The Blairgowrie and Rattray Song Book

Home , Andrew Lammie, Belle Stewart, Blairgowrie and Rattray, Bonnie Annie, Clunie, Ewan MacColl

This collection is presented as a tribute to Hamish Henderson, poet, author, folk-story and song collector, political activist, academic, father and friend. It is oﬀered in recognition of, and in gratitude for, his life and work.

A gold coin does not last long in company, but a good song can be shared with a world of people. Collated by C. M. Chandler Blairgowrie and Rattray Song Book ACKNOWLEDGEMENTS This project has enjoyed support from the following.

• The University of Aberdeen who provided facility support, encouragement and ﬁnancial support for related ‘spin-oﬀ’ ventures.

• Blairgowrie and Rattray Community Council

• The School of Scottish Studies, University of Edinburgh who provided access to their archive as well as encouragement and advice.

• Hamish MacGregor; who generously allowed the presentation of material published in the books written by his mother (Sheila Stewart).

• Anne Lorne Gilles, for permission to copy a score from her book ‘Songs of Gaelic Scotland’. • The contribution that Ewan MacColl (James Henry Miller, 1915-1989) made to folk music cannot be overstated. Born in Salford, Lancashire, England to Scottish parents Ewan was very concious of his Scottish roots. He collected, performed and contributed several traditional songs to the public repertoire. He also made several of those songs available to Prof. Bertrand Harris Bronson for inclusion in his collection of Child Ballads. Several of his recordings of his songs are available on youtube. Ewan lists his addresses as ‘London and Perthshire’, and I have taken the latter as justifying the inclusion of those traditional songs in ‘The Blairgowrie and Rattray Song Book’. Ewan’s generosity in sharing his material have encouraged me to believe that he, and his heirs, would be happy to have those songs included in this collection.

Use of the materials from the School of Scottish Studies that appear on the websites listed in this book are subject to the conditions displayed on the websites. All the music engraving has been carried out using LilyPond 2.18.2 (www.lilypond.org); This document has been prepared using LaTeX (www.latex-project.org); Use of the software is covered by the GNU public licence (http://www.gnu.org/licenses/gpl.en.html);

You can hear recordings of material collected by, or contributed by, Hamish Henderson on the website below. http://research.culturalequity.org/get-audio-ix. do?ix=recording&id=10038&idType=sessionId&sortBy=abc

Lyrics for many gaelic songs, including some presented here, can be found on the website below, where you can also hear the songs sung. http://www.bbc.co.uk/alba/oran/orain/list/a_u/

This collection has been assembled by: Christine M. Chandler, 58 Riverside Park, Blairgowrie, PH10 6GB. Anything that you like about this collection is thanks to the generosity of those who have helped me. Anything you dislike is my fault.

2 Contents

1 Introduction 7 1.1 Background ...... 7 1.2 The Life of Hamish Henderson ...... 8 1.3 Folk-songs and Music from the Berryﬁelds of Blair ...... 9

2 Music of Hamish Henderson 13 2.1 Freedom Come Aa Ye - lyrics ...... 13

3 Music From the Berry Fields of Blair 17 3.1 The Berry Fields of Blair ...... 17 3.2 The Gypsy Laddie ...... 20 3.3 The Baron of Brackley ...... 22 3.4 Hughie the Graeme ...... 25 3.5 The Bonnie House o’ Airlie ...... 27 3.6 Queen Amang the Heather ...... 28 3.7 The Elﬁn Knight ...... 30 3.8 Glasgow Peggie ...... 31 3.9 The Rantin Laddie ...... 33 3.10 Owre Yon Hill ...... 35 3.11 Banks o’ Red Roses ...... 36 3.12 Loch Duich ...... 37 3.13 The False Knight ...... 38 3.14 Twa Brothers ...... 39 3.15 Sweet William’s Ghost ...... 41 3.16 Geordie Weir ...... 43 3.17 Green Grow the Laurels ...... 45 3.18 The Banks o’ Airdrie ...... 47 3.19 Hatton Woods ...... 50 3.20 Heather Jock ...... 51 3.21 Lord Randal ...... 54 3.21.1 Lord Randal, Child Ballad 12, 35.2 ...... 54 3.21.2 Lord Randal, Child Ballad 12, 43.1 ...... 56 3.22 Late Last Night ...... 58 3.23 Johnny my Man ...... 59 3.24 The Corncrake or The Whinny Knowes ...... 61 3.25 Here’s A Health To All True Lovers ...... 63

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3.26 The Braes o Yarrow ...... 65 3.27 Demon Lover ...... 68 3.28 Kilmarnock Town ...... 70 3.29 The Yellow Haired Laddie ...... 71 3.30 Bloody Waterloo ...... 72 3.31 Eppie Morrie ...... 74 3.32 My Father’s Name is Alec ...... 76

4 New Music from the Berry Fields of Blair 79 4.1 Hej Sokoly ...... 80 4.1.1 Polish Version of the song ...... 80 4.1.2 Scottish Version: ‘Hey Falcons’ ...... 81 4.2 Katerino Mome ...... 82 4.3 Polish Lullaby ...... 84 4.4 Lipka ...... 86 4.5 JáHusaárekMalý ...... 88 4.6 A Na Medzi Ceresenka ...... 89 4.7 Casuta Noastra ...... 90 4.8 Usahay ...... 92 4.9 Dandansoy ...... 94 4.10 Cetvorno Sopsko Horo ...... 96 4.11 Katerino Mome ...... 97 4.12 Mu isamaa on minu arm ...... 99 4.12.1 Version by Alexsander Kunileid ...... 99 4.12.2 Version by Gustav Ernesaks ...... 101 4.13 Lapsuuden Toverille ...... 103 4.14 A Riddle Wisely Expounded ...... 104 4.15 Carrickfergus ...... 106

5 Scots Songs Collected By Hamish Henderson from other Regions 109 5.1 The Jute Mill Song ...... 109 5.2 The Rambling Beauty ...... 111 5.3 Wester Badenteer ...... 112 5.4 Jock Geddes and the Soo ...... 115 5.5 Feeing for a Maid ...... 118 5.6 Nancy’s Whisky ...... 120 5.6.1 First Version ...... 120 5.6.2 Second Version ...... 121 5.7 Flory Loynachan ...... 122 5.8 The Weaver and his Son ...... 124 5.9 King Fareweel ...... 125 5.10 The Twa Sisters ...... 126 5.11 We’re Awe Jolly Wee Miner Lads ...... 128 5.12 Maggie Gaw ...... 130 5.13 Lord Lovat ...... 133 5.14 MacCallum’s Lament ...... 135 5.15 Airlin’s Fine Braes ...... 139 5.16 Come All Ye Lonely Lovers ...... 141

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5.17 The Bonny Green Tree ...... 143 5.18 Fair Rosie Ann ...... 144 5.19 Lord Bateman ...... 145 5.20 Lord Gregory ...... 146 5.21 Mattie Groves ...... 148 5.22 The Famous Flower of Serving-Men ...... 152 5.22.1 Famous Flower of Serving-Men: Version 106/3.1 ...... 152 5.22.2 Famous Flower of Serving-Men: Version 106/3.2 ...... 154 5.22.3 Famous Flower of Serving-Men: Version 106/6.1 ...... 154 5.23 The Knight and the Shepherd’s Daughter ...... 155 5.23.1 I am the forester o’ this land ...... 155 5.23.2 I am the Forester ...... 157 5.24 The Gypsy Laddies ...... 158 5.25 The Broom of Cowdenknows ...... 160 5.26 There cam’ a Laddie frae the North ...... 161 5.27 Kilbogie ...... 163 5.28 Andrew Lammie ...... 165 5.28.1 Andrew Lammie: Variation 233/5.1 ...... 165 5.28.2 Andrew Lammie, Variation 233/14.1 ...... 169 5.29 The Rantin’ Laddie ...... 170 5.30 Robin Hood and Little John ...... 172

6 Gaelic Songs 175 6.1 Gaelic Songs with links to Blairgowrie ...... 175 6.1.1 Braighe Lochiall ...... 175 6.1.2 Guma Slàndo na Gillean ...... 178 6.2 Gaelic Songs Collected by Hamish Henderson ...... 180 6.2.1 Nighean Mhic ’Ic Ailein ...... 180 6.2.2 ’S Gura Muladach Sgth Mi ...... 184 6.2.3 Mo Nighean Donn a Còirneaig ...... 186 6.2.4 Dhannasmaid Le Ailean ...... 188 6.2.5 Air Do Shlàinte Mhàiri’n Dotair ...... 190 6.2.6 Uamh an Oir...... ` 192 6.3 Songs Collected by Alexander Carmichael ...... 195 6.3.1 Seathan mac Righ Eireann (Seathan, the son of Ireland’s King) ...... 197

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6 Chapter 1

Introduction

1.1 Background

This collection focuses predominantly on songs collected by Hamish Henderson, and so it is appropriate to present some information justifying the significance of his achievements in that field. Perhaps one of the most moving testaments of his influence is best expressed in the words of Sheila Stewart, singer, author and daughter of the travelling people. Sheila was born in Blairgowrie and lived in Rattray where she attended Rattray Primary School. “Hamish taught us to be proud of who we are.”

From the acknowledgements to the fourth volume of “The Traditional Tunes of the Child Ballads”, published 1972, by Bertrand Harris Bronson.

“...But a new and unbelievably large accession of Scottish materials has of late, thanks especially to the galvanic and persuasive gifts of Hamish Henderson, been gathering at the School of Scottish Studies in Edinburgh. At that seat of research, I was hospitably welcomed and for many weeks made free of its archive, to use whatever was needful to the present purpose. Through the good oﬃces of its Directors and Staﬀ....I was enabled to obtain copies of all the Child Ballads amassed there by the time of my stay (1967)...Mr. Henderson, with open-handed generosity, gave me leave to make full use of his bumper harvest of songs collected from living tradition....”

The work of Hamish Henderson collecting songs and stories from among the travelling people inspired a number of them to write autobiographical books that both informed and entertained the reader. Several of these authors came from Blairgowrie and/or Rattray. These include (in no particular order):

• Betsy Whyte; • Sheila Stewart; • Jess Smith.

These have, in turn, inspired: • a music festival, named “Yellow on the Broom” held annually in Inverbervie, Scotland from 2000 to 2010 (inclusive); • a musical play featuring the lifestyle travelling people, named “The Yellow on the Broom” and performed at Pitlochry Festival Theatre in June 2014;

7 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

• an increasing interest and sense of pride in traveller heritage (see http://www.jesssmith.co.uk/ and links to associated web sites).

1.2 The Life of Hamish Henderson

Hamish Henderson1, Blairgowrie’s most notable son in modern times, was born in the town on Armistice Day 1919. His grandfather, Alexander Henderson, was a retired silk mercer who had been in business on the High Street, Dundee. He moved to Blairgowrie with his wife and unmarried daughter Janet and they lived it Ramleh, Perth Road. Hamish was born to Janet at Ramleh. After the death of her parents, Janet took Hamish to live at other addresses in the town, including one on Emma Street where he was remembered by a neighbour as a small boy in a kilt. Hamish was a pupil at Blairgowrie School, later named Hill Primary. Here the head infant mistress, Miss Peterkin, recognised his promise and gave him great encouragement. A bond was formed and the two kept in touch until her death. Before leaving Perthshire, Hamish and his mother lived for some time in a cottage at the Spittal of Glenshee where he overheard and memorised Scots songs. He already had an ear for a song through his mother who loved singing and had a repertoire in Scots, Gaelic and French. One of his earliest recollections was of her marching through Ramleh singing the Marsellaise! After those first years of schooling in Blairgowrie, Hamish’s education continued in England. There was a school in Devon, followed by scholarships for Dulwich College, London, and Downing College, University of Cambridge. Sadly, his mother died when he was only thirteen and Hamish spent several years in an English orphanage. As a result of his studies, Hamish became proficient in French and German, travelled abroad and spent some time in Germany. He also visited Scotland from time to time. Hamish had a distinguished record during the second world war (1939-1945). He was commissioned as an Intelligence Officer in 1941 and served in the Western Desert, in Sicily and all through Italy. He fought with the Partisans (Bandierra Rossa) against Mussolini’s troops and had the honour of accepting Field Marshall Graziani’s signed surrender. Throughout his war service Hamish was scribbling poems and songs in all odd places and times. Two of his songs spread like wildfire among his troops: the satirical “D-Day Dodgers”2, sung to the tune “Lili Marlene”; and the still popular, “The Highland Division’s Farewell to Sicily”3, nostalgic words put to a pipe tune. Released from the Army, Hamish came back to Scotland to complete a sequence of poems he had started in North Africa and Italy. “Elegies For the Dead in Cyrenaica” was published to acclaim in 1948 and won the Somerset Maugham poetry award. The poems stand as a moving tribute to the gallant men on both sides of the conflict. Hamish was now about to set out on what he had grown to see as his life’s mission: to fish the waters for Scotland’s lost folklore and restore it to the people. He knew that traditional story and song still lived on the lips of ordinary folk, but it was still disregarded and largely ignored. If it was not quickly gathered up and given its rightful place, it was in danger of fading from the collective memory. Edinburgh University was opening a School of Scottish Studies to collect, study and to teach Scottish culture and heritage. Hamish joined the team, becoming, as Joy Hendry put it, “the central spring behind the Folk Revival in Scotland”. The field expeditions of Hamish and others formed a turning point in the History of Scottish folklore. Using a reel to reel recorder Hamish gathered music, ballads, folktales and reminiscences. The quality and sheer quantity astonished the folk world, attracting international attention. Hamish’s lectures at the University and to the public at large, spread the message while his infectious enthusiasm inspired his colleagues and broke down barriers. A ‘folk scene’ developed and clubs sprang up all over the country. Young people flocked to them, discovering their

1These notes have been taken, very substantially, from the leaflet produced by the Blairgowrie, Rattray and District Local History Trust. The leaflet is available, free of charge, in Blairgowrie Public Library 2Lady Astor, MP, ignorant of the military activities of the troops in Italy, had made a speech describing them as ’D-Day dodgers’ because they missed the 1944 landings in Normandy. In fact, these men had seen some of the ugliest fighting in the war and the death toll in the Italian campaign was mounting. This song - Hamish’s riposte from the front - became a forces’ favourite. See also: horntip.com. 3also known as“Fareweel, ye Banks o’ Sicily”

8 Collated by C. M. Chandler Blairgowrie and Rattray Song Book heritage. Tradition-bearers were persuaded to perform on stage what they had hitherto done in the kitchen or at local ceilidhs and several gained international renown as a result. To Hamish’s unbounded delight, his hometown, Blairgowrie and Rattray, proved as rich a hunting ground for songs as any district in Scotland4. In the 1950s it was still the mecca for the traveller families in the fruitpicking season. He camped alongside them, making friends with them. The evenings, when the picking was done, were spent recording. There were tradition bearers from Blairgowrie and Rattray, too. The Stewarts of Blair, Alex, Belle and daughters Cathie and Sheila, made a huge contribution to the archives of the School of Scottish Studies and were natural performers who took their music and songs to audiences at home and abroad. Through the presence of these and other local families, and the annual influx of fruitpickers, the town began to gain a reputation as a folksong centre. For several years it hosted an annual festival run by the Traditional Music and Song Association. In a period when many intellectuals were drawn to left-wing politics, Hamish Henderson became a lifelong socialist. He was a familiar figure at protests against fascism, South African apartheid laws and on CND marches. In Italy he had discovered the philosopher Antonio Gramsci and made an English translation of his ‘Letters from Prison’. From his home in Edinburgh he crossed swords with the poet Hugh MacDiarmid who dismissed the work of the School of Scottish Studies as irrelevant. Their “Flyting”, conducted in the Press, became a popular public spectacle. The two men ended up the best of friends. Several of Hamish’s original songs found their way into the oral stream, among them his “Freedom Come All Ye”, “The John MacLean March” and “Men of Rivonia” (a call to free Nelson Mandela from jail). A selection of his letters appeared under the title “The Armstrong Nose”, while “Alias MacAlias” was a collection of his writings. With his friend Tim Neat he collaborated on the making of documentary films. Hamish received honorary doctorates from the Universities of Dundee and Aberdeen, but declined the offer of an OBE in protest against Margaret Thatcher’s nuclear policy. He was soon afterwards voted ‘Scot of the Year’ by Radio Scotland listeners. Hamish Henderson was, for many, an inspiring figure. His influence on people and events in Scotland is incalculable. On a personal level, many who knew him will testify that it was impossible, in his company, not to be swept along on the tide of his exuberance. His eloquence was unquenchable, his optimism unbounded. In his later years, when his physical health was declining, he looked back on his field visits to Blairgowrie and Rattray and the friends he made there with warm affection. Hamish died on March 8th, 2002 in an Edinburgh nursing home, and in 2003 Blairgowrie, Rattray and District Local History Trust decided to commission a bronze head for permanent display in the local branch library.

1.3 Folk-songs and Music from the Berryﬁelds of Blair

This section reproduces the sleeve notes of the record: ‘Folk-Songs and Music from the Berryfields of Blair’5 Lying in the lee of the Grampian foothills, and sheltered from the snell east winds of the twenty mile long range of the Sidlaws, Strathmore is the great soft-fruit growing region of Scotland. Raspberries are the main crop; at berry-time, which is usually about mid-July, pickers converge from every corner of the land at Blairgowrie, a thriving little Burgh which is the centre of the industry. If the weather is good, Strathmore is a lovely place to be in. There is a string of glittering silver-surfaced lochs to the west of Blair - Black Loch and White Loch, Fingask, Marlee and Clunie - and many of the berry fields lie only a stones throw from one or other of these. On hot afternoons the youth of the picker community spend quite a lot of time in the water. Even when there is work to be done (and quite often the pickers work marathon hours) there’s always a relaxed and leisurely atmosphere about the berry fields: the iron grip on the neck of urban humanity is loosened, and folk feel they can take it easy, whether they decide to or not. 4This claim is open to challenge. Prof. Bronson’s edition of Child Ballads (Vols I to IV [2]-[4]) strongly suggests that Aberdeenshire provided more songs. However, the whole county of Aberdeenshire is much bigger than Blairgowrie and Rattray, so the claim can be justified 5(Prestige-International 25Arc) 1962. Reproduced in [7].

9 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The scotch cities - principally Dundee and Glasgow, send biggish contingents to the berry fields; these are mainly working class folk who want a holiday in the country which will pay for itself. At the height of the season you can find representatives of every trade imaginable strung out along the green foliaged rows, and resolved to pick berries and have a good time. But the pickers who give the berry fields their distinctive atmosphere, who set the tone, and do most to make the whole area a heart pounding maelstrom of folk music and song are the ‘travellers’ - members of the semi-nomadic tinsmith Scots clans Stewart and MacPhee, or English and Irish Gypsies. They, in chief, are the carriers, dispensers, performers and glorifiers of one of the most voluminous folk cultures in Europe, and the all-star cast of the world’s most successful unofficial folk festival. Most of the recordings on this disc were madc in the Standing Stones berryfield (it gets its name from an ancient stone circle: a familiar landmark on the road to Essendy6). Unlike most of the rich berry field owners in the area, the then proprietors of the Standing Stones were of traveller stock - Alec and Belle Stewart, themselves notable performers - and they were naturally on intimate friendly terms with the gaberlunzie families still ‘on the road’ who camped on their land and helped to harvest their crop of berries. This gave the Standing Stones the feel almost of a little traveller principality of its own. A joyful snook cocked at orthodox law and order, like Garcia Lorca’s ‘City of the Gypsies’. Down the verges of the field, when berry picking was in full swing, you could see ragged rows of tents, and here and there battered second-hand cars, the veterans of countless scrap-dealing forays. A wooden hut near the entrance sold lemonade and miscellaneous groceries. Bold commandos of children ranged all round... Beyond the berry field lay matted wildwood of birch, oak, fir and larch, a happy hunting ground for firewood seekers: in the distance, the outline of the grey-green Sidlaws. The pickers usually worked in little groups, and all day long you could hear voices raised in song in one corner of the field or another. Sometimes the songs were on-the-spot improvisations about the work itself: I’m working in the berryfields, I’m working night and day; I’m working the roses aff ma cheeks for very little pay. Or else an Irish lad from Donegal or Connemara would reminisce about the rammy of the night before

O whisky, you’re the divil ... you’re leading me astray.

After the day’s picking was over, and the evening feed cooked and eaten, there was a bit of moving to and fro between the camp-fires. Two or three folk from one ’camp’ would join their neighbours, and a ceilidh would get under way. Sitting on the ground, or squatting on their hunkers, the travellers would gossip and exchange banter - folk-tales were told as if the protagonists were all still alive: ’and the last time I passed by Jack’s castle, I gied him a tune on my auld pipes, and he gied me a dram and a golden geeny’. Then the singing would begin, or else a melodeon might be fetched out of the tent and one of the gypsies would give a brilliant display of step-dancing on a bit of board laid down for the purpose, encouraged by hoochs and admiring cries. By this time, four or five similar ceilidhs might well be going on in the berry field, and the excited collector would have to decide whether to stay on at the first camp-fire of his choice, or move to another .., from which maybe, he could hear tantalising fragments of a rare ’Child’ ballad, or the high flamenco-like cadences of a Gaelic tinker love lament. Recording in the berry fields, in fact, was - and is - like holding; a tin-can under the Niagara Falls; in a single session you can hear everything from ancient Ossianic hero-tales, whose content reflects the life of primitive hunter tribesmen, to the caustic pop-song parodies thought up by Clydeside teenagers the same afternoon. On this disc we have aimed at presenting a cross-section of the kind of material that berry field singing sessions yield in abundance. It includes selections on the accordion, harmonica and Highland war-pipes; the classic ballad ’The False Knight on the Road’, not collected in Scotland since the early nineteenth century; fierce ribald drinking songs, and the snap and lilt of mouth-music for the dance; songs carried to Strathmore by the Northern Highlanders, by Scottish tinkers, and by the Irish and English gypsies who make the trek to Blair at berry-time;

6the road has been widened and now runs through this circle

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’MacPherson’s Rant’, which celebrates the Robin Hood of the North-East, an outlaw who was a ﬁddler as well as a ﬁghter; night-visiting songs; songs in the Lowland travellers’ cant, virile bawdry of the ’Merry Muses’ variety, and a love song known from Texas to Tarwathie.

Field of the travellers, who That saw, you could forget you soon? Let them seek you in mv forehead, The playground of the sands and moon.

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12 Chapter 2

Music of Hamish Henderson

It would not be fair to present the songs that Hamish collected without acknowledging that he was also a song writer. Probably his most famous song is “Freedom Come Aa Ye”, which is set to the music ‘The Bloody Fields of Flanders’ - a ﬁrst world war bagpipe tune. The music score could, at the time of writing, be downloaded from the web site of the Army Cadets. The address of the main page is given below but, as the address of the particular page where the music was found changed during the preparation of this work, only that page is listed here. You will then need to search for ‘music’, and look through the list of parade and concert tunes provided. ‘The Bloody Fields of Flanders’ was listed under 3/4 marches. Given the title it is, perhaps, not a coincidence that the tune is listed as a ‘retreat march’. https://armycadets.com/

2.1 Freedom Come Aa Ye - lyrics

Roch the wind in the clear day dawin Blaws the cloods heelster-gowdie oer the bay But theres mair nor a roch wind blawin Through the Great Glen o the warld the day Its a thocht that would gar oor rottans A thae rogues that gang gallus, fresh and gay Tak the road tae seek ither loanins Their ill ploys tae sport and play

Nae mair will oor bonnie callants Mairch tae war when the braggarts croosely craw Nor wee weans frae pitheid and clachan Mourn the ships sailin doon the Broomielaw Broken faimlies in lands weve harried Will curse Scotland the brave nae mair, nae mair Black and white, ane til th ither married Mak the vile barracks o their maisters bare

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So, cam all ye at hame wi freedom Never heed whit the hoodies croak for doom In your hoose a the bairns o Adam Will ﬁnd breid, barley bree an painted room When MacLean meets wi his freends in Springburn A the roses and geans will turn tae bloom And a black boy frae yont Nyanga Dings the fell gallows o the burghers doon Roch the wind in the clear day dawin Blaws the cloods heelster-gowdie oer the bay But theres mair nor a roch wind blawin Through the Great Glen o the warld the day

You can here Hamish singing this song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/play/82868

Copy and paste the web address into your browser and it will start to play. You can hear Hamish singing several songs on the website below. It includes Hamish ‘singing’ the tune to the ‘Bloody Fields of Flanders’ in the port ´abeul, or mouth music, style. It also includes Hamish singing his own ‘Highlander’s Farewell To Sicily’ (sung to the tune ‘Farewell to the Creeks’) and ‘The John MacLean March’. Hamish composed the words and set them to traditional tunes. http://research.culturalequity.org/get-audio-ix.do?ix= recording&id=10038&idType=sessionId&sortBy=abc

And also on this site, where you can hear Hamish singing some Gaelic songs.

http://research.culturalequity.org/rc-b2/search-keyword-audio.do

If you are interested in the background to the John MacLean march, more information can be found on ‘Dick Gaughan’s Song Archive’ on the website below. http://www.dickgaughan.co.uk %/songs/texts/johnmacl.html

The above site also provides lyrics, ‘midi’ ﬁles, and notation (scores) for several songs Hamish composed:

• Freedom come aa ye.

• Farewell To Sicily.

• Gillie Mor.

• John MacLean March.

• Men of Knoydart.

• Men of Rivonia.

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Similarly, it is appropriate to acknowledge the contribution of Francis Collinson who transcribed many of the songs that Hamish collected and went on to collect many songs in his own right. Some of the songs presented here were transcribed1 by Francis Collinson. Further information about Francis Collinson can be found on the website below.

http://folkopedia.efdss.org/wiki/Francis_Collinson

1i.e. the transcriber listened to the recording and wrote down the musical score - the way a secretary might take dictation and then type up what was said

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16 Chapter 3

Music From the Berry Fields of Blair

Hamish collected several songs during impromptu ceilidhs that took place in the berry ﬁelds of Blairgowrie during the berry harvest. They included traditional songs of great antiquity and more modern ones. Not all the songs sung at that time were included in Hamish’s archive, but they none-the-less merit inclusion in this collection.

3.1 The Berry Fields of Blair

Belle Stewart, resident of Rattray and a daughter of the travelling people, wrote the words of this song [9] in 1947 for the family Hogmanay party at the request of her brother Donald. The tune is a variant of a Gaelic air common both in Scotland and Ireland.

When ber -ry time comes roond each year Blair's 3 po -pu -la -tion's swel -lin, There's ev -ery kind o pick -er there And 5 ev -ery kind o dwel -lin. There's tents and huts and car -a -vans, There's 7 both -ies and there's biv -vies And 8 shel -ters made wi tat -tie -bags And dug -outs made wi div -vies.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

When berry time comes roond each year Blair’s population’s swellin, There’s every kind o’ picker there And every kind o’ dwellin. There’s tents and huts and caravans, There’s bothies and there’s bivvies And shelters made wi’ tattie-bags And dug-outs made wi’ divvies.

There’s corner-boys frae Glesgae, Kettle-boilers frae Lochee, There’s miners frae the pits o’ Fife, Mill-workers frae Dundee, And fisherfowk frae Peterheid And tramps frae everywhere, Aa lookin fir a livin’ aff The berry fields o’ Blair.

There’s travellers frae the Western Isles, Frae Arran, Mull and Skye; Frae Harris, Lewis and Kyles o’ Bute, They come their luck to try, Frae Inverness and Aberdeen, Frae Stornoway and Wick Aa ﬂock to Blair at the berry time, The straws and rasps to pick.

There’s some wha earn a pound or twa, Some cannae earn their keep, There’s some wid pick fae morn till nicht, And some wid raither sleep. There’s some wha hae tae pick or stairve, And some wha dinna care There’s comedy and tragedy Played on the ﬁelds o Blair.

There’s faimilies pickin’ for one purse, And some wha pick alane, There’s men wha share and share alike Wi wives wha’s no their ane. There’s gladness and there’s sadness tae, There’s happy herts and sare, For there’s some wha bless and some wha curse The berry ﬁelds o Blair.

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Before I put my pen awa’, It’s this I would like to say: You’ll travel far afore you’ll meet A kinder lot than they; For I’ve mixed wi’ them in ﬁeld in pub And while I’ve breath to spare, I’ll bless the hand that led me tae The berry ﬁelds o’ Blair.

