hardings All Round Collection, 1905; No. 10, pg. 4. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 51, pg. 25. Raven (English Country Dance Tunes), 1984; pg. 162. Roche Collection, 1982, Vol. 1; No. 196, pg. 75.
NOTES ON “OTHER” VERSIONS: JENNY/ JINNY PUT THE KETTLE ON Old-Time, Breakdown. USA, Missouri. D Major. Standard. AABB. A version of "Molly Put the Kettle On." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. That the tune was also in African-American tradition was attested to by Ashe County, North Carolina, musician Hobart Smith (b. 1897), who said: "The first fiddle I ever heard in my life was when I was a kid. There was an old colored man who was raised up in slave times. His name was Jim Spenser. He played 'Jinny, Put the Kettle On' and all those old tunes like that. And he would come up to our house and he'd play..." (quoted in Cecilia Conway's African Banjo Echoes in Appalachia, 1995). See also Bayard's note for "Bonaparte Crossing the Alps." Source for notated version: Frank Reed (Randolph County, Missouri) [Christeson]. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; No. 66, pg. 46.
MOLLY PUT THE KETTLE ON [1]. AKA- "Jenny Put the Kettle On," "Polly Put the Kettle On." Old-Time, Breakdown. USA; Georgia, Mississippi, Virginia, Missouri. D Major (Brody, Phillips): A Dorian (O'Neill). Standard. ABB. African-American fiddler Joe Thompson plays the piece in FCGD tuning. Sources for notated versions: The Skillet Lickers (north Georgia) [Brody]; Emmet Lundy (Va.) and Joe Politte (Mo.) [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 194. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 154. Columbia 15380 (78 RPM), Leake County Revelers (Miss.). Columbia 15746 (78 RPM), Gid Tanner and His Skillet Lickers (N. Ga.). County 506, The Skillet Lickers- "Old Time Tunes." County 529, Leake County Revelers- "Traditional Fiddle Music of Mississippi, Vol. 2." Folkways FA 2399, New Lost City Ramblers - "Vol. 4." Global Village C217, (Black fiddler and banjo player) Joe and Odell Thompson - "Old Time Music From the North Carolina Piedmont." Marimac AHS #3, Glen Smith - "Say Old Man" (1990. Learned from Creed Smith). Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time" (may be version #4). Rounder 0058, Haywood Blevins (southwestern Va.) - "Old Originals, Vol. II" (1978). Victor 21518, Ernest Stoneman - "Serenade in the Mountains."
MOLLY PUT THE KETTLE ON [2]. Old-Time, Breakdown. USA, West Virginia (probably) Not similar to the "Polly/Molly Put the Kettle On" versions of the tune, but seems related to the tune "Yew Piney Mountain." Folkways 31062, Ship in the Clouds- "Old Time Instrumental Music" (1978. Learned from Vermont fiddler Pete Sutherland).
MOLLY PUT THE KETTLE ON [3] (A Maire Cuir Sios An Coire). AKA and see "Jenny's Bawbee." Irish, Reel. A Dorian/G Major. Standard. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The melody was used for a well-known country dance and nursery song in the 18th century; the rhyme is still found in Mother Goose collections. O'Neill (1850), 1903/1979; No. 1363, pg. 254. O'Neill (Krassen), 1976; pg. 126. O'Neill (1001 Gems), 1907/1986; No. 616, pg. 112.
MOLLY PUT THE KETTLE ON [4]. Old-Time, Breakdown. USA, North Carolina. No relation to "Molly Put.." [1]. This version is from North Carolina fiddler Manco Sneed via contemporary old-time master Brad Leftwich. Sneed, Osey Helton and Marcus Martin, all western North Carolina fiddlers who had their heyday in the early 20th century, learned the tune from Jamed Dedrick Harris, of Flag Pond, Tennessee (and who lived for some time in North Carolina), who had been the fiddler who accompanied Governor Bob Tylor in his whistle-stop campaign called the "War of the Roses" (Hartford). Harris was born in 1859, made fiddles and travelled, according to John Hartford. Flying Fish FF-055, Red Clay Ramblers- "Merchant's Lunch" (1977. Learned from Manco Sneed). Rounder 0392, John Hartford - "Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard") {1996. Learned from fiddler Brad Leftwich}. Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond - "Hell Up Coal Holler" (1999).
OLD VIRGINIA REEL [4]. Old-Time, Breakdown. A variant of "Polly Put the Kettle On." Recorded by John Walker's Corbin Rattlers. Rounder 0392, John Hartford - "Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard") {1996. Learned from a recording of Amyx Stamper, Harold Stamper's father}.
MOLLY PUT THE KETTLE ON [5]. Shetlands, Shetlands Reel. May be the same as version #2. From the island of Papa Stour, Shetlands.
POLLY PUT THE KETTLE ON [2]. AKA and see "Molly Put the Kettle On," "Granny Will Your Dog Bite?" Old-Time, Breakdown. USA; east Tennessee, western N.C., north Ga. G Major (with flat 7th) {Ford}: D Major {Spandaro}. Standard. AABB. Identified as a common East Tennessee tune. Tune played by Wiley Harper (Monroe, Ga.) in a 1913 Atlanta, Ga. fiddlers' contest.
