Recordings & Info 2. Drowsy Sleeper
Recordings & Info 2. The Drowsy Sleeper (Awake, Awake/Bedroom Window)
[An important article is English Songs on the Night Visit by Charles Read Baskervill; PMLA, Vol. 36, No. 4 (Dec., 1921), pp. 565-614. Since there are six different ballad types -read headnotes. See also the related "Night Visiting" songs at bottom of this page also title "Sweet Bann Water"
R. Matteson 2016]
CONTENTS:
1) Alternative Titles
2) Traditional Ballad Index
3) Child Collection Index
4)
5) Folk Index
6) Malcolm Douglas commentary
7) Excerpt from:
8) Mainly Norfolk (lyrics and info)
ATTACHED PAGES: (see left hand column)
1) Roud No. ( Listings)
2) English Songs on the Night Visit by Charles Read Baskervill; PMLA, Vol. 36, No. 4 (Dec., 1921), pp. 565-614.
Alternate Titles
Oh Katie Dear
Bedroom Window
Silver Dagger
Traditional Ballad Index: Drowsy Sleeper
Drowsy Sleeper, The [Laws M4]
DESCRIPTION: A young man comes to his love's window and bids her ask her parents' permission to marry him. They will refuse it; her father is prepared to kill him. Depending on the version, he leaves, or one or the other lover (or both) commits suicide or die of grief
AUTHOR: unknown
EARLIEST DATE: before 1830 (broadside, Bodleian Harding B 17(183a))
KEYWORDS: courting father mother death suicide
FOUND IN: US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf) Britain(Scotland)
REFERENCES (45 citations):
Laws M4, "The Drowsy Sleeper"
Sturgis/Hughes, pp. 38-39, "The Shining Dagger" (1 text, 1 tune)
Belden, pp. 118-123, "Bedroom Window (The Drowsy Sleeper)" (6 texts plus two fragments which might float, 1 tune)
Randolph 52, "The Drowsy Sleeper" (6 texts, 3 tunes)
Randolph/Cohen, pp. 83-85, "The Drowsy Sleeper" (1 text, 1 tune -- Randolph's 52D)
Eddy 31, "The Drowsy Sleeper" (3 texts plus a fragment, 4 tunes)
Gardner/Chickering 22, "Who Is Tapping at My Bedroom Window?" (1 text plus an excerpt and mention of 3 more, 2 tunes; some of the unprinted texts may have "Silver Dagger" elements)
Peters, p. 214, "Wo Is That Under My Bedroom Window?" (1 text, 1 tune)
Musick-Larkin 18, "Awake Ye Drousy Sleeper" (1 text)
BrownII 71, "The Drowsy Sleeper" (2 texts plus 3 excerpts; the "B" text is a "Silver Dagger" mix; the "D" excerpt contains "Fair and Tender Ladies" verses)
BrownSchinhanIV 71, "The Drowsy Sleeper" (4 excerpts, 4 tunes)
Chappell-FSRA 45, "Wake Up" (2 texts)
JonesLunsford, p. 210, "Awake, O Awake" (1 text, 1 tune)
Joyner, pp. 53-54, "The Drowsy Sleeper" (1 text, 1 tune)
Morris, #193, "The Drowsy Sleeper" (1 text, 1 tune)
Hudson 46, pp. 161-162, "Willie and Mary" (1 text); also 37, pp. 151-152, "Annie Girl" (1 text, which conflates 2 verses of "The Drowsy Sleeper" [Laws M4], 2 or 3 of "Wheel of Fortune (Dublin City, Spanish Lady)" or "No, John, No: or similar, and 3 verses probably of "Pretty Fair Maid (The Maiden in the Garden; The Broken Token)" [Laws N42])
Moore-Southwest 88, "Wake Up You Drowsy Sleepers" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 139-142, collectively titled "Awake! Awake!" but with inidividual titles "Katy Dear, or Willie Darling," ""Mollie Dear, Go Ask Your Mother," "Drowsy Sleepers," Little Willie" (4 texts; 2 tunes on p. 399)
Sulzer, p. 17, "Raft-man's Song" (1 fragment, 1 tune)
Doerflinger, p. 314, "Who's That at My Bedroom Window? (The Drowsy Sleeper)" (1 text, 1 tune)
Brewster 28, "The Drowsy Sleeper" (2 texts plus a fragment and mention of 3 more, 2 tunes)
Peters, pp. 159-160, "Awake, Arise, You Drowsy Sleeper" (1 text, 1 tune)
Greenleaf/Mansfield 24, "Drowsy Sleeper" (1 text, 1 tune)
Peacock, pp. 733-734, "Who Is At My Window Weeping?" (1 text, 1 tune)
Mackenzie 30, "Who Is At My Bedroom Window?" (1 text, 1 tune)
Leach, pp. 727-730, "The Drowsy Sleeper" (2 texts)
Leach-Heritage, pp. 183-184, "The Drowsy Sleeper" (1 text)
FSCatskills 51, "Awake, Awake, Ye Drowsy Sleepers" (2 texts, 2 tunes)
ThompsonNewYork, pp. 390-391, "Drowsy Sleeper" (1 text)
Warner 188, "Wake, O Wake, You Drowsy Sleeper" (1 text, 1 tune)
McNeil-SFB1, pp. 72-73, "The Drowsy Sleeper" (1 text, 1 tune)
SharpAp 57, "Awake! Awake!" (10 texts, 10 tunes)
Sharp-100E 47, "Arise, Arise" (1 text, 1 tune)
Sharp/Karpeles-80E 46, "Arise! Arise!" (1 text, 1 tune, from different informants)
Sandburg, p. 144, "Kind Miss" (1 short text, 1 tune, primarily "Wheel of Fortune" but with one verse of "The Drowsy Sleeper")
Ritchie-SingFam, pp. 200-201, "[Drowsy Sleeper]" (1 text, 1 tune)
SHenry H722, pp. 343-344, "The Sweet Bann Water" (1 text, 1 tune, erroneously listed in the text as Laws M34)
Graham/Holmes 73, "The Sweet Bann Water" (1 text, 1 tune)
Botkin-NEFolklr, pp. 549-550, "The Shining Dagger" (1 text, 1 tune)
LPound-ABS, 21, pp. 51-52, "The Drowsy Sleeper" (1 text; the second text is perhaps influenced by "The Silver Dagger")
JHCox 348, "The Drowsy Sleeper" (2 texts)
Darling-NAS, pp. 114-115, "Awake, Awake, My Old True Lover" (1 text); also pp. 115-116, "Oh, Molly Dear" (1 text, very mixed, with verses from this song, from "East Virginia, and some floaters); also pp. 116-117, "Who's That Knocking" (1 text, even more mixed and with a "Little Sparrow" verse)
Silber-FSWB, p. 193, "Don't Sing Love Songs" (1 text)
DT 327, SHIPORDR* SHIPORD2* SILVDAG3* SILVDAG4*
ADDITIONAL: James P. Leary, Compiler and Annotator, _Wisconsin Folklore_ University of Wisconsin Press, 2009, article "Kentucky Folksong in Northern Wisconsin" by Asher E. Treat, p. 239, "O, Mary Dear, Go Ask Your Mother" (1 text, 1 tune, sung by Pearl Jacobs Borusky)
Roud #402
RECORDINGS:
Dillard Chandler, "Awake, Awake" (on OldLove, DarkHoll)
Lester A. Coffee, "Awake, Arise, You Drowsy Sleeper" (AFS, 1946; on LC55)
Kelly Harrell, "O! Molly Dear Go Ask Your Mother" (Victor 20280, 1926; on KHarrell01 -- with several verses from "East Virginia" inserted in the song)
New Lost City Ramblers, "Little Satchel" (on NLCR17, NLCRCD2)
Oaks Family, "Wake Up You Drowsy Sleeper" Victor 23795, 1933; on TimesAint01, KMM)
Ken Peacock, "Who Is At My Window Weeping?" (on NFKPeacock)
B. F. Shelton, "Oh Molly Dear" (Victor V-40107, 1929; on ConstSor1)
Wilmer Watts & the Lonely Eagles, "Sleepy Desert" (Paramount 3282, 1931; on TimesAint03)
BROADSIDES:
Bodleian, Harding B 17(183a), "The Maidens Complaint ," T. Birt (London), 1828-1829; also Firth c.17(25), "Awake, Drowsy Sleeper"; Harding B 28(233), "The Drowsy Sleeper"; Harding B 25(452), "Cruel Father" or "The Maiden's Complaint"
CROSS-REFERENCES:
cf. "The Silver Dagger (I)" [Laws G21]
cf. "I Will Put My Ship In Order" (plot)
cf. "Greenback Dollar" (plot)
cf. "Go From My Window (I)"
cf. "One Night As I Lay on My Bed"
ALTERNATE TITLES:
Silver Dagger
Awake, Awake
NOTES: I put [the Silber "Don't Sing Love Songs" text] under "Drowsy Sleeper" rather than "Silver Dagger" because, although a dagger is mentioned, no one uses it. - PJS
In the absence of any other basis, this is a good criterion. The two songs have cross-fertilized heavily; drawing the line can be extremely difficult, especially for fragmentary forms. - RBW
Broadside Bodleian Harding B 28(233): she refuses bread and water; "single I will go to my grave." Broadside Bodleian Firth c.17(25): she says she will go to Botany Bay to be with Jim and asks for her portion of 500 pounds; father gives in and says "you and your true love shall be married, And that will ease you of all your pain." - BS
Musick-Larkin is the English "Drowsy Sleeper" (I) (not Laws M4 "Drowsy Sleeper" (II), nor the Scottish "I Will Put My Ship In Order"). I plan to break all this out. - BS
Silver Dagger (I), The [Laws G21]
DESCRIPTION: Two young people wish to marry; the boy's parents are against it because the girl is poor. The heartbroken girl stabs herself to death. The boy, finding her dying, takes the dagger and stabs himself as well
AUTHOR: unknown
EARLIEST DATE: 1866 (Musick-Larkin)
KEYWORDS: love poverty suicide family
FOUND IN: US(Ap,MW,Ro,SE,So) Canada(Mar)
REFERENCES (28 citations):
Laws G21, "The Silver Dagger"
Creighton-SNewBrunswick 57, "Come All Good People" (1 text, 1 tune)
Belden, pp. 123-126, "The Silver Dagger" (2 texts plus 1 excerpt and references to 5 more, 1 tune)
Randolph 139, "The Silver Dagger" (6 texts, 2 tunes)
Randolph/Cohen, pp. 161-163, "The Silver Dagger" (1 text, 1 tune -- Randolph's 139A)
Musick-Larkin 13, "Come Youth and Age" (1 text)
Eddy 102, "The Green Fields and Meadows" (2 texts, 2 tunes)