You can hear Belle singing the song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/fullrecord/34263/1

You can also hear Belle singing the song by accessing the YouTube website: https://www.youtube.com/watch?v=ChxSoFUA5Js

You can also here another traditional song sung to the same tune by accessing the website: http://www.kinglaoghaire.com/lyrics/528-nicky-tams#s5_video

19 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.2 The Gypsy Laddie

Given that Hamish Henderson felt he owed so much of his success as a song collector to the travelling people, it seems highly appropriate to include this ballad. It is Child Ballad number 200, version 49[3], which was sung by Ewan MacColl, from Perthshire, Riverside rec. NO. RLP 12-637(A5),ed. K.S. Goldstein. Ewan learned the song from his father. Hamish collected other versions of this song, and a link to one, sung by Andrew Robb Hunter, that he collected in Kippen Stirlingshire is included below.

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There were three gypsies all in a row And O but they sang bonnie O. They sang sae sweet and sae complete That they charmed the heart of the lady O.

The lady that came doun the stair, And the twa maidens cam wi’ her O, But as soon as they spied her weel fair’d face They cast their camprols oer her O.

They ha’ gien her the nutmeg fine And they gien her the ginger O But she’s gien them a far better thing The gold ring aff her finger O.

It’s ye’ll cast oﬀ yer silken goun And get on this tartan plaidie O And ye’ll come awa this lee-lang nicht And follow the gypsy laddie O.

Lord Cassells he cam hame at nicht Inquirin’ for his lady O, The hound is run and the hawk is ﬂown And the gypsy’s awa wi’ your lady O.

Come saddle tae me the black, the black, Mak haste and soon be ready O, For it’s meat and drink I winna taste Till I get back my lady O.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Then they’ve rode east and they’ve rode west, Till they cam tae yonder boggy O, And there they spied the weel-faur’d may, With the gypsies a’ standin’ round her O.

Will ye gang, my honey and my hairt, Will ye gang wi’ me, my lady O? And I’ll swear by the sword that hangs by my side The black band shall never steal thee O.

I winna come wi’ you, my honey and my hairt, I winna come wi’ you, my dearie O, Till I drink the breest that I hae brewn And that’s in the water of Eerie O.

The above words are noted to be a conﬂated text, mainly from Greig’s variant copies. Currently you can hear Ewan singing this song on youtube by using the link below. https://uk.video.search.yahoo.com/search/video?fr=moz35&p=youtube+Ewan+MacColl+Gypsy+Laddie #id=1&vid=ec041cfc03707ec1c52feb8a24ffea7f&action=click

The link below provides an alternative tune. http://www.contemplator.com/child/gypsylad.html

21 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.3 The Baron of Brackley

This is Child Ballad 203 in Bronson’s edition of Child’s Ballads which gives only three versions of the music for this ballad, and it is not included on the contemplator.com website. The music shown below is the second version [3] and was collected and transcribed by Francis Collinson, who worked very closely with Hamish on many songs. Hamish himself is recorded singing this and there is a link to the recording below.

| 3 4 6 | ½ ½ 12 | ½ ½

Doon Deeside cam Inverey, A-whistlin and singin, And lighted at Braikley’s yetts When the day was dawin’. O braw Lord Braikley, O are ye within– There’s sharp swords at your yett Will gar your bluid spin.

Now rise up, my Baron, And turn back your kye, For the lads o’ Drumwharron Are driving them by. O how can I rise up, And how can I gang, For when I hae ae man A wat they hae ten.

Now rise up my lassies, Tak your rocks in your hands, And turn back the kye– I hae you at command. Gin I had a husband As it seems I hae nane, He wadnae lie in bed And see his kye taen.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Now kiss me, my lady, Nor think I’m to blame, I well may rin oot, But I’ll never win hame. When Braikley was buskit And leapt on his horse, A bonnier Baron Ne’er rade o’er a close.

There came wi’ Inverey Full thirty and three, But wi’ Braikley was nane but his brither and he. Two gallanter Gordons Did never sword draw, But against four and thirty, Wae’s me, what is twa?

Wi sword and wi’ dirk They did him surround, And they pierced bonny Braikley Wi’ mony a wound. From the head o’ the Dee To the banks o’ the Spey, The Gordons may mourn him And curse Inverey.

O cam ye by Braikley yetts, Or went ye in there– And saw ye his lady A-rivin her hair? O I cam by Braikley yetts And I went in there, And I saw his lady A-making good cheer.

She leuch wi’ them and drank wi’ them And welcomed them ben; She showed them the way Where they wouldna be taen. O there’s wae in the kitchen And mirth in the ha’ But the Baron o’ Braikley Is dead and awa.

23 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

You can hear a few verses of this version of ‘The Baron of Brackley’, sung by Hamish himself, by using the web address below. http://www.tobarandualchais.co.uk/fullrecord/82866/1

Betsy Whyte, of Rattray, sings a fragment of a diﬀerent version, collected by Peter R. Cooke and Dr Linda Williamson that they call ‘Betsy Gordon’, but the School of Scottish Studies still lists it as Child Ballad 203 - sheet music is not available for this version. http://www.tobarandualchais.co.uk/play/76680

The relationship between ‘The Baron of Brackley’ and ‘Betsy Gordon’ is clearer from the version of the song you can hear by using the web address below. It is sung by Stephanie Smith Perrin, and probably collected by her also. http://www.tobarandualchais.co.uk/play/84536

24 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.4 Hughie the Graeme

This song, which is Child Ballad number 191, version 6 [3], was sung by Ewan MacColl of Perthshire, rec. No. RLP 12-606(B4), ed. K. S. Goldstein. Ewan learned the tune from Thomas Armstrong of Newcastle. The lyrics Ewan learned are Child’s C, from Scott’s ‘Minstrelsy’[8]. The ones presented here combine those in Bronson’s edition of Child’s Ballads with those on the contemplator.com website.

(b) | (a) 3 2 (c) 5 | (d) | (e) 3 J

(a) (b) (c) (d)3 (e) (e) 3 2

1. Guide Lord Scroope’s to the hunting gane, 6. Up then bespake the fair Whitefoord, He has ridden o’er moss an’ muir; As she sat by the bishop’s knee; And he has gripet Hughie Graham Five hundred white pence I’ll gie you, For stealing o’ the bishop’s mare. If ye’ll gie Hughie Graham to me.

2. And they hae tied him hand and foot, 7. O haud your tongue now lady fair, And led him up thro’ Stirling town; And wi’ your pleading let me be; The lads and lasses met him there, Although ten Grahams were in his coat, Cried, Hughie Graham thou art a loun. It’s for my honour he maun die.

3. O lowse my right hand free, he says, 8. They’ve taen him to the gallows knowe, And put my braid sword in the same; He looked to the gallows tree, He’s no in Stirling town this day, Yet never color left his cheek, Daur tell the tale to Hughie Graham. Nor ever did he blink his e’e.

4. Up then bespake the brave Whitefoord, 9. At length he looked round about, As he sat by the bishop’s knee; To see whatever he could spy; Five hundred white stots I’ll gie you, And there he saw his auld father, If ye’ll let Hughie Graham gae free. And he was weeping bitterly.

5. O haud your tongue, the bishop says, 10. O haud your tongue, my father dear, And wi’ your pleading let me be; And wi’ your weeping let it be; For tho’ ten Grahams were in his coat, Thy weeping’s sairer on my heart, Hughie Graham this day shall die. Than a’ that they can do to me.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

11. And ye may gie my brother John 13. Remember me to Maggy my wife, My sword that’s bent in the middle clear, The niest time ye gang o’er the moor, And let him come at twelve o’clock Tell her, she staw the bishop’s mare, And see me pay the bishop’s mare. Tell her she was the Bishop’s whore.

12. And ye may gie my brother James 14. And ye may tell my kith and kin, My sword that’s bent in the middle brown; I never did disgrace their blood; And bid him come at four o’clock, And when they meet the bishop’s cloak, And see his brother Hugh cut down. To mak’ it shorter by the hood.

Music for this ballad can be found on the contemplator.com website using the web address below. It may not be the same as that presented here. Seven diﬀerent scores are presented in Bronson’s edition of Child Ballads. http://www.contemplator.com/child/hughie.html

26 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.5 The Bonnie House o’ Airlie

This is Child Ballad 199 version 14 [3]. Sung by Isabel Sutherland, Selection Records Ltd., 1960. Learned from Belle Stewart, Blairgowrie, in the summer of 1955. Child’s collection [3] only has six verses. The additional verses included here have been taken (broadly speaking) from the song as sung by Belle Stewart. It is interesting to note that ‘The Minstrelsy of Scotland’, collected by Alfred Moﬀat, includes a version with the following footnote: In the year 1640, the Earl of Ailie having joined the Duke of Montrose in the Royal cause, Argyle in his absence attacked the unprotected estates of Airlie. The “Bonnie House o’ Airly” was completely plundered and burnt to the ground. The air1 is in Gow’s sixth collection, 1822. It seems fairly obvious that the references to ‘Prince Chairlie’ (which also appear in the ‘Minstrelsy version which only has three verses) and the extra verse, are not historically accurate, but such additions are common in folk songs.

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1. It fell on a day on a bonnie summer’s day, 5. “Noo gin my guid lord had been at hame, When the corn was ripe and yellow, As he’s awa wi’ Prince Chairlie, That there fell oot a great dispute There wouldnae come a Campbell frae Argyll, Between Argyll and Airlie. Dare tae trod upon the bonnie green o’ Airlie.

2. Lady Margaret looked from her high castle wa’, 6. “For I have born my seven bonnie sons And O but she sighed sairly And the eighth has never seen his daddie, To see Argyll and a hundred o’ his men But gin I had as many o’er again Come to plunder the bonnie hoose o’ Airlie. They would a’ be men for Chairlie.”

3. “Come doun, come doun, Lady Marg’ret,” he 7. Now Argyll in his rage he kindled sic a lowe cried, It rose tae the lift red and clearly, “Come doun and kiss me fairly, And poor Lady Margaret and a’ her bairns, Or in the morning’s clear daylight They were smothered in the dark reek o’ Airlie. I winna leave a stan’in stane in Airlie.” 8. Draw your dirks, draw yer dirks cried the brave 4. “I’ll no come doune,” Lady Margaret she cried, Loch Eil. “Nor wad I kiss ye fairly, “And sheath yer swords,” cried Chairlie, I wadnae kiss the fause Argyll “and we’ll kindle sic a loo ’round the fause Argyle, Though ye wadnae leave a stan’in stane in Ailie.” And we’ll licht it wi a spark oot o’ Airlie,”

You can hear Belle Stewart singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/32978

1i.e. the tune presented in ‘The Minstrelsy of Scotland’

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.6 Queen Amang the Heather

This song was particularly associated with Belle Stewart and is published in the book [9] with the same name written by Belle’s daughter, Sheila. = 82 Noo as I roved out one sum -er's day. A -mang loft -y hills and moor -land and moun -tain it was there I spi -ed the love -ly maid whilst I wi oth -ers was out a hunt -ing

Noo as I roved out one summers day, Amang lofty hills and moorland and mountain It was there I spied the lovely maid While I wi’ others was out a-hunting

No shoes nor stockings did she wear Nor had she a hat nor has she favour But her golden locks aye and her ringlets rare On the gentle breeze played round her shoulders

‘Oh’ I says ‘braw lassie why roam yir lane, Why roam yir lane amang the heather?’ ‘Why,’ says she, ‘my faither’s awa frae hame And I’m herding aa his yowes thegither.

Noo I says, ‘Braw lassie if you’ll be mine And careless ye lie on a bed of feather, In silks and satins you will shine And you’ll be my queen amang the heather.’

Noo she says, ‘Kind sir, your oﬀer is good But I’m afraid it was meant for laughter For I know you are some rich squire’s son And I’m a poor lame shepherd’s dochter.’

‘Oh, but had ye been a shepherd loon A-herding the yowes in yonder valley Or had ye been a plooman’s son Wi all my hairt I would hae loo’ed ye.’

Noo, I hae been to balls and I hae been to halls I’ve been in London and Balquhidder But the bonniest lass that ever I did see She was herding yowes amang the heather.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

As we baith sat doon upon the plain We sat a while and we talked thegither And I left my yowes for to stray their lane Til I wooed my queen amang the heather.

You can hear Belle Stewart singing this song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/fullrecord/26110/1

Copy the address and paste it into your browser. You can hear Betsy Whyte, a resident of Rattray, singing a slightly diﬀerent version on the web address below. http://www.tobarandualchais.co.uk/play/77220

You can hear Jess Smith singing Queen Amang the Heather on the website below. https://uk.video.search.yahoo.com/video/play;_ylt=A9mSs3dV.3NXzIIAAOZLBQx.;_ ylu=X3oDMTBybDA1bGNhBGNvbG8DaXIyBHBvcwMyBHZ0aWQDBHNlYwNzYw--?p=queen+amang+the+heather& back=https%3A%2F%2Fuk.search.yahoo.com%2Fsearch%3Fp%3Dqueen%2Bamang%2Bthe%2Bheather% 26ei%3DUTF-8&fr=moz35&turl=http%3A%2F%2Fts4.mm.bing.net%2Fth%3Fid%3DOVP. Vbbf7ca387612ee2dedc7d06543134cc7%26pid%3D15.1&rurl=https%3A%2F%2Fwww.youtube. com%2Fwatch%3Fv%3DyFosn8xyCdU&tit=Trad+Sessions%3A+Jess+Smith+performs+ Queen+Amang+the+Heather&l=285&vid=ab5fef206b94712b6de72703dd6be18d&sigr= 11biblbpi&sigb=125b6ef5l&sigt=11qeq9svv&sigi=12bsc5gib

29 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.7 The Elﬁn Knight

This is the second version of Child Ballad 2 and appears in the addendum, published in volume IV of Bronson’s edition [4]. It was collected by Henderson and Collinson 2. This version was sung by Andra Stewart (learned from his mother) at Blairgowrie, 1956. The ﬁrst two verses, and the fragment of the third, are as Andra sings them on the recording. The fourth verse presented here is printed as the second verse in Bronsons Edition.

Yo -u'll hang it on yo -on green tho -orn bush, 4 ½ B -lo -ow blow blow the wind blow, A -nd for your life 7 ½ let one drop fa -ll, And the weary wind blows my pl -aidie awa.

You’ll dip it in yon deep draw well Blow, blow, blow the wynd blow And for your life let one drop fall And the weary wind blows ma plaidie awa You’ll hang it on yon green thorn bush Blow, blow, blow the wynd blow Where there never was a bush since Adam was a boy And the weary wind blows ma plaidie awa You’ll bring to me a green-toppit thrush Blow, blow, blow the wynd blow ... Since you gave those three tasks to me, Blow, blow, blow the wind blow, Let me give three tasks to you, And the weary wind blows my plaidie awa.

You can hear Andra singing this song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/fullrecord/12404/1

Copy the above website address, paste it into your browser and press the ‘play’ button.

2School of Scottish Studies IX, 1965

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.8 Glasgow Peggie

This is version 2 of Child Ballad 228 in Bronson’s Edition of Child Ballads [3]. It was sent in by Ewan MacColl of Perthshire, who sang it on Riverside erc. No. RLP 12-623(B3), ed. K. S. Goldstein. Ewan learned it from his father. A version of this ballad (version 5) also appears as ‘Kilbogie’ in Chapter 5.

(a) | (b)

5 (c) | (d)

(a) b) (c) ( (d) (d)

1. Heilan’ lads are young and braw, 6. Then oot and spak’ the Earl o’ Hume, Heilan’ lads are young and merry, And, O, but he was wondrous sorry, And I’ll awa’ tae Glesca toon, “The bonniest lass is Glesca toon, To steal awa’ my bonnie Peggy. And she’s awa’ wi’ a hielan’ laddie.”

2. Her faither he’s got word o’ this, 7. They rode on through moss and moors, And, O, but he was wondrous angry, Through bog and up through mountains mony, “Ye may tak’ my owsen and a’ my kye Until they cam’ to yonder glen, But leave to me my bonnie Peggy.” And she’s lain doon wi’ her heilan’ laddie.

3. “Ye can keep your owsen and a’ your kye, 8. Her bed was o’ the gweed green grass, For I hae’ cows and ewes already; Their blankets o’ the brackens bonnie, I’ll no tak’ your owsen and a’ your kye, Wi’ her tartan plaid beneath her heid, But I’ll steal awa your bonnie Peggy.” And she’s lain doon wi’ her hielan’ laddie.

4. He’s mounted on his milk white steed, 9. “There are blankets and sheets in my faither’s hoose,” And she is on his wee grey naigie, Sheets and blankets a’ made ready, And they hae rid tae the break o’ day, And wouldna he be angry at me And he has ta’en awa’ the bonnie lassie. For lyin’ doon wi’ a highland laddie!”

5. They rid ower hills and they rid ower dales, 10. He’s ta’en her up yon high, high hill, They rid through moors and mosses mony, When that the sun was shinin’ clearly, Until they met wi’ the Earl o’ Hume, Says “A’ that ye see belongs to thee, A-ridin’ wi’ his young son Johnnie. For lyin doon wi’ a hielan’ laddie.”

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

11. A’ that ye hae left behind Was a wee cot hoose and a wee kail-yardie, But noo you’re the lady o’ o’ my lands, For lyin’ doon wi’ a hielan’ laddie. You can hear Jimmy Dunbar, of Edinburgh, singing one version of this song using the web address below. It may not be the tune presented above. http://www.tobarandualchais.co.uk/en/play/89746;jsessionid=EEB83518482E5349601C2B8FF3904BA9

32 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.9 The Rantin Laddie

This is another song provided by Ewan MacCol of Perthshire. It is Riverside rec. No. RLP 12-622 (B4) ed. K. S. Goldstein. Ewan learned it from his father and it appears as Child Ballad 240, version 5 [4]. Prof. Bronson states that, musically, it belongs to the ‘Binorie’ type and describes Ewan’s tune as ‘a ﬁne Mixolydian tune’ that is distinct from all the others, coming from Ewan’s family tradition.

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1. Oft hae I played at the cards and dice 7. When he was near the banks o’ Dee, Wi’ my ain dear rantin laddie, The birds they sang sae bonny, But noo I maun sit in my faither’s ha’ And there he spied the Earl o’ Aboyne And sing ba to my bastard baby. That they ca’ the rantin laddie.

2. If I’d been wise as I’ve been nice, 8. And when he looked the letter on, And done what my bonnie lad tauld me, But O, and he was sorry, I’d ha been married a year or mair They’ve been cruel and fell unkind And been wi’ my rantin laddie. Tae my ain dear rantin lassie.

3. My faither dear, he knows me not, 9. My faither dear, he knows me not, An’ my mither she ignores me; An’ my mither she ignores me; My friends and relations a’ slight me My friends and relations a’ slight me And the servants they quite hate me. And the servants they quite hate me. 10. Gae get to me ﬁve hundred men 4. Gin I had ane horse at my command And they’ll ride oot sae bonnie, As oft times I’ve had mony, And we’ll bring the bonnie lassie back to Aboyne, I would ride it on to the gates o’ Aboyne My ain dear rantin lassie. Wi’ a letter to my rantin laddie. 11. When she was up ahint his back, 5. Is your love a laird or is he a lord Wrapped in a hielan’ plaidie, Or is he but a caddie, The birds in the trees sang not sae sweet That ye sae aft ca’ on his name, As the bonnie bonnie rantin lassie. Your ain dear raintin laddie? 12. And they rode on through Buchanshire 6. Then oot an spak’ a kitchie boy, And Buchan it shone bonnie. Says, Though I’m but a caddie, Rejoice, rejoice, ye bonnie mays It’s I will run to the gates o’ Aboyne, And see that ye be na’ sorry. Wi’ a letter for your rantin laddie. 13. Gin ye lay your love on a lowland lad Be sure that he’ll betray ye, But lay your love on a hielan’ lad He’ll do a’ he can to raise ye.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

You can hear Ewan singing this song by using the web address below. https://www.youtube.com/watch?v=_A6I2pKWa1E

It is interesting to compare this version with the one sung by Willie Mathieson presented in Section 5.29.

34 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.10 Owre Yon Hill

This song was collected by Hamish Henderson and provided by the heirs of Sheila Stewart, resident of Blairgowrie and Rattray, daughter of Belle Stewart and one of the singing group: ‘The Stewarts of Blair’. You can hear Belle Stewarts singing this song by using the web address provided below. This song also appears in Sheila Stewarts book, ‘Queen Amang the Heather’ [9] from which the score and lyrics have been taken.

3 4 - Owre yon hill, sure, there lives a lassie But her name I do not know, 6 And this night I will go and see her, Whether she be high, or low.

Owre yon hill, sure, there lives a lassie, Who she is I do not know, And this night I will go and see her, Whether she be high, or low.

Lassie I have come to see you But perhaps it is in vain, But if you will kindly entertain me, Maybe I’ll call back again.

Lassie I have got gold and silver, Lassie I have got diamond stones, Lassie I have got ships on the ocean, They will be yours love, if you’ll be mine.

What care I for your gold and silver, What care I for your diamond stones, And what care I for your ships on the ocean? All I want is a ﬁne young man.

You can hear Belle Stewart singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/11396

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.11 Banks o’ Red Roses

This song was taken (with the permision of her heirs) from Sheila Stewart’s book ‘Queen Amang the Heather’ [9].

3 q q q 4 q q q Nooq when I was a young thingq and eas y led a stray a fore that 11 q q q 3 q q q I would work I would ra ther sport and 4 playq and a fore that I would work 20 q q q q q q q q q I would rather sport and play Wimy John y on the banks amangq red ro sqes

Noo when I was a young thing and easy led astray, Afore that I would work I would rather sport and play, And afore that I would work I would rather sport and play, Wi my Johnny on the banks amang red roses.

On the banks o’ red roses my love and I sat doon, And he took oot his charm-box to play his love a tune, In the middle o’ the tune his love broke doon and cried, Oh my Johny, lovely Johny, dinna leave me.

He took oot his pocket knife, and it bein’ long and sharp, And he pierced it through and through his bonnie lassies heart, And he pierced it through and through his bonnie lassies heart, And he left her lying there amang red roses.

You can here Belle Stewart singing this song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/play/62121

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.12 Loch Duich

In this song Belle Stewart set words to a traditional bagpipe tune that was a favourite of her mother-in-law. The song was taken (with permission) from ‘Queen Amang the Heather [9]. It was collected and recorded by Hamish Henderson, Alan J. Bruford and Peter R. Cooke.

6 4 As I was walk ing with my lov er , Down a glen that 5 was so fair, There I heard a pi per playing, And his mus ic filled the air.

As I was walking with my lover, Down a glen that was so fair, There I heard a piper playing, And his music ﬁlled the air.

As I listened to the music, And it sounded loud and clear, I sat doon amang the heather, Wi’ the lass that I loved dear.

The tune he played, it was ‘Loch Duich’, That’s a grand auld Scottish air, There I wooed and won my lassie, Amang the heather bloomin’ fair,

All my friends are wildly scattered, Some I’ll never see again, Others they have left their homeland, For to sail across the main.

But I hope we’ll be together, As we were so long ago, When I heard that piper playin’, In the valley of Glen Coe.

You can hear Belle Stewart singing this song on the website listed below. http://www.tobarandualchais.co.uk/en/results

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.13 The False Knight

The song presented here is the ﬁrst variation of the ninth version of the third Child Ballad and appears in the addendum to Volume 4 of Prof. Bronson’s collection [4]. It was sung by Andra and Belle Stewart (aka Bella Higgins) in Blairgowrie. It was collected by Hamish Henderson and transcribed by James Porter.

6 8 ``O oh whe ere were you go ing?'' said the false knight up on the road. 6 ``I'm go ing to the scueel,'' said the wee boy and still he stood.

Oh where are you going, Said the false knight upon the road, “I’m going to the squeel,’ Said the wee boy, and still he stood.

“What’s that upon your back?” Said the false knight upon the road. “My bannock and my books,” Said the wee boy and still he stood.

“Oh, will ye give me share?” Said the false knight upon the road “Oh that’s the deil of it.” Said the wee boy and still he stood.

“If I had ye out to sea,” Said the false knight upon the road “And a guid ship under me.” Said the wee boy and still he stood.

“If I had you at the well,” Said the false knight upon the road “And you gae down tae hell.” Said the wee boy and still he stood. You can hear Belle and Andra Stewart singing this song at the website below. http://www.tobarandualchais.co.uk/play/11908

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.14 Twa Brothers

This song was collected from Belle Stewart in Blairgowrie in 1955 by Maurice Fleming and transcribed by Ailie Munro, it is version 13.2 (being the second variation of the thirteenth version) of Child Ballad number 49 [4]. The bold exclamation marks above the lines of music are to emphasis the vertical lines beside them. They are intended to assist the singer, but it might be more helpful to use the web address below and listen to Belle singing it.

(a) (b) |! 3 ½ ½ q (c) |! 3 (d) |! 3 ½ q q

(a) (a) (b) (c) (d)

Two pretty boys were goin’ to the school, And one evening comin’ home, Says William to John, “Can you throw a stone, Or can you play at a ball, a ball, Or can you play at a ball?”

Says William to John, “I cannot throw a stone, Nor little can I play at a ball, But if you come down to yon merry green wood, I’ll try a wrestling fall, a fall, I’ll try a wrestling fall.”

Now when they came to yon merry green wood, Beneath the spreadin’ moon, The little pen-knife slipped out of William’s pocket, Which gave John his deadly wound, wound, Which gave John his deadly wound.

“Oh you’ll take oﬀ your white holland shirt, And you’ll tear it from gore to gore3, And you shall bind my deadly wounds, And they shall bleed no more, no more, And they shall bleed no more.”

3i.e. ripping the shirt along the seams.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

He took oﬀ his white holland shirt, And he tore it gore to gore, And he did bind his deadly wounds But they bloodit ten times more, more, They bloodit ten times more.

“What will I tell to your father dear, This night when I go home?” “You can tell him I’m away to London school, And a good scholar I’ll come home, home, And a good scholar I’ll come home.”

“What will I tell your sweetheart dear, This night when I go home? “You can tell her I’m away to London school, And the good books I’ll bring home, home, And the good books I’ll bring home.”

“And what will I tell your stepmother dear, This night when i go home?” “You can tell her I’m dead and in grave laid, For she prayed I might never come home, home, She prayed I might never come home.”

You can hear Belle singing it on the website below. http://www.tobarandualchais.co.uk/play/60118

You can also here Belle sing this song on youTube: https://www.youtube.com/watch?v=gcBjFBQrpOM&list=PLW1spACbn8l5pJb_FO3EiAEjxObm4H5iT&index=2

40 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.15 Sweet William’s Ghost

This song is version 12 of Child Ballad number 77 [4]. It was collected by Hamish Henderson and sung by Betsy Whyte, Killin, Perthshire. It was transcribed by Francis Collinson.

| 3 | | 3 | | |

| |

For my mouth it is full of mould, Maggie, My breath it is wonderful strong, And if I was to kiss your sweet ruby lips, Your time wouldnae be long. Gie me your faith in mould, Maggie, An’ let me pass right on my way, My aiths that are true you’ll never get, Nor nothing of the kind. To you tell me so many score’s deid, Since his twa met the streen4, There’s three score deid and three score burned, And three score went awa. There was none o’ them dead would go to heaven, O none but barely three. There was one o’ them I tore his shepherd man, That payed his service free. There another of them my ship carpenter, That was daily on the sea. There another of them my pretty babe, Which died after nor see’ed.

4Reproduced here as in Prof. Bronson’s collection, but more probably ‘yestreen’ - generally taken to mean yesterday evening

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

For the cocks may craw in yonder ha’ When poor Johnnie must awa. It is clear that Betsy’s version is only a fragment of the old ballad. You can ﬁnd more information about this song from the wiki site by using the web address below. http://www.digplanet.com/wiki/Sweet_William%27s_Ghost

You can hear Kate Rusby singing another version by using the web address below. Several other versions are available on youtube, including one in German. https://uk.video.search.yahoo.com/search/video?fr=moz35&p=youtube+sweet+william%27s+ghost#id=8&vid =6139a6b3f521e30590d03b8609fcced4&action=view

Another interesting version claims to be the Perthshire tradition, performed by Grant Raymond Barrett. You can hear it by using the web address below. https://uk.video.search.yahoo.com/search/video?fr=moz35&p=youtube+sweet+william%27s+ghost#id=23&vid =21cf8903fe01fa8c1f4d43df8f2b64c6&action=view

42 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.16 Geordie Weir

Noo, I'm a saft coun try cheil and my name's Geor die Weir, I sup 6 3 4 pose you'll awe won der what I'm do in' here, But it's just on a vis it tae 12 Gles ca I've come, For to see a lot of folk I han nae seen for a lang.

Noo, I’m a saft country lad and my name’s Geordie Weir, I suppose you’ll awe wonder what I’m doin’ here, But its just on a visit tae Glesca I’ve come, For to see a lot of folk I hannae seen for a while.