Polly, put the kettle on and slice the bread and butter fine.
Slice enough for eight or nine, we'll all have tea. (Ford).
Ford (Traditional Music in America), 1940; pg. 85 (Ford also prints the words to "Molly Put the Kettle On" on page 399). Spandaro (10 Cents a Dance), 1980; pg. 4. In the repertoire of western N.C. fiddler Osey Helton. Biograph 6008, Ebenezer - "Fox Hollow String Band Festival." Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978). Mountain 310, Tommy Jarrell - "Joke on the Puppy" (1976. Learned from Charlie Lowe).
SALLY PUT THE KETTLE ON. AKA and see "Molly/Polly Put the Kettle On." Old-Time. USA; Arkansas, central Alabama. The title appears in a list of "forgotten" tunes compiled by W.E.G. of Verbena, Alabama, as reported in the "Union Banner" of September 29, 1921. It also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musiocologist/folklorist Vance Randolph, published in 1954.
Lyrics to a version of “Molly Put Your Kettle On” from American Memory:
Judy leads me such a life, (repeat)
The devil ne'er had such a wife,
What can the matter be?
For if I sing the funny song
Of Dolly put the kettle on,
She's mocking at me all day long;
What can the matter be?
SPOKEN.--Yes, she does lead me a devil of a life, that's certain, for we never walk out on Sunday, but what she makes me walk behind, and carry her parasol and reticule, which makes me look quite ridiculous; and if I happens to cast a sheep's eye at any of the girls as they pass along, my wife is sure to bawl out,
Mr. Barney, leave the girls alone! (repeat)
Why don't you leave the girls alone,
And let them quiet be?
Put the muffins down to roast, (repeat)
Blow the fire and make the toast;
We'll all take tea.
O, Barney you're a wicked boy, (repeat)
And you do always play and toy
With all gals you see.
SPOKEN.--When Mr. Barney was a young man, he was the handsomest, most modest, most refined and delicate person I ever met with; but now he's every thing that he ought not to be. My wife is the very devil, especially when she's in bad humor. You must know the other afternoon I was ax'd out to take a comfortable dish of four shilling souchong tea, none but the best. As bad luck will have it, my wife Judy, was along; but notwithstanding, I got seated along side of a pretty girl. I saw she got smitten with my countenance. Said she, Mr. Barney, will you have a game of hunt the slipper? With all my heart, says I. So as I was just a making a preparation to do the thing in a genteel way, Mistress Judy, who had seen the operation from the other end of the parlor, was so ungenteel as to bawl out,
Mr. Barney, leave the girls alone, (repeat)
Why don't you leave the girls alone,
And let them quiet be?
O, Judy, you're a pretty child, (repeat)
I have my fears that you'll get spoil'd,
If you should have your way.
Barney, rock the cradle, O, (repeat)
Or else you'll get the ladle, O,
When Judy harps to-day.
SPOKEN.--Barney, if you don't rock the cradle, I'll break your pate with a ladle; I'll comb your head with a three legged stool, I will, so I will. Now that's the way we go, to be sure, and to say the truth, its none of the pleasantest. You see I loves a good dinner, but some how or other, we don't get much in the week days, a pig's foot, and a carrot, no great choice; but on Sundays, we generally have a shoulder of mutton, stuck round with turnips. I like a piece of the brown, but my wife always carves from choice. So says I, my dear, I always call her my dear, at dinner time, I should like a piece of that. I'll give you a piece of that, said she, and up with a dumpling plate, and let it fly at my head, while she kept time with her old tune of
Mr. Barney, leave the girls alone, (repeat)
Why don't you leave the girls alone,
And let them quiet be?
Judy she loves whiskey, O, (repeat)
She goes to uncles shop at night,
And spends an hour or two.
Then Barney, what must Barney do,
But take a drop of whiskey too,
And toast the girl that's kind and true,
For that's the way with me.
SPOKEN.--Yes, the other night I was ax'd out with a few of my old acquaintances; there was Jo Snap, the chimney sweeper, and a few others, particular friends of mine. As soon as I got into the room, one of the girls says, there's Barney, that handsome, delicate, discreet young man. There was among the rest, Miss Polly Smallfry; now the last time that I had seen Polly, she was leaning her beautiful black arm over a keg of pickled oysters. Says she to me, Barney, she alwas called me Barney, there's no fear but what you'll get along in this world, as long as you're so polite. Polly said so. Says I, Polly, we are neither of us rich, but if you have no objection we will trust to providence, and I will make you my spouse; but just at that instant, who should pop into the room, but her mother, and with a very gentle, delicate voice, says, Polly, don't you go for to make another d--d Judy of yourself, there is time enough for you to get married, when you find one who has something that will make the pot boil. That was a damper. Her mother soon retired, and says I Polly, I think I can express myself better to your satisfaction than that, and was just going to give her one of my mortal hugs, when, who but my wife, should stick her long snout through a pane of broken glass, with that infernal old tune of,
Mr. Barney leave the girls alone, (repeat)
Why don't you leave the girls alone,
And let them quiet be.
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