Gardner/Chickering 23, "The Silver Dagger" (1 text)
Neely, pp. 161-161, "The Silver Dagger/To All True Lovers Whom Parents Will Part" (1 text)
BrownII 72, "The Silver Dagger" (1 text plus mention of 2 more)
BrownSchinhanIV 72, "The Silver Dagger" (2 excerpts, 2 tunes)
JonesLunsford, pp. 205-206, "Young Man and Maid" (1 text, 1 tune)
Morris, #36, "SIlver Dagger" (1 text)
Hudson 64, pp. 188-189, "The Silver Dagger" (1 text)
Shellans, pp. 34-35, "Parents, Warning" (1 text, 1 tune)
Brewster 38, "The Silver Dagger" (2 texts plus mention of 2 more, 1 tune)
Leach, pp. 730-731, "The Silver Dagger" (1 text)
Hubbard, #30, "The Silver Dagger" (1 text, 1 tune)
LPound-ABS, 52, pp. 121-122, "Silver Dagger"; pp. 123-124, "Silver Dagger" (2 texts)
JHCox 109, "The Silver Dagger" (2 texts plus mention of 1 more)
Fuson, pp. 71-72, "Come All Ye Fair and Tender Ladies" (1 text, with the "Fair and Tender Ladies" first line but otherwise clearly this song)
SharpAp 165, "The Silver Dagger" (1 text plus a fragment, 2 tunes, but the "B" fragment is probably "Charming Beauty Bright" [Laws M3])
Scarborough-SongCatcher, p. 42, "(The Bloody Dagger)" (1 short text, omitting the suicides)
Boswell/Wolfe 40, pp. 71-73, "The Two Lovers (The Silver Dagger)" (1 text, 1 tune)
Bronner-Eskin1 31, "The Silver Dagger" (1 text, 1 tune)
Darling-NAS, pp. 221-222, "Young Men and Maids" (1 text)
DT 639, SILVDAG2*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 202-203, "(The Young Lovers)" (1 text)
Roud #711
RECORDINGS:
Blue Sky Boys, "Katie Dear" (Bluebird B-7661/Montgomery Ward M-7468, 1938)
Homer and Walter Callahan, "Katie Dear (Silver Dagger)" (Banner 33103/Melotone M-13071/Oriole 8353/Perfect 13017/Romeo 5353, c. 1934; Conqueror 9145, 1938; on GoingDown)
Sheila Clark, "Silver Dagger" (on LegendTomDula)
Betty Garland, "Never Make True Lovers Part" (on BGarland01)
Paul Joines, "Young Men and Maids" (on Persis1)
Tommy Moore, Clint Howard et al, "True Lovers" (on Ashley02)
CROSS-REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4]
cf. "Greenback Dollar" (plot)
ALTERNATE TITLES:
An Awful Warning
O Parents, Parents, All Take Warning
NOTES: For the relationship between this and "The Drowsy Sleeper," see the notes on that song. Several songs are filed there which contain nearly as much material from that song as from this. - RBW
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I Will Put My Ship In Order
DESCRIPTION: The singer puts his ship in order to sail to his true love. He arrives wet and tired, knocks at her window, and asks her to let him in. She delays (perhaps her parents are watching), and he leaves before she comes. She laments his departure
AUTHOR: unknown
EARLIEST DATE: 1876 (Christie)
KEYWORDS: ship love reunion separation nightvisit betrayal
FOUND IN: Britain(England(North),Scotland(Aber))
REFERENCES (6 citations):
Stokoe/Reay, pp. 35-36, "I Drew My Ship into the Harbour" (1 text, 1 tune, with a "ripest apples" floating verse)
Greig #54, p. 1, "I Will Set My Good Ship in Order" (1 text)
GreigDuncan4 792, "I Will Set My Ship in Order" (19 texts, 16 tunes)
Ord, pp. 318-319, "I Will Set My Ship in Order" (1 text)
DT, SHIPORDR* SHIPORD2*
ADDITIONAL: W. Christie, editor, Traditional Ballad Airs (Edinburgh, 1876 (downloadable pdf by University of Edinburgh, 2007)), Vol I, pp. 224-225, "I Will Put My Ship in Order" (1 tune)
Roud #402
CROSS-REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4] (plot)
cf. "Rise Up Quickly and Let Me In (The Ghostly Lover)" (lyrics, theme)
ALTERNATE TITLES:
My True Love Johnnie
NOTES: This song is about 80% identical with the piece I've titled "Rise Up Quickly and Let Me In (The Ghostly Lover)"; the only differences are in the first verse (about the ship) and the ending (in this, the lover leaves; in the other, the girl arrives in time to admit him). Fragments could file with either song.
Some, including Roud, have identified this song with "The Drowsy Sleeper," and there is some justice to this; there may be cross-influence. Indeed, for a time I listed this as an alternate title of "Drowsy Sleeper." But we are splitters, and so the two are now separate. I think that's the proper decision anyway.
The last few verses of this song bear a resemblance to Song of Solomon 5:2-6, but that may be coincidence. - RBW
GreigDuncan4: "Greig prints a composite version."
Christie [beware], "as sung by the Editor's grandfather," has a happy ending: "He turned him right and round so quickly, Says, 'Come with me, my lovely one, And we'll be wed, my own sweet lover, And let them talk when we are gone."
The Greig-Duncan4 texts at least have this parallel to "The Drowsy Sleeper": the lover -- at her window -- would have his lover ask her parents for her hand and she warns that neither will approve. The difference is that there is no danger: no silver dagger. Father, a merchant, is "in his bedroom writing, Busy with his merchandise; In his left pocket he holds a letter, And it speaks much of your dispraise" [he protests that any "dispraise" is unwarranted]; mother is sleeping and "sweet notes of love she will not hear" or "if I disturb her she'll be angry." - BS
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Drowsy Sleeper/Sleepers [Laws M 4/Sh 57/Me I-A28]
Rt - Oh Molly Dear (Go Ask Your Mother) ; Katie Dear ; Silver Dagger - II ; Kentucky Mountain ; I Drew My Ship ; Sleepy Desert
At - Who's that Knocking on My Window
Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p 51/# 21A [1915ca/1850s]
Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p 52/# 21B [1914] (Willie and Mary)
Laws, G. Malcolm / American Balladry from British Broadsides, Amer. Folklore Soc., Bk (1957), p181
Lloyd, A. L. & Isabel Arete de Ramon y Rivera (eds.) / Folk Songs of the, Oak, Sof (1966), # 15 (Oh, Who Is at My Bedroom Window)
Leach, MacEdward / The Ballad Book, Harper & Row, Bk (1955), p728
Leach, MacEdward / The Heritage Book of Ballads, Heritage, Bk (1967), p183
Sharp, Cecil J. / One Hundred English Folksongs, Dover, Sof (1975/1916), p106/# 47 (Arise, Arise)
Aaron, Tossi. Tossi Sings Folk Songs and Ballads, Prestige International INT 13027, LP (196?), trk# B.02 (Awake, Awake - I)
Carter Family. Carter Family on Border Radio, JEMF 101, LP (1970ca), trk# A.02 [1938-41] (Who's That Knocking?)
Chandler, Anelize. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p359/# 57B [1916/08/28] (Awake, Awake - I)
Chandler, Dillard. Dark Holler; Old Love Songs and Ballads, Smithsonian/Folkways SF 40159, CD/ (2005), trk# 1.16 [1963] (Awake, Awake - I)
Coffey, Alex. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p361/# 57D [1918/05/10] (Awake, Awake - I)
Coffey, Alex S.. Sharp, Cecil & Maude Karpeles (eds.) / Eighty English Folk Songs from th, MIT Press, Sof (1968), p 68 [1917ca] (Arise, Arise)
Coffee, Lester A.. Folk Music From Wisconsin, Rounder 1521, CD (2001), trk# 4 [1946/08] (Awake, Arise You Drowsy Sleeper)
Cook, Judy. If You Sing Songs, Cook, CD (1998), trk# 2
Decker, Jennie. Thompson, Harold W.(ed.) / Body, Boots & Britches, Dover, Bk (1962/1939), p390 [1930s]
Droghon, Fitzhugh. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p364/# 57I [1917/05/22] (Awake, Awake - I)
Duvall, Leone. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p245/# 52B [1923/09/02] (Untrue Lover)
Edwards, George. Cazden, Norman, et.al. / Folk Songs of the Catskills, SUNY Press, sof (1982), p197/# 51A [1940s] (Awake, Awake Ye Drowsy Sleeper)
Esdorn, Eva. McNeil, W. K. (ed.) / Southern Folk Ballads, Vol 1, August House, Sof (1987), p 72 [1969/08]
Fitzgerald, Napoleon. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p361/# 57E [1918/05/24] (Awake, Awake - I)
Ford, Carrie. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p360/# 57C [1916/09/19] (Awake, Awake - I)
Grey, Lawson. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p363/# 57G [1918/06/04] (Awake, Awake - I)
Grey, Rhoda. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p362/# 57F [1918/08/03] (Awake, Awake - I)
Griffin, Mrs. G. A.. Morris, Alton C. / Folksongs of Florida, Univ. Florida, Sof (1990/1950), p362/#193 [1934-39]
Harwood, Etta Mae. Scarborough, Dorothy(ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p142 (Little Willie - V)
Hazel And Alice. Who's That Knocking, Verve/Folkways FVS 9005, LP (1966), trk# 9 (Who's That Knocking?)