Noo, I met a wee lassie, but oh she was shy, Wi a smile on her lips, and a tear in her eye, We’d a few drams thegither till the drink took ma heid, Then she stole aa my money, bad scorn tae her breed.

So I wish I was back aince mair in Dalry, You would ne’er see my face till the day I wid die, If only I could manage the price o’ my train, You wid ne’er see my face back in Glesca again.

Where to sleep the ﬁrst nicht was a mystery tae me, For I hadnae as much as a crooked bawbee, Till I met an acquaintance and he didnae grudge, For tae pay for my bed in a big hotel lodge.

And when I got my tea I went oot for a stroll, And I stood at a window to view a wax doll, When a we bloke cam up sayin’ you’ll best dae a slide, If MacLeod sees your face, he’ll soon drag ye inside.

Noo I wunner what makes aa the folk at me stare, And ask me tae leave them a lock o’ my hair, But I’ll lea tae yourself, it is no’ a hard egg, When a dog comes and maks a lamppost o’ yer leg.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

When I got under covers, fegs, yon was a fricht, I may say that my freens had a gae lively nicht, For it was just like a battleﬁeld on the bedclaes, Like the Zulus were runnin’ afore the Scotch Grays.

You can hear Belle Stewart singing a slightly diﬀerent version of this song using the website below. http://www.tobarandualchais.co.uk/fullrecord/62118/1 %http://www.tobarandualchais.co.uk/play/89245

44 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.17 Green Grow the Laurels

There are several versions of this song available on the School of Scottish Studies, Tobar an Dualchais website. They all have the same tune, but the words are diﬀerent in each case. The one sung by John Argo was collected by Hamish Henderson, but Sheila Stewart presents a version that she says she heard when Charlotte Higgins and her husband Jocky were visiting. The words Sheila quotes diﬀer from those in any of the versions on the Tobar an Dualchais website and I have chosen to present Sheila’s words. Sheila did not provide the music which may not match that of either of the singers. Other versions are available on Youtube.

3 q 4 He pass es my window both ear ly and late, And the look that 7 q he gives me makes my heart break. The look that he gives me ten 12 q thou sand times o'er, I said here is the young man I once did a dore.q

Chorus 3 4 q Green grows the lau rel, and soft falls the dew, Sor ry was I when I 7 q part ed with you, But by our next meet ing I hope you'll prove 12 q true, We'-- ll share the green lau rels and vi o lets so blue.q

Chorus: Green grows the laurel, soft falls the dew, Happy was I when I parted from you, But by our next meeting I hope you’ll prove true, We’ll share the green laurels and violets so blue

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Verses: He passes my window both early and late, And the look that he gives me, it makes my heart break, And the look that he gives me then thousand times o’er, I said there is the young man I once did adore.

He wrote me a letter in sweet rosie lines, I wrote him an answer all twisted and twined, Saying, keep your love letters and I will keep mine, You write to your sweetheart, and I’ll write to mine.

John Argo of Ellon sings this version, collected by Hamish Henderson http://www.tobarandualchais.co.uk/play/19667

Charlotte Higgins sings this version, collected by Maurice Fleming. She says that she heard the song in Orkney. http://www.tobarandualchais.co.uk/play/85408

Several singers have also presented this song (and other versions) on you tube. https://uk.video.search.yahoo.com/search/video?fr=moz35&p=youtube+green+grows+the+laurel#id=1&vid=dbd977ea2a139d634c7fa2a773ad78ef&action=view

46 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.18 The Banks o’ Airdrie

This song appears as number 14 in Child Ballads, where it has 18 verses. The main entry is called ‘Babylon’, or ‘Baby Lon’ for reasons that Prof. Bronson could not establish. The most common name for this song is ‘The Duke of Perth’s Three Daughters’, reason enough to include it in this section of this collection. The version presented here is called ‘The Banks of Airdrie and appears as version 7.1 (i.e. the first variant of version 7) in the addendum to Child Ballads volume IV [4]. It was sung by Mary Campbell at Blairgowrie (giving us double claim to the song) in August 1967 and April 1968. She learned the song from Peggy Cameron but had forgotten the first few verses. I have taken the liberty of including the first two verses from the first version of Child Ballad 14, taken from Prof. Bronson’s edition [2], to help make sense of the song.

(a) | | q q q | (b) q q q | | q q q

| (c) q

(a) (b) (c) 3 q

The Duke o’ Perth had three daughters, Elizabeth, Margaret and fair Marie, And Elizabeth’s tae the greenwood ga’en, To pu’ the rose and the fair lilie.

But she hadnae pu’d a rose a rose, A double rose, but barely three, When up and started a London Lord, Wi’ London hose and London sheen.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

He took the ﬁrst pretty sister by the hand, Hey win sa bonnie, He whirled her round an’ he made her stand, On the dewy banks o’ Airdrie o.

Will you be a rank robber’s wife? Hey win sa bonnie, Or will you die by my penknife? On the dewy banks o’ Airdrie o.

I won’t be a rank robber’s wife, Hey win sa bonnie, So I will die by your penknife, On the dewy banks o’ Airdrie o.

He took the next pretty sister by the hand, Hey win sa bonnie, He whirled her round an’ he made her stand, On the dewy banks o’ Airdrie o.

Will you be a rank robber’s wife? Hey win sa bonnie, Or will you die by my penknife? On the dewy banks o’ Airdrie o.

I won’t be a rank robber’s wife, Hey win sa bonnie, So I will die by your penknife, On the dewy banks o’ Airdrie o.

He took the third pretty sister by the hand, Hey win sa bonnie, He whirled her round an’ he made her stand, On the dewy banks o’ Airdrie o.

Will you be a rank robber’s wife? Hey win sa bonnie, Or will you die by my penknife? On the dewy banks o’ Airdrie o.

I have three brothers who pass this way, Hey win sa bonnie, If you kill me it’s they’ll kill you On the dewy banks o’ Airdrie o.

Pray tell me your three brother’s names, Hey win sa bonnie, William, Peter, an’ the other’s named John On the dewy banks o’ Airdrie o.

48 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Pray tell me what’s this I’ve done? Hey win sa bonnie, I’ve killed my three pretty sisters, all but one, On the dewy banks o’ Airdrie o.

The version collected by Hamish Henderson can be heard by using the web address below. It is sung by Alexander Cooper Black (Sandy) Easton who came from Livingston. Sandy sings slightly diﬀerent words to those provided by Mary Campbell. http://www.tobarandualchais.co.uk/play/66899

49 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.19 Hatton Woods

Collected by Hamish Henderson [9]. Modern Hatton is in Aberdeenshire, just oﬀ the A90, not far from Cruden Bay.

6 8 Kind com rades an com pan ions and all ye females dear, To my sad la men 7 ta tion I'll pray you lend an ear, For once I lo'ed a bon nie lass an to 12 me she proved un true, And I left her doon by Hatton Woods, my fol ly for tae rue.

Kind comrades an’ companions and all ye females dear, To my sad lamentation I’ll pray you lend an ear, For once I lo’ed a bonnie lass an’ to me she proved untrue, And I left her doon by Haton Woods my folly for tae rue.

I courted wi’ this bonnie lass a twelve month an’ a day, Sometimes among the green grass sometimes among the hay, I courted her the lee-lang nicht and part o’ the next day, Till she said ‘My dearest Sandy lad, it’s time you were away’,

I said ‘My dearest Molly lass, when will ye set a time When you and I’ll get married, an’ hands together jine? Ye’ll sit in yon wee cotter hoose and either spin or shew, While your ain guid-hairted Sandy lad goes whistlin’ at the ploo.’

Noo there’s Cadum and there’s Cadum Mills, and Luther Mills likewise, There are woods and waters many, unseen unto your eyes, But the bonny woods o’ Hatton, they aa grow green in May, It was there about the lassie lived that stole my heart away.

But blessings on yon bonnie lass, wherever she may be, I wish no evil unto her, although she slighted me, I only wish that she may say, some time before she dee, ‘Oh, I wish I’d wed yon ploughman lad that sang so sweet to me. Sheila MacGregor (aka Sheila Stewart, daughter of Belle Stewart) who provided this song [9], can be heard singing it on the website listed below. http://www.tobarandualchais.co.uk/play/58481

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.20 Heather Jock

This song5[1] was recorded from Mrs. Margaret Birnie by Hamish Henderson in 1953. Mrs. Birnie learned the song from her father who came from Perthshire. John Ferguson (aka ‘Heather Jock’) was a thief, poacher and marksman who lived near Dunblane. He was transported to Australia for cattle-stealing, escaped, returned to Scotland, was recaptured and was sentenced, once more, to transportation in 1812.

= 90 4 note variation for verse 4

7 bars five and six for verse four

Chorus

Heather Jock was stark an grim, Focht wi wha would fecht wi him: Swank an’ soople, shairp an thin, Fine for gaun again the win’. He’d tawny face an toosie hair, In his cleedin’ unco bare: Cursed an’ swore whene’er he spoke- Oh, nane could equal Heather Jock.

5Published in Tocher, Vol. 8, page 264

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Chorus: For Heather Jock’s noo awa, Heather Jock’s noo awa; The muircock he may croosely craw For Heather Jock’s noo awa. Noo Jock kent ilka bore an bole An he could creep through a wee bit hole An quietly pilfer eggs an’ cheese, Dunts o’ bacon, skeps o’ bees. He suppit the kirn an’ stealt the butter; He nailed the hens withoot a flutter. Nay, a’ the watchfae wily cock, He durstna craw for Heather Jock. Chorus: Oh, Effie Blaikie lost her goon She bocht so dear at borough toon. An Sandy Tamson’s Sunday wig, It left the hoose to run the rig. An Jeannie Baxter’s blankets a’ They took a thocht tae slip awa’, An e’en the wee yin’s printed frock - He was an owfa thief, was Heather Jock. Chorus: Noo Jock was nae releegious youth An at the priest he thrawed his mooth. He’d neither say a grace nor pray, But played his pipes on Saabath day. He robbit the kirk o’ band an’ book Ilka thing wid lift, he took: He didna leave the weathercock - Oh, an awfa thief was Heather Jock. Chorus: He blazed the burn and speared the fish. An Jock had mony a dainty dish: But noo that he has gane awa The muircock he may croosely craw. Chorus:

The song that Hamish collected ends here, but additional words have been provided. Willie Mitchell of Campbeltown provided the following verse which, Tocher states, is unlikely to come from the original song.

The term boys, is coming When we’ll get oor pay, An’ when we get tae Stewarton We’ll ha a pint an’ a glass.

52 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Another fragment, which Tocher states should form the end of verse eight, is:

The head it was so very strong That the steam went tae ma heid. You can hear Margaret Birnie singing this song (and Hamish discussing it with her) by using the web address below. http://www.tobarandualchais.co.uk/play/26578

53 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.21 Lord Randal

‘Lord Randal’ is a very old ballad, listed number twelve in Child’s famous collection, and there are numerous versions of the song. Prof. Bronson’s edition of Child Ballads [2]-[4] lists 103 versions of the song, with 14 additional variations added in the addenda. Hamish Henderson is listed as having collected at least four of these additional variations. One was collected from Jeanie Robertson in Aberdeen and, although recognised as the same song, is called ‘Lord Donald’. Two versions are included here to help illustrate the diﬀerence in variations of one song that commonly occur as a consequence of the oral tradition and the song’s long history. It is possible that the song relates to the heir of the sixth Earl of Chester, known as Randall III, who died in 1232. His nephew John inherited and it was rumoured that his wife had tried to poison him. This is not the only legend attached to this song, as you can discover if you use the web links below.

3.21.1 Lord Randal, Child Ballad 12, 35.2 This is the second variation of the 35th version of the song[4]. It was collected by Hamish Henderson and Alex Lomax; transcribed by Francis Collinson and sung by Ewan Macoll. Ewan is listed elsewhere in the collection with addresses in Perthshire and London. The Perthshire link has been taken to justify the inclusion of the song in this chapter. The vertical lines included above the music indicate the ends of lines in the verses of the song. The separate, third, line of music relates to the two main lines of the music via the letters shown in brackets above the music. Singers unfamiliar with this form of notation may ﬁnd it helpful to listen to the song using the web address provided below.

(b) (a) | (a) × × M 3 × 4 9 (c) | |

(a) (b) (c) 3 4

O whaur hae ye been, Lord Randal my son? O whaur hae ye been, my bonnie young man? I’ve been tae the wild wood, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

Whaur gat ye your dinner, Lord Randal my son? Whaur gat ye your dinner, my bonnie young man? O I dined wi’ my true love, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

What gat ye for your dinner, Lord Randal my son? What gat ye for your dinner, my bonnie young man? I gat eels boiled in brew, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

What happened tae your bloodhounds, Lord Randal my son? What happened tae your bloodhounds, my bonnie young man? O they swalled and they died, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

I fear ye hae been poisoned, Lord Randal my son, I fear ye hae been poisoned, my bonnie young man, O I hae been poisoned, mither mak my bed sune For I’m sick at the heart and I fain would lie doon.

What will ye leave your brither, Lord Randal my son? What will ye leave your brither, my bonnie young man? My horse and my saddle, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

What will ye leave your sister, Lord Randal my son? What will ye leave your sister, my bonnie young man? My gowd box and rings, mither mak my bed sune For I’m weary wi’ huntin’ and I fain would lie doon.

And what will ye leave your truelove, Lord Randal my son? And what will ye leave your truelove, my bonnie young man? That... that halter that hangs on yon tree, And there let her hang for the poisonin’ o’ me.

You can hear Ewan singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/34229

55 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.21.2 Lord Randal, Child Ballad 12, 43.1 This, the ﬁrst variation of the 43rd version of the ballad [4], was collected by Hamish Henderson, transcribed by Francis Collinson and sung by Jimmy Stewart at Forfar, Angus. The location is not far from Blairgowrie and that is thought to justify its inclusion in this collection.

| 3 4 9 | |

What had you for supper, Lord Randal my son? What had you for supper, my jolly young man? A pretty small ﬁshes, mother make my bed soon, I’m sick at the heart and fain would lie doon,

What d’ye leave your father, Lord Randal my son? What d’ye leave your father, my jolly young man? My broadsword and scabbard, mother make my bed soon, I’m sick at the heart and fain would lie doon,

What d’ye leave your brother, Lord Randal my son? What d’ye leave your brother, my jolly young man? My banner and broadsword, mother make my bed soon, I’m sick at the heart and fain would lie doon,

What d’ye leave your sister, Lord Randal my son? What d’ye leave your sister, my jolly young man? My gold broach and gold star, mother make my bed soon, I’m sick at the heart and fain would lie doon,

What d’ye leave your sweetheart, Lord Randal my son? What d’ye leave your sweetheart, my jolly young man? A cup of cold water and poison, what’s she giv’n to me, Or the block, or the hatchet, or yon gallows tree.

There are twenty eight recordings of versions of this song on the Tobar an Dualchais website (fourteen of them collected by Hamish Henderson) however there does not seem to be one from Jimmy Stewart among them. There is, however, a recording of Betsy Whyte, former resident of Blairgowrie, singing one version. You can access this recording using the web address below. The collector is unknown. http://www.tobarandualchais.co.uk/play/82952

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

In a similar spirit, it seems only fair to include a link to a version sung by Mabel Skelton of Arbroath in Angus. This version was one of those collected by Hamish Henderson and, before she sings, Mabel tells an interesting legend connecting the song with King Henry VIII of England. http://www.tobarandualchais.co.uk/play/82952

57 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.22 Late Last Night

This song is sung by, and was collected by Hamish Henderson from Sheila Stewart [9].

3 4 Oh, late last night I was asked to a wed ding, The wed ding of a 2 3 2 fair maid, who proved to be un kind, As she 4looked in the 4 eyes of her 4 2 3 4 4 new in ten ded lov er , Thoughts of her old love ran still through her mind.

Oh, late last night I was asked to a wedding, The wedding of a fair maid, who proved to be unkind, As she looked in the eyes of her new intended lover, Thoughts of her old love ran still through her mind. Supper was over and the sermon was ended, And every young man had to sing the bride a song, Till it came to the turn of her old intended lover, Thoughts of her old love ran still through her mind. “O’ how can you sit at another man’s table, How can you drink of another man’s wine, And how can you lie in the arms of another, When oft times, dear, oft times you have lain in mine?” Sobbing and sighing she ran to her bedroom, Sobbing and sighing she went to her bed, And early next morning her bridegroom awakened, And turning around he found his bride was dead.

Oh Annie, dear Annie, I knew you never loved me, My love and your love would never agree, For I kent ﬁne, I ta’en ye from a better, O aye, a better than ever ye could be. I will put on my suit of deep mourning, Suit of deep mourning ane, twa and three, Then I will put on my new wedding garments, To remind me dear Annie that you married me. You can hear Sheila Stewart singing this song by using the web web address below. http://www.tobarandualchais.co.uk/play/11395

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.23 Johnny my Man

This song was collected by, among others, Hamish Henderson and one version he collected was sung by Belle Stewart. It has been supplied by Sheila Stewart [9].

3 q 4 O, John ny my man do you no think o' ris ing? The day's far 8 q q spent and the nicht's com in' on, Your sil ler's awe done and your 14 q stoups teamed a fore ye, So rise up my John ny and come a wa hame.q

“O, Johnny my man do you no think o’ rising? The day’s far spent and the nicht’s comin’ on, Your siller’s awe done and your stoups teamed afore ye, So rise up my Johnny and come awa hame.”

“Noo wha is’t that I hear speakin’ sae kindly? Tis surely the voice o’ my ain wifey, Jean. Come in noo, my dearie, and sit doon beside me Tis time enough yet to be gaun awa hame.”

“Oh Johnny ma man, when we ﬁrst fell a-courtin’. There was nothin’ but love then tae trouble oor minds And we spent a’ wir time ’mang the sweet-scented roses And we ne’er thought it lang tae be gaen awa hame.”

“I remember richt weel Jean, the time that ye speak o, And weel I remember that sweet ﬂowery glen, But they days are passed and will never return, love, So sit doon beside me and no’ think o gaen hame.”

“Oh Johnny my man, oor wee bairnies are greetin’, There’s nae meal in the barrel tae ﬁll their wee wimes, While you gang oot drinkin’, you leave me lamentin’, So rise up my Johnny and come awa hame.”

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

So Johnny he rose and he banged the door open, Sayin’ cursed be the tavern that e’er let me in, And cursed be the whisky that makes me stay thirsty, So rise up ma Jean and we’ll had awa hame.

Contented and crouse he sits by his ain ﬁreside, And Jeanie, a happier wife there is nane, Nae mare to the alehoose at nicht does he wander, But contented wi Jean and his bairnies at hame.

You can hear Belle Stewart (mother of Sheila Stewart who provided this song) singing ‘Johnny My Man’ via the web address below. This version was collected by Maurice Fleming in Blairgowrie, Perthshire. http://www.tobarandualchais.co.uk/play/60119

A diﬀerent, and possibly more interesting, version can be can be heard using the web address below. It was collected by Hamish Henderson and Prof. James Porter in Fetterangus, Aberdeenshire. It is sung by Lizzie Ann Higgins. http://www.tobarandualchais.co.uk/play/68713

60 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.24 The Corncrake or The Whinny Knowes

The music and words for this song were provided by Sheila Stewart (with permission from her son) from her book ‘Queen Amang the Heather’ [9]. The Tobar an Dualchais website indicates that Sheila Stewart sang it in Blairgowrie and it was collected for the School of Scottish Studies, but the musical entry is missing. Other singers, from elsewhere in Scotland, also sang the song and are included on the Tobar an Dualchais website.

3 4 Oh the lass that I lo'ed best o' all was hand some, young and 8 fair, Wi her I spent some mer ry nights a long the banks o' Ayr, 17 Wi her I spent some mer ry nights whar yon wee burn ie rows, 25 Where the e cho mocks the corn crake a mang the whin ny knowes.

Oh the lass that I lo’ed best o’ all was handsome, young and fair, Wi her I spent some merry nights along the banks o’ Ayr, Wi her I spent some merry nights whar yon wee burnie rows, Where the echo mocks the corncrake amang the whinny knowes.

We loved each other dearly, and disputes we seldom had, As constant as the pendulum, her heart beat always glad, We sought for joy and found it, whar yon wee burnie rows, Where the echo mocks the corncrake amang the whinny knowes.

O, ye maidens fair and pleasure dames drive tae the banks o’ doon, You’ll dearly pay for every scent, tae the barbers for perfume, But rural joy is free tae all where the scented clover grows, Where the echo mocks the corncrake amang the whinny knowes.

O, the corncrake is noo awa, the burnie’s tae the brim, The whinny knowes are capped wi’ snaw that haps the highest whin. When gloomy winter gangs awa and summer clears the sky, O, we’ll welcome back the corncrake, that bird o’ rural joy. This song was collected by Hamish Henderson and Norman Stewart, Reported by Fred E. Kent. A recording of the song can be accessed using the web address below. It is sung by Norman Stewart, during concert at the Scott

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Conference, held as part of the bicentennial celebrations of Sir Walter Scott’s birth. The song is Also known as ’The Corncrake (or Corncraik)’, ‘Amang the Whinny Knowes’ or ’The Echo Mocks the Corncrake’. http://www.tobarandualchais.co.uk/play/43659

You can hear the sound of the Corncrake on the website below and decide for yourself whether it deserves to be called ‘that bird of rural joy’. http://www.british-birdsongs.uk/corn-crake/

62 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.25 Here’s A Health To All True Lovers

This is Child Ballad number 248 (‘The Grey Cock’, or ‘Saw You My Father’) version 10 [4]. It was sung by Ewan MacColl on Argo album (Z)DA 68,rec. No. 3(B6). It is noted (Bronson’s edition of the ballads) that Ewan learned the song from Arthur Phillips of London who, in turn, had learned it from a tinker in Blairgowrie in 1958. It was also sung by Belle Stewart of Rattray

(a) | (b) 3 2

5 | (c) |

(b) (c) (a) 3 3 2

Here’s a health to all true lovers, And here’s to mine wherever she may be, For this very night I’ll go and see her, Although she’s many a mile from here.

Let the night be dark as any dungeon, Let not a star shine from above, O, I’ll be guided, safely guided, Into the arms of my own true love.

He then approached her bedroom window, His knee be placed on a cold, cold stone, Through a pane of glass he gently whispered, ‘My darling maid, do you sleep alone?

She rose her head from her snow-white pillow, Her hand she placed on her lily-white breast, Through a pane of glass she then did call him, Who’s this disturb my quiet night’s rest?”

‘’Tis only I, my darling lover, Open the door and let me in, For I am tired from this long night’s journey, And besides I am drenched to the very skin.’

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

She opened the door with the greater pleasure, She opened the door and he walked in, They both embraced and kissed each other, Until the dawning of day it came creeping in.

‘The cocks are crowing, love, I must be going, The cocks are crowing, love, I must away: The cocks are crowing, love, I must be going, For we are servants and we must obey.

Hamish Henderson collected this song, sung by Belle Stewart of Rattray and you can hear it on the website below. http://www.tobarandualchais.co.uk/fullrecord/22516/1 \end{Verbatim}

You can hear Gemma Khawaja sing ‘Here’s a Health to all True Lovers’ by using the youtube web address below. Gemma credits Belle Stewart with the song. \begin{verbatim} https://www.youtube.com/watch?v=iXtQjlqC7QY

64 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.26 The Braes o Yarrow

Child Ballad 214, 40.1, [4] (commonly listed as: The Dowie Dens of Yarrow) sung by Jock Higgins, Blairgowrie September 11, 1962, Collected by Ewan MacColl and Peggy Seeger. I have modiﬁed and extended the song using the words from version 2 as some verses are missing from the words sung by Jock Higgins and his words do not make the story of the ballad clear. Other verses, and variations of the words of the verses, appear in the other variations of the ballad that appear in Child’s collection.

1(a) 3 £ £ £ 2 £ | 2 + | £ £ £ £ £ | | 3. + £ £ £ £ £ £

3 | | £ | £ £ £ £

(a) (b) 3 £ 2 £

There was a lady in the north Ye’d scarcely ﬁnd her marrow. She was courted by nine gentlemen And a ploughboy lad frae Yarrow.

These nine men sat a-drinkin wine, A’ drinkin wine in Yarrow They made a vow among themselves To ﬁght for her in Yarrow.

As he came ower yon high high hill, And down yon glen so narrow, There he spied nine gentlemen Come to ﬁght with him on Yarrow.

If I see all that’s nine to ane, And that’s unequal marrow, But I will take you three by three, And I’ll slay you all on Yarrow.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Then three he slew and three withdrew, And three lay deadly wounded Till her brother John stepped in behind And pierced his body through.

Go home, go home, ye false young man, And tell your sister sorrow, That her true love John lies dead and gone In the dowie dens o’ Yarrow.

As she came ower yon high, high hill, And down yon glen so narrow, It’s there she spied her brother John Returning home frae Yarrow.

O, brother, dear, I’ve dreamt a dream, And I fear it will prove a sorrow, For I dreamt that you were spilling blood In the dowie dens o’ Yarrow.

O sister, dear, I’ll read your dream, And I’m sure it will prove sorrow, Your true love John lies dead and gone, A bloody corpse in Yarrow.

She wrung her hands and tore her hair, Wi muckle grief and sorrow, For she dearly loved her true love John, The ploughman laddie o’ Yarrow.

This lady’s hair being three-quarters long, And the colour it was yellow, She’s tied it round her middle jimp, And she carried him home frae Yarrow.

O,daughter dear, dry up your tears, And dwell no more in sorrow, And I’ll wed you to one of a higher degree, Than the ploughman laddie o’ Yarrow.

O, father, ye hae seven sons, Ye can wed them a’ to-morrow, But a fairer ﬂower than my true love, John There never bloomed in Yarrow.

Now this lady, she being in distress For her love who died in Yarrow, She ﬂung herself in her father’s arms, And died through grief and sorrow.

66 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

You can hear Ewan MacColl sing this song by using the web address below. http://www.tobarandualchais.co.uk/play/34228

You can hear Belle Stewart of Rattray singing this using the web address below http://www.tobarandualchais.co.uk/play/26109

Sheila Stewart, Belle’s daughter and well known author and singer in her own right, also sings this song http://www.tobarandualchais.co.uk/fullrecord/13840/1

Please note that ballad number 214 is incorrectly linked to ‘The Yellow Hair’d Laddie’ in contemplator.com website http://www.contemplator.com/child/index.html

67 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.27 Demon Lover

This is Child Ballad 243 Version 134.1(i.e. the ﬁrst variation of version 134) [4] which is also known as ‘The House Carpenter’. It was sung by Andrew Stewart, Blairgowrie, Perthshire. He learned it from his mother. It was collected by Hamish Henderson and transcribed by Francis M. Collinson. Andrew sings only a fragment of the song (the last two verses) so more complete words have been added from the contemplator.com website. Andrew sings slightly diﬀerent versions of the last two verses presented here, as you can hear if you use the web address presented below.

| 5 4 5 | | 5 4

1. Well met, well met, my own true love 7. She picked up her poor wee babe Well met, well met, cried he And kisses gave him three I’ve just returned from the salt, salt sea Saying stay right here with the house carpenter And it’s all for the love of thee And keep him good company

2. O I could have married the king’s daughter dear 8. They had not been at sea two weeks And she would have married me I’m sure it was not three But I have refused the crown of gold When this poor maid began to weep And it’s all for the sake of thee And she wept most bitterly

3. If you could have married the king’s daughter dear 9. O do you weep for your gold, he said I’m sure you are to blame Your houses, your land, or your store? For I am married to the house carpenter Or do you weep for your house carpenter And he is a ﬁne young man That you never shall see anymore

4. If you’ll forsake your house carpenter 10. I do not weep for my gold, she said And come away with me My houses, my land or my store I’ll take you to where the grass grows green But I do weep for my poor wee babe On the banks of the sweet Willie That I never shall see anymore

5. If I forsake my house carpenter 11. They had not been at sea three weeks And come away with thee I’m sure it was not four What have you got to maintain me upon When in their ship there sprang a leak And keep me from slavery And she sank to rise no more

6. I’ve six ships sailing on the salt, salt sea 12. What hills, what hills are those, my love A-sailing from dry land That are so bright and free And a hundred and twenty jolly young men Those are the hill of Heaven, my love Shall be at thy command But not for you and me

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

13. What hills, what hills, are those, my love That are so dark and low Those are the hills of Hell, my love Where you and I must go

You can hear Andrew singing this ballad by using the web address below. http://www.tobarandualchais.co.uk/play/2328

You can download a tune for this ballad from the contemplator.com website using the web address below. http://www.contemplator.com/child/carpentereng.html

69 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.28 Kilmarnock Town

This song[1] was collected by Blairgowrie resident, Maurice Fleming He recorded two versions of the song, one sung by Bella Higgins and one sung by Charlotte Higgins. Charlotte provided the ﬁrst two verses and verse ﬁve, while Bella provided the rest, and (according to Tocher) the tune presented here. Bella and Charlotte were both resident in Blairgowrie.

v.3 5 v4,6

In Kilmarnock Town there lived maid “To go home and let my parents know She was handsome, young and fair Would bring them to them disgrace She was courted by a false young man So I’d rather go and drown myself That drove her to despair. In some dark and lonely place. Nine long months had passed and gone So Mary put on her lily-white robe This maid began to mourn Her body to destroy, Saying “Willie, will you marry I And kneeling down she kissed her child Before my baby’s born? And said “Farewell my boy.” “To marry you it’s a thing I shan’t One day as Willie was walking Nor I never intended to do By the banks of the Clyde, So go home and let your parents know Oh there he spies his Mary-Anne What Willie has said to you. Coming ﬂoating with the tide.

For he lifted up her lily-white hand To see if life was there, And he cried, “Lord bless you Mary Ann, You should have been my bride.” You can hear Bella singing this song here http://www.tobarandualchais.co.uk/play/7357 and Charlotte singing her version here. http://www.tobarandualchais.co.uk/play/28953

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.29 The Yellow Haired Laddie

This song was recorded in 1970 by Hamish Henderson[1] and was originally published in Tocher number 25. It is not clear where it was recorded, but the singer, Willie Scott, sang at the Blairgowrie festival that year and so I have included it in this chapter.

3 4 The maidens are smi- ling in rocky Glen- coe The clansmen are 6 arming to rush on the foe Gay banners are streaming as forth leads the 12 clan The yella- haired laddie is first in the van.

The maidens are smilin’ in rocky Glencoe, The clansmen are arming to rush on the foe, Gay banners are streaming as forth leads the clan: The yella-haired laddie is ﬁrst in the van. The pibroch is kindlin’ their hearts in the war, The Cameron slogan can be heard from afar; They close for the struggle where many shall fall, But the yella-haired laddie is foremost of all. He tow’rs on the waves like the wild ocean tide; No kinsman of Evan sees me stand by his side: The Camerons gather round him alone: He heeds not the danger, and fear is unknown. You can hear Willie singing this song on the website below. http://www.tobarandualchais.co.uk/play/67735

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.30 Bloody Waterloo

This song was published in Tocher volume 25[1]. It was sung by William Scott and recorded by Hamish Henderson

= 66 î 3 3 4Was a lady was a- 4wal- kin a- lang the banks o' 4 clyde. The tears ran oonherd rosy cheeks as I passed by her 8 × side. I saw her bosom heavin, her voice was low and 12 true; She wis weepin for her Wil- lie lad who sailed for Wa- ter- loo.

Was a lady was a-walkin’ alang the banks o’ Clyde; The tears ran doon her rosy cheeks as I passed by her side. I saw her bosom heavin’, her voice was low an true; She wis weepin’ for her Willie lad who sailed for Waterloo. As a soldier was a- walking, he did a fair maid spy. He says, “My love, what aileth thee? Thy bosom doth heave high?” “I’ve lost my ain dear Willie, the lad I do lo’e true, And I hanna heard frae Willie since he sailed for Waterloo.” “What were the marks your Willie wore?” the soldier did enquire. “He wore a Hielan bonnet, a feather standin’ high; His big broadsword hung by his side and his dark suit so true - These were the marks my Willie wore when he sailed for Waterloo.” “I was your Willie’s comrade; I saw your Willie die. Six bay’net wounds were in his sides afore he doon wad lie. Then holdin up his hands he cried, ‘Some Frenchman’s slain me noo!’ It was I that closed your Willie’s eyes on bloody Waterloo.” “Oh Willie, dearest Willie!” - and she could say no more; She flung herself in the soldier’s armes while she thus the tidin’s bore “Death open wide your jaws and swallow me up too For Willie lies among the slain on bloody Waterloo.” “Stand up, stand up, my fair maid, my dearest, do not frown!” An’ flingin’ off his grey coat, his tartans they hung doon; “Now since we’ve met we ne’er shall pairt till Death shall us divide, And hand in han’ in wedlock bands alang the banks o’ Clyde.”

This song, which you can hear on the website below, was also sung by Willie Scott in 1970.

72 Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book http://www.tobarandualchais.co.uk/play/67740

73 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.31 Eppie Morrie

This song was provided to Child Ballads[4] (it is number 223) by Ewan MacColl, of Perthshire and London. Ewan learned the tune from his father and he sings it on Riverside rec. No. RLP 12-621(A1), ed. K. S. Goldstein.

6 b

a b

1. Four and twenty hielan’men 6. Haud awa frae me, Willie! Cam’ frae the Carron side, Haud awa frae me! To steal awa’ Eppie Morrie, I daurna avow to marry you, For she wadna’ be a bride, a bride Except shes willing as thee, as thee. She wadna’ be a bride. 7. Haud awa frae me, Sir Repeat the abbreviated last line throughout. Haud awa frae me! Theres no’ a man in all Strathdon Shall married be by me, by me. 2. Then oot it’s came her mither, then, It was a moonlight nicht, She couldna see her dochter, 8. They’ve taken Eppie Morrie, then, For the waters shone sae bright. Sin better couldna be, And they hae rid ower Carron side, As fast as horse could flee, could flee. 3. Haud awa frae me, mither, Haud awa frae me; 9. Then mass was sung, and bells were rung, Theres no’ a man in a Strathdon Shall wedded be And they’re awa’ tae bed, wi’ me, wi’ me, And Willie and Eppie Morrie In ane bed they were laid. 4. They’ve taken Eppie Morrie, then 10. He’s ta’en the sark frae off his back And a horse they’ve bound her on, And kicked awa’ hs shoon, And they ha rid to the Minister’s hoose And thrawn awa’ the chaumer key, As fast as horse could gang, could gang. And naked he lay doon, lay doon.

5. Then Willie’s ta’en his pistol out, 11. Haud awa frae me, Willie, And set it to the ministers breist; Haud awa frae me; ‘O marry me, marry me, minister, Before I lose my maidenheid Or else Ill be your priest, your priest. Ill try my strength with thee, with thee.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

12. He’s kissed her on the lilly breist 17. Weary fa’ you, Willie, then And held her shou’ders twa, That ye could nae prove a man And aye she grat and aye she spat You might hae ta’en her maidenhead And turned to the wa’ the wa’, She would have hired your hand, your hand,

13. Haud awa frae me, Willie! 18. Haud awa frae me, lady, Haud awa frae me! Haud awa frae me; Theres no’ a man in a’ Strathdon Theres not a man in a Strathdon Shall married be wi’ me, wi’ me. The day shall wed wi thee.

14. A’ through the nicht they wrassled there 19. Then in there came young Breadalbane, Until the licht o’ day, With a pistol on each side. And Willie grat and Willie swat Come awa awa, Eppie Morrie, But he couldna streitch her spey, her spey. And I’ll mak’ ye my bride, my bride.

15. Then early in the morning, 20. Go get to me a horse, Willie, Before the licht o’ day, And get it like a man, In came the maiden o’ Scalletter, And send me back to my mither Wi’ a goon and shirt alane, alane. A maiden as I cam, I cam”

16. Get up, get up, young woman! 21. The sun shines oer the westlin’ hills; And drink the wine wi me; By the lamplight o’ the moon; You might hae ca’ed me maiden, for, O saddle your horse, young John Forsyth, Im sure as hale as thee, as thee. And whistle, and Ill come soon, come soon.

You can hear Ewan singing this song on the youtube site below. https://www.youtube.com/watch?v=2GEV0h0uEPk

75 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3.32 My Father’s Name is Alec

This chapter opened with a song composed by Belle Stewart and it seems appropriate to close this chapter with a song composed, very largely in her honour, by her daughter Sheila. This song was collected by Hamish Henderson and the score was published in Tocher Vol. 21 Page 180. Hamish collected the song in 1955, but Sheila composed it for Hogmanay 1953. It was the custom in the Stewart family for each member to write a song for the occasion. ‘Cromdale’ was the name of a house in Rattray where relatives of the Stewart’s lived. The score published in Tocher is handwritten and each verse has different variations which makes it particularly difficult to decode. Every effort has been made to do so accurately and to take proper account of the different variations for each verse. To that end each verse has been presented separately here. ‘Cromdale’ is the name of a relative’s house in Rattray. The notes included in Tocher state that it was sung a third lower than is shown in the score. In view of these complications it is recommended that anyone wishing to perform the song listens carefully to Sheila singing her composition, which can be done using the web address provided below. http://www.tobarandualchais.co.uk/play/11380

The score is shown overleaf.

76 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

= 75 (approx) Very free 3 4 Noo my fath er's name is Al ec And my moth er's name is Belle, And I 5 am their young est daugh ter And I dear ly love them well, For they are both kind and 10 gent le And to me their love is true, And I'll nev er find no oth er one To take the pla ce of you.

3 2 3 2 3 4 4 4 4 4 Noo I have a bro ther An dy And I have a bro ther 4 3 3 2 4John; But we lost the dearest friend we had For our 4gran ny she is 4 8 3 4 gone: But sad mem' ries still they lin ger As it comes an o ther 12 2 4 year, For she al ways had a kind ly word And kept us all in cheer.

3 4 Noo there is a place caa'd crom dale No- o ve ry far frae 4 here, And the folk that live in Crom dale Tae me will aye be 8 DRAFT dear, For they nursed me when in child hood 'Twas in the days of 12 2 3 4 4 yore And I'll al ways get a wel come When I gang to Don ald's door.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

78 Chapter 4

New Music from the Berry Fields of Blair

Times have changed since Hamish was collecting traditional songs during the berry picking seasons of the 1950s, and now berry pickers flock to ‘the berry fields of Blair’ from all across Europe, and further afield. They have brought their own songs to enrich the musical harvest and several who came to Blairgowrie or Rattray to help harvest the berries have stayed to become permanent residents and members of our community. In addition, our membership of the European Union has resulted in a further enrichment of our heritage. Former residents of some other European countries now call Blairgowrie or Rattray ‘home’; while some of the care homes that take advantage of our temperate climate benefit from help provided by people who used to live in the Philippines. This chapter is devoted to the songs of all these new residents.

79 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.1 Hej Sokoly

This folk song comes from the region of the border of Poland with Ukraine and tells of the grief of a young man riding to war and leaving his sweetheart behind. You can hear it on the website below. https://www.youtube.com/watch?v=jhaTXWEVgHA

4.1.1 Polish Version of the song

Hej, tam gdzies z nad czar- nej wody Wsi- ada na kon koz- ak ml- ody. Wie- ele dzie- wczat jest na swiec- ie, Le- cz najwi- ecej w Uk- ra- inie. Zal, zal za dz- iew- cz- yn- a, Za zie- lo- na Uk- ra- i- nie, Wi- na, wi- na, wi- na daj- cie, A jak um- rre poc- h- waj- cie q q q q q q q q q q q q

5 Czule zeg- na sie z dzie- wczy- na, Je- sz- cze czu- lej z Uk- ra- i- nie. Tam me serce poz- ost- al- o, Pr- zy koch- an- ej mej dzie- wczy- nie. Zal, zal serce placze, J- u- z je- j wi- e- ce- jn- ie zo- ba- c- ze. Na zie- lon- ej U- kra- in- ie Pr- zy koch- an- ej mej dzie- wczy- nie. q q q q q q

9 q q Hej, hej, hej so- ko- ly O- mi- jaj- cie g- ry, la- sy, do- ly. Dzwon, dzwon, dzw- q q

14 1. 2. on dzwo- nec- zku, Moj step- owy sko- wro- nec- zku, Dzwon, dzwon, dzwon. Dzwon, dzwon.q q q q q

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.1.2 Scottish Version: ‘Hey Falcons’

Some- where from below the black loch A young soldier Weep- ing weep-ing for the mai- aid- en Weep- ing for the She, she- e re- main- ed the- ere My little swa- Wine, wine, wine, wine - give it to me And when I

4 mounts his stal- ion; He has bid farewell to his sweet- green Uk- ra- aine Weep- ing, weeping my heart is weep- llow, my baby i- in the green U- u -kra die bury me i- in the green U- u -kra 7 heart And said farewell un- to U- kra- aine. Hey hey hey the falcons ing I will never se- e you again Hey hey hey the falcons -aine At my be- love- ed girl's pla- ace Hey hey hey the falcons -aine At my be- love- ed girl's pla- ace Hey hey hey the falcons 11 Passed the mountains forests and the coal mines Ring, ring, ring my Passed the mountains forests and the coal mines Ring, ring, ring my Passed the mountains forests and the coal mines Ring, ring, ring my Passed the mountains forests and the coal mines Ring, ring, ring my

14 1. 2. little be- ell In the gra- ass la- ands Ring, ring, ring, ring. Ring, ring. little be- ell In the gra- ass la- ands Ring, ring, ring, ring. Ring, ring. little be- ell In the gra- ass la- ands Ring, ring, ring, ring. Ring, ring. little be- ell In the gra- ass la- ands Ring, ring, ring, ring. Ring, ring.

Music engraving by81 LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.2 Katerino Mome

This is a very popular Bulgarian love song for which there are several recordings.

2 4 Ka- te- ri- no mome, Ka- te- ri- no 9 Za- sto si tolkoz mome hu- ba- va, 17 Kak- va te majka - mome, raz da la 25 kakva si voda mome ti pi la

Bulgarian Lyrics Scottish Words Katerino mome, Katerino! Catherine, young lass, Catherine, Katerino mome, krotkoj agne! Catherine, young lass, you meek lamb! Zato si tolkoz mome hubava? Why are you, young lass, so beautiful? Zato si tolkoz mome gizdava? Why are you, young lass, so well dressed? Ja sm si milo libe hubava. I’m, my love, beautiful, Ja sm si milo libe gizdava. I’m, my love, so well dressed, Oti sm rastla libe v planina. Because I grew up in the mountain. Oti sm rastla libe v Pirina. Because I grew up in the Pirin. Kakva si voda mome, si pila? What kind of a water, young lass, you’ve drunk? Kakva si treva mome, gazila? What kind of a grass, young lass, you’ve walked on? Kakva te e majka mome radala? What kind of a mother, young lass, gave birth to you? Kakva te e majka mome gledala? What kind of a mother, young lass, have raised you? Pirinska voda, libe, sm pila, I’ve drunk, my love, water from Pirin planinska treva, libe gazila, I’ve walked on, my love, a grass of Pirin Majka pirinka me e gledala, A mother from Pirin has raised me, blgarska majka me e radala. A Bulgarian mother gave birth to me. Blgarska majka me e radala! A Bulgarian mother gave birth to me!

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The score for Katerino Mome, and that of many other Bulgarian songs, can be found on the website below. https://www.8notes.com/world/bulgaria.asp

Thy lyrics, together with a recording of the song, can be found on the website below. http://lyricstranslate.com/en/katerino-mome-%D0%BA%D0%B0%D1%82%D0%B5%D1%80%D0%B8%D0%BD%D0%BE-%D0%BC%D0%BE%D0%BC%D0%B5-katerino-mome.html

83 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.3 Polish Lullaby

3 4 Lu- laj- ze Je- zu niu moja per- el- ko, Lu- laj- u- lu- bio - ne me pie- sci 8 del- ko. Lu- laj- ze - Je- zu niu lulaj- ze, lulaj, A ty- go ma- tu - lu wpla- czu u- 16 tu- laj. Lu- laj- ze - Je- zu- niu lulaj- ze lulaj, A ty- go ma- tu - lu wpla- czu u- lulaj

Polish Lyrics Scottish Words Lulaj˙ze,Jezuniu, moja pereko, Lullaby, little baby Jesus, my little pearl, Lulaj ulubione me piecideko. Lull, my favourite little cuddly one. Refrain: Chorus: Lulaj˙ze,Jezuniu, lulaj˙ze,lulaj, Lullaby, little baby Jesus, lullaby, lull, A ty, Go Matulu, w paczu utulaj. And you, the mama, calm him down when crying. Zamknij˙zeznuone paczem powieczki, Close your little eyelids, weary from weeping, Utule zemdlone kaniem usteczki. Relax your little lips, tired from sobbing. Refrain Chorus Lulaje, piekniuchny nasz Anioeczku, Lullaby, our most lovely little angel, Lulaje,wdziczniuchny wiata kwiateczku. Lullaby, the most enchanting little ﬂower in the world. Refrain Chorus Lulaje, ryczko najozdobniejsza, Lullaby, the most gorgeous little rose, Lulaje, lilijko najprzyjemniejsza. Lullaby, the most pleasant little lily. Chorus Refrain Lullaby, lovely little star delighting our eyes, Lulaje, przeliczna oczom gwiazdeczko, Lullaby, the most beautiful little sun in the world. Lulaj, najliczniejsze wiata soneczko. Chorus Refrain Cyt, cyt, cyt wszyscy sie spa zbierajcie, Hush, hush, hush, everyone get ready for bed, Mojego dziecitka nie przebudzajcie. Don’t wake up my little baby. Refrain Chorus

The music for this song can be found, and the score played, on the following website. https://musescore.com/user/20029/scores/34202 The lyrics can be found on the website below http://www.mamalisa.com/?t=es&p=3616 The song can be heard on the website below

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book https://www.youtube.com/watch?v=y6umHA47qs4

85 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.4 Lipka

‘Lipka’, in Polish, means ‘Little Linden’ and refers to the tree of that name. Only Polish, Scottish and Czech versions are provided here, in line with the local communities. While the score provided here should fit the Polish words, there is no guarantee that the Scottish or Czech versions fit the score. It should be noted that, while the Polish lyrics, provided on the website listed below, present five verses each with six lines, the English translation presents eight lines in the fourth verse - a feature that is repeated in the Czech translation. An attempt has been made to modify the Scottish version to fit the six line arrangement of the score. No such attempt has been made for the Czech version. The score can be found, and heard, on the website below. https://musescore.com/user/161815/scores/2513136 The lyrics can be found, together with the song sung in Polish, on the website: http://lyricstranslate.com/en/lipka-little-linden.html

2 £ 4 £

8 £

Polish Lyrics. Z tamtej strony jeziora Jeden mówi:“Ty´smoja” Stoi lipka zielona Drugi mówi:“Jak Bógda” A na tej lipce, na tej zielonieńkiej A trzeci mówi:“Moja najmilejsza, Trzej ptaszkowie ´spiewaja Czemu Ty´smi taka smutna ?” A na tej lipce, na tej zielonieńkiej A trzeci mówi:“Moja najmilejsza, Trzej ptaszkowie ´spiewaja Czemu´sTy´smi taka smutna ?” Nie byli to ptaszkowie “Jake nie mam smutna być? Tylko trzej braciszkowie Za starego ka i´sć Co si spierali o jedn dziewczyn Czasu niewiele Jeszcze dwie niedziele Któryci j dostanie moge mi lyz Tob być! Co si spierali o jedn dziewczyn Czasu niewiele Jeszcze dwie niedziele Któryci j dostanie mog mi lyz Tob być!

Z tamtej strony jeziora Stoi lipka zielona A na tej lipce, na tej zieloniekiej Trzej ptaszkowie ´spiewaj A na tej lipce, na tej zieloniekiej Trzej ptaszkowie ´spiewaj

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Scottish Words

On the other side of the lake One says: “You are mine” There’s a little green linden tree The second says: “God willing” In this little linden, in this green one And the third one says: “My dearest, Three birdies are singing Why are you so sad?” In this little linden, in this green one And the third one says: “My dearest girl, Three birdies are singing Why are you so sad?” They weren’t birdies “How can I be not sad? But three brothers They tell me to marry an old man That were arguing about one girl There’s little time, Two Sundays more Which one will get her I can be with you, dear! That were arguing about one girl There’s little time Two Sundays more Which one will get her I can be with you, dear!”

On the other side of the lake There’s a little green linden tree In this little linden, in this green one Three birdies are singing In this little linden, in this green one Three birdies are singing. Czech Words

Z jednéstrany jezera Druhýprav´ı:“Jak B˚uhdá” stoj´ılipka zelená. Tˇretˇrká:“Moje nejmilejˇs´ı, A na télipce zelené pro˘cˇzetak smutnájsi?” Zp´ıvaj´ıtˇriptá˘ckové. Tˇretˇrká:“Moje nejmilej´s´ı, A na télipce zelené pro˘cˇzetak smutnájsi?” Zp´ıvaj´ıtˇi ptá˘ckové. “Jak jánemm smutnábýt, Nebyli to ptá˘cci za staréhoká´zjt. Byli to tˇribratˇri Casu˘ uˇzmoc nezbývá Hádalise o dˇev˘ce Jenom dvˇenedle Kterýz nich ji dostane mohu s Tebou milýbýt Hádalise o dˇev˘ce Casu˘ uˇzmoc nezbývá Kterýz nich ji dostane Jenom dvˇenedˇele mohu s Tebou milýbýt Jeden ˇrká:“Ty jsi má”

Z jednéstrany jezera stoj lipka zelená. A na télipce zelené Zpvaj tˇriptá˘ckové. A na télipce zelené Zpvaj tˇriptá˘ckové.

87 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.5 JáHusaárekMalý

This simple Czech folk song has been translated into Polish, English and Ukrainian. Only Czech, Polish and Scottish versions are provided here, in line with our local communities.

2 4 Ja husa- rek ma- ly boty roz- tr- ha- ny 5 ja na vojnu ne- po- je- du az bu- du mit no- vy.

Czech Lyrics Scottish Lyrics Polish Lyrics Jáhusárek malý I, a little hussar Ja ˙zolnierzykma ly, boty roztrhaný with ragged shoes, buty mam podarte, jána vojnu nepojedu won’t enter the army, na wojne nie pojade, aˇzbudu mt nový. until I get a new pair. pókinie bd miećnowych. Tat˘cekto slyˇsel Once my father heard it, Tatu´sto usysza l, hned z kom˚urkyvyˇsel he came out of his room, i z komórkiwyszedl, boty mi dal udˇelaty he had new shoes made for me buty mi naprawil, jána vojnu musel. and I had to go to the army. i na wojne i musialem. Jáhusarka malá I, a little hussar girl Ja ˙zolnierka ma la, mezi husarama among the hussars, midzy o lnierzami, husar˚uje kumpany je many hussars, much company olnierzys tysice, a jájedna sama. and me - alone a ja jedna sama. Kdyby bylo jeˇstˇe If there still were Gdyby bylojeszcze, tˇech husar˚udvˇestˇe only two hundreds of those hussars, tych ˙zolnierzydwie´scie, jábych se jim postavila I would face them ja bym sie im postawila, jako ˇsvarnédˇev˘ce. like a bonny maiden. jako szwarne dziewcze.

The lyrics can be found on site below http://lyricstranslate.com/en/czech-folk-j%C3%A1-hus%C3%A1rek-mal%C3%BD-lyrics.html

And the score on this site: https://musescore.com/user/12569516/scores/2749081

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.6 A Na Medzi Ceresenka

This Slovak folk song has a cheerful tune. Sadly, I have been unable to ﬁnd an English translation of the words. I include it here because I suspect it relates to cherries - a theme that seems appropriate for Blairgowrie and Rattray. Unfortunately I have been unable to ﬁnd a reliable translation of the word ‘Ceresenka’. ‘Medzi’ seems to translate as ‘among’ - so the song may be ‘Among the Cherry Blossom’.

2 £ £ 4 £ £ A na medzi cere- sen- ka a pod medzu dva. Pre- spa- 6 £ £ £ £ lo se svarne dzif- ce na mne po- ve- da.

Slovak Lyrics A na medzi ˘cereˇseˇnka, a pod medzu dva A na medzi ˘cereˇseˇnka, a pod medzu dva Prespalo ´seˇsvarne dzif˘ce,na mˇnepoveda Na keho bim povedala, ket ˇnena tebe Na keho bim povedala, ket ˇnena tebe Sakˇ ´sidˇnoval i nocoval a ja pri tebe No´sil´simi do poscei ˘cervene vino No´sil´simi do poscei ˘cervene vino Zebiˇ chlapca nekerscii na tvojo meno Zebiˇ chlapca nekerscii na tvojo meno Darmo chodzi´s,darmo no´si´s˘cervene vino Darmo chodzi´s,darmo no´si´s˘cervene vino Uˇzje chlapec pokersceni na tvojo meno Uˇzje chlapec pokersceni na tvojo meno

You can hear this song on the website below. https://www.youtube.com/watch?v=4hv4whyKpqg You can ﬁnd the score on the website below. https://musescore.com/user/186411/scores/340721

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.7 Casuta Noastra

Casuta Noastra is a Romanian folk song. It means ‘Our Cottage’. No attempt has been made to ﬁt the Scottish words to the music.

2 4 Ca sa mi te fac ne- vas- ta Am dus viata de na pas- ta Si cu lumea ma- mcer 7 tat Ca o ga- ro- fi- ta'n glastra In- flo- rea casu- ta noastra Dar tu draga ai ple- 15 cat Ca- su- ta noas tra Cui- bu- sur de ne- bu- nii Te as teap- ta ca sa vii 24 1. 2. C- su- ta noastra Un- de 'ntai ne'am sa- ru- tat Plan- ge doru nen- ce- tat tat

Romanian Lyrics

Ca sa mi te fac nevasta Pentru o salba de margele Am dus viata de napasta Apucasi pe drumuri rele Si cu lumea m-am certat Nimeni nu te-a suparat Ca o garofita in glastra Mi-ai lasat ca bucurie Inflorea casuta noastra Doru’ care ma sfasie Dar tu draga ai plecat Si un suflet intristat Refren: Refren: Casuta noastra De-ai sa vii draga fetita Cuibusor de nebunii Am sa-ti iau fusta pestrita Te asteapta ca sa vii Ca sa crape lumea zau Casuta noastra O naframa matasoasa Unde-ntai ne-am sarutat Tu sa fii cea mai frumoasa Plange doru’ ne-ncetat Si mai mandra-n satul tau Refren Refren:

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Scottish Words

To make you my wife, For a necklace of beads, I lived a disastrous life, I went on bad roads, And I quarreled with the world, Nobody upset you, Like a picotee1 in a vase, You’ve left me as joy Our cottage ﬂourished, Longing that rips me But you my dear left And a grieved soul Refrain: Refrain Our cottage, For you to come dear girl Love nest, I’ll buy you a mottled skirt Is waiting for you to come, So the world bursts with envy Our cottage, And silk handkerchief Where we ﬁrst kissed, You’ll be the most beautiful Longing is crying ceaseless And most proud in your village Refrain

The music score for this song can be found on the web site with the address below. https://musescore.com/user/5688751/scores/1740926#

The lyric were found on the site with the address below, where there is also a link from which you to hear the song. http://lyricstranslate.com/en/casuta-noastra-our-cottage.html

1A picotee is a type of carnation

91 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.8 Usahay

This Philippino folk song is included to acknowledge the excellent work that those of our friends who originate from the Philippines, carry out looking after our elderly in the various care homes found in Blairgowrie and Rattray. The song is a Visayan song. Visayas is one of the Philippines’ 3 main island groups. No attempt has been made to ﬁt the Sottish words to the music.

3 4 U- sa- hay, na- ga- dam- go a- ko, nga i- kaw ug a- ko nag- ka- hi- 7 gug- ma ay, ug- nga- nong dam- go- hon ko i- ka, dam- go- hon sa ka- 14 hu- nay sa 'kong ka- mi- ngaw, U- sa- hay na- ga- ma- hay a- ko, 21 nganong gi- ta- lik dan mo ang pa- num- pa- an ug- nga- nong 27 gi- ti- aw ti a- wan ang gug- ma ko ka ni- mo, ka- ni- mo lang.

Filipino (Visayan) Lyrics Usahay, nagadamgo ako Nga ikaw ug ako nagkahigumaan Nganong damguhon ko ikaw Damguhon ko kanunay sa akong kamingaw Usahay, nagamahay ako Nganong nabuhi pa Nianing kalibutan Kay nganong gitiawtiawan Ang guma ko kanimoKanimo, da Nga ikaw ug ako nagkahigumaan Nganong damguhon ko ikaw Damguhon ko kanunay sa akong kamingaw Usahay, nagamahay ako Nganong nabuhi pa Nianing kalibutan Kay nganong gitiawtiawan Ang guma ko kanimo Kanimo, da.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Scottish Words Sometimes I am dreaming That you and I love each other Why are you the one I dream of Always dream of my loneliness Sometimes I’m disappointed Why still live in this world Why jest about it My love is for you, only you That you and I love each other Always dream of my loneliness Sometimes I’m disappointed Why still live in this world Why jest about it My love is for you, only you The music can be heard on the web address below. https://musescore.com/user/280191/scores/259391

While the lyrics can be found on the website with the address below. https://www.scribd.com/doc/162931031/Usahay-Lyrics-in-English-Version

A version of this song can be heard by using the web address below. https://www.youtube.com/watch?v=sszDhkX-dQI

A second version can be heard on the site below https://www.youtube.com/watch?v=VwPwY97e3PU

While a third version can be heard using the address below. https://www.youtube.com/watch?v=yII-QHxkn0E

A karaoke version is available on the website listed below. https://www.youtube.com/watch?v=iS5bHsX5fGY

A tutorial on the Visayan language can be found using the web address below. https://www.youtube.com/watch?v=qSaK4IB81yo

93 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.9 Dandansoy

‘Dandansoy’ is another traditional Visayan folk song from the Philippines. It is presented here in the Tagalog language. Tagalog is the first language of about twenty five percent of the population of the Philippine islands, and is spoken as a second language by the majority of the population. Along with English, standard Tagalog is regarded as the national language. No attempt has been made to fit the Scottish words to the music.