Ian and Sylvia. Early Morning Rain, Vanguard VRS 9175, LP (1965), trk# 4 (Awake Ye Drowsy Sleeper)
Jones, Rebecca King. Warner, Anne & Frank / Traditional American Folk Songs, Syracuse Univ. Press, Bk (1984), p427/#188 [1942] (Wake, O Wake, You Drowsy Sleeper)
Lomax, Mary. Art of Field Recording, Vol. 1, Dust to Digital DTD 08, CD( (2007), trk# 1.06 [2007/06/16]
McCord, May Kennedy. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p247/# 52D [1941/11/12]
McDowell, Louise. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p249/# 52F [1941/09/10]
McGraw, Hugh; and Southern Traditional Singers. Social Harp; Early American Shape Note Songs, Rounder 0094, LP (1978), trk# 6 (Wake Up (Song))
Mercer, Edna Nummer. Gardner, Emelyn E. & Geraldine Chickering / Ballads and Songs of Souther, Folklore Associates, Bk (1967/1939), p 88/# 22C [1935] (Willie and Mary)
Milner, Mrs. Peter. Gardner, Emelyn E. & Geraldine Chickering / Ballads and Songs of Souther, Folklore Associates, Bk (1967/1939), p 86/# 22A [1935] (Who Is Tapping at My B
Muchler, Mrs. Charles. Gardner, Emelyn E. & Geraldine Chickering / Ballads and Songs of Souther, Folklore Associates, Bk (1967/1939), p 87/# 22B [1935] (Willie and Mary)
Murray, Ollie. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p244/# 52A [1927/03/11]
Neilson, "Duke". Doerflinger, William. M. / Shantymen and Shantyboys: Songs of the Sai..., MacMillan, Bk (1951), p314 (Who's That at My Bedroom Window)
New Lost City Ramblers. Sing Songs of the New Lost City Ramblers, Aravel AB-1005, LP (196?), trk# 15 (Who's that Knocking on My Window)
New Lost City Ramblers. Cohen, John, Mike Seeger & Hally Wood / Old Time String Band Songbook, Oak, Sof (1976/1964), p 37 (Who's that Knocking on My Window)
Paley, Tom; and Peggy Seeger. Raim, Ethel and Josh Duncan (eds.) / Grass Roots Harmony, Oak, Sof (1968), p86 (Who's That Knocking?)
Paley, Tom; and Peggy Seeger. Tom Paley and Peggy Seeger, Elektra EKL 295, LP (1966), trk# A.01 (Who's that Knocking on My Window)
Pettit, Katherine. Leach, MacEdward / The Ballad Book, Harper & Row, Bk (1955), p727 [1904ca]
Possum Hunters. In the Pines, Takoma A 1025, LP (1968), trk# 5 (Wake Up You Drowsy Sleeper)
Presnell, Lee Monroe ("Uncle Monroe"). Traditional Music of Beech Mountain, NC, Vol I, Folk Legacy FSA 022, LP (1964), trk# 1 [1961/10ca] (Awake, Awake, My Old True Love)
Raese, John. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p348/#108A [1916/03/24]
Richards, Frances (Mrs.). Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p364/# 57J [1918/08/17] (Awake, Awake - I)
Ritchie, Jean. Singing Family of the Cumberlands, Riverside RLP 12-653, LP (1957), trk# B.03d (Awake, Awake You Drowsy Sleeper)
Ritchie, Jean. Ritchie, Jean / Singing Family of the Cumberlands, Oak, sof (1955), p200
Sands, Mary. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p358/# 57A [1916/08/01] (Awake, Awake - I)
Shiflett, Lila. Scarborough, Dorothy(ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p141,399 [1930]
Smith, Betty. Songs Traditionally Sung in North Carolina, Folk Legacy FSA 053, LP (1975), trk# 8 (Awake, Awake You Drowsy Sleeper)
Stutsman, Bessie. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p248/# 52E [1938/04/08]
Unidentified Singer. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p246/# 52C [1930/10/10] (Love Will Find a Way
West, Hedy. Hedy West, Vanguard VRS 9124, LP (1963), trk# 1
Wharton, Alice. Moore, Ethel & Chauncey (ed.) / Ballads and Folk Songs of the Southwest, Univ. of Okla, Bk (1964), p196/# 88 [1940s] (Wake Up You Drowsy Sleeper)
Wilson, Mrs.. Sharp & Karpeles / English Folk Songs from the Southern Appalachians, I, Oxford, Bk (1932/1917), p364/# 57H [1917/05/02] (Awake, Awake - I)
Yale, Marvin. Cazden, Norman, et.al. / Folk Songs of the Catskills, SUNY Press, sof (1982), p198/# 51B [1940s] (Awake, Awake Ye Drowsy Sleeper)
Yale, Marvin. Cazden, Norman / Abelard Folk Song Book, Abelard-Schuman, Bk (1958), p 3 (Awake, Awake - I)
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Oh Molly Dear (Go Ask Your Mother) [Laws M 4/Me I-A28]
Rt - East Virginia Blues ; Drowsy Sleeper/Sleepers
Harwood, Flonnie. Scarborough, Dorothy(ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p140 (Mollie Dear Go Ask Your Mother)
Seeger, Mike. Mike Seeger, Vanguard VRS 9150, LP (1964), trk# A.02
Shelton, B. F.. Bristol Sessions. Vol 1, Country Music Foundation CMF 011-C1, Cas (1987), trk# A.02 [1927/07/29]
Stanley, Ralph; and Mike Seeger. Third Annual Farewell Reunion, Rounder 0313, CD (1994), trk# 7 (East Virginia Blues)
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Katie Dear [Laws G21/Me I-A28]
Rt - Drowsy Sleeper/Sleepers ; Silver Dagger - I ; Little Satchel - I
At - Willie Darling
Blue Sky Boys. Original and Great: Early Authentic Country Recordings, Camden CAL 797, LP (1964), trk# 5 [1938/01/25]
Blue Sky Boys. Bluegrass Mountain Music, Camden ADL2 0726, LP (1964), trk# 3 [1938/01/25]
Blue Sky Boys. Are You From Dixie? Great Country Brother Teams of the 1930's, RCA (Victor) 8417-4-R, Cas (1988), trk# 17 [1938/01/25]
Blue Sky Boys. Blue Sky Boys / Sunny Side of Life, Rounder 1006, LP (1973), trk# B.04 [1938/01/25]
Blue Sky Boys. Within the Circle; Wouldn't Be Lonely, Blue Tone BSRCD 1003/4, CD (1992?), 22 [1938/01/25]
Callahan Brothers. Going Down The Valley; Vocal & Instrumental Music from the South, New World NW 236, LP (1977), trk# 13 [1934/01/03]
Davis, Bill. Sounds of the Smokies, Old Tradition BWD 51471, LP (1971), trk# A.05 (Silver Dagger - I)
Ensign, Bob; and the Stump Jumpers. Mountain Guitar Pickin', Rural Rhythm RRBE 255, LP (1972), trk# B.08 (Silver Dagger - I)
Hawker, Ginny; and Tracy Schwarz. Draw Near, Rounder 0543, CD (2004), trk# 1
Hester, Myrtle Love. Arnold, Byron, and Halli, Robert W.(ed.) / An Alabama Songbook, U. Alabama, Bk (2004), p 6 [1945/08/07]
Ian and Sylvia. Four Strong Winds, Vanguard VSD 2149, LP (1963), trk# A.03
Ian and Sylvia. Sound of Folk Music. Vol 2, Vanguard SRV 140 SD, LP (1964), trk# A.06
Iron Mountain String Band (Calif.). Someday We'll Meet Again, Folkways FA 3836, LP (1981), trk# A.02 (Peggy Dear)
Louvin Brothers. Tragic Songs of Life, Capitol D 114846, CD (1996/1956), trk# 8 [1956/05/03]
Maddy, Roger and Janice. Place of My Dreams, Voyager VRLP 324-S, LP (197?), trk# A.08
McCurry, Grace. Scarborough, Dorothy(ed.) / A Song Catcher in the Southern Mountains, AMS, Bk (1966/1937), p139 [1930]
Perry, Cliff; and Laurel Bliss. Old Pal, Telegraph TM 0707, Cas (1994), trk# 11
Perry, Cliff; and Laurel Bliss. Old Time Music on the Air, Vol. 2, Rounder 0391, CD/ (1996?), trk# 16 [1994]
Roberts, Miss. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p349/#108B [1917] (Silver Dagger - I)
Stewart, Polly; and the Valley Boys. National Oldtime Fiddlers' Contest & Folk Music Festival. 1965, NOTFC, LP (1965), trk# 23
Van Ronk, Dave. Dave Van Ronk, Fantasy 24710, LP (1970/1962), trk# 4.04 (Silver Dagger - I)
Williams Family. All in the Family, Arkansas Traditions 004, LP (1986), trk# B.04
Womenfolk. Womenfolk at the hungry i, RCA (Victor) LPM 2991, LP (1964), trk# 11 (Silver Dagger - I)
--------------
Silver Dagger - I [Laws G21/Sh 165/Me I-B 81]
Rt - Katie Dear ; Don't Sing Love Songs
At - Warning Deaths
Uf - Come All Ye Fair and Tender Ladies/Maidens ; Katie Dear
Laws, G. Malcolm / Native American Balladry, Amer. Folklore Soc., Bk (1964), p223
Leisy, James F. (ed.) / Hootenanny Tonight!, Gold Medal Books, sof (1964), p 58
Allen, Mister. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p230/# 165B [1918/05/08]
Anderson, Bessie. Randolph, Vance / Ozark Folksongs. Volume II, Songs of the South and ..., Univ. of Missouri, Bk (1980/1946), p 56/#139C [1927/05/06]
Badger, Myrtle Smith. Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p121/# 52A [1914]
Burwell, Luther. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p351/#109B [1915/12/28]
Carrigan, Myrtle. Wolfe, Charles K.(ed.) / Folk Songs of Middle Tennessee. George Boswell, Univ. Tennesse, Sof (1997), p 71/# 40 [1949/11/03] (Two Lovers - I)
Davidson, Esther. Randolph, Vance / Ozark Folksongs. Volume II, Songs of the South and ..., Univ. of Missouri, Bk (1980/1946), p 56/#139D [1927/03/09]
Dunagan, Margaret. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p229/# 165A [1917/09/05]