3 q q q 4 q q Dan- dansoy i- i- wan ko i- kaw,q Ba- ba- lik a- ko sa Pa- yaw, 9 q q q q q q kung i- big mo a- kong ma- ta- naw, ay doon mo a- ko pa- ru- han

Tagalog Lyrics Dandansoy iiwan ko ikaw, Babalik ako sa Payaw, kung ibig mo akong matanaw, ay doon mo ako paruhan Kung sakaling i ka’y maglakbay at dalawin mo ang panay kung sakaling i ka’y mauna, hukayin ang tubig sa dahan.

Visayan Lyrics Scottish Words Dandansoy, bayaan ta ikaw Dandansoy, I’d like to leave you, Pauli ako sa payaw I’m going back home to Payao. Ugaling kung ikaw hidlawon Though if you yearn for me, ang payaw imo lang lantawon. Just look towards Payao. Dandansoy, kung imo apason Dandansoy, if you follow me, Bisan tubig di magbalon Don’t bring even water. Ugaling kung ikaw uhawon Though if you get thirsty, Sa dalan magbubon-bubon. Dig a well along the way. Kumbento, diin ang cura? Convent, where’s the priest? Munisipyo, diin justicia? City Hall, where’s justice? Yari si dansoy makiha. Here is Dandasoy, charged Makiha sa pag-higugma, Charged with falling in love. Ang panyo mo kag panyo ko Your handkerchief and my handkerchief Dal-a diri kay tambihon ko Bring them here, as I’ll tie them together Ugaling kung magkasilo For if they interweave Bana ta ikaw, asawa mo ako. May you be my husband, I your wife.

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The score for this song, with the Tagalog lyrics provided here, can be found on the website below. https://musescore.com/user/280191/scores/259371

The words can be found on the website below. http://lyricstranslate.com/en/dadansoy-dandansoy.html

A recording of this song can be heard on the website with the address given below. https://www.youtube.com/watch?v=2AzCMgAlxyY&feature=youtu.be

Other folk songs from the Philippines, in the Tagalog language, can be found (and listened to) on the website below. http://tagaloglang.com/music/tagalog-folk-songs

95 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.10 Cetvorno Sopsko Horo

This is a traditional Bulgarian song that, as is common with Bulgarian folk songs, forms the accompaniment to a dance. It is a popular song and there are several recordings available, including ones in which the singers also perform a traditional dance.

7 8 Ho- dih do- lo ma- mo, ho- dih go- rja Nij- de 6 se- lo ma mo, ne name- rih, Ka- lo se lo 11 ma- rij- ki- no, Ma- rij- ki- no ma- mo, Ma- ri no

The website below shows the dance performed at an informal gathering not dissimilar to a Scottish Ceilidh. https://www.youtube.com/watch?v=ARvgqe9fkCM

A more professional performance can be viewed on the site below, http://wmp3.xyz/play/1006034/FQb2bj1vgW4.html while the score, and that of many other Bulgarian songs, can be found on the website below. https://www.8notes.com/world/bulgaria.asp

A more sophisticated score can be found on the website below. http://archive.folx.org/tune/cetvorno-sopsko-horo-2362

Dance instructions (in English) can be found on the website below. http://www.folkdancenotes.com/dancenotes/chetvorn.htm

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.11 Katerino Mome

This is a very popular Bulgarian love song that has been recorded several times.

2 4 Ka- te- ri- no mome, Ka- te- ri- no 9 Za- sto si tolkoz mome hu- ba- va, 17 Kak- va te majka - mome, raz da la 25 kakva si voda mome ti pi la

Bulgarian Lyrics Scottish Words Katerino mome, Katerino! Catherine, young lass, Catherine, Katerino mome, krotkoj agne! Catherine, young lass, you meek lamb! Zato si tolkoz mome hubava? Why are you, young lass, so beautiful? Zato si tolkoz mome gizdava? Why are you, young lass, so well dressed? Ja sm si milo libe hubava. I’m, my love, beautiful, Ja sm si milo libe gizdava. I’m, my love, so well dressed, Oti sm rastla libe v planina. Because I grew up in the mountain. Oti sm rastla libe v Pirina. Because I grew up in the Pirin. Kakva si voda mome, si pila? What kind of a water, young lass, you’ve drunk? Kakva si treva mome, gazila? What kind of a grass, young lass, you’ve walked on? Kakva te e majka mome radala? What kind of a mother, young lass, gave birth to you? Kakva te e majka mome gledala? What kind of a mother, young lass, have raised you? Pirinska voda, libe, sm pila, I’ve drunk, my love, water from Pirin planinska treva, libe gazila, I’ve walked on, my love, a grass of Pirin Majka pirinka me e gledala, A mother from Pirin have raised me, blgarska majka me e radala. A Bulgarian mother gave birth to me. Blgarska majka me e radala! A Bulgarian mother gave birth to me!

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The score for Katerino Mome, and that of many other Bulgarian songs, can be found on the website below. https://www.8notes.com/world/bulgaria.asp

Thy lyrics, together with a recording of the song, can be found on the website below. http://lyricstranslate.com/en/katerino-mome- %D0%BA%D0%B0%D1%82%D0%B5%D1%80%D0%B8%D0%BD%D0%BE- %D0%BC%D0%BE%D0%BC%D0%B5-katerino-mome.html

98 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.12 Mu isamaa on minu arm

This popular Estonian song had its premier at the ﬁrst Estonian Song Festival in 1869. The lyrics are a poem by Lydia Koidula which was set to music, specially for the festival, by Aleksander Kunileid. The song is often confused with the Estonian national anthem, as the ﬁrst lines of both songs are virtually identical.

4.12.1 Version by Alexsander Kunileid

mf f 2 4 Mu i- sa- maa on minu arm, kel sű -dant annud ma, sull' laulan ma, mu Mu i- sa- maa on minu arm, ei teda jȁ -ta ma, ja peaksin sada Mu i- sa- maa on minu arm, ja tahan pu- ha- ta Su rűp -pe heidan 2 4 mf f 6 p pp ű -lem õnn, mu õit -sev Ees- ti maa! Su valu sű -dames mul keeb, su surma ma sec- pȁ -rast sure- ma! Kas laimab võõ -ra ka- de- dus, sa u- ne- le, mu pu- ha Ees- ti maa! Su linnud und mull' lau- la- vad, mu Su valu su da- Kas laimab ka- de- Su linnud lau- la- p 11 ff f mf õnn ja rõõm mind rõõm -saks teeb, siiski e- lad sű -dames, mu i- sa- maa, mu i- sa- maa, mu i- sa- maa! põr -must lilled õit -se- tad, mes, su rõõm mind dus, sa e- lad vad mu'st lilled ff f mf

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Estonian Poem by Lydia Koidula Translation Mu isamaa on minu arm, My fatherland is my love, kel sdant annud ma. To whom I’ve given my heart. Sull’ laulan ma, mu lem nn, To you I sing, my greatest happiness, mu itsev Eestimaa! My ﬂowering Estonia! Su valu sdames mul keeb, Your pain boils in my heart, su nn ja rm mind rmsaks teeb, Your pride and joy makes me happy, mu isamaa, mu isamaa! My fatherland, my fatherland!

Mu isamaa on minu arm, My fatherland is my love, ei teda jta ma, I shall never leave him, ja peaksin sada surma ma Even if I must die a hundred deaths see prast surema! Because of him! Kas laimab vra kadedus, Though foreign envy slander you, sa siiski elad sdames, You still live in my heart, mu isamaa, mu isamaa! My fatherland, my fatherland!

Mu isamaa on minu arm, My Fatherland is My Love, ja tahan puhata, And I want to rest, su rppe heidan unele, To lay down into your arms, mu pha Eestimaa! My sacred Estonia! Su linnud und mull’ laulavad, Your birds will sing sleep to me, mu prmust lilled itsetad, Flowers will bloom from my ashes, mu isamaa, mu isamaa! My fatherland, my fatherland!

The score for this version was taken from the site https://musescore.com/user/13467/scores/23278

You can hear this version on the site below https://www.youtube.com/watch?v=7lW_qm6JtYQ

100 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

14.12.2 Mu Version Isamaa by Gustav Trial Ernesaks

Å = 66 mf f ÅÅ ÅÅ Å Å Å 3 ÅÅ ÅÅ ÅÅÅÅ ÅÅ ÅÅ 2 Å 3 4 ÅÅ ÅÅ ÅÅ 4 4 Mu i- sa- maa on minu arm, kel sű -dant annud ma. Sull' Mu i- sa- maa on minu arm, ei teda jȁ -ta ma, ja Mu i- sa- maa on minu arm, ja tahan pu- ha- ta su ÅÅ ÅÅ 3 ÅÅ ÅÅ ÅÅ ÅÅ ÅÅ 2 Å Å 3 Å 4 ÅÅ ÅÅ ÅÅ ÅÅ 4 Å Å 4 Å mf

5 Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å ÅÅ Å Å laulan ma, mu ű -lem õnn, mu õit -sev Ees- ti- maa! Sull' peaksin sada surma ma see- pȁ -rast sure- ma, ja rűp -pe heidan u- ne- le, mu pű -ha Ees- ti- maa, su Å Å Å Å Å Å Å Å Å Å Å ÅÅ ÅÅ Å Å Å Å Å Å ÅÅ Å mp 9 Å Å Å Å ÅÅ Å Å Å Å ÅÅ Å Å Å Å Å ÅÅ Å Å Å ÅÅ Å laulan ma, mu ű -lem õnn, mu õit -sev Ees- ti- maa! Su valu peaksin sada surma ma see- pȁ -rast sure- ma! Kas laimab rűp -pe heidan u- ne- le, mu pű -ha Ees- ti- maa! Su linnud Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å ÅÅ ÅÅ Å Å Å Å Å Å Å ÅÅ mp

13 mf f ÅÅ ÅÅ Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å sű -dames mul keeb, su õnn ja rõõm mind rõõm -saks teeb, su võõ -ra ka- de- dus, sa siiski e- lad sű -dames, sa und mull' lau- la- vad, mu põr -must lilled õit -se -tad, mu ÅÅ ÅÅ Å Å Å Å Å Å Å ÅÅ Å Å Å Å Å Å Å Å Å mf f

17 fff Å Å Å Å Å Å Å ÅÅ Å Å ÅÅ Å Å Å ÅÅ Å Å Å õnn ja rõõm mind rõõm -saks teeb, mu i- sa- maa, mu i- sa- maa, siiski e- lad sű -dames, mu i- sa- maa, mu i- sa- maa, põr -must lilled õit -se -tad, mu i- sa- maa, mu i- sa- maa, Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å fff

101

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

You can hear this version on the site below. https://www.youtube.com/watch?v=34mYlYkzPVU

102 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.13 Lapsuuden Toverille

The Blairgowrie and Rattray - Finnish community is not a large one, but it does exist and this song acknowledges that fact. The last two lines of each verse are repeated. This is only indicated in the ﬁrst verse below.

3 £ £ 4 Sä kas voit nei to kau noi nen, i sä si ma jas sa kuin kuk ka 10 1. 1. 2. 2. £ £ £ ka- u nis, su lo- i nen vih reel la nur mel la ku- u- in. la

Finish Lyrics Scottish Words S kasvoit, neito kaunoinen, You grew up, oh fair maiden issi majassa, In your father’s house kuin kukka kaunis, suloinen Like a ﬂower, pretty and sweet, vihreell nurmella, On a green lawn kuin kukka kaunis, suloinen Like a ﬂower, pretty and sweet, vihreell nurmella. On a green lawn

Lapsuutes ajan hellimmn The gentlest time of your childhood s leikit kanssani, You spent playing with me ja olit paras ystvn And you were my best friend ja ainoo iloni. And my only joy.

Maailma sitten vieroitti Then the world estranged pois meidt toisistaan, Us from each other vaan sua, armas ijti, But you, oh beloved ma muistan ainiaan. I shall always remember

The score was taken from the site below https://musescore.com/user/1524641/scores/1136331

The Finnish lyrics (P. J. Hannikainen, 1854 - 1924) were taken from the website below https://fi.wikisource.org/wiki/Lapsuuden_yst%C3%A4v%C3%A4lle

You can hear this song, performed by the Hatsune choir, on the website below. The English words were taken from this site https://www.youtube.com/watch?v=fJogAud0Ve0

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.14 A Riddle Wisely Expounded

By far the largest immigrant population in Blairgowrie and Rattray comes from England. It would not be possible to adequately reflect the contribution they make to our community by including an appropriate number of English songs, so I have included only one. There are so many beautiful English folk songs that it was impossible to choose a particular one, so I have simply included the first song listed in Child Ballands [2]. The refrain lines are repeated after the lines of each verse. Refrain 1 after the first line and Refrain 2 after the second.

3 2 3 4 4 4

4 2 3 4 4

There was a lady of the North Country, Now you have had your will, quoth she, Refrain 1: Lay the bent to the bonny broom I pray, sir knight, will you marry me? And she had lovely daughters three. The young brave knight to her replyed, Refrain 2: Fa la la la, fa la la la ra re Thy suit, fair maid, shall not be denyd. There was knight of noble worth If thou canst answer me questions three, Which also lived in the North. This very day will I marry thee. The knight, of courage stout and brave, Kind sir, in love, O then, quoth she, A wife he did desire to have. Tell me what your [three] questions be. He knocked at the ladies gate O what is longer than the way, One evening when it was late. Or what is deeper than the sea? The eldest sister let him in, Or what is louder than the horn, And pind the door with a silver pin. Or what is sharper than a thorn? The second sister she made his bed, Or what is greener than the grass, And laid soft pillows under his head. Or what is worse then a woman was? The youngest daughter that same night, O love is longer than the way, She went to bed to this young knight. And hell is deeper than the sea. And in the morning, when it was day, These words unto him she did say:

104

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

And thunder is louder than the horn, And having [truly] tryd her wit, And hunger is sharper than a thorn. He much commended her for it. And poyson is greener than the grass, And after, as it is veriﬁd, And the Devil is worse than woman was. He made of her his lovely bride. When she these questions answered had, So now, fair maidens all, adieu, The knight became exceeding glad. This song I dedicate to you. I wish that you may constant prove Unto the man that you do love.

In this book it is only ﬁtting that this song, although listed here as a tribute to the members of our community that come from England, should be sung by a Scot. You can hear the late Jean Redpath singing this song on the website below. Prof. Bronson lists seven variants of this ballad, and the variant Jean sings is diﬀerent from the one presented above.

https://www.youtube.com/watch?v=XqA4Eh1Ik4g

105 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

4.15 Carrickfergus

The links between Scotland and Ireland go back centuries, and both nations can lay legitimate claim to several songs that are traditional on both sides of the Irish Sea. Perhaps one of the most well known that is popular in both nations, and across the Atlantic, is ‘Carrickfergus’.

3 I wish I was in Car- rick Fer- gus only for My childhood days bringçback sad reflect- tions of happy 4 3 nights in Bal- ly- grand. I would swim o- ver the deepest times so long a- go. My boyhood friends and my own re- 7 3 3 o- cean only for nights t'be by your side. la- tions have all past onçnow like melting snow. 3 3 But the sea is wide and I cannot swim o- ver. And neither But I've spent my days i- in e- endless roving. Soft was the 3 have I the wings to fly. Wish I could find me a han- dy grass, - my bed for free. Oh but I'm sick now and myçdays are 3 boat- man to fe- ry me o- ver to my love and die. num- bered. Come a- all ye young men and - lay me down.

The music presented here was taken from the website below. https://musescore.com/user/19016846/scores/3895651

106

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The music site indicated overleaf sets only the ﬁrst two verses to the music. A further verse can be found on the site below, and is presented here for convenience https://play.google.com/music/preview/ Traffts2kdsfcrehebtwikvofn4?lyrics= 1&utm_source=google&utm_medium=search&utm_campaign= lyrics&pcampaignid=kp-lyrics

I wish I was in Carrickfergus Only for nights in Ballygrand I would swim over the deepest ocean Only for nights t’be by your side But the sea is wide and I cannot swim over And neither have I the wings to ﬂy I wish I had a handsome boatsman To ferry me over my love and I My childhood days bring back sad reﬂections Of happy times there spent so long ago My boyhood friends and my own relations Have all past on now with the melting snow So I’ll spend my days in this endless roving Soft is the grass and shore, my bed is free Oh to be home now in carrickfergus On the long rode down to the salty sea Now in Kilkenny it is reported On marble stone there as black as ink With gold and silver I would support her But I’ll sing no more now til I get a drink Cause I’m drunk today and I’m seldom sober A handsome rover from town to town Ah but I’m sick now my days are number Come all me young men and lay me down Come all me young men and lay me down.

A number of singers have loaded their presentations of this song on youtube. You can ﬁnd one below. https://www.youtube.com/watch?v=4JMRYTtuMaE

107 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

108 Chapter 5

Scots Songs Collected By Hamish Henderson from other Regions

It seems ﬁtting to open this section with a song that has a strong link to one of the industries that used to thrive in Blairgowrie and Rattray. The buildings of the Old Jute Mill on the Haugh Road, powered by the River Ericht, are still standing (though mainly unoccupied) and may be developed, probably for residential use, in the near future. The jute mill at Keathbank has been converted into ﬂats.

5.1 The Jute Mill Song

This song[1] was composed by Mary Brooksbank (1897- 1978) a mill worker from Dundee1. Mary, like many people from Dundee, now as then, was active in politics. Jute was one of the most difficult fibres to work with. One of the hardest jobs in the trade was combing out (or heckling) the jute to separate the fibres prior to spinning. The politically active hecklers in Dundee would stand at the back of political meetings and shout remarks to (or, more probably, at) the speaker. This custom gave rise to the modern meaning of the word ‘heckling’. You can learn more about the spinning mills and industries in Blairgowrie and Rattray on the website below. http://www.blairathistory.org/Resources/Spinning.pdf

The song presented overleaf appeared in Tocher vol. 50 in the form shown. It was collected by Hamish Henderson and the score was transcribed by Meredith Harley. The ﬁrst eight bars are traditional and are usually sung as a refrain, with the remaining two verses composed by Mary. The song remains popular with folk singers and you can hear other performers on youtube. The shifter was the person who removed full bobbins from the spinning frames and replaced them with empty ones. Ten and nine (ten shillings and nine old pence) was the weekly wage of the mill lassies around 1900 - equivalent to about ﬁfty four new pence in today’s money.

1You can ﬁnd more about Mary in Wikipedia

109 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

= 70 Oh dear me, the mill's gaen fest, the puir wee shi- ters cannae get a rest. 5 Shif- tin' bobbins coorse and fine, they fairly mak ye work for yer ten and nine. 9 Oh dear me, I wish the day was done, a rinnin up and doon the pass in 12 no nae fun, shiftin', piecin' spinnin' warp, weft and twine to 15

feed and clothe my bairnie affen ten and nine. Oh dear me, the world's ill di- vid- end. 19 Them that work the hardest are the least pro- vid- ed, but I'll just bide content- ed, 22 dark days or fine, but there's no much pleasure livin affen ten and nine.

Oh dear me the mills gaein fast, Oh dear me the mills gaein fast, And the pair wee shifters canna get nae rest; And the pair wee shifters canna get nae rest; Shiftin’ bobbins, coorse and fine, Shiftin’ bobbins coorse and fine, They fairly mak ye wark for your ten and nine. They fairly mak ye wark for your ten and nine. Oh dear me I wish the day wis done, O dear me, the warld’s ill divided, Rinnin’ up an doun the pass is nae fun; Them that works the hardest are the least provided; Shiftin’, piecin’, spinnin’ - warp, weft and twine, But I maun bide contented, dark days or fine, Tae feed an’ claith ma bairnies affen ten and nine. There’s no much pleisure livin’ affen ten and nine.

Oh dear me the mills gaein fast, And the pair wee shifters canna get nae rest; Shiftin’ bobbins coorse and ﬁne, They fairly mak ye wark for your ten and nine.

You can hear Mary singing the song, as presented in the score, on the website below. http://www.tobarandualchais.co.uk/fullrecord/58474/1

110

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.2 The Rambling Beauty

This song was recorded in 1952 by Hamish Henderson[1]. It was sung by Willie Mathieson, who lived in Aberdeenshire, and was published in Tocher, Vol. 43.

= 96 3 3 4 4 All ye 'at follow the ramblin beauty,I warn ye awe tak spe-cial care An not 5 3 4 depend on false young weemen, They'll sure to drive ye in- to a snare.

All ye that follow the ramblin’ beauty, Noo she’s married to Prince Oraitor, I warn ye aa tak special care A reckless youth in yonder toon, An not depend on false young weemen; Who neither loves nor yet regards her They’ll sure ti draw ye into a snare. But roams through harlots both night and day. A merchant’s daughter was callèdNancy One day as I was oot a-walkin Dressed in silks and satins fine; My false lover I chanced to spy, For her I had the greatest fancy She bein in a poor condeetion That iver I had for aal womenkin’ And I masel in a thrivin’ state. One day I went to pay’r a visit I put my hand into my pocket An oaffered her a wedding ring. And pullèdout ’twas guineas three, Right scornfully she did refuse it Says “Tak ye that ye false-hertit woman, And said she would have no such thing. D’ye mind hoo false ye was ti me?” She then went straight unto her father, She wrung her hands and she fell-weeping. To let him the aaful story know, Alas, her sorrows were full sore, But he proved crueller than his daughter Says “Once I thought I hed a hert a-keeping, And bade me from his presence go. But now unfort’nate I have been.”

He swore I had his daughter ruined Now aal young weemen, pr’y tak a warnin! And into prison he did me throw, Niver throw your ﬁrst true love away, And there I lived upon bread and water For I’ve seen a dark and dismal mornin’ Till my condition was very low. Turn oot a bright an a bonnie day.

You can hear Willie singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/18173/1

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.3 Wester Badenteer

The song[1] is about the farm at Wester Badentyre, Aberdeenshire, in the late 1890s. It enumerates the farm’s workforce and describes activities taking place on the farm and that were common at the time. It provides an interesting view of farm life in the 1890s.

£ = 108 6 8 In yonder glen there is a farm, it's kent baith faur and near; It's 5 in the shire o' Ai- ber- deen, its name is Ba- den- teer. Come all ye jolly 10 ploo-man lads an' lend ti me your ear, A'll gie ye the names

In yonder glen there is a fairm, it’s kent baith faur and near; It’s in the shire o’ Aiberdeen, its name is Badenteer. Come all ye jolly plooman lads an’ lend ti me your ear, A’ll gie ti ye the names o’ aa wha are at Badenteer.

‘Tis o’ the heairst o’ ninety-sax ti you A mean ti tell: A’ll gie a rhyme ti ilka een but niver min’ masel. George Wilson is the fairmer’s name, a workin’ man is he, Eight sons he hid, ae daater fair, the apple o’ his e’e.

Oor forman he’s a strappin chiel, Jay Bremner is his name; He’s frank an’ free ti th’een an aa, an ﬁr a joke he’s game. Frae morn ti nicht wi hert sae licht he leads the squad alang, For weel he kens that e’en will come an wi it rant an sang.

John Cowie caa’s the secont pair an he’s a pushin’ man, He dances jigs an hornpipes an sings a jolly sang. Geordie Wilson he is third, the eldest son is he; His lifter’s name is Babbie Skene, sae weel’s they’ll baith agree.

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Arthur Wilson comes neist, the secont son is he, His lifter is the hoosemaid lass, a canty maid is she. Maggie Alexander is her name, she’s handsome, neat an’ clean; An aften daes the birkies try ti coort wi her at e’en.

Willie Wilson he comes neist, aye ready for a lark, His lifter is a ﬁsher lass tha’s name is Bella Clark. Her hair is like the raven’s wing, her een’s a bonne broon, A fear that Bella she will leave her hert aboot this toon.

Andra Sievewricht stooks the sheaves an he can dae it weel, He has a craft aside the wid, a happy-hertit chiel. Jim an’ Charlie Wilson they follow wi’ the rake, Though young they are they’ve deen their pairt, A winna them forget.

The denner is taen in the lythe o’ a stook, a dining ha’ roomy an’ free. Oor pipe the lark, a sheaf for a seat, nae gentry sae happy as we. A piece in the mids o’ the yokin’ gars the time slip quickly awa, Ilk een guid humour an jokin’, it maks the wark lightsom for aa.

But when the even it comes roon, O it’s the best o’ aa, Wi’ dance an sang the ’oors is thrang, till nine gies us the caa. Syne to oor beds we aa maun gyang for mornin’ will be here, At ﬁve o’ clock we’re aa astir at Wester Badenteer.

When the corn is aa cut doon wee’l get oor meal-an-ale, The mistress she will mak’ it up wi’ button, ring an nail. The leadin’ disna hinner lang, they had nae ’oors at aa, But yoke the cairts at skreich o’ day an wark till gloamin’ faa.

An’ efter the stooks are restlin’ dry, an shinin’ bricht the meen, They aften lead a while at nicht, tae lat them suner deen. When we are ﬁnished leadin’, we get a supper braw; The maister at the table heid hauns oot a dram tae aa.

An when the crap is aa secured frae winter’s frost an snaw, We’ll get a ball when Francie comes wi his big fiddle braw, An’ lads an lassies roon aboot will fill the barn fleer - Oh mony’s the happy nicht’s been spent at Wester Badenteer.

We hae nae fancy programmes, nir yet a dandy hall, But we hae mirth and music baith at Francie Markiss’ ball. Upon the feedin’ bench at the mill the ﬁddlers they are seated, An noo an then throughoot the nicht, wi Auld Kirk they are treated.

Aboot the middle o the nicht tay is handit roon, Nae fancy tables, jist a joug an biscuits white an broon. Syne Lordie we the aul Scots sangs nae heard in music hall, An Francie Markiss gars us lach wi ‘Billy Johnston’s Ball’.

113 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Syne up an tae the dancin for twa’r three oors an mair, An mornin is nae faur awa fin we gan doon the stair. Lang may aul Francie play an sing, lang may he fill the fleer! Lang may the fairmer hae the hairst at Wester Bedenteer!

You can hear Willie Matheson singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/18143/1

114 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.4 Jock Geddes and the Soo

This song[1] was sung by Willie Scott in 1962 and recorded by Hamish Henderson. It was published in Tocher No. 25. Willie Scott also sang in the Blairgowrie Festival of Traditional Music and Song in 1970. The words for verse ﬁve have been set to the music in the score presented here.

= 63 Jock rase at last an made for hame He hed na ta'en his mother's bid- din; He 3 could na thrive he tripped an' fell Wi' a' his len'th a- lang the midden, 5 Braw, braw to bey weel likit, Braw, braw to bey sae bonnie; 7 Owre weel likit winna dae Sae muckle thocht on be sae mony

Jock Geddes on some business bent To mairket yae2 day gaed licht-haertit; His mither, carefu’ o’ her son, Saw Jock fu’ frig3 ere he dapairtit,

Refrain: Braw, braw to bey weel likit Braw, braw to bey sae bonnie; Owre weel likit winna dae - Sae muckle thocht on be sae mony.

For Jock at mairket whiles got fou The place where scamps were there tae take him And so his mither at the door Cries, “ Come hame sober, Jock, ye nickum!”

Refrain 2one 3primped up

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

But Jock as yaisual suin forgot The plain injunctions o’ his mither; The mairket made him awfa dry The cyair4 wis whisky, deil anither!

Refrain He met a freen as dry’s himsel’ An awa the went tae weet ther wezans5; Glass efter glass they drank until The total number cam to dizens Refrain Jock rase at last an made for hame; He hedna taen his mother’s bidden; He couldna thrive - he tripped an’ fell Wi aa his len’th slang the midden. Refrain Jock jist lay still, fell fast asleep; The drink had faily stopped his kicken, The soo cam by an smelt his mou, An likin that, commenced the lickin! Refrain Th’enormous soo still lickit on; Cries Jock, “Noo, Jean, haud aﬀ, that’s plenty! Let Kirsty hae a smack or twa, For A’m shair ye hae haen mair than twenty!” Refrain

At last his sober sense came room An lookin’ up saw Sandy Cam’ell; “Ye muckle, nesty, ugly brute, Nae mair upon me will ye wammle6!” Refrain Jock rase an’ spat for near an ’oor; The soo had played an awfu’ plisky The pig was killed that very next day, An Jock has niver since ta’en whisky.

Braw, braw to bey weel likit Braw, braw it is, but bless me; Owre weel likit winna dae - I never thocht a soo would kiss me!

4cure 5throats 6roll

116 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

You can hear Willie singing this song on the website below. http://www.tobarandualchais.co.uk/play/57706

Willie Scott was born in Canonbie and lived in Hawick in the Borders. Known as ’The Border Shepherd’, his song collection, ’Herd Laddie o the Glen’, was compiled and edited by Alison McMorland.

117 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.5 Feeing for a Maid

Hamish collected this comic, and somewhat risque´e,song[1] from Donald MacMartin, who came from Breadalbane and Berwick. The words shown in italics below are repeated after each of the two lines of each verse, as indicated, except for verses six and eight, where a slightly diﬀerent version is used - as shown.

= 75 q

4 q 3 q 2 7 q

In a country place an old farmer did dwell, Right fol-di-doodle ae day An’ he had a lovely daughter I likit weel masel, Singin’ hootin’ at, shootin’ at, right fol-di-doodle ae day I dressed myself in weemen’s clo’es, And straight to the market, to the farmer I did go “Oh farmer, oh farmer, dae ye want a maid?” “Oh yes, I want a maid, sir7, my daughter to lie wi,” “Twenty guineas is tae be your fee, And you will get my daughter to lie wi.” Early next morning the old farmer arose, An he was in a rage, as you may well suppose. “Oh daughter, oh daughter, how dae ye feel?” Right fol-di-doodle ae day “Oh, I’ve never felt so happy since the day that I was born, For I got hootin’ at, shootin’ at, right fol-di-doodle ae day. Oh father, oh father, what have you done? Instead of bringing ma a fair maid ye brought to me a man

7The notes in Tocher indicate that this, though unusual, is correct

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Twenty guineas was to be his fee, Right fol-di-doodle ae day An I’ll gie him twenty more if he’ll marry me, Wi his hootin’ at, shootin’ at, right fol-di-doodle ae day. You can hear Donald singing this song on the website below. http://www.tobarandualchais.co.uk/play/28050

119 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.6 Nancy’s Whisky 5.6.1 First Version This song is published in Tocher 31[1] and has the alternative title ‘Calton Weaver’. It was collected by Hamish Henderson from William Sinclair Mitchell and the ﬁrst version presented here was the one usually sung in Kintyre. There are several communities called ‘Stewarton’ in Scotland, the one referred to in this song is a village in the Mull of Kintyre at the junction of the B842 and B843.

3 4 3 2 2 2 I am a weaver that follows weavin, I 3 3 4 3 4 2 2 2 2 am a young and sporty blade, an to buy mi- sel a 6 4 3 2 2 suit of new clothes to Stew- ar- ton my way I made.

I am a weaver that follows weavin’, I called upon the landlady I am a young and sporty blade, And asked what reck’ning was to pay? An’ to buy mysel’ a suit of new clothes “The reck’ning is full thirty shillings: To Stewarton my way I made. Come pay me quickly and go your way.” As I cam’ roon by Stewarton corner I put my hand into my pocket It was Nancy’s Whisky I chanced to spy. And all I had I laid it down, Thinks I tae mysel, “I’ll gang in and taste it: And after I had paid the reck’ning Tis seven long years now since I’ve been dry!” All I had left was a poor half-crown. O the more I tasted, the more I liked it, Then I cam oot and I turned the corner And the more I liked it I tasted more, And a fair young damsel I did espy: And the more I tasted, the more I liked it On her I spent my two white shillings Till all my senses were ran ashore. And all I was left was the crooked boy. It was early, early the next morning Noo I’ll go hame and I’ll start my weavin’ I found myself in a stranger’s bed. AN my wee shuttles I will make ﬂy, I tried to rise but I wasn’t able, And curses be on Nancy’s Whisky For Nancy’s Whisky held doon my head. For Nancy’s Whisky has ruined I!

You can hear Willie singing this song on the website below. http://www.tobarandualchais.co.uk/play/49931

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.6.2 Second Version This version, also published in Tocher, vol. 31, is a variant of the tune to which Ewan MacColl sang ‘The Calton Weaver’. Tocher (31) states that this was obtained from the singing of Hughie Martin of Shettleston, Glasgow. The words for the second verse have been shown in this score. You can hear Willie Sinclair singing the verses to this

q = 66 3 4 2 2 As I cam' roon by Stewar- ton corner it was Nan- cy's whisky I 4 4 3 4 3 2 2 2 2 chanced to spy. Thinks I tae me- sel' ``I'll go in an tate it, 'tis

7 chorus = 90 3 2 2 4 seven long years since I've been dry''. Oh -whisky 10 whisky Nan- cy's whisky, whisky, whisky, Nan- cy oh. tune on the website below. Willie’s wife joins him in the chorus. http://www.tobarandualchais.co.uk/fullrecord/49932/1

121

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.7 Flory Loynachan

= 64 6 8 O it buitie be an ogly thing that mougres thus ower 4 me, for I scra- bed at mysel yes- streen an' couldna bab an 8 e'e. My hert is a' tae muilins minched, Brye, smuirach, daps an' 12 gum. I'm a puir cruichach spalyin scrae, my horts hae struck me dumb.

O, it buitie be an ogly thing Thou’rt no a hochlan scleurach, dear, That mougres thus ower me, As mony trooshlach be, For I scrabédat mysel yestreen Nor I a claty scybal thus And couldna’ bab an e’e. Tae sclaffer efter thee. My hert is a’ tae muilins minched, Yet haing the meishachan where first Brye, smuirach, daps an gum. I felt love’s mainglin smairt, I’m a puir cruichach spalyin scrae, And haing the boosach dyvour too My horts hae struck me dumb. That sponged frae me thine hert. Dear Flory Loynachan, if thou O! rhane a yolus cronie, quick, Thro’ Sanna’s soun’ wert tossed, Across this rumpled brain! An rouchled like a shougie-shoo Bring hickery-pickery, bring wallink, In a veshal wi one mast, Or droshachs tae soothe my pain. Though the nicht were makin for a roil, Fire water, fill a spoucher fu’, Though ralliach were the sea, Thae frythan stouns tae stay! Though scyorlins warpled my thowl pins For like a sparrow’s scaldachan My shallop wad reach thee. I’m gospin nicht and day.

122

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Were I the laird o’ Achnaglach, O, the clabby dhu it lo’es the Trench, Or Kilmanshenachan fair, The cruban the quay neb, Cnocstaplemore, Kilwhipnach While the anachan an brollachan Feochaig or Ballochgair, The lo’e the mussel-ebb. Did I inherit Tonrioch, The muirach-baan the Dhorlin lo’es, Drumgarve or Bellochantuy, The gleshan an guildee Christlach or Cearan, daing the bit, They lo’e tae plouder through the loch- I’d fauchat them all for thee. But, Flory, I lo’e thee.

You can hear Willie Mitchell singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/49965/1

Tradition has it that this song was composed by a clergyman with the aim of preserving words from the Kintyre dialect. A translation of these is presented below.

Dialect English Dialect English buitie must be mougres creeps over scrabbed scratched bab close muilins breadcrumbs brye powdered sandstone smuirach very small coal daps small flounders gum coal dust cruichach crooked and bent spalyin flat footed scrae skinny fellow horts hurts rouchled tossed about shougie-shoo rocking chair ralliach stormy scyorlins giant shoe laces thowl pins wooden rowlocks hochlan slack in dress scleurach untidy in dress and gait trooshlach worthless thing claty dirty scybal worthless fellow meishachan dance mainglin’ crushing boosach ugly dyvour poorlooking individual sponged stole rhane rhyme yolus cronie a charm hikery-pickery tonic bitters wallink speedwell droshachs doctors drugs spoucher wooden ladle frythan frying in a pan scaldachan unfeathered nestling gosping gasping fauchat forfeit clabby dhu horse mussel cruban crab anachan bivalve used as bait brollachan bivalve used as bait muirach-baan white shell fish gleshan saithe guildee fish of cod family plouder plunge

123 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.8 The Weaver and his Son

This is a psalm practice song recorded from Agnes Mitchell (almost certainly Willie Mitchell’s wife). It was custom for a choir or congregation to learn the tune for a religious song using secular words before performing the work with the psalm, with the sacred words, in church.

= 115 × The weaver said un- to his son The day that he was born ``Such 5 blessings on your curly pow you'll caa' my pirns the morn''

The weaver said unto his son The day that he was born; “Such blessings on your curly pow8 You’ll caa my pirns the morn!9 Ye’ll caa my pirns the morn, morn, morn, Ye’ll caa my pirns the morn “Such blessings on your curly pow Ye’ll caa my pirns the morn! You can hear Agnes singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/51204/1

8head 9You’ll wind my bobbins in the morning

124

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.9 King Fareweel

Hamish recorded this Jacobite song several times and from more than one singer. Jock Cameron provided more recordings than any of the other singers and there are some very minor diﬀerences between them with regard to tempo and emphasis. One batch of recordings were taken in 1953 and another in 1959. The score presented here was transcribed by Ailie Munro from the later recordings and was published in Tocher, Volume 34[1]. The words in the score are taken from verse two.

= 35 2 3 4 It was on Pres- ton- pans where they drew their plans, but the 3 3 2 heilan' lads were 4 lyin' ready, An wi the 4winds o' the sky sure we 6 made them fly wi e- very shake that we gein oor plaidie. 9 King fareweel, noo fareweel, It's a' to gaird oor king, fareweel.

For ye’ve feather beds and carpet rooms - Could ye no’ pit doon a wee German lairdie? For a better Prince sure than ever he was Lay amangst the heather wi the kilt and plaidie. Refrain King Fareweel, noo fareweel, It’s a’ to gaird our king, fareweel. It was on Prestonpans where we drew our plans, Where the Hielan’ lads were lyin’ ready, An wi’ the wind o’ the sky we sure made them ﬂy Wi’ every shake that we gien our plaidie. Refrain Aye it was on Prestonpans where we drew our plans, Where many’s a braw lad lost his daddy, Where wi’ the wind o’ the sky we sure made them ﬂy Wi’ every shake that we gien our plaidie. Refrain You can hear Jock singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/40428/1

125

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.10 The Twa Sisters

This song was collected by Hamish Henderson at a tinker’s encampment at Laurencekirk, Kincardineshire. The song was sung by John White of Deeside but there is no recording of him on the Tobar an Dulchais website so I have attached a recording of Sheila Stewart, of Rattray, singing a fragment that she learned from an old traveller woman named Lizzie MacPhee as it seems the most likely to be the version presented here. The music was transcribed by Ailie Munro and is taken, along with the words, from the 1974 edition of Child Ballads [4], exactly as presented in that publication. It seems that Ailie Munro had diﬃculty distinguishing some of the words. It is Child Ballad number 10, version 13.1; being the ﬁrst variation of version thirteen of Ballad number 10. There are 69 versions of this song, and some have several variations. Few of those versions contain any reference to parts of the drowned woman being used to make a musical instrument, but version 79 has her hair used as harp strings that subsequently sing farewell to her father and mother (the king and queen) when the harp is played before them. The song tells of two sisters who both fall in love with the same man. The rejected sister, murders her elder sister, who has inherited the family lands, by pushing her into the mill stream. There are many versions of this song, frequently called “Binnorie”.

5/4 3 4 | 5 5/4 3

Note: The first line of each verse is followed by the first line of the chorus, and the second line of each verse is followed by the second line of the chorus, as indicated in the first verse produced below.

“It’s sister dear sister, wad ye come an’ have a walk?” Chorus: A hee oh hans a bonnie – oh, “And I’ll show you wonders before we come back. Chorus: An the swan it sweems so bonnie – oh.

“It’s you put your haun on that bit o the marble stone” It’s as lightly she pushed her agen the stream.

“Oh sister, dear sister wad ye catch my haun? An that I’ll make ye lady of my lan?”

“Oh sister, dear sister wad ye catch my haun? An it’s I will give ye my (?) jova John.”

There were a mother had a daughter, an the lassie was a maid, For the lassie wanted water for to bake some bread.

“Oh father, dear father, stop the dam For it’s I spy a-middle there white-milk swan.”

126

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Oh the man took her oot an he hung her up tae dry, When there be three ﬁdlars passin’ by.

There was one of them taen her three ﬁngers, Sayin “It’s this will make me three ﬁddle-pins.”

There was another of them taen her breast-bone, Sayin, “It’s this will make a ﬁddle that’ll play a tune its lone.”

For it’s this three ﬁdlars playin (?) carna ? thaw, Till they came to the caistle that stood so high.

Sayin “It’s thonder sits my father, the King,” Sayin “It’s thonder sits my mother, the Queen.”

Sayin “It’s thonder sits my false sister, Jean, It’s lightly she pushed me agen the stream.

For it’s you (?) gaun (?) speak (?) false sister, Jean, “For it’s pay the three ﬁdlars an let them be goin.”

For it’s up an speaks the father, the King, “I’ll pay the three ﬁdlars whan they play the same tune owre again.”

They kinnl’t up a ﬁre that wad burn live stones An they thrust false Jean (?) sure in her own.

You can hear Sheila Stewart, formerly of Rattray, singing a fragment of this song which may have come from the same tradition. Given that there are so many variations of this song, it is unlikely that Sheila is singing exactly the same tune. The lyrics that Sheila sings are, however, so similar to the one sung by John White that the tune is also likely to be similar. http://www.tobarandualchais.co.uk/play/74633

127 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.11 We’re Awe Jolly Wee Miner Lads

This song[1]10 was recorded by Hamish Henderson in 1957 from Mrs. Cosgrove of Newtongrange which was, at that time, a mining village. Mrs. Cosgrove’s husband was a miner and she learned this song in Nova Scotia when her husband was working there in the 1920’s. She subsequently heard the song sung, at a lower pitch, when she later returned to Blantyre.

v 3,4 6 = 56 8 Freely A × × × 6 × 8 v 3,4 6 8 6 B C D × v 2, 3,4 6 × × 8 12 E F G × × ×

Variants A v 3,4 B v2 B v3 C v2 and E v2,4 × × 6 × 8 6 D v2 D v3 E v3 ×

10Originally published in Tocher, Vol. 11 Page 90

128

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

We’re awe jolly wee miner lads, Miner lads are we, For we’ve travelled frae Scotsland This country round and round. We’ve travelled east, we’ve travelled west, And all round the town, For to ﬁnd out the treasure That lies below the ground. Some hae gote money And some hae nane at aa, And them that’s gote money The bottle they’ll aa draw. They’ll ﬁll their glasses right up to the brim As the toast goes roon an roon: Here’s ma haun tae every wee collier lad That works below the grun. Ah’ll knit ma love a grauvet As doggy11 as can be An the colours Ah’ll pit in it Will fairly tak his ee. The rebels they should go up tae him An say: “Where did ye get that?” “Oh, Ah gote it fae ma wee doggy moll And whit dae ye think ae that?” Ah’ll build ma love a castle, A castle of high renown, Neither kings, queens or ear-alls Will pull my castle down, For the king loves the queen And the emperor does the same: Here’s ma haun tae ye every wee collier laud That works below the grun. This song was recorded by Hamish Henderson on track: SA/1957/98/B14 but does not appear to feature on Tobar an Dualchais, the School of Scottish Studies sound archive website. A song that seems to come from these roots can be found on a ‘Cape Breton Diversity in Unity’ website with the address given below. That site claims that the song has English and Irish roots - what goes around comes around, as they say. http://www.beatoninstitutemusic.ca/mining/jolly-wee-miner-men.html

11slang for stylish

129 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.12 Maggie Gaw

This song 12[1] was collected by Hamish Henderson in 1967 from Janet Lynch of Newton Stewart. She heard the song in Drummore when she was eighteen. Janet was sixty eight at the time of the recording.

= 74 4 7

I’m only a rovin’ shepherd lad Arriving frae Barrhill; To herd a ﬂock for Peter McGill I’ve tried my utmost skill. I’ve served my mester faithfully, My mistress an them a’, Till I fell in love with that fair maid They call her Maggie Gaw. When ﬁrst I to the Creichan13 came My equal ne’er was seen, And for my tea I was called in Yes, every afternoon; But since our coortship they found out There’s naw a drap ava, Since I fell in love with a bonny lass My sweetheart Maggie Gaw. It being on a Setterday The evening being well spent, And for our walk and secret talk We out thegither went: We walked right o’er the Taggarty - ’Twas merely for a lark - To view the light that shines so bright

12Published in Tocher, Volume 11, Page 94 13Possibly in Wigtownshire

130

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

An back by Davy’s park.

131 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

When we in vigw of the steadin’ came A bricht light caught our eyes, A shiny light both clear and bright- We got a great surprise, And little did we think that light, That light would part us twa, And little did we think that light Was held by Maggie’s maw. For she says, “Ye Ayrshire vagabond What have ye been aboot? Wha gave you the cheek and impudence Tae walk my dochter oot? For nae mair ye’ll rove the Creichan hills - Ah’ll hae ye sent awa - Nae mare ye’ll roam the Criechan hils Wi ma dochter Maggie Gaw. But now my ﬂittin’ll soon come roon A coortship to renew, For I have ﬁxed a meeting And the truth I’ll tell to you: For Ah’ll be back in auld Ayrshire Amang the lassies braw, An farewell untae the Creichan hills An farewell tae Maggie Gaw. You can hear Janet Lynch singing this song by using the web address below. http://www.tobarandualchais.co.uk/fullrecord/15506/1

132 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.13 Lord Lovat

This is Child Ballad 75/32.1 [4]. It also forms a link between Perthshire and other areas. It is sung by Jeannie Robertson, Aberdeen, in 1953. She learned it, thirty ﬁve years earlier, from a very old woman named Cameron who originally came from Perthshire. It was collected by Hamish Henderson and transcribed by Francis M. Collinson.

| 6 8 4 | 3 | 8 | 3

Lord Lovat he stands at his stable-door; He was brushing his milk steed down, When who passed by but Lady Nancy Bell She was wishing her lover good speed, She was wishing her lover good speed.

“Where are you going, Lord Lovat” she said, “Come promise, tell me true.” “Over the sea, strange countries to see; Lady Nancy Bell, I’ll come an’ see you, Lady Nancy Bell, I’ll come an’ see.”

He was away a year or two, But he scarcely had been three, When a mightiful dream cam into his head. Lady Nancy Bell, I’ll come an’ see you, Lady Nancy Bell, I’ll come an’ see.”

He passed down by the village church, An’ down to Mary’s hall, An’ the ladies were all weeping forth,14 An’ the ladies were all weeping forth.

14This is a true record of Jeannie’s singing, a line is missing from this verse in this version. This ballad tells a story and the words vary from version to version, although the theme remains identical.

133

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

“Who is dead?” Lord Lovat he said; “Come promise, tell me true.” “Lady Nancy Bell died for her true-lover’s sake, And Lord Lovat, that was his name, And Lord Lovat, that was his name.”

He ordered the coﬃn to be opened up, And the white sheet rolled down; He kissed her on the cold-clay lips, An’ the tears came trinklin’ down. An’ the tears came trinklin’ down.

You can hear Jeannie Robertson singing this ballad by using the web address below. http://www.tobarandualchais.co.uk/fullrecord/25369/1

134 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.14 MacCallum’s Lament

This song15[1] was collected by Hamish Henderson from Jimmy MacBeath. The School of Scottish Studies indicates that the song was collected in Inverness, but Jimmy is listed as a native of Portsoy, Banﬀshire. More information about Jimmy is available on Wikkipedia: https://en.wikipedia.org/wiki/Jimmy_MacBeath

. Wikkipedia reports Jimmy as coming from traveller stock and having been born in Portsoy.

à = 58 – 66 Å Å

Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å à = 58 – 66 Variant: vv 2, 26 and 27 line 3 Å Å Å Å Å Å Å Å Å Å Å

It’s far fae the city so glarin’ aloud, Far from its hurrying feverish crowd, Far amid scenes rendered solemn today, Close by the wild rolling river of Spey.

15Published in Tocher, Vol. 12, Page 152

135

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

It was there romped MacCallum ferocious and free A bold law-defying, wild poacher was he: He searched the dark forest and the wild mossy heath And he’d dare with his gun all the keepers with death. Alone on the mountain, alone on the hill, Alone through the valley he poached at his will; He thought it of joys but a wild savage pride, The prey of his gun and his dog by his side. MacCallum was summonsed to a court t’appear: Now for his liberty he showed him tae fear But he visionly vowed that if Cons’able King Arrest him for him he would willingly swing. A warrant was granted, MacCallum tae bring; The task to arrest him fell on Cons’able King. Oh Nethybridge station was the home of his pride And pure admiration of all the Speyside. Then he was a cons’able true til his trust; Fearless in duty while faithful and just: He’s got out a warrant bad men tae defy A true British hero he lived an’ he died. in the midst of the night when slumbers were deep When wearied-out mothers had fallen tae sleep The cons’ables wife had a dream that impressed And wretched she slep’ with her soldier’s embrace. Ah there in her dreams how plainly she sees MacCallum low croaching behind the dark trees But ah there it’s her husband, her heart leaps wi’ pride, He is marching MacCallum along the Speyside. Again she can see them but now they’re aﬂoat, They’re crossin’ the Spey in a neat little boat: MacCallum he slashes he makes for to rise But a burn of madness burns ﬁerce in his eyes. Ah there with her thoughts MacCallum is springing Fast upon husband, she hears the blows ringing; Aye rises his dagger as he’s tossed in the stream And from then she had woken from that horrible dream. Oh there in the morning ’pressed by this sight She told her fond husband the dream of the night: Ah there is MacCallum and be careful today, And if you arrest him oh don’t cross the Spey. He promised in faithful he promise would keep, But little he thinks that his thoughts are in deep, MacCallum had threatened to shoot him before And there he would know he would come back no more.

136 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

He gathered his household, the Bible he took, And he earnestly read out from that soul-reading book, There he cheered them and he bid them goodbye He went for to duty tae do or tae die. Scenes may be holy in church or in hall But that was the holiest sight of it all: Then for the bidding they lined up in prayer For the angels of Jesus were hoverin’ round there. Then Cons’able MacNiven, the gallant an’ kind, Joined in the duty MacCallum tae find: Then each o’ the cons’ables took their own way An’ they searched the whole forest that dull winter’s day. Ah there was MacNiven, MacCallum espied, But he pointed the gun as MacNiven drew nigh; He visionly swore he would shoot him down through the heart Before with his freedom this day he would part. Weary was his search; they turned then for home And back wi’ MacCallum’s no like willin’ tae come No life was there, no one spark of light, All was as dark as the fast falling night. They entered the kitchen, the group in the gloom, King tae the kitchen, MacNiven tae the room, While there in the corner mid scenes in the dark MacCallum has taken his murderous mark. The trigger is pulled and the bullet is sped An’ silence is broken, the cons’able’s dead: MacCallum he’s flyin’ he hardly knows where, He is torn with terror an torn wi’ despair. Alas for the home of Cons’able King, For there for the tidings MacNiven must bring There was his wife an’ long did she warn, And wished all the day for her husband’s return. Cheer at the soldier in the wild heaths o’ war, Tae fight for their country in lands scattered far: MacCallum needs nothing tae cheer him tonight - He belonged tae the hero brigade of the night. Come all ye kind sympathee-ers and take care of your store Tae keep the wild wolf from that poor widow’s door: There are something in praising of sweet thoughts of love Is waiting for him in the great Home above. Farewell to the hills an’ the dales o’ Strathspey, To the dark woods o’ Tulloch, farewell an’ for aye, To Nethy’s sweet murmur Ah’ll listen no more Nor scour the dark forests of gloomy Glenmore.

137 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Farewell to the grouse, the roe an’ the deer, They now rove at their pleasure, MacCallum’s not near, For in huntin’ him down Ah had ma full share; No keepers who knew me approach me would dare. Black, black was the day when I ﬁrst handled the gun For the powers of hell they’d already begun, For two there in blue coats my house did assail, To frighten them oﬀ no words could avail. In an unguarded moment brave King I shot dead, I was always a believer in powder and lead Come all ye kind sympathee-ers and take care of your store Tae keep the wild wolf from that poor widow’s door There are some things in praising of sweet thoughts of love Is waiting for him in the great Home above. We will now leave their thoughts from bonny Strathspey To sail to a prison some distance away, Where Alan MacCallum lies waiting his doom: You can picter his thoughts in the cold prison gloom.

You can hear Jimmy MacBeath singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/21749 The entry in Tocher gives an abbreviated version of the conversation between Jimmy MacBeath and Hamish Henderson that you can hear if you listen to the above recording. That version of Jimmy’s story is reproduced below.

Oh it’s true enough, it happened up in Speyside, aye up in Newtonmore, away aboot Tulloch, away abeen Nethybridge. Ah first heard the song in Aberchirder, well it’s known as Fogieloan...a man caa’d Alec Mathieson ...that was in 1925 that Ah got a hold o that song... This Alan MacCallum, he was a great poacher ye see, he poached all over, an he was fined a lot o time for poachin’ and he had a gun an’ everything, ye see, and a dog, and he was gaun tae be arrested that nicht. MacNiven he saw him amang the trees and he made an attempt tae shoot MacNiven... an MacNiven he run back and tellt King, and Cons’able King he hed a warrant - he was the senior man ...and he got the warrant an’ they gaed tae arrest him...and when they gaed intil his hoose where he was stoppin’, they made a wrestle at him... and they both fixed as it were, like, and they both went tae grips and... the whole three guns went off, and when...MacNiven saw what happent he run away an left King lyin’ on the grunn, lyin’ on the floo’r o’ the hoose and MacCallum he fled tae. An’ he gaed intil a fairm, caa’d Farmer Bell there, an’ he lock him in tae the barn an’ phoned for the rest o’ the other policemen, and they came an’ arrested him. An’ efter that when he went on trial in Inverness... he got 15 year, and Cons’able MacNiven was supposed tae mairry King’s wife - there wis this bit a jealoousy atweeen them, atween the twa cons’ables: ye see one was a single man an’ the other was a married man... That was how the story goes, that he got 15 year and Cons’able MacNiven wis supposed tae... that he shot King an’ it wisnae MacCallum at all... But the three guns went off... This was abobot fifty-five year ago...Ah don’t know who wrote the ballad but Ah got it written oot in pencil in Fogie... No, Ah never saw it in no book, but he [Mathieson] was the only man that ever Ah heard hed it afore, and he writ it oot in pencil,and it took me a whole week afore Ah gould get it memoristed.

138 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.15 Airlin’s Fine Braes

Hamish Henderson collected at least three versions of this song from Jimmy MacBeath, two in 1952 and the third in 1958, and recordings of them are available on Tobar an Dualchais. You can hear the version transcribed here16 by using the web address shown below.

3 4 3 £ £ £ 4 3 4 8 £ £ £ £ £

I hiv travelled this country both early and late An’ mony’s the bonny lassies it’s lang I have sought, Comin’ hame in the mornin’ when I should ’been at my ease When I was a ploughboy on Arlin’s fine braes. The first thing I did when I gaed tae the toon Is to corn my horses an rub them well doon, Then awa to the bothy and cast aff my claes And put on the rover’s for Arlin’s fine braes. The mony’s a time I would gang tae the toon, It’s to watchin’ the byre an watchin’ the loom, Some darnin’ their stockins, some mendin’ their claes, When I was a ploughboy on Arlin’s fine braes. My mistress at mealtimes aften yokes upon me: Says ye wad be better if ye lay them a - be, You’ll min’ on my words when ye turn to aul’ age. That ye’ll no aye be a ploughboy on Arlin’s fine braes. Come all ye jolly ploughboys a warnin’ take by me: It’s if you go out, oh an never get on the spree, For you’ll min’ on whit I said o’ lang syne, an rase When I was a ploughboy on Arlin’s fine braes.

16Published in Tocher Vol 12, Page 157

139

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The version of this song presented overleaf can be heard by using the web address below. http://www.tobarandualchais.co.uk/play/60893

You can hear Jimmy singing other versions of this song by using the following web addresses. http://www.tobarandualchais.co.uk/play/39340 http://www.tobarandualchais.co.uk/play/78281

140 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.16 Come All Ye Lonely Lovers

This song17[1] was collected by Hamish Henderson in 1952 from Jimmy MacBeath.