Duvall, Leone. Randolph, Vance / Ozark Folksongs. Volume II, Songs of the South and ..., Univ. of Missouri, Bk (1980/1946), p 54/#139A [1923/06/06]
Estes, Mrs. J. K.. Arnold, Byron, and Halli, Robert W.(ed.) / An Alabama Songbook, U. Alabama, Bk (2004), p 27 [1947/06/12] (True Lovers Part)
Garland, Betty. American Folk Ballads, Folkways FA 2307, LP (1964), trk# B.04 (Never Make True Lovers Part)
Gaunt, Mrs. Tiny. Leach, MacEdward / The Ballad Book, Harper & Row, Bk (1955), p730 [1948]
Gentry, Jane Hicks. Smith, Betty N. / Jane Hicks Gentry. A Singer Among Singers, U. Ky, Sof (1998), p181/#42 [1916/08/24] (Bloody Warning)
Gunning, Sarah Ogan. Silver Dagger, Rounder 0051, LP (1976), trk# 4
Hundley, Holley. Folksongs and Ballads, Vol 3, Augusta Heritage AHR 009, Cas (1991), trk# 1.01 [1989/11/08]
Joines, Paul. Ballads and Songs of the Blue Ridge Mountains., Asch AH 3831, LP (1968), trk# A.04 [1960ca] (Young Men and Maids)
Jones, Mrs. W. E.. Randolph, Vance / Ozark Folksongs. Volume II, Songs of the South and ..., Univ. of Missouri, Bk (1980/1946), p 57/#139E [1928/09/13]
Lindsay, Mary F.. Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p123/# 52B [1910s]
McClellan, Mrs. C. S.. Morris, Alton C. / Folksongs of Florida, Univ. Florida, Sof (1990/1950), p 80/# 36 [1934-39] (Lover's/Loves Farewell)
Moore, Tommy. Old-Time Music at Clarence Ashley's. (vol. 1), Folkways FA 2355, LP (1961), trk# 16 [1960/09] (True Lovers)
Mosier, Charles L.. Randolph, Vance / Ozark Folksongs. Volume II, Songs of the South and ..., Univ. of Missouri, Bk (1980/1946), p 55/#139B [1927/02/24]
Rogers, D. John. Hubbard, Lester A. / Ballads and Songs from Utah, Univ. of Utah, Bk (1961), p 66/# 30 [1949/08/15]
Sizemore, Asher; and Little Jimmy. Sizemore, Asher; and Little Jimmy / Favorite Mountain Ballads & Old T..., Sizemore, fol (1932), p37 (Lover's/Loves Farewell)
Tuthill, Mrs. Allan. Gardner, Emelyn E. & Geraldine Chickering / Ballads and Songs of Souther, Folklore Associates, Bk (1967/1939), p 89/# 23 [1900ca]
Vass, Ruby. Shellans, Herbert (ed.) / Folk Songs of the Blue Ridge Mountains, Oak, Sof (1968), p34 [1957/11/22] (Parents, Warning)
Ward, Crockett. 1941 Old Fiddlers Convention, Galax, Virginia, Voyage Beyond, CD (200?), trk# 2 [1941]
Yoke, S. G.. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p350/#109A [1916/01/21]
Silver Dagger - II [Laws M 4]
Rt - Katie Dear ; Drowsy Sleeper/Sleepers
Lynn, Frank (ed.) / Songs for Swingin' Housemothers, Fearon, Sof (1963/1961), p188
Leisy, James F. (ed.) / Folk Song Abecedary, Bonanza, Bk (1966), p300
Abe and Malka. Mandelblatt, Abe & Malka A. / 100 Guitar Accompanyments, Amsco, Sof (1974), p180
Baez, Joan. Joan Baez, Vanguard VRS 9078, CD/ (1960), trk# 1
Baez, Joan. Very Early Joan, Vanguard VSD7 9446/7, LP (1982), trk# D.06 [1961-63]
Baez, Joan. Siegmeister, Elie (arr.) / Joan Baez Song Book, Ryerson Music, Sof (1971/1964), p 75
Maura & Maria. Songs Made Famous by Joan Baez, Wyncote W 9075, LP (1964), trk# A.04
---------
Don't Sing Love Songs
Rt - Come All Ye Fair and Tender Ladies/Maidens ; Silver Dagger - I
Silverman, Jerry / Folk Guitar - Folk Song, Scarborough Book, Sof (1983/1977), p 86
Dane, Barbara. Anthology of American Folk Songs, Tradition TR 2072, LP (196?), trk# B.08
Dane, Barbara. Sing Out Reprints, Sing Out, Sof, 8, p30 (1966)
Dane, Barbara. Night at the Ash Grove, World Pacific WP 1254, LP (1958), trk# A.06
McGraw, Lou. Edwards, Jay; and Robert Kelley / Coffee House Songbook, Oak, Sof (1966), p 12
-----
Kentucky Mountain - Delmore, Alton
Rt - Drowsy Sleeper/Sleepers
Delmore Brothers. Sand Mountain Blues, County CCS 110, LP (1986), trk# A.01 [1946/01]
Williamson, George & Mary. Our Mountain Heritage, Old Homestead OHS 80010, LP (198?), trk# B.04
---------------
I Drew My Ship
Rt - Drowsy Sleeper/Sleepers
At - I Will Put My Ship in Order
Bok, Gordon;, Ann Mayo Muir & Ed Trickett. Turning Toward the Morning, Folk Legacy FSI 056, LP (1976), trk# 2
Collins, Shirley. Classic Collection, Highpoint HPO 6008, CD (2004), trk# 10 [2000?]
Collins, Shirley. False True Lovers, Folkways FG 3564, LP (1959), trk# A.01
High Level Ranters. High Level, Leader/Trailer LER-2 030, LP (1971), trk# B.04
-------------
Sleepy Desert [Me I-A28]
Rt - Drowsy Sleeper/Sleepers
Uncle Earl. She Waits for Night, Rounder 0565, CD (2005), trk# 11
Watts, Wilmer; and the Lonely Eagles. Gastonia Gallop. Cotton Mill Songs and Hillbilly Blues, Old Hat CD 1007, CD (2009), trk# 17 [1929/10/20-3]
--------------
Mainly Norfolk: English Folk and Other Good Music
Arise Arise / Awake Awake / The Drowsy Sleeper / Silver Dagger / Waking Dreams
[ Roud 22620 , 22621 ; Laws M4 ; Ballad Index LM04 ; Full English CJS2/10/2522A , CJS2/10/1891 ; trad.]
Steve Roud catalogues most of the English versions of this song as Roud 22620 and the American versions as Roud 22621.
Hedy West sang Drowsy Sleeper in 1963 on her eponymous Vanguard album, Hedy West. She commented in her sleeve notes:
Grandma and Uncle Gus learned Drowsy Sleeper from Virge West while he was courting their older sister, Molly. I have supplied a segment of the third verse, which was incomplete when I learned it.
Peggy Seeger and Tom Paley sang Who's That Knocking at My Window? (The Drowsy Sleeper) on their 1965 album Who's Going to Shoe Your Pretty Little Foot?.
John Wright sang Awake, Awake, You Drowsy Sleeper in 1978 on his Topic album Unaccompanied. He noted:
Awake, Awake You Drowsy Sleeper is from the Sharp manuscripts, no 1309, collected from Jack Barnard, Bridgewater, 4/4/07. There is a French song that begins Reveillez-vous belle endormie which is also about elopement, has the same poetic metre and, most surprising of all, is found with almost the same tune as that used here.
Maggie Boyle sang Silver Dagger in 1992 on her and Steve Tilston's album Of Moor and Mesa. They commented in their liner notes:
This song is most certainly the victim/beneficiary of folk-song tradition. Apparently derived from the English song Go from My Window, this Appalachian version is adapted here once more by the inclusion of a verse written by Steve.
Steve Tilston's daughter Martha Tilston sang Silver Dagger on her 2006 album Of Milkmaids & Architects.
Maddie Southorn sang Who Is At My Window Weeping? in 2005 on her Fellside CD The Pilgrim Soul. She commented in her liner notes that
This is a Canadian variant of The Drowsy Sleeper and is well known throughout the US and Canada.
The Devil's Interval (Emily Portman, Lauren McCormick and Jim Causley) sang Silver Dagger in 2006 on their WildGoose album Blood and Honey. They commented in their liner notes:
We like to name our ouwn sources unlike Dolly Parton, our source for this song, who failed to name her own source… Of course one can have too many condiments! It features on Dolly's album The Grass Is Blue, but there are many other versions of this widely collected traditional song, also known as Arise Arise.
This video shows them rehearsing in April 2015:
Josienne Clarke sang The Silver Dagger in 2011 on her and Ben Walker's CD The Seas Are Deep.
Bryony Griffith sang Arise Arise on her and Will Hampson's 2011 CD Lady Diamond, followed by the tune The Rowling Hornpipe. They commented in their liner notes:
Known as Drowsy Sleeper from the book The Seeds of Love compiled by Stephen Sedley. The Rowling Hornpipe from the Joseph Kershaw MS The Music of a 19th Century Saddleworth Fiddle Player published by INWAC.
Fay Hield and Nancy Kerr sang Awake Awake on the Full English's eponymous 2013 Topic CD, The Full English.
Eliza Carthy sang Waking Dreams, a version of Awake Awake recorded from Marina Russell of Weymouth in 1907 by Henry Hammond, on her and Martin Carthy's 2014 duo album, The Moral of the Elephant. She commented in their album's sleeve notes:
The original comes from Marina Russell of Dorset, words and tune. I started to add bits of other songs years ago, and finally settled on this as we were recording. It's a song about loneliness for me, watching the world turn without you and the shock of suddenly being left behind in the dark, when you had just grown used to the lights being on again. The universe so often has different plans for us than we imagine for ourselves, even—or perhaps especially—when we're too busy getting by to dream.
Lyrics
Maggie Boyle sings Silver Dagger The Devil's Interval sing Silver Dagger
Oh, don't sing love songs, you'll wake my mother,
She's sleeping here, right by my side.
And in her right hand, a silver dagger,
She says that I can't be your bride.
Don't sing love songs, you'll wake my mother,
She's sleeping here, right by my side.
In her right hand is a silver dagger,
She says that I can't be your bride.
All men are false, says my mother,
They tell you wicked, loving lies.
And in the next breath they'll court another,
They'll leave you ere the sun does rise.
Young men are false, so says my mother,
They tell you wicked, loving lies.
And then they'll go and court some other,
Leave you alone to pine and cry.
My daddy is a handsome devil,
He has a chain five miles long.
On every link a heart does dangle
Of another maid he's loved and wronged.
My daddy is a handsome devil,
He's got a chain that's five miles long.
On every link a heart does dangle
Of another maid he's loved and wronged.
Oh then go home to your own garden,
Oh then go home, return no more.
No other man may come a-courting,
No other lover cross my door.
Go court another tender maiden
In hopes that she might be your wife.
For I've been warned so I've decided
To sleep alone all of my life.
(repeat first verse)
(repeat first verse)
Bryony Griffith sings Arise, Arise
The Full English sing Awake, Awake
“Arise, arise, my drowsy sleeper,
Awake, awake, it's almost day.
Oh come unto your bedroom window
And hear what your true love does say.”
“Begone, begone, you'll awake my mother,
My father too will quickly hear;
Go tell your tale unto another
And whisper softly all in her ear.”
“Oh then, oh then, go ask your father,
If he'll consent you my bride to be.
If he denies you, come and tell me
And it's the last time I'll visit thee.”
“My father's in his chamber, writing,
And noting down on his merchandise,
And in his hand he holds a letter
And it speaks much of your dispraise.”
“To my dispraise, love, to my dispraise, love,
To my dispraise, love, how can it be?
I have never slighted, nor yet denied you
Until this night you've denied of me.
“Oh then, oh then, go ask your mother
If she'll consent you my bride to be.
If she denies you, come and tell me
And it's the last time I'll visit thee.”
“My mother's in her chamber sleeping,
And words of love she will not hear,
Go tell your tale unto another
And whisper softly all in her ear.”
“The fish shall fly, the sea run dry, love,
The rocks shall melt all in the sun;
And the labouring man shall forget his labour,
Before that I shall return again.”
Awake, awake, you drowsy sleeper,
Awake, awake, it is dawn of day.
How can you lie there so long in sleeping
Since you have stolen my heart away?
Awake, awake, it is dawn of day.
How can you lie there so long in sleeping
Since you have stolen my heart away?
Be gone, be gone, you will wake my father,
My mother she will you quickly hear.
Go tell your tales to some other lover
And whisper softly all in her ear.
Awake, awake, it is dawn of day.
Go tell your tales to some other lover
And whisper softly all in her ear.
I won't be gone for I have no other,
You are the girl I do much admire.
'Tis I my dear who do love you deeply
And thoughts of love that have brought me here.
Awake, awake, it is dawn of day.
'Tis I my dear who do love you deeply
And thoughts of love that have brought me here.
The old man heard the young couple talking,
So nimble he stepped out from his bed.
He put his head to the bedroom window,
Young Johnny dear, he has turned and fled.
Awake, awake, it is dawn of day.
He put his head to the bedroom window,
Young Johnny dear, he has turned and fled.
So much for love and the valiant hearted,
So much for faithful and strong young men.
I'll turn my bed on the morrow morning
And call young Johnny return again.
Awake, awake, it is dawn of day.
I'll turn my bed on the morrow morning
And call young Johnny return again.
Eliza Carthy sings Waking Dreams
Awake, awake, you drowsy traitor,
Awake, arise, it's almost day.
How can you sleep such treacherous slumbers
When you have all my heart away?
You learned my secrets warmed in comfort
But left me cold now so it seems.
You left me lying, prone to crying
And beset my waking dreams.
Farewell, my friends, farewell my family,
Now I am bound while he goes free.
I will go down to those far white mountains
Where the air is thin and you cannot see.
I thought I heard your voice a-shouting,
I thought I heard you loud and clear.
But it was just a faithless echo
And you were nothing that I could call dear.
I loved his face, I loved his body,
I loved his voice when he sang with me.
And every day brought port and brandy
To toast his name in a glass or three.
Now take my heart, I do not need it.
I'm through with love, I'm safe alone.
And I 'll sit here on my white mountain
And watch your beauty turn to stone.
--------------------------
Silver Dagger (song)
From Wikipedia, the free encyclopedia
"Silver Dagger"
"Silver Dagger", with variants such as "Katy Dear", "Molly Dear", "The Green Fields and Meadows", "Awake, Awake, Ye Drowsy Sleepers" and others (Laws M4 & G21, Roud 2260 & 2261), is an American folk ballad, whose origins lie possibly in Britain.[1][2] These songs of different titles are closely related, and two strands in particular became popular in commercial Country music and Folk music recordings of the twentieth century: the "Silver Dagger" version popularised by Joan Baez, and the "Katy Dear" versions popularised by close harmony brother duets such as The Callahan Brothers, The Blue Sky Boys and The Louvin Brothers.
In "Silver Dagger", the female narrator turns away a potential suitor, as her mother has warned her to avoid the advances of men in an attempt to spare her daughter the heartbreak that she herself has endured. The 1960 recording by Joan Baez features only a fragment of the full ballad.[3] "Katy Dear" uses the same melody but different lyrics, telling a similar story from a male perspective.[4]
History
The song exists in a large number of variations under many different titles, and with lyrics that may show a mixture of different songs. Steve Roud observes on one version of the song titled "O! Molly Dear Go Ask Your Mother":
"A whole book could be written on this song and its connections with other songs which involve young men at their sweethearts' windows at night, disapproving parents and silver daggers. Hugely popular with North American traditional singers, 'Drowsy Sleeper' was also collected regularly in Britain and appeared on broadsides there from at least the 1820s" [5]
Of interest are early versions of two songs, "Silver Dagger" and "Drowsy Sleeper", whose lyrics have some relation to each other, but differ in lines, verse rhythm and outcome.[6] The texts of these two songs may share a common origin in the older theme of night visit in traditional English songs.[7][8] The plot of "Silver Dagger" is similar to that of "Drowsy Sleeper" whereby the parents object to a match between a boy and a girl, except that the silver dagger is used as a suicide weapon by the young lovers, while in "Drowsy Sleeper" the couple elope.[6][9] However, at some point in the 19th century, there also appears to have been a fusion of these two different songs whereby the tragic ending of "Silver Dagger" becomes attached to "Drowsy Sleeper", giving rise to some later variations of the song.[6]
The earliest known text of "Drowsy Sleeper" in Britain may be dated to 1817, and the first verse of a variant of the song appears in a songbook of American folk songs first published in 1855, John G. McCurry's The Social Harp.[9][10] A version of "Drowsy Sleeper" published in a broadside as "Who's at My Bedroom Window?" by H. J. Wehman in 1890 shows a mixture of "Silver Dagger" and "Drowsy Sleeper".[11] A version collected in Kentucky was printed in The Journal of American Folk-Lore in 1907, and three versions were collected by Henry M. Belden in 1908.[12][13] Cecil Sharp published an English version from Somerset in 1908 as "Arise! Arise!".[14] Sharp also collected a version of the song in the United States as "Awake, awake", sung by Mary Sands in Madison County, North Carolina on August 1, 1916.[9][15]
The song was recorded commercially as "O! Molly Dear Go Ask Your Mother" by Kelly Harrell in 1926, as "Sleepy Desert" by Wilmer Watts And The LoneLy Eagles in 1929, and as "Wake Up You Drowsy Sleeper" by The Oaks family in 1930. As "Katie Dear (Silver Dagger)" it was recorded by the Callahan Brothers in 1934, and as "Katie Dear" by the Blue Sky Boys in 1938.[9] (Country music authority Bill C. Malone states that the Callahan Brothers learned traditional ballads like "Katie Dear" from their mother). In 1956 it was recorded by the Louvin Brothers.[16] The song was part of the repertoire of the Country Gentlemen, who toured both the bluegrass and folk music circuits during the 1950s and 1960s. In the early 1960s, "Katie Dear" was recorded by folk revival musicians, including Joan Baez, and Ian & Sylvia. Today it is commonly performed and recorded by bluegrass musicians.
The differences in titles and some lyrics may also be a result of the song being handed down through the unwritten, oral tradition, or adapting from different sources, and where each performer may add their own verses and nuances to the song.[17] These songs have been sung using different tunes. Relation to other songs such as Old Virginny/Man of Constant Sorrow and Come All You Fair and Tender Ladies have also been noted.[9][7]
The song has also been widely performed and recorded by bluegrass musicians, as many songs thought of as traditionally bluegrass songs actually trace back to what is now known as "old-time" music.
20th century
1926 – Kelly Harrell – "O! Molly Dear Go Ask Your Mother", Victor Vi 20280 (BVE-35667).[18] Reissued on Worried Blues, The Complete Commercial Output of Frank Hutchison and Kerry Harrell JSP Records JSP7743 (2005), My Bonnie Lies Over The Ocean: British Songs in the US Nehi Records NEH3X1 (2015).
1927 – B. F. Shelton – "Oh Molly Dear" (BVE-39735).[19]
1929 – Wilmer Watts & His Lonely Eagles – "Sleepy Desert", Paramount Pm 3282.[9] Reissued on Gastonia Gallop, Cotton Mill Songs & Hillbilly Blues Old Hat Records CD-1007 (2009), My Bonnie Lies Over The Ocean: British Songs in the USA Nehi Records NEH3X1 (2015).