£ = 66 × × 6 8 × 6 8

6 × × × 6 8 × × 6 8

12 × × 6 8 × 6 8

Come all ye lonely lovers, come listen unto me: It’s about a prentice ploughman boy I mean to let you hear, Concerning of a prentice boy, and a ploughman he is bound, And my love he is the heir of nearly twenty thousand pound. Down in my father’s garden when ﬁrst my love met me, He threw his airms around my neck and ’braced me tenderly; We both set down upon the ground for to complete our joy, Go where you will an’ I love him still, he’s my darlin’ ploughman boy.

17Published in Tocher, Vol. 12 Page 156

141

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The saxton leaves I will pull down, on them I’ll make my bed, The greenwood piles I will pull down below my weary heid, The raper bush will be my guide and for once my heart’s decoy. Go where you will an’ love him still, he’s my darlin’ ploughman boy. Now since I have declin`edto tell to you his name, He is the laddie and the man, the lad that I loe well, But when he sings the valley rings and he makes my heart decoy, Go where you will and I love him still, he’s my darlin’ ploughman boy.

You can hear Jimmy singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/60889

An anonymous singer, who learned the song from Jimmy, was recorded by Peter Cook and can be heard using the web address below http://www.tobarandualchais.co.uk/play/91108

142 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.17 The Bonny Green Tree

Collected by Hamish Henderson from Mrs. Helen Watson, Prestonpans, February 1955[7].

3 4 As I went a walking one fine summer evening A 6 fine summer evening it happened to be I spied a fair damsel, she app- 12 eared like an angel 'twas under the shade of a bonn- y green tree

As I went a-walking on ﬁne summer evening, A ﬁne summer evening it happened to be, I spied a fair damsel, she appeared like an angel, ’Twas under the shade o’ a bonny green tree.

I stepped up to her, ’twas only to view her. I said, my kind maiden you’ve fair wounded me. I’ll make you a lady of high rank and honour If you’ll shelter me under your bonny green tree.

O I’m not a lady of high rank and honour, I’m but a poor girl of a lowly degree; Your friends and relations would all look down upon me If you were to marry a poor girl like me.

What do I care for my friends and relations, My friends and relations have nothing to do with me. I’ll make you a lady of high rank and honour If you’ll shelter me under your bonny green tree.

All you young maidens from me take a warning: Ne’er go into young men’s company, For all that they want is to spoil your character, And then they will leave you, as my love left me.

You can hear Helen Watson singing this song on the School of Scottish Studies website: http://www.tobarandualchais.co.uk/play/38062

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5.18 Fair Rosie Ann

Child Ballad 52/3.1, [4] also called ‘The King’s Dochter, Lady Jean’. Sung by John Strachan, Fyvie, Aberdeenshire, learned from Jimmie Smith. Collected by Hamish Henderson; transcribed by Ailie Munro.

(b)| 3 3 (a) 3 3 | (c) 2 4

(a) 3 2 4

(a) 2 4

(b) (c) 2 4

Oh fair Rosie Ann, oh fair Rosie Ann, Dressed in her silk so ﬁne; she went up to yon green wood To gather nuts to bring home.

“Rise up, rise up, my fair Rosie Ann, Ah come awa hame wi me, For I’m Lord Barnley’s only son, Just now arrived frae the sea.”

“Oh mother dear, mak me my bed An make it all hard wi straw; Put a pearly rope, a pearly rope In atween my shoulders twa.”

She turned hresel richt roon aboot, An she gave three heavy sight; Says, “Fare ye weel tae aa’ at’s in the hoose For a death that seals my eyes.” You can hear John Strachan singing this song by using the web address below. http://www.tobarandualchais.co.uk/fullrecord/20508/1

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.19 Lord Bateman

Child Ballad 53/30.2, [4] also known as ‘Young Beichan’. Sung, in 1956, by the Rev. Campbell MacLean, Campbelltown, Argyllshire, as sung by his grandfather, Donald Mackenzie of Scourie, in northwest Sutherland. Collected by Hamish Henderson, transcribed by Francis M. Collinson.

| | 3 £ £ £ 4 £ 7 | | £ 3 £ 4 £ £ 13 | | £ 3 4 £

Young Beichan was a noble lord A noble lord of high degree; He sailed his ships upon the ocean, Some foreign country he would go to see.

He sail`edeast and he sail`edwest, Until he came to Turkey; There he was taken and put to prison Until his life was a misery.

The version sung by Rev. Campbell MacLean does not seem to be available, but you can hear Sheila Stewart, formerly of Rattray, singing a version of this song by using the web address below. Sheila learned this song from Bella Higgins who called it ‘Susie Pirate’. The version sung by the Rev. MacLean does not seem to be available. http://www.tobarandualchais.co.uk/fullrecord/20508/1

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.20 Lord Gregory

This song, which is also known an ‘The Lass of Roch Royal’ is Child Ballad 76/4.1 [4]. It was sung by Jock McEvoy, Glasgow. It was collected by Hamish Henderson and transcribed by Francis M. Collinson. This is a rather difficult song to follow musically. The sheet music seems to present three slightly different variations for a four line verse, with an extra verse remaining. I have presented the words in that form - three verses together (making twelve lines in all) with the extra verse at the end. That extra verse will finish at the first double bar line in the score. Each breath mark (the vertical lines above the score) corresponds to the end of a line in a verse. This may seem complicated, but fortunately you can listen to Jock McEvoy (who provided the song) singing ‘Lord Gregory’, by using the web address below.

| | 3 4

7 | | | 3 13 | | | | |

“Go back from these windows, and likewise this hall, Lest stepping in the sea, you should ﬁnd your downfall.” “I am a king’s daughter, and I come from Cappa Quin In search of Lord Gregory, and I can’t ﬁnd him. The rain beats on my yellow locks and the dew wets me still; My babe is cold in my arms, Lord Gregory, let me in.” “Lord Gregory is not here, and henceforth can’t be seen; He has gone to bonnie Scotland to bring home his new queen.”

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“Oh remember, Lord Gregory, on the night in Cappa Quinn When we both changed pocket handkerchiefs, and that against my will. For yours was pure linen, love, and mine but coarse cloth. Yours cost a guinea, love, and mine cost one groat. “Go back from these windows, and likewise this hall, Lest stepping in the sea, you should find your downfall.” “Do you remember, Lord Gregory, and that night in my father’s hall, When you stole away my fond heart, and that was worst of all?” “Go back from these windows, and likewise this hall, Lest stepping in the sea, you should find your downfall.” “A curse on you father, and my curse on all you swore For I dreamt the Maid of Arrans came rapping at my door.” “Oh, lie down, you foolish one; oh lie down and sleep, For tis long ago my weary locks were witting in the deep.” “Oh, saddle me my black horse, the brown and the bay; Go, saddle me the best horse in my stable this day. “If I range over valleys and over mountains wild, Till I find the Maid of Arrans, and I’ll lie down by her side.

You can hear Jock McEvoy singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/47979

147 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.21 Mattie Groves

This is Child Ballad 81/29.1, listed as ‘Little Musgrave and Lady Barnard’ [4]. It is clear that the score and the lyrics cannot perfectly match for every verse. The score presented is that listed in the 1974 edition of Child Ballads. It is sung by Jeannie Robertson of Aberdeen, collected by Hamish Henderson and transcribed by James Porter. The story of the ballad is clear from the lyrics. The 1974 edition of Child Ballads states that Jeannie sings about a ‘Lord Donald’, but it sounds more like ‘Lord Arnold’, which is more common in commercial recordings, so that is what is presented here. ‘Lord Ronald’ is also used in some versions.

| | 2 4 6 |

A holiday, and a holiday, An’ he ﬁrst one of the year, The people came down to the old churchyard For the Gospel to hear.

The ﬁrst to come in was a lot of young ladies, All a-dressed in blue, The next to come was Lord Arnold’s wife, The ﬂower amongst the few.

And when the meeting, it was over, She cast her eyes around, An’ there she spied little Mattie Groves, As he rode through the town.

“Come home with me, Mattie Groves, Come home with me to-night; Come home with me, Mattie Groves An’ sleep with me to-night.

“Oh, I can’t come home, an’ I won’t come home, An I can’t come home for my life, An’ by thae rings that’s on your ﬁngers, You are Lord Arnold’s wife.

“And if I am Lord Arnold’s wife, Lord Arnold ain’t at home, For he is out in the old corn-ﬁeld,

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A-fetchin’ the yearlins home.”

But a little foot-page was standing by, An hearin’ what was said; He swore Lord Arnold, he would know, Before the sun was set.

And in he’s hurried to carry the news, He bent his breast an run, An’ when he came to the broad mill-stream He took of his shoes an’ swum.

When he came to Lord Arnold’s farm, He tinkled at the pin; Lord Arnold, he was ready there For to rise an’ let him in.

Sayin’ “Is my bowre a-falling down, Or does my castle burn? Or is my lady lighter yet Of a daughter or a son?

“Oh no, your bowre’s not falling down, Nor does your castle burn, But little Mattie Grove, he sleeps to-night In the arms of your lady gay”

“If that be the truth,” he said, “If that be truth,” said he, “I’ll give to you as much gay gold Your horse can carry away.

But if it be a lie,” he said, “But if it be a lie,” said he, “I’ll not take time to make a gallows; I’ll hang you to a tree.”

Then Lord Arnold took his men, An’ he lined them in a row, The orders that he gave them there That never a horn should blow.

But Mattie Groves, he had a friend Determined he should hear; He put his horn onto his lips, An’ he blew long, loud and clear.

Then up jumpit Mattie Groves; Then up jumpit he; “ I must be oﬀ, oh I must be oﬀ,

149 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

For I hear Lord Arnold blow.

“Lie down, lie down, you foolish boy, Lie down and keep me warm; It’s only oe of my father’s shepherds That tend the sheep in the barn.”

Then Mattie Groves he lay down, An’ took a little sleep, When he woke up, Lord Arnold, he Was standing at his feet.

Saying, “How dae ye like my feather-bed, And how dae ye like my sheet, And how dae ye like my lady gay, That lies in your arms asleep?

“Very well I like your feather-bed; Very well I like your sheet; Far better I like your lady gay That lies in my arms asleep”

“Get up, get up,” Lord Arnold cried, “Get up as quick as you can, An never let it be said of me That I slew a naked man.

“Oh I can’t get up, and I won’t get up, An I can’t get up for my life, For you’ve got two long beaten swords, An’ me not a pocket-knife.”

“It’s true I’ve got two long beaten swords, But they cost me deep in my purse. For you shall have the very best sword And I shall take the worse.

“For you will strike the very ﬁrst blow, An’ you’ll strike it like a man, And I will strike the very next blow An’ I’ll kill you if I can.

Mattie, he struck the very ﬁrst blow, Wounded Lord Arnold deep an’ sore; Lord Arnold, he struck the very next blow; Little Mattie struck no more.

Then Lord Arnold took his wife, And he sat her on his knee, Sayin’, “Who do you like best of all,

150 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Little Mattie Groves or me?”

Then up spoke his own dear wife, Never heard to speak so free, “I would rather have a kiss of dead Mattie’s lips, Than you in your ﬁnery.”

Then up jumpit Lord Arnold, An’ loudly he did bawl; He stuck his sword right through her chest, An’ he pinned her against the waa.

“A grave, a grave,” Lord Arnold cried, “Tae put those lovers in; Youse can bury my lady on the upper side, For she cam from better kin.”

They buried Lady Arnold in the old church yard, Little Mattie Groves in aisle For out of his grave there grew a rose, And out of hers a briar.

They grew, and they grew to the steeple-top, An’ there they grew no higher; The entwined theirself in a true-lover’s knot The rose around the briar. The rose around the briar.

You can hear Jeannie singing ‘Mattie Groves’ by using this link. http://www.tobarandualchais.co.uk/play/60315

Jeannie sings ‘Little Musgrave and Lady Barnard’ on the web address below. It seems identical to the version above. http://www.tobarandualchais.co.uk/play/76755

151 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.22 The Famous Flower of Serving-Men

This is Child Ballad Number 106. Hamish Henderson collected three diﬀerent versions of this, each with a visibly diﬀerent score. The rhythm notations, and others, do not always seem to make sense and the versions Hamish collected do not come with many of the words. Versions of this ballad are also known as ‘Sweet William’; ‘Oh ono chrio’ and ‘The Border Widow’s Lament’. I have chosen to present the three scores collected by Hamish, followed by the words of version 4 (‘Sweet William’), which seem likely to match the tunes given and provied the gist of the story.

5.22.1 Famous Flower of Serving-Men: Version 106/3.1 This version [4] was sung by Mrs. Ina Allanson of Huntly, Aberdeenshire. It was transcribed by Ailie Munro.

3 | (a) 3 4 3

5 3 3 3 | | 3

3 (a) 3 3 3 4

My father was a noble knight, My mother was a lady bright, And I myself a lady gay, But now I wait as a servant boy.

My father built me a lovely bower. It was as ﬁne as any ﬂower, ’Twas covered all o’er with the beautiful green, O such a bower scarce ere was seen.

My father matched me with a knight, My stepmother owed me a dreadful spite, She sent four robbers all in the night To rob my bower and slay my knight.

’Twas all alone they did him kill, And all alone they left him still, There was nothing left to wrap him in But the bloody sheet where my love was slain.

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

’Twas all alone I dug his grave And all alone in it him I laid. While Christ was priest and I was clerk I laid my love in the clay-cold earth.

I saddled by horse and away did ride, With sword and pistols by my side; I cut oﬀ my hair and changed my name From Ellen Fair to Sweet William.

I rode till I came to the king’s high hall And for my supper I did call, I gave the porter a gay gold ring To carry my message to the king.

The king came down and thus did say, “What can you do, young man, I pray? If you can do what I want you to, I’ll hire you for a year or two.”

“’Tis I can be your kitchen cook Or I can be your stableman Or I can be waiter in your hall, And wait on the nobles as they call. I’ll hire you for a year or two.”

“’Tis you shan’t be my kitchen cook Nor you shan’t be my stableman, But you shall be waiter in my hall And wait on the nobles when they call.

The king being gone one day from home, There was no one there but the good old man, Sometimes she sighed, sometimes she sang, Sometimes the tears down her cheeks did run.

The came came home and thus did say, “What news, what news, old man, I pray?” “Good news, good news, my king,” said he, “Sweet William is a lady gay.”

“Go bring me down a suit of silk, It shall be white as any milk, I’ll dress her up in the silk so ﬁne, And make her rule over all that’s mine.

You can hear Ina singing this version by using the web address below. http://www.tobarandualchais.co.uk/play/37313

153 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.22.2 Famous Flower of Serving-Men: Version 106/3.2 This version is sung by Jeannie Robertson of Aberdeen. It was transcribed by Francis M. Collinson

| 3 2 5 | 3 2 9 | | 14 | |

You can hear Jeannie singing this version by using the web address below. http://www.tobarandualchais.co.uk/play/40367

5.22.3 Famous Flower of Serving-Men: Version 106/6.1 This version [4] was sung by Martha (Peasie) Reid of Burnam, Perthshire. At present there is no publicly available recording of Peasie singing this version.

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6 | 10 | | 2 3 4 4 14 | | 2 3 4 4

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.23 The Knight and the Shepherd’s Daughter

This is Child Ballad 110, which appears to have two distinct titles, that shown above and another based on the ﬁrst line: ‘I am the forester o’ this land (or place)’. Hamish Henderson collected two versions of this Ballad [4]. The ﬁrst (variation 17.1) was sung by John Strachan, of Fyvie, Aberdeenshire and was transcribed by Donna Etherington. The second (variation 17.2) was sung by Jimmie Taylor and transcribed by Ailie Munro. Neither variation (as shown in Child Ballads) has a complete set of words, so I have combined the fullest (sung by John Strachan) with words from a variation on Tobar an Dualchais website sung by Jimmy Hutchison and collected by Peter R. Cooke. This song was also published in ’Tocher’ Volume 36/37[1] and the words shown there closely match those below.

5.23.1 I am the forester o’ this land

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I am the forester o’ this land as ye may plainly see, An’ its’ the mantle o’ your maidenhied that I maun hae frae thee. Chorus: (repeated after every verse.) Wi ma roo rum rurrity rye rum rirrity right ma wurrity an.

He has taen her by the mulk-white haun an by the lea-lang sleeve, He’s laid her doon upon her back an askit no man’s leave.

Noo since ye’ve laid me doon young man ye’ll tak me up again, An since ye’ve had yer wills wi’ me ye’ll tell tae me yer name.

Some call me Jim some call me John but regairdless o’ the same, But when I’m in the king’s highway Hernilion18 is my name.

She bein’ a guid scholar she spelled it ower again, Says ‘Hernilion19 , that’s a latin word, but Willie is yer name.

When he heard his name pronounced, he mounted his high horse, But she belted up her petticoats and followed wi’ awe her force.

He rode and she ran a long summer day Until they cam tae a river that’s commonly called the Tay.

The water it’s too deep ma love I’m afraid ye canna wyde,

18In some versions this is stated as ‘Sir William’ 19When ‘William’ (or ‘Willyum’) is given as the name, the pronunciation of the‘um’ ending seems to persuade the girl of the Latin connection

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But afore he had his horse weell water’d she was at the other side.

She went up to the king’s haa door, she knocked and she went in, Says there’s one o’ yer chancellors robbed me an’ he’s robbed me right an’ clean.

Has he robbed ye o’ yer mantle, has he robbed ye o’ yer ring? Has he robbed ye o’ yer maidenheid and anothir ye canna ﬁn’?

If he robbed me o’ ma mantle ma mither another could spin, But he’s robbed me o’ ma maidenheid and anothir a canna ﬁn.

“Noo gin he be a single man married he shall be, But gin he be a married man I’ll hang him frae yon tree.”

He’s called on his chancellors, he called them one by one. Sweet William should ha’ been foremost, but he was the hindmost man.

“Noo a wish I’d drunk the water the nicht I drunk the wine, For to think a shepherd’s daughter should be a love o’ mine.

But we awe ga’ed tae the weddin’ an’ we laughed tae see the fun, She’s the Laird o’ Oorley’s daughter an’ he’s the blacksmith’s son.

You ban hear John singing this version by using the web address below. http://www.tobarandualchais.co.uk/play/20890

The variation sung by Jimmy Hutchison http://www.tobarandualchais.co.uk/play/100530

156 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.23.2 I am the Forester This variation of Child Ballad 110 (variation 17.2) was sung by Jimmy Taylor of Aberdeenshire, collected by Hamish Henderson and transcribed by Ailie Munro [4]. The words are almost identical to those sung by Jimmy Hutchinson (see above). Although the score looks different, is in a different key and contains less ornamentation, when sung the song sounds very similar to that sung by John Strachan and Jimmy Hutchison. Listening to the other singers of this ballad on the Tobar an Dualchais website supports the view that they are all closely allied; justifying the view that all the songs are simply variations of version 17 of the Ballad, and not different enough to be recognised as coming from a different tradition, or version.

| 6 8 7 | You can hear Jimmy Taylor singing this variation by using the web web address below. http://www.tobarandualchais.co.uk/play/46792

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5.24 The Gypsy Laddies

This song is Child Ballad 200/45.1, being the ﬁrst variation of version 45 of Child Ballad number 200. This song was sung by Jeannie Robertson of Aberdeen, collected by Hamish Henderson and transcribed by Francis M. Collinson [4]. It is interesting to note the similarities and diﬀerences between this song and Child Ballad 200/49, sung by Ewan MacColl [3], presented in Section 3.2 of this collection.

| ten. ten. | ½ ½ ½ | ½ ½ ½

Three gypsies came to oor hall door, And O but they sang bonnie-o. They sang so sweet and too complete That they stole the heart of our Lady-o.

For she come tripping down the stairs, Her maidens stood before her-o And when they saw her well-faured face They throwed their spell oot-ower her-o.

When her guid Lord came home that night Askin’ for his lady-o The answers the servants gave tae him She’s awa’ wi’ the gypsy laddies-o.

Gae saddle tae me my bonnie, bonnie black; My broon it’s ne’er sae speedy-o, That I may go ridin’ this long summer day In search of my true lady-o.

For he rode East, and he rode West, And he rode through Strathbogie-o, And there he met a guid young man, That was comin’ through Strathbogie-o.

For it’s did ye come East or did ye come West? Or did ye come through Strathbogie-o? And did ye see a gay lady She was followin’ three gypsy laddies-o?

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For it’s I’ve come East and I’ve come West, And I’ve come through Strathbogi-O, And the bonniest lady that e’er I saw She was followin’ three gypsy laddies-o.

For the very last night I that crossed this river I had dukes and lords to attend me-o But this night I must put in my warm feet and wide And the gypsies widin’ before me o.

Last night I lay in a good feather bed My own wedded lord beside me-o But this night I must lie in a cold corn-barn And the gypsies lyin’ around me-o.

For it’s will you give up your houses and your lands And will you give up your baby-o And it’s will you give up your own wedded lord And keep followin’ the gypsy laddies-o?

For it’s I’ll give up my houses and my lands, And I’ll give up my baby-o, And it’s I’ll give up my own wedded lord, And keep followin’ the gypsy laddies-o.

For they are seven brothers of us all We all are wondrous bonnie-o And this very night we all shall be hanged For the stealin’ of the Earl’s lady-o.

You can hear Jeannie singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/88991

159 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.25 The Broom of Cowdenknows

This song is Child Ballad 217/16.1. Hamish collected this song [4] from Jimmy MacBeath of Portsoy, Aberdeenshire. Jimmy called it ‘The Yowe Buchts’. Jimmy’s song is only a fragment of the full ballad. It was transcribed by Francis Collinson.

| | 7 | |

Mary to the yowe-buchts has gane To milk her daddie’s yowes, And aye as she sang her bonnie verse it rang Right over the tops of the knowes, knowes, Right over the tops of the knowes.

There came a gentleman and he came ridin’ by, Milk on, milk on, cried he. Milk on, milk on, my bonnie bonnie lass, And show me over the lea, lea, And show me over the lea.

Ride on, ride on, kind sir, she said, Ride on ride on, cried she. Your steed it’s so strong, it’ll carry you alone, It will carry you over the lea, lea It will carry you over the lea.

He took her by the lily white hand And by the green green sleeve And he’s laid her doon upon the dewy dewy grass And he’s askit on man’s leave, leave He’s askit on man’s leave. She took her milk pails in her hand, And she come singin’ hame. And aye as she sang her bonnie verse it rang Right over the tops of the knowes, knowes, Right over the tops of the knowes.

You can hear Jimmy MacBeath singing this song http://www.tobarandualchais.co.uk/play/21359

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.26 There cam’ a Laddie frae the North

This song is listed as ‘Bonny Baby Livingston’, number 222/2.1 in Child Ballads [4]. It was sung by John Strachan of Fyvie, Aberdeenshire, collected by Hamish Henderson and transcribed by Ailie Munro. It is only a fragment - John sings only the two verses, as you can hear on the recording by using the web address provided below. Words of a longer version (Ballad 222) are provided below. It is likely that ‘Baby’, in ‘Baby Livingston’, was short for ‘Barbara’.

| | ½ £ 2 £ £ £ £ £ 4 6 | ½ ½ £

There cam a laddie frae the north, Wi’ courage frank an’ free, An he’s fau’n in love wi’ a bonnie lassie, Comin’ through Dundee.

The Heilan’ hills, bit oh, they’re heich, An oh, they’re ill tae clim, An’ aince that I am ower them, It’s back I winna gyang.

You can hear John Strachan singing these verses by using the web address below. http://www.tobarandualchais.co.uk/play/10172

Words of Ballad 222 as presented in Prof. Bronson’s Collection The lyrics are produced here exactly as presented in Prof. Bronson’s collection - including the unusual spelling of Glenlion (more commonly Glenlyon).

1. Bonny Anny Livieston 3. When they came to Glenlion’s gate, Went out to see the play, The[y] lighted on the green; By came the laird of Glenlion, There was mony a bonny lad and lass And [he’s] taen hir quite away. To welcome the lady hame.

2. He set hir on a milk-white steed, 4. They led hir through high towers and bowers, Himself upon a gray, And through the buling-green, He’s teen hir oer the Highland hills, And ay when they spake Erse20 to hir And taen hir quite away. The tears blinded hir een. 20An alternative name for Gaelic - particularly Irish Gaelic, coming from an old Scottish word ‘Erische’ (or, Irish)

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5. Says, The Highlands is no for me, kind sir, 15. And when he came to Dundee gate The Highlands is no for me; Lap clean outoer the wa; If that ye would my favour win, Before the porter was thereat, Take me unto Dundee. The boy was in the haa.

6. “Dundee!” he says, “Dundee, lady! 16. “What news? What news, bonny boy? Dundee you shall never see; What news hes thou to me?” Upon the laird of Glenlion “No news, no news,” said bonny boy, Soon wadded shall ye be.” “But a letter unto thee.”

7. When bells were rung, and mas was sung, 17. The ﬁrst three lines he looked on, And all were bound for bed, A loud laughter gied he, And bonny Annie Livieston But or he wan to the hinder en By hir bridegroom was laid. The tears blinded his eie.

8. “It’s O gin it were day!” she says, 18. “Gae saddle to me the black,” he says, “It’s O gin it were day! “Gae saddle to be the broun, O if that it were day,” she says Gae saddle to me the swiftest steed “Nae langer wad I stay.” That eer took man to towen.”

9. “Your horse stands in a good stable, 19. He burst the black unto the slack, Eating both corn and hay, The browen unto the brae, And you are in Glenlion’s arms, But fair fa on the siller-gray Why should ye weary for day?” That carried him ay away!

10. “Glenlion’s arms are good enough, 20. When he came to Glenlion’s yett, But alas! they’r no for me; He tirled at the pin If that you would my favour win, But before that he wan up the stair Take me unto Dundee. The lady she was gone.

11. “But fetch me paper, pen and ink, 21. “O I can kiss thy cheeks, Annie, And candle that I may see, O I can kiss thy chin, And I’ll go write a long letter O I can kiss thy clay-cold lips, To Geordie in Dundee. Though there be no breath within.

12. “Where will I get a bonny boy, 22. “Deal large at my love’s buriell That will win hose and shoon, The short bread and the wine, That will gang to my ain true-love, And gin the morn at ten o’ clock And tell him what is done? Ye may deal as muckle at mine.”

13. Then up spake a bonny boy, 23. The taen was biried in Mary’s kirk, Near to Glenlion’s kin, The tither in St. Mary’s quire, Says, “Many time I hae gane his erand, And out of the taen there grew a birk, But the lady’s I will rin. And the ither a bonny brier.

14. O when he came to broken brigs 24. And ay they grew, and ay the threw, He bent his bow and swame, Till they did meet aboon, And when he came to grass growing And a’ that ere the same did see Set down his feet and ran. Knew they had true lovers been.

162 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.27 Kilbogie

This song is a version of Child Ballad 228 (228/5.1) [4] also called ‘Glasgow Peggie’, (see also Section 3.8). The fourth edition of Prof. Bronson’s collection of child Ballads says that this was sung by Norman McCaig of Edinburgh, collected by Hamish Henderson and transcribed by Ailie Munro. The Tobar an Dualchais website has a diﬀerent track, by the same singer (see the web address below). It attributes the collection of that recording to William Montgomerie and states that it was collected in Kilbagie, Fife. It also states that the song is a contracted version of ’MacDonald of the Isles’.

(b) (a) | 2 | 6 8

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First when I cam to Kilbogie toon, Wi’ my wee short coat and my tartan pleydie, First when I cam my bonnie love to see, She lay in her bed till her breakfast was ready.

When she got up and put on her claes, She said she had been on the hill wi’ her daddie, But weel kent I by her milk-white hauns, She lay in her bed till her breakfast was ready.

It’s they went oot to tak a walk, To tak a walk till the denner21 was ready, He’s mounted her on his heich horse-back, An’ she’s far, far awa wi’ her Heiland laddie.

They rode on an farther on; There was naethin’ there ﬁttin’ for a lady. There was naebody there for to welcome her hame, But an aul carle an’ a cankert wiﬁe.

They rad on an’ farther on; There was naethin’ there ﬁttin’ for a lady, There was naething there for to lay her on, But a wee puckle heather an’ his heilan’ pleydie.

21As published and as sung.

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

“In my faither’s haa there’s sheets an blankets eneuch, They’re aa sewed an’ made ready, An’ wadnae they be richt angry to see Me lyin’ here wi’ a Heiland laddie?”

“In the Heilans there’s ﬂocks an sheep eneuch, They are very thick an maddie. It’s ye’ll get woo an ye can spin, An mak ye a blanket insteid o’ a pleydie.”

“Flocks an’ sheep are guid an’ guid eneuch. Corn-stacks are muckle better; They will staun in drift an snaw, When the sheep will dee wi’ the wind an’ the weather.

“In the Heilans I’ve got ﬁfty acres o’ land, It’s aa pleuch’d an’ sown aaready, I am Ardonald o’ the Isles, An’ why shouldna’ Peggie be caa’d my lady?

A coach-an-six to me prepare, A coach-an-six be soon made ready, A coach-an-six tae me prepare, An we’ll gang yince mair an’ see your daddie.

You can hear Norman McCaig singing this version of the song by using the web address below. http://www.tobarandualchais.co.uk/fullrecord/32547/1

164 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.28 Andrew Lammie

This ballad is number 233 in Child’s famous collection. Hamish Henderson collected several recordings of this Ballad, two of which were regarded as sufficiently interesting to be presented as different variations in the Prof. Bronson’s 1974 edition of Child’s collection and the music for both of these are presented here. The words were sufficiently similar in both recordings to justify only presenting one set and these have been added to the first variation.

5.28.1 Andrew Lammie: Variation 233/5.1 This variation [4] was sung by Jeannie Robertson, of Aberdeen. It was collected by Hamish Henderson and was transcribed by Francis M. Collinson. The vertical lines above the score are the breath marks shown in Prof. Bronson’s edition. I have added the exclamation marks to indicate (so far as I can judge) the ends of the verse lines. Together these indicate, I believe, an appropriate breathing pattern for a singer. However, listening to the recording of Jeannie may be more helpful. I have presented below the lyrics of version 14.1 (see the following song in this collection for that score) as it is the more complete text. It is interesting that Jeanie claims that the ballad tells a true story, and that Tifty’s Annie is buried in Fyvie churchyard where her grave could still be found at the time of the recording in 1953.

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1. At Mill o’ Tifty lived a man, 2. Her bloom was like the springing ﬂower In the neighbourhood o’ Fyvie; That hails the rosy morning, He had a lovely daughter fair, With innocence and graceful mein Was call`edbonny Annie. Her beautous face adorning.

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3. Lord Fyvie had a trumpeter 13. But now, alas, her father heard Whose name was Andrew Lammie; That the trumpeter of Fyvie He had the art to gain the heart Had had the art to gain the heart Of Mill o’ Tiftys Annie. Of Mill o’ Tiftys Annie.

4. Proper he was, both young and gay, 14. Her father soon a letter wrote, His like was not in Fyvie, And sent it on to Fyvie, Nor was there one that could compare To tell his daughter was bewitchd With this same Andrew Lammie. By his servant, Andrew Lammie.

5. Lord Fyvie he rode by the door 15. Then up the stair his trumpeter Where liv`edTiftys annie; He call`edsoon and shortly: His trumpeter rode him before, ‘Pray tell me soon what’s this you’ve done E’en this same Andrew Lammie. To Tifty’s bonny Annie.’

6. Her mother called her to the door; 16. ‘It’s woe be to Mill o’ Tiftys pride, Come here to me, my Annie: For it has ruined many; Did e’er you see a prettier man They’ll not have’t said that she should wed Than the trumpeter o’ Fyvie? The trumpeter o’ Fyvie.

7. Nothing she said, but sighing sore, 17. In wicked art I had no part, Alas for Bonnie Annie! Nor therein am I canny; She durst not own her heart was won True love alone the heart has won By the trumpeter o’ Fyvie. Of Tifty’s bonnie Annie.

8. ’Tis At night when all went to their bed, 18. Where shall I ﬁnd a boy so kind All slept full soon but Annie; That’ll carry a letter canny, Love sore oppresst her tender breast, Who will run on to Tifty’s toon, And love will waste her body. Give it to bonnie Annie?’

9. ’Tis Love comes in at my bed-side, 19. Tis Tifty has but daughters three And love lies down beyond me; Who all are wonderous bonny; Love so possessed my tender breast, But ye’ll ken her oot ower the rest; And love will waste my body. Give it to my love Annie.’

10. The ﬁrst time me and my true love 20. It’s up and doon in Tifty’s glen, Were in the woods o’ Fyvie; Where the burn rins clear and bonny, His lovely form and speech so soft There wilt thou come and I’ll attend; Soon gained the heart of Annie. My love, I long to see thee.’

11. He called me mistress, I said, No, 21. Thou mayst come to the brig of Shiegh, I’m Tifty’s bonny Annie; And there Ill come and meet thee; With apples sweet he did her treat, Its there we will renew our love, And kisses soft and mony. Before I go and leave thee.’

12. It’s up and doon in Tifty’s glen, 22. ‘My love, I go to Edinburgh toon, Where the burn rins clear and bonny, And for a while must leave thee;’ I’ve often gane to meet my love, She sigh`edsore, and said no more My bonnie Andrew Lammie. But ’I wish that I were wi’ ye!’

166 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

23. ‘I will be true and constant too 33. At the same time the lord came in; To thee, my Andrew Lammie, He said, ‘What ails thee Annie?’ But my bridal bed will then be made ‘Its all for love now I must die, In the green church-yard of Fyvie.’ For bonnie Andrew Lammie.’

24. ‘The time is gone, and now comes on 34. ‘Pray, Mill o’ Tifty, gie consent, My dear, that I must leave thee; And let your daughter marry;’ If longer here I should appear, ‘It will be with some higher match Mill o’ Tifty he would see me.’ Than the trumpeter o’ Fyvie.

25. ‘I’ll buy to thee a bridal goon, 35. ‘If she were come of as high a rank My love, I’ll buy it bonny.’ As she’s advanced in beauty, ‘But I’ll be dead ere ye come back I would take her unto myself, To see your bonny Annie.’ And make her my own lady.’

26. ‘’T’s if ye’ll be true and constant too, 36. ‘Fyvie’s lands are far and wide, As I am Andrew Lammie, And they are wonderous bonny; I shall ye wed when I come back But I would not leave my own true-love To see the lands of Fyvie.’ For all the lands in Fyvie’

27. ‘I now for ever bid adieu 37. Her father struck her wonderous sore, To thee, my Andrew Lammie; As also did her mother; E’er ye come back I will be laid Her sisters also did her scorn, In the green church-yard o’ Fyvie.’ But woe be to her brother!

28. He hied him to the heid o’ the hoose, 38. Her brother struck her wonderous sore, To the hoose-top o’ Fyvie, With cruel strokes and many; He blew his trumpet loud and shrill, He broke her back on the ha’ door, It was heard at Mill o’ Tifty. For loving Andrew Lammie.

29. Her father locked the door at night, 39. ‘Alas, my father and my mother dear, Laid by the keys fu’ canny, Why so cruel to your Annie? And when he heard the trumpet sound My heart was broken ﬁrst by love, Said, ‘Your cow is lowin’, Annie.’ My brother has broke my body.’

30. ‘My father dear, I pray forbear, 40. ‘O mother dear, mak me my bed, And reproach not your Annie; And lay my face to Fyvie; I’d rather hear that ae coo low Thus will I lie, and thus will die Than a’ your kye in Fyvie.’ For my dear Andrew Lammie.’

31. ‘I would not for my braw new gown, 41. Ye neighbours hear, baith far and near, And all your gifts so many, And pity Tifty’s Annie, That it was told in Fyvie land Who dies for love of one poor lad, How cruel ye are to Annie.’ For bonny Andrew Lammie.

32. ‘But if you strike me I will cry, 42. ‘No kind of vice e’er staind my life, And gentlemen will hear me; Or hurt my virgin honour; Lord Fyvie will be riding by, My youthful heart was won by love, And hell come in and see me. But death will me exoner.’

167 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

43. Her mother than she made her bed, 47. When Andrew home frae Edinburgh came, And laid her face to Fyvie; With muckle grief and sorrow, Her tender heart it soon did break, ‘My love has died for me to-day, And ne’er saw Andrew Lammie. Ill die for her to-morrow.’

44. Lord Fyvie he did wring his hands, 48. ‘Now I will run to Tiftys den, Said, ‘Alas for Tiftys Annie! Where the burn rins clear and bonny; The fairest ﬂower’s cut down by him With tears Ill view the brig o’ Shiegh, That ever sprung in Fyvie.’ Where I parted wi’ my Annie.’

45. ‘Woe to Mill o’ Tiftys pride! 49. ‘Then will I speed to the green churchyard, He might have let them marry; The green churchyard o’ Fyvie, I should have given both to live Wi’ tears I’ll water my love’s grave, Within the lands of Fyvie.’ Till I follow Tifty’s Annie.’

46. Her father sorely now laments 50. Ye parents grave who children have, The loss of his dear Annie, In crushing them be canny, And wishes he had gi’en consent Lest when too late you do repent. To wed with Andrew Lammie. Remember Tifty’s Annie.

You can hear Jeanie Robertson singing this ballad by using the web address below. http://www.tobarandualchais.co.uk/play/24187

168 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.28.2 Andrew Lammie, Variation 233/14.1 This version of the ballad was sung by Willie Matheson, collected by Hamish Henderson and transcribed by Francis M. Collinson.

(a) | 3 4 (b) 5 | |

(a) (a) (b) 3 4 (b) |

You can hear Willie singing his version of this ballad by using the web address below. http://www.tobarandualchais.co.uk/play/15838

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.29 The Rantin’ Laddie

This song is Child Ballad 240/5.1 and it is sung by Willie Mathieson of Aberdeenshire [4]. It was collected by Hamish Henderson and transcribed by James Porter. Although Prof. Bronson lists this as variation one of version ﬁve of Ballad number 240 in the 1974 edition of Child Ballads, the words Willie sings (not presented by Prof. Bronson) seem to be those presented for version 3 and provided by Rev. J. Calder, and those words are presented below.

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1. My father feed me far far awa 7. It’s nae to a laird nor yet to a lord I was far awa as Kircaldy Nor is it to a caddie He’s feed me hame to an auld widow wife But it is to the young Earl of Aboyne And wi’ her lives a bonnie rantin’ laddie. Tho’ hey ca’ him the bonnie rantin’ laddie.

2. On this side the burn and on yon side the burn 8. And where will I get a bonnie wee boy And it’s oh but the burn rins bonnie That will carry a letter cannie And yon man promised to marry me That will run on to the Castle o’ Aboyne If ever he married any. Wi’ a letter to the bonnie rantin’ laddie.

3. If I had been wise I’d taen my love’s advice 9. As ye gang up by bonnie Deeside I’d da’en as my bonnie love bade me The banks they are a’ bloomin’ bonnie I micht have been married at Martinmas Oh then ye will spy the Castle o’ Aboyne And awa wi’ the bonnie rantin laddie. Doon among the bushes sae bonnie.

4. But I wasna wise nor yet took advice 10. As he gaed up by bonnie Deeside Nor did as my bonnie lovie bade me The banks they were bloomin’ bonnie So I now maun sit in my father’s kitchie nook And there he spied the Earl o’ Aboyne Singin’ ba to my bonnie bastard bairnie. Doon among the bushes sae bonnie.

5. My father has come trippin’ doon the stair 11. Where are ye going my bonnie wee boy Wi’ shy, shy looks and angry Where are ye going my caddie Says is’t to a laird or is’t to a lord I’m gaen on to the Castle o’ Aboyne Or is it to a caddie Wi a letter to the bonnie rantin’ laddie.

6. My father is a very proud man 12. Ye needna gang farther my bonnie wee boy My mother she’s gone and left me Ye needna gang farther my caddie My friens and relations they a’ do me forget For I am the Earl o’ Aboyne And my father’s servant men they hate me. Tho’ they ca’ me the bonnie rantin’ laddie.

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

13. He took the letter and he read the letter 15. Oh here I’ll get twenty-four young gentlemen And oh but it was bonnie And as mony ladies But lone ere he had the letter far read That will mount on milk-white steeds The tears they fell thick and many. To welcome home your Peggy.

16. As we cam’ thro’ by bonnie Aiberdeen The folks they were a’ makin’ ready But said I to them ye needna buckle braw To welcome home my Peggy.

14. Oh where will I get twentv-four gentlemen 17. I shall na bide lang at Aiberdeen, And as many of young ladies Nor yet in this low country That will mount on milk-white steeds But I shall run into the Castle o’ Aboyne To welcome home my Peggy. To be Aboyne’s young lady.

You can hear Willie singing this song by using the web address below. http://www.tobarandualchais.co.uk/play/15011

It is interesting to compare this with version 5 sung by Ewen McCol of Perthshire and presented in Section 3.9

171 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

5.30 Robin Hood and Little John

This is a very interesting ballad [3] because it appears so ‘out of place’. It clearly relates to the meeting between the legendary English outlaw, Robin Hood, and his principal lieutenant, Little John. Their first meeting and fight at the river crossing appears in several films and so it is rather strange that the first version of this song to appear in Child Ballads (number 125/1) is this version, collected by Hamish Henderson from John Strachan in Aberdeenshire and transcribed by Francis M. Collinson. The recording indicates that John learned the song (of which he can only provide three verses) from his mother, who probably learned it from her brother who worked for a landowner in Devonshire (quite a long way from Sherwood Forest). The only other version (CB 125/2) to appear in the Bronson edition of Child Ballads (by Prof. Bertrand Harris Bronson) was also collected a long way from Sherwood Forest. It was collected in Ohio, USA.

| | 3 4 11 | | * | 22 | | 34 Start for verse three (compare with *) | etc

When Robin Hood was about twenty years old, He happened to meet little John. A jolly brisk blade, just ﬁt for the trade, And he was a sturdy young man. The happened to meet on Nottingham Bridge, And neither of them would give way. Till brave Robin Hood, in right merry mood: “I’ll show ye right Nottingham play.” Robin laid on so thick and so strong, He made little John to admire; And every knock, it made his bones smoke As if he had been in a ﬁre.

You can hear John Strachan sing this song by using the web address below. http://www.tobarandualchais.co.uk/play/20491

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

A complete set of lyrics can be found on the website below. http://www.sacred-texts.com/neu/eng/child/ch125.htm

173 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

174 Chapter 6

Gaelic Songs

6.1 Gaelic Songs with links to Blairgowrie 6.1.1 Braighe Lochiall The tune to this song (English: The Braes of Lochiel) was recorded by Hamish Henderson in Blairgowrie. The song, as presented here, was sung by William Matheson who built up the text from a variety of sources. It was recorded by Ian Paterson and was published in Tocher[1], Vol. 35.

£ = 37 Elegiacally 6 8 O théid, 's-gun téid, O théid mi thairis, Go 3 Refrain starts here innis nam bó far am b'eòl domh'n ainnir. I 5 3 3 5 3 6 8 3 8 3 8 ó bha hó 'Sna haoiri ri- ri hohi Hoi- reann o gù hohi Ò bha hó.

The lyrics follow a common pattern in Gaelic songs where the last two lines of one verse form the ﬁrst two lines of the next verse. In the lyrics below, after the ﬁrst two verses, the following verses are presented only as couplets. The refrain intersperses each verse. Gaelic Lyrics

O théid,’s gun téid, Refrain: O théid,mi thairis Ì óbha hó Go innis nam bó, ’Sna haoiri r`ırihohi Far am b’eòldhomh ’n ainnir. Hoireann o gùhohi O` bha hó

175

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Go innis nam bó Is asparan ùr Far am b’eòldhomh ’n ainnir, A bùtha’ cheannaich’. Go BràigheLochiall Gura minig a bhà Far ’m be fiadh ’sa’ langan, Sinn air àirighghleannaich. Is earbag na stùc Am bothan beag dlùth Tha gu lùghmhoreangarr’. Gun dùnadhach barrach: A bhean an fhuilt réidh, Làmhthogail an àil, Thug mi fhéindhut mo ghealladh, Bha tlàthsriut ceanghailt: Mo ghealladh nach tréig, ’N am gabhail mu thàmh Ged a b’fheudar dhuinn dealach, Cha bu chnàmhanar teallach, Gur math thig bréidbàn Mo làmhfo d’cheann Air a chàradhort beannach, ’S do làmhgheal tharam Mu aghaidh gun tolg Mo thaobh ri d’thaobh, Nan gormshùlmeallach Sinn maoth-chridheach tairis. Is staidhse dhan t-s`ıoda O thèid,’s gun téid, Mh`ın’gad theannach’, O thèidmi thairis.

English Words: The Braes of Lochiel

Oh I’ll go, I’ll surely go, Stays of fine silk Oh I will go over Drawn tight around you, To the cattle grazings And a fine apron Where I used to know a maiden, From the merchant’s shop. To the braes of Lochiel Many a time have we been Where the belling stags are, At the shieling in the glens And the little roe of the peaks In a snug little hut So nimble and light-footed. With only brushwood for a door. Girl with the glossy hair, Best at rearing the calves, I gave you my word, Gentleness was always your way: My word that will not be broken When we went to bed Though we had to part. Our fire had not died down You will suit the kertch1 My arm under your head Pinned up at the corners And your white arm around me, About the flawless face My side against your side – With the enchanting blue eyes: We were tender-hearted and loving. Oh I’ll go, I’ll surely go, Oh I will go over. 1A headscarf that was worn by married women of the Roman Catholic denomination, in the highlands of Scotland. It was formed from a large square of fine white linen or muslin, tied in a particular manner. This custom formally ended after Vatican II, although it was dying out before then. The second Vatican council, which was held in four sessions between 1962 and 1965, laid the foundations of the modern Roman Catholic Church and made many doctrinal changes. These included removing the direction that married women should cover their hair at all times. After Vatican II that practice was only required at Mass. The kertch denoted status, as married women in Gaelic clan society were allowed to hold property and participate in clan decision making.

176 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

This tune was recorded by Hamish Henderson and Arthur Argo in Blairgowrie in 1967 and can be heard on the website below. The performer is unknown http://www.tobarandualchais.co.uk/fullrecord/51893/1

A sung version of this piece was also recorded by Hamish and the website is shown overleaf. http://www.tobarandualchais.co.uk/en/play/44661;jsessionid=C481501F299A2067B54452428665C014

A version of this song can be heard, sung by Rachel Walker, on YouTube on the site below. https://www.youtube.com/watch?v=HgglNmjHgwc

William Matheson can be heard singing this song on the site below. http://www.tobarandualchais.co.uk/en/play/101547;jsessionid=C3799B44EFF2333822FDFD67095EE53B

177 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.1.2 Guma Sl`ando na Gillean This song [6] was sung by the Blairgowrie Junior Gaelic Choir at the MOD held in Oban in 1978.2

= 108 3 4 Gu- ma slàn do na gillean thug an linn- e mu thuath orr', 4 's na hi liù lèidh leò hò ro mo luaidh ort 's na hi liù lèidh leò

Gaelic Lyrics Chorus: ’S na hi liùlèidhleò, Hòròmo luaidh ort ’S na hi liùlèidhleò,

Gaelic Lyrics Dèma3 rachadh do bhàthadh? Guma slàndo na gillean B’ ro-math ’n snàmhaiche cuain thu: Thug an linne mu thuath orr’ Chorus Chorus: ’s math a snhammadh tu ’n linne ann am bàtacaol daraich - eadar Muile is Suaineart. ’s ro mhath ghearradh i’m fuaradh Chorus Chorus Gur e mise tha cràiteach Ge b’e rachadh gan tilleadh ’s mi air àirigh’n Gleann Cuaiche, bhiodh an iomairt glèchruaidh orr’ Chorus Chorus mi a’ buachailleachd ghobhar bhitheadh leus air am basan, is a’ bleaoghann chruidh ghuailfhinn. agus lasan nan gruaidhean. Chorus Chorus O, gur mis’ th’ air mo leaònadh, Bha Eòghannis Ailean ’s gun mi choir mo chuid shluaigh-sa. agus Alasdair Ruadh ann; Chorus Chorus Ciamar gheibh mi nochd cadal, bha Eòghannmac Phàdraig, ’s mi air leabaidh gun chluasaig, cùlfàinneach nan dual, ann. Chorus Chorus ’n deaidh na fhuir mi dhroch cleachdainn an àmleantainn nan uaislean?

2The score and lyrics have been taken from ‘Songs of Gaelic Scotland’ [6], with the permission of Anne Lorne Gilles. 3short for ‘ciamar’

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

English Words Chorus: As Gaelic Chorus

Here’s a health to the lads How would you have been drowned? who sailed northwards across the ﬁrth; You were such a good ocean swimmer: Chorus Chorus

in a slender oaken boat- expertly you could swim the ﬁrth adept at tacking into the wind. between Mull and Sunart. Chorus Chorus

Whatever it was that made them turn back, I am sore-hearted it must have been a terrible struggle. on a sheiling in Clen Cuach, Chorus Chorus

There must have been blisters on their hands, herding goats and ﬂames in their cheeks. and milking the white-shouldered cattle. Chorus Chorus

Ewan and Allan Oh, I am sorely aﬄicted, and Alasdair Ruadh4 were there; far from my own people. Chorus Chorus

Ewan son of Patrick, How can I sleep tonight, with his curly head of hair, was there. on a bed without a pillow, Chorus Chorus

after all the bad treatment I got when I was running around after the nobility?

You can hear the choir singing these songs on the website below. http://www.tobarandualchais.co.uk/fullrecord/88726/1

4Auburn Alasdair

179 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2 Gaelic Songs Collected by Hamish Henderson

Hamish collected an large number of Gaelic songs, and only a relatively small number of them are presented here.

6.2.1 Nighean Mhic ’Ic Ailein It seems appropriate to open this section with a song sung by Hamish himself. This song is listed in Tobar an Dualchais under ‘Biodh an Deoch sa air Làimhmo Rùin’and ‘Bidh an Deoch sa air Làimhmo Rùin’, which are versions of the first line of the refrain. The first version, loosely translates as: ‘Let this toast be ...’, while the second (used in the version presented below) has been translated as: ‘This toast shall be...’. This song is also listed ‘Nighean Mhic ’Ic Ailein’, or ‘Clanranald’s Daughter’, the title used here. It relates to a traditional story from the Island of Coll and both the song and the story were published in Tochar[1], vol. 38 and are reproduced below. Tocher gives the story in both Gaelic and English, but only the English version is presented here - just as it was printed in Tocher. As with many traditional songs, this one has gaps and some confusion in the lyrics. The Gaelic lyrics are presented first, followed by the English translation.

When the chieftains owned the islands they could take the law into their own hands. This girl of Mac ’ic Ailein’s: you know the Chief of Clanronald5, she was in love with one of her father’s labourers. And she was going to marry him against her father’s will. Didn’t matter what they’d say, she was determined to marry him. And her father ordered her to be sent away to be left on a rock till such time as the tide took her. It was a disgrace for them, you know, for one of their ﬁne daughters to marry a low class, like a labourer, you know. Anyway, they went and left her on the rock. It was all right to begin with. The tide was out. But the tide started to come in. And at last the tide was up to her arm pits. But the Chief of Coll was passing with his own biorlainn6, as they called their touring ships. And he asked his men. He saw the girl on the rock and the tide up to her arm pits. “Oh,” he says, “you’d better go in and lift her oﬀ that rock,” he says.“I’m needing a nurse for my own children,” he says, “and I’m sure she’d be a grand nurse to my children. Whoever she is don’t leave her there to drown.” So the men took her and took her to the castle in Coll. Anyway the years passed. And if they asked her where she came from, she never told them. Of course they7 weren’t allowed to roam the same as what they are today. They weren’t supposed to go anywhere unless they were invited, or sent abroad to school, you know, so she was....many years in the castle at Coll. And she was very fond of the children. And always they noticed what a lovely voice she had. She could sing. But it so happened that years after, the Laird of Coll invited the Laird of Clanronald to dinner. There was a special day for this. It was a big day. And they were all outside the castle in Coll watching Clanronald’s biorlainn coming into the harbour. And one of the Chief of Coll’s sons said, “Nach e’m balach e!” – “Isn’t he a boy!” trying to make fun of Mac ’ic Ailein, you know, Clanronald. And although he was her father and although he left her on a rock to drown it hurt her feelings to try and make fun of her father. But she never said anything. She never let on. Anyway the dinner started, and when they had enough of dram and all that, some of them asked for somebody to sing. “Is there not anybody here that can sing us a song?”

5SIC, more commonly ‘Clanranald’ 6A biorlainn (more commonly ‘birlinn’), was a sailing ship very similar in style to a viking longship, or galley. It could be propelled by oars as well as sail and was common on the West Coast of Northern Scotland and the Hebrides during the middle ages and later 7Probably referring to women.

180 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

“Oh, certainly there is,” the Laird of Col said. “I’ve got a nurse for my children. She’s a lovely singer. Shall I bring her down?” “Certainly,” they said. “Bring her down.” So she came down, stood at the head of the table and started composing the song and singing at the same time. This is the song Clanrandald’s Daughter sang. It starts with the refrain which then intersperses the verses. The verse set to the music shown here is the eighth.

= 60 Refrain 2 4 Bidh an deoch-s' air laimh mo ruin Deoch slain- te le 4 fear an Tuir Bidh an deoch-s' air laimh mo ruin.

= 60 Verse 2 4 Mac an fhir a b' fheàrr na t'athair Am modh's am mathas's an cliù

Gaelic Lyrics Refrain: Bidh an deoch-s’ air làimhmo rùin Deoch-slàinte le fear an Tùir Bidh an deoch-s’ air làimhmo rùin Verses:

’S minig a choltaich Cola chreagach M’eudail air muime nam maighdeann Ri Dunbheagain no ri Rùm Air am biodh foighneachd ’s a’ chùirt Refrain. Refrain. Oladh` nara h-òladh càch i Bidh mo làn-s’air ceann a’ bhùird. Refrain.8 8See: Notes 1. 9As presented in Tocher

181

Music engraving by LilyPond 2.18.2—www.lilypond.org

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

M’eudail air muime nam mac Refrain.10 (? Mi lamh9) ‘gan tatadh aig glùin. Dona leam a ghabh thu bhalaich Refrain. Air Mac ’ic Ailein nan crùn. Dh’aithnighinn a’ tighinn o’n Mhaoil thu Refrain. Badag fhraoich a’s an t-slat-shiùil. Mac an fhir a b’fheàrrna d’athair Refrain. Am modh ’s am mathas ’s an cliù. Dh’aithnighinn a’ tighinn air fairrg’ i Refrain.11 Coltas laimh dhearg air ur stiùir. Mar bh’e is gur tùmo bhràthair ’S mi nach àicheadh idir thu.12

English Words Refrain: This toast shall be to the success of my hero, A health to the lord of the Tower: This toast shall be to the success of my hero. Verses:

Woe to him who would compare rocky Coll I would know you coming from the Mull With Dunvegan or with Rum. With a bunch of heather on the yard-arm; Refrain. Refrain Whether the others drink it or not, I would know your ship coming across the ocean My glass shall be ﬁlled at the head of the table. With the sign of the Red Hand on your rudder. Refrain.13 Refrain15 I love the nurse of the maidens I didn’t like your using ‘boy’ Who used to be asked for at court; As a name for Clanranald of the crowns, Refrain. Refrain I love the nurse of the sons Son of a better man than your father (14) caressing them at her knee. For breeding, for bounty and renown. Refrain Refrain16 Were it not that you are my brother, I’m sure I wouldn’t refuse you at all.17

Notes:

1. Th`oisich i ’nuairsin air i fh´eina mholadh.

2. Thòisich i ’nuairsin ma dhéidhinn mac Tighearna Chola air tàilleamh’s gu robh e magadh air a h-athair, ’s thuirt i.

10See Notes 2 11see Notes 3 12See Notes 4 13see Notes 5 14As published in Tocher 15See Notes 6 16See notes 7 17See Notes 8

182 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

3. ’S ’nuair a chunnaig bràthair na bha i deanamh de mholadh air athair, ’s gun fhios aige gur e phiuthar a bh’ann idir, thòisich e air deanamh suas rithe, ’s thuirt is ’nuairsin. 4. Cha robh ach ’nuair a chuala Mac ’ic Ailein gur e ’n nighean aige fhéina bh’ann, ged a dh’fhàgiad air a’ sgeir i, mar a bha ’facal, “’S blàthan fhuil ged a b’ann an craiceann nan con”, cha robh air no dheth, dh’fheumadh i dhol a dh’Uibhist còmh’riutha. Dh’fhàgi beannachd aig a chuile gin a bh’ann an Caisteal Chola ’s dh’falbh i dhachaidh a dh’Uibhist còmhlari h-athair ’s ri ’bràithrean.

5. Then she started to praise herself. 6. Then she started on about the Laird of Coll’s son because he had been making fun of her father. 7. And she praised her father so much that she even hinted at how the Chief of Coll’s son, how he tried to insult her father, and that he was a much better father ... than his father. And when her brother saw that she was so loud in his father’s praises - he didn’t know she a was his sister - and he wanted to marry her. 8. And then she said, “I would,” she said, “I wouldn’t refuse you at all, but seeing that you are my brother,