1930 – The Oaks Family – "Wake up, You Drowsy Sleeper", Victor Vi 23795 (BVE-62575).[20] Reissued on My Bonnie Lies Over The Ocean: British Songs in the USA Nehi Records NEH3X1 (2015).
1934 – Callahan Brothers – "'Katie Dear (Silver Dagger)", Banner Ba 33103. Melotone Me 13071, Oriole Or 8353, Perfect 13017, Romeo Ro 5353. Reissued on The Dixon Brothers with The Callahan Brothers JSP Records JSP77113 (2011).
1938 – Blue Sky Boys – "Katie Dear", Bluebird BB B-7661, Montgomery Ward Records MW M-7468. Reissued on The Blue Sky Boys, The Very Best of Classic Country Remastered JSP Records JSP7782 (2007).
1938 – The Carter Family – "Who's The Knockin' On My Window", Decca De 5612, Montgomery Ward Records MW M-8071, Melotone (Canada) MeC 45275. Reissued on The Carter Family, Volume 2, 1935-1941 JSP Records JSP7708 (2003).
1956 – The Louvin Brothers, Tragic Songs of Life.[16]
1960 – Joan Baez's version of "Silver Dagger" was included in her 1960 debut album, and song became identified with her. On her performances, Baez used a double-time acoustic guitar as accompaniment to her vocals.[21]
1963 – The Country Gentlemen, on Hootenanny: A Bluegrass Special and on Bluegrass Country.
1964 – Ian & Sylvia, Four Strong Winds.
1964 – Bob Dylan – "Silver Dagger" appears on The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall album, with Baez singing what she refers jokingly to as "one of Bob's earlier songs". Dylan does not sing, but plays acoustic guitar and harmonica in accompaniment.[22]
1964 – Dave Van Ronk performs a version of the song in his album Inside Dave Van Ronk.
1960s – Chet Powers – The song appears, in the long version, on his album released in 2011 under the name of Dino Valente, Get Together...The Lost Recordings.[23]
1970s – The Eagles – During their concerts in the early 1970s, the Eagles usually prefaced "Take it Easy" with an a cappella version of four lines from "Silver Dagger", beginning with "My Daddy is a handsome devil..." Glenn Frey, Bernie Leadon and Randy Meisner would harmonise around one microphone at the front of the stage with Don Henley also contributing from behind his drum kit.[24]
1987 – The Men They Couldn't Hang recorded a version of the song which is included as a bonus track on some releases of their 1987 album Waiting for Bonaparte.
1995 – Rick Summer Droit recorded "Silver Dagger" in a live performance on the Live at Cousin Andy's CD.
1999 – Dolly Parton recorded the song in 1999 for her The Grass Is Blue album.
21st century
Old time revival string band Old Crow Medicine Show has a version of the song on their 2001 album Eutaw.
Roger Mcguinn, the lead singer and guitarist on many of The Byrds' hits, released a version of the song on the four-CD box set The Folk Den Project 1995-2005.
Silver Dagger was recorded for the 2005 live album Smugglers and Bounty Hunters by British band The Men They Couldn't Hang
Irish-American Celtic group Solas recorded it for their 2006 album Reunion: A Decade of Solas.
Bluegrass band The Gruff from Victoria, BC, Canada, recorded "Silver Dagger" on their 2006 self-titled album on Goat Tea Records.
In 2007 it was recorded by Scottish singer Maeve MacKinnon and appeared on her album Don't Sing Love Songs.
The song has been recorded by White Antelope aka Robin Pecknold of the Seattle band Fleet Foxes.
The traditional singer Mary Lomax was recorded by Art Rosenbaum in 2007 singing The Drowsy Sleeper. The recording was issued by Dust-to-Digital Records on Art of Field Recording Volume I.
This song has also been recorded by Lac La Belle, on their first album, called Lac La Belle, in 2009 (Detroit, USA).
Jim Moray has recorded a version of this song which is available on his 2010 album In Modern History.
The song is sung by Marideth Sisco in the 2010 film Winter's Bone.
English folk trio The Staves often perform the song live. It has been included in their Live at Cecil Sharp House EP (2011).
Birch Book has recorded his version of this song on his album Tomorrow's Sun Will Rise the Same (2010)
In season 5, episode 2 ("Gently with Class") of the British television series Inspector George Gently, the song is performed by Ebony Buckle, who plays the role of singer "Ellen Mallam" in that episode.
Seasick Steve has a version on his album Sonic Soul Surfer (2015)
Adaptations
Dame Darcy recorded a quite different version of the song, found on her Greatest Hits album.
British band Saint Etienne's song "Like a Motorway" is based on the ballad. It was featured on their album Tiger Bay (1994), an homage to folk music presented in a modern style. The melody follows the original closely, but new lyrics paint a darker picture of the suitor's fate.
Hey Rosetta gave us their own take on this song, which found on her Red Songs EP. The song however, is entitled, "Who Is At My Window Weeping" rather than "Silver Dagger".
William Gibson in the second book of his Sprawl Trilogy, Count Zero, uses the third stanza of this song to hint at the past of the heroine, Angie Mitchell.
See also
Come All You Fair and Tender Ladies, another ballad with similar content
References
1. "Roud Folk Song Index - search result for 711". Vaughan Williams Memorial Library entry - Roud Folk Song Index. Archived from the original on 2007-09-27.
2. Robert B. Waltz and David G. Engle. "Silver Dagger (I), The [Laws G21]". The Ballad Index.
3. "Silver Dagger". The Contemplator's Folk Music and Carolan Resource Center.
4. Lyle Lofgren. "Remembering The Old Songs: KATIE DEAR (Laws G21)." 2002-03. Inside Bluegrass. Retrieved 2010-12-15.
5. Roud, Steve, 2015, Song notes to My Bonnie Lies Over The Ocean: British Songs in the USA (CD boxset), Nehi Records NEH3X1.
6. Norman Cazden, Herbert Haufrecht, Norman Studer (June 1983). Folk Songs of the Catskills (annotated ed.). State University of New York Press. p. 195. ISBN 978-0873955805.
7. Norman Cazden, Herbert Haufrecht, Norman Studer (June 1983). Folk Songs of the Catskills (annotated ed.). State University of New York Press. pp. 196 – 198. ISBN 978-0873955805.
8. Charles Read Baskervill (December 1921). "English Songs on the Night Visit". PMLA (Modern Language Association) 36 (4): 565–614. doi:10.2307/457352.
9. Matteson, Jr., Richard L., Richard Matteson (2006). Bluegrass Picker's Tune Book. Mel Bay Music. p. 204. ISBN 9781609745523.
10. John G. McCurry. Daniel W. Patterson and John F. Garst, eds. The Social Harp (PDF). University of Georgia Press. p. xix.
John Harrington Cox, ed. (1925). Folk-Songs of the South. Pelican Publishing Company. p. 350. ISBN 9781565545922.
11. The Journal of American Folk-Lore. Forgotten Books. p. 338 – 339.
12. G. L. Kittredge (1917). "Ballads and Songs". The Journal of American Folklore 30 (117): 283–369.
13. "Folk Songs from Somerset (Sharp, Cecil)".
14. "A Nest of Singing Birds: Cecil Sharp, Mary Sands and the Madison County Song Tradition". Musical Traditions.
"The Louvin Brothers: Tragic Songs Of Life".
"Arise Arise / Awake Awake / The Drowsy Sleeper / Silver Dagger / Waking Dreams". Mainly Norfolk: English Folk and Other Good Music.
"Victor matrix BVE-35667. O! Molly dear, go ask your mother / Kelly Harrell". Discography of American Historical Recordings.
"Victor matrix BVE-39735. Oh Molly dear / B. F. Shelton". Discography of American Historical Recordings.
"Victor matrix BVE-62575. Wake up, you drowsy sleeper / Oaks Family". Discography of American Historical Recordings.
James E. Perone (October 17, 2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. Praeger. pp. 1 – 2. ISBN 978-0313379062.
John Nogowski (July 30, 2008). Bob Dylan: A Descriptive, Critical Discography and Filmography, 1961-2007 (2nd Revised ed.). McFarland. p. 167. ISBN 978-0786435180.
Dino Valenti
In Concert - The Eagles. BBC. April 5, 1973. Event occurs at 21:40–26:40.
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The Alps: Or Sketches of Life and Nature in the Mountains
By Hermann Alexander von Berlepsch, Emil Rittmeyer; 1861
The winter's evening meetings, the " Spinneten," " Stubeten," or "z'Liecht goh," in which young people of both sexes take part, generally introduce the love affairs of the village, whose immediate consequence is the "Kiltgang." This custom does not prevail everywhere, and where it does its effect upon morals is very various. "Kiltgang " means the leave which any maiden (with the knowledge of her parents) grants to her lover to visit her in the evening at home. Sometimes this tete-a-tete only takes place at the window, so that the lad has to scramble up on to a heap of split wood, and talk confidentially with the maiden of his choice far into the night, for which reason the inhabitants of the Bavarian and Salzburg Alps call it "s'Fensterln ;" or the meeting takes place in the girl's room, and lasts till the grey of morning. In both cases the girl regales her lover with cakes and wine or other spirituous liquors. It is an ancient custom, which has caused evils enough, but which it is hard to banish. As the lads of a place, i. e. all the marriageable young fellows, will not suffer any one to come into their village from another, especially not to the daughters of a rich peasant, the "Kiltgang" has often caused murder and homicide, and unfortunately criminal trials take place almost every year resulting from this old popular custom. The favoured lover must win his bride with cunning and courage, with undaunted and bold bearing, if he does not belong to the lads or "nacht buben" (nightboys) of the place. The mountaineer is rough and ready in all that he does and undertakes.
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Stranger in Ireland; or, A tour in the southern and western parts of that ...
By Sir John Carr
One evening, at an inn where we halted, we heard a considerable bustle in the kitchen, and, upon inquiry, I was let into a secret worth knowing. The landlord had been scolding one of his maids, a very pretty plump little girl, for not having done her work; and the reason which she alleged for her idleness was, that her master having locked the street door at night, had prevented her lover from enjoying the rights and delights of bundling, an amatory indulgence which, considering that it is sanctioned by custom, may be regarded as somewhat singular, although it is not exclusively of Welsh growth. The process is very simple: the gay Lothario, when all is silent, steals to the chamber of his mistress, who receives him in bed, but with the modest precaution of wearing her under petticoat, which is always fastened at the bottom, not unfrequently, I am told, by a sliding knot. It may astonish a London gallant to be told, that this extraordinary experiment often ends in downright wedlock—the knot which cannot slide. A gentleman of respectability also assured me, that he was obliged to indulge his female servants in these nocturnal interviews, and that too at all hours of the night, otherwise his whole family would be thrown into disorder by their neglect: the carpet would not be dusted, nor would the kettle boil. I think this custom should share the fate of the northern Welsh goats.
In some Dutch travels we read, that a courtship similar to bundling is carried on in the islands of Vlie and Wieringen, in Holland^ under the name of queesting. At night the lover has access to his mistress after she is in bed; and upon an application to be admitted upon the bed, which is of course granted, he raises the quilt, or rug, and in this state queests, or enjoys a harmless chit-chat with her, and then retires. This custom meets with the perfect sanction of the most circumspect parents, and the freedom is seldom abused. The author traces its origin to the parsimony of the people, whose economy considers fire and candles as superfluous luxuries in long winter evenings. Another traveller also mentions, that the lower people of Massachusetts Bay indulge themselves in a custom called tarrying. If the parents of the young lady approve of her enamorato, they permit him to tarry with her one night. After the old people -have retired, the young couple go to bed together with their under garments on: if they like each other, they marry; if not, they part, perhaps never to meet more, unless the forsaken fair one proves pregnant, in which case, under the penalty of excommunication, the man must marry her.
Habit has so reconciled the mind to the comforts of bundling, that a young lady who entered the coach soon after we left Shrewsbury, about eighteen years of age, with a serene and modest counte* nance, displayed considerable historical knowledge of the custom, without " one touch of bashfulness."
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Bundling: Its Origin, Progress and Decline in America
By Henry Reed Stiles
BUNDLING.
Bundling. "A man and a woman lying on the same bed with their clothes on; an expedient practiced in America on a scarcity of beds, where, on such occasions, husbands and parents frequently permitted travelers to bundle with their wives and daughters."—Grose, Dictionary of the Vulgar Tongue.
Bundle, V. i. "To sleep on the same bed without undressing; applied to the custom of a man and woman, especially lovers, thus sleeping."—Webster, 1864.
Bundle, V. n. "To sleep together with the clothes on."— Worcester, 1864.
BUNDLING, as may be seen from the above quoted definitions, was practiced in two forms: first, between strangers, as a simple domestic make-shift arrangement, often arising from the necessities of a new country, and by no means peculiar to America; and, secondly, between lovers, who shared the same couch, with the mutual understanding that innocent endearments should not be exceeded. It was, however, in either case, a custom of convenience.
"This custom was termed hand-fasting, and consisted in a species of contract between two chiefs, by which it was agreed that the heir of one should live with the daughter of the other as her husband for twelve months and a day.
from which the bundling of the Welsh, and the hand-fasting in some parts of Scotland, are derived.
* In Scottish Ballads and Songs, by James Maidment, Edinburg, MDCCCLIX, under the title of Luckidad's Garland, p. 134, is a remarkable picture of the old and new times in Scotland, eighty or ninety years ago, three of the twenty-four verses of which the ballad is composed, being descriptive of something akin to bundling. In a London edition of Hudibras, also, published in 1811, is a note to line 913, of Part I, Canto I. As both of these extracts, however, are somewhat too broad for our pages, we content ourselves with simply referring thereto. In the same category, also, is the definition, in Bailey's Old English Dictionary, of the term free bench, as prevailing in the manors of East and West Embourn, Chaddleworth in the county of Berks, Tor in Devonshire, and other places of the west.
LUCKIDAD'S GARLAND.
The following is the title of the printed copy :—" Luckidad's Garland, or when my Old Hat was New: To which is added, The Fickle Shepherd. Entered according to order." No date. It has a rude woodcut of a warrior with a helmet, which occurs frequently in many of the popular rhymes that issued from the press in Edinburgh from 1780tol790,or perhaps later.
The Fickle Shepherd is given in the last page as " A New Scots Song." As it is short, we have inserted it here :—
"Because the fickle shepherd's gone,
To win some other fair,
Don't think that I '11 be left alone,
A prey to spleen and care.
Whilst here he stay'd my heart was glad,
No other swain was dear;
But since he cannot now be had,
He is not worth a tear.
To plaintive streams I 'II never go,
Nor haunt the dreary grove;
I was not born to yield to woe,
Nor die for slighted love:
[ A garland from the willow tree
To wear, I do disdain ;]
By Strephon's falsehood thus set free,
I am myself again."
Luckidad's Garland presents a remarkable picture of the old and new times in Scotland some eighty or ninety years since, and well merits preservation.
SINCE my old hat was new, it is
About fourscore of years;
But now it is both old and torn,
Fallen down about mine ears.
It was made of the silk so fine,
And stood above my brow;
O what a strapping youth was I!
When my old hat was new.
About three score of years ago,
The truth I do declare,
Every one took the other's word,
I wat they sought nae mair:
Now bonds and bills cannot men hold,
Their words are so untrue; Such villainy did not abound,
When my old hat was new.
Where brotherly love did once abound,
There's nothing now but fade; They take so many poor man's ground,
That they cannot get bread;
And makes them wander up and down,
But knows not what to do;
In my young days it was not so,
When my old hat was new.
For the most thing a farmer had,
Was but a plow of land, Which did maintain his family,
As you may understand:
The goodwife she a toy did wear,
And a coarse cloth on her brow;And lie himself a good grey hat,
When my old hat was new.
But now they velvet caps do wear,
And cloaks of scarlet red,
And o'er the poor they tyrannize,
That they can get no bread:
They are opprest on every hand,
But know not what to do;
In my young days it was not so,
When my old hat was new.
Our great goodwives now mistress get,
And they must have their tea; And some of them wear gowns of silk,
As you may plainly see:
But in old times it was not so,
For this was a' their due,
A gown such as their mother span,
When my old hat was new.
The goodman sat at the board-head,
And did the table grace;
The servants sat down as they came,
All ranked in their place:
The goodman serv'd with modesty,
Gave every one their due;
Humility did then abound,
When my old hat was new.
But now the case is altered,
As you may understand;
For they must have their dining-room,
Pride has them at command;
And they sit, like lords of state,
I speak but what is true;
Such vanity did not abound,
When my old hat was new.
The hinds' followers are ta'en down,
Their sheep are ta'en away;
And Maggy has no woo to spin,
How can she make her gray?
The weather cold, her cloathing thin,
Her happy times but few;
That were well claid in back and bed,
When my old hat was new.
The cot-houses are all thrown down,
The commons ta'en away;
Their sheep and kine they must remove,
No longer they 're to stay:
In former days it was not so,
For this was all their due,
The poor to have both milk and woo,
When my old hat was new.
When the Romans lived in our land,
These commons they did give,
Unto the poor for charity,
To help them for to live:
They've ta'en from them their proper right,
Which made them for to rue,
Although the same to them belong'd,
When my old hat was new.
And when the time of harvest came,
That we went out to shear,
Sometimes we were fu' hearty made,
With brandy, ale, and beer:
And when the corn was all led in,
And built into a mow,
The shearers got a ranting kirn,
When my old hat was new.
But instead of the hot supper,
We used to get before,
They give to us our portion,
Like beggars at the door.
Unto their house we might go in,
Tho' we were ne'er so fa',
'Twas where we us'd to drink before,
When my old hat was new.
Every one their supper got,
According to their mind;
And all the night we kiss'd and danc'd,
And O but they were kind:
The hindmost of's was foremost then,
So danc'd this jovial crew;
This was good sport and merriment,
When my old hat was new.
And when we to the church did go,
To hear the gospel preach'd,
Our ministers with sermons fine,
Their hearers they did teach;
But now they loath that honeycomb,
Their stomachs are so low,
Whose sermons fine did brightly shine,
When my old hat was new.
Our young men and our maidens,
They ran off to the hills,
And when they came home at night,
Of each other got their wills;
And when the lasses' aprons mount,
And belly it turns fu',
Of such a crime we thought great shame,
When my old hat was new.
Sly women with their fair speeches,
The beggars they beguile,
Because they want to marry them,
When they get them with child:
There's none of them stands to their word,
For most of them did rue,
And leave them with their aprons up,
Since my old hat was new.
When wives unto the weavers went,
For them to warp their yarn, Their laps they were so stuffed up,
They held it in their arm:
But now their aprons hang straight down,
Which used to be fa', Which made the cloth baith thick and broad,
When my old hat was new.
And when they for a tradesman sent,
Old things for to repair,
Of every thing was in the house,
He always got a share:
Of flesh and meal, butter and cheese,
They thought it a' their due,
Such things did well the tradesmen please,
When my old hat was new.
But now their hearts they are so full,
Of pride and vanity now,
Tradesmen they're had in no account.
Since my old hat was new.
Their wages they have so impair'd,
They scarce can get their due,
Which makes their wives and children sad,
Since my old hat was new.
At every merry wedding-day,
The pipers were the ring.
And all the lads and lasses they,
Right wantonly did fling:
They cried, "Play up the Lads of Dunse,"
And danced through and through;
O what a jovial crew were we,
When my old hat was new.
But now the case is altered quite,
The pipers they are scant;
The fiddlers are increased much,
Which mates them for to vaunt: But in former days it was not so,
For this was a' their due, To take such springs the piper play'd,
When my old hat was new.
But the times are changed much,
And what more can we say; O what great alterations,
Have been in my aged day:
But let them alter as they will,
I speak but what is true,
The world is turned upside down,
Since my old hat was new.
----------
Wales.
We learn from Woodward's admirable history of that kingdom, the following facts concerning the domestic habits of its people in the twelfth century:
"At night a bed of rushes was laid down along one side of the room, covered with a coarse kind of cloth, made in the country, called brychan; and all the household lay down on this bed in common, without changing their dresses. The fire was kept burning through the night, and the sleepers maintained their warmth by lying closely; and when, by the hardness of their couch, one side was wearied, they would get up and sit by the fire awhile, and then lie down again on the other side. It is to this custom of promiscuous sleeping, that some of the worst habits of the Welsh at the present day may be ascribed; and from the same custom which their forefathers, the ancient Britons, practiced, arose Caesar's supposition that they were polyandrous polygamists." These habits, which were a matter of necessity with the ancient Welsh, have become converted, by the lapse of time, among their descendants of the present day, into an amatory custom precisely similar to that practiced formerly in New England.*
* History of Wales (by B. B. Woodward, B.A., London, I853), p. 320; who adds, also, p. 186, the following:
"The laws which treat of the violation of the marriage bond and those which relate to chastity generally, recognize a degree of laxity respecting female honor, and, yet more remarkably, an absence of feminine delicacy, such as could scarcely be paralleled amongst the most uncivilized
----------------------
In an antiquarian tour by the Rev. W. Bingley, in 1804,* we also find the following description of this custom: "The peasantry of part of Caernarvonshire, Anglesea, and Merionethshire, adopt a mode of courtship which, till within the last few years, was scarcely even heard of in England. It is the same that is common in many parts of America, and termed by the inhabitants of that country, bundling. The lover steals, under the shadow of the night, to the bed of the fair one, into which (retaining an essential part of his dress) he is admitted without any shyness or reserve. Saturday or Sunday nights are the principal times when this courtship takes place, and on these nights the men sometimes walk from a distance of ten miles or more to visit their favorite damsels.
* North Wales, including its Scenery, Antiquities, Customs, etc. (by Rev. W. W. Bingley, A.M., 2 vols., 8vo, London, 1804), II, p. 282.
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WHO IS AT MY BEDROOM WINDOW? - DROWSY SLEEPER
WHO'S AT THE WINDOW? - "Wha's at the windy?" - Nave but blythe Jamie Glen come 6 miles in ten , to tak bonnie Jeannie awa" - ROUD#2590 - GREIG-DUNCAN 3 1987 #612 4v (w/o) - JEFDSS 3 1938 p163 Alexander Carlile, Paisley, Refrewsh 1v (w/o) - SEEGER- McCOLL SI 1960 p7 McColl's mother, Betsy Henry of Auchterarder, Perthsh - DROWSY SLEEPER? -- Anne O NEILL (tinker) rec by PK, Belfast 1952: RPL 18582 has "Go & leave me" verse 167 - Lizzie HIGGINS Aberdeen: TOPIC 12-T-185 1969
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The Night Visiting Song / Adieu Unto All True Lovers
[Roud 22568 ; G/D 4:783 ; Ballad Index Ord089 ; trad.]
Ray and Archie Fisher sang The Night Visiting Song on their 1961 Topic EP Far Over the Forth. The tracks from this EP were also included in 1965 on the compilation album Bonny Lass Come O'er the Burn. Norman Buchan commented in the original album's sleeve notes:
This is a composite version from field-recordings made by Hamish Henderson. There is a whole series of night-visiting songs in Scotland, ranging from the bawdy, such as The Laird o' Windy Wa's to the tender. This is a particular good version of the latter. An English version, The Grey Cock, but with a supernatural theme, may be found in The Penguin Book of English Folk Songs.
Thirty years later, Ray Fisher recorded the Night Visiting Song for a second time for her CD Traditional Songs of Scotland.
John Pearse sang the Night Visiting Song in 1966 on the album Folk Scene: A Selection of Songs from Britain's Finest Folk Music Magazine.
Norman Kennedy sang the Night Visiting Song on his 1968 Topic album Scots Songs and Ballads. This track was also added to the CD reissue of the album The Bird in the Bush: Traditional Songs of Love and Lust. Peter Hall commented in Kennedy's album's sleeve notes:
Before the times of Puritanism in Scotland, it seems the country was quite permissive in sexual matters, and the practice of bundling is still remembered in the Orkney Isles. The custom was to allow a courting couple to be bedded together with sacks tied round the waists to prevent complete consummation of their love, although presumably what could be tied could also be untied. The night visiting songs common to the whole of Northern Europe were a celebration of this practice. The crowing of the cock at the end of the song is not usual in this type of song and probably indicates a fusion with The Grey Cock (Child 248) in which the lover is a visitor from beyond the grave and must, like all such spirits, return before the break.
John Reilly sang Adieu Unto All True Lovers in a recording made by Tom Munnelly in his own home in Dublin in Winter 1967. It was published in 1977 on Reilly's Topic LP The Bonny Green Tree: Songs of an Irish Traveller. Tom Munnelly commented in the album notes:
Dr. Hugh Shields suggests that The Grey Cock was in its earliest form a dawn song related to the Alba of the medieval troubadours. In this form it carried no supernatural elements for the hero and heroine of the narrative were entirely human. The subsequent mutation of some versions of the ballad into revenant form came with its acquisition of verses from supernatural ballads, notably Sweet William’s Ghost.
That the returned lover in this version is back from the grave is evident enough but it is also interesting to record that on asking John to explain the ‘burning temples’ referred to in the final verse he said: “I suppose he was a soul from purgatory and he had to return to it.”
Ellen Mitchell learned I Must Away, Love from Pete Shepheard. She sang it in 2000 or 2001 on her and her husband Kevin's Musical Traditions anthology Have a Drop Mair. (The album notes catalogue this as a variant of Child 248, The Grey Cock, but it fits here better.)
Al O'Donnell learned The Night Visiting Song from Ray Fisher and sang it on his 2008 album Ramble Away, both in a studio and in a live version. This video shows him at Jimmy Crowley's Cork Folk Club at The Windsor LV Hotel, Cork, on June, 28 2012:
Kate Rusby sang The Night Visit in 2014 on her CD Ghost.
Lyrics
Ray and Archie Fisher sing The Night Visiting Song
I must away now, I can no longer tarry,
This morning's tempest I have to cross.
I must be guided without a stumble
Into the arms I love the most.
And when he came to his true love's dwelling
He knelt down gently upon a stone,
And through the window he's whispered lowly
“Is my true lover within at home?”
She's lifted her head from off her down-white pillow,
She's lifted the blankets from off her breast
And through the window she's whispered lowly,
“Who's that disturbing me at my night's rest?”
“Wake up, wake up, love, it is your own true lover,
Wake up, wake up, love, and let me in;
For I am wet, love, and o so weary,
For I am wet, love, into my skin.”
She's raised her up with the greatest of pleasure,
She's raised her up to let him in,
And they were locked in each other's arms
Until the long night was past and gone.
And when the long night was past and over,
And when the small clouds began to grow,
He's ta'en her hand, aye, they've kissed and parted,
Then he's saddled and mounted and away did go.
Norman Kennedy sings The Night Visiting Song
The time has come, I can no longer tarry;
This morning's tempest I must shortly brave
To cross the moors and high towering mountains
Until I'm in the arms of the one I love.
And when he came to his true love's dwelling
He knelt down gently upon a stone
And whispered softly into the window
“Does my own true love lie there alone?”
She lifted her head from off her down-white pillow,
She's lifted the blankets from off her breast
And raised herself up onto an elbow,
“Who's that disturbing me from my night's rest?”
“It's I, it's I, it's I, your own true lover,
Oh open the door, love, and let me in;
For I am wet love and also wearied,
For I am wet love into the skin.”
She raised herself up with the greatest of pleasure,
She's raised her up and she's let him in;
And all night long they rolled in each other's arms
Until the long night was past and gone.
And when the long night was past and over
And when the small cocks began to crow,
He shook her hand, aye, they've kissed and parted.
He's saddles and mounted and away did go.
John Reilly sings Adieu Unto All True Lovers
For here's adieu unto all true lovers
And to my true lover where'er she'll be.
This very night I mean to be with her
Though she is a many a long mile away.
If the night was dark and as dark as a dunghill
And no daylight, love, for to appear,
Saying, “I'll be guided without a stumble
Into the arms of you, my dear.”
Oh, when he came to his own love's cottage
He'd kneel down gently all on a stone,
Through a pane o' glass he had whispered slowly,
“I say, true love, are you all alone?”
“Who's that? Who's that at my bed window
Disturbing me from my long night's rest?”
“Oh, I say, lover, do not discover,
Open the door, love, and let me in.
I say, true lover, do not discover
Besides I'm wet, love, unto the skin.”
Oh, she rose up off her soft down pillow,
Opened the door and let her love in.
Where they both caught hands and they kissed each other;
A welcome night it did soon begin.
They still kept hands and they embraced each other
Until the long night was at an end.
Saying, “ Willie, Willie, where is your flushes?
Where is your flushes you had years ago?”
Saying “Molly Bann, sure cold clay has changed 'em
The raging seas between me and you.”
They still kept hands and they 'braced each other
Until the cocks they begin to crow
And then shook hands and he cried and parted:
“To the burning temples, love, I have to go.”
Ellen Mitchell sings I Must Away, Love
Although the night be as dark as dungeon,
Wi' no' a star tae be seen above,
I will be guided without one stumble
Intae the arms of my ain true love.
He stepped up tae her bedroom window,
He knelt down gently upon a stone,
And through the window he whispered softly,
“My darling dear, do you lie alone?”
She rose up fae her down-white pillow
And threw her arms around her breast.
“Who's that, who's that at my bedroom window,
Disturbing me at my long night's rest?”
“'Tis I, 'tis I, love, it is your ain true lover.
Open the door, love, and let me in,
For I am come on a long night's journey,
And I am drenched now untae the skin.”
She rose up wi' the greatest o' pleasure,
She opened the door and she's let him in,
And then they kissed and embraced each other
Until the long night was past and gone.
And when the long night was past and over,
And all the small cocks began tae crow,
They kissed and parted,
He saddled and bridled,
He sounded his trumpet and away did go.
“I must away, love, I can no longer tarry.
This morning's tempest I hae tae cross,
But I'll be guided without a stumble,
Since I've been in the airms o' the one I love best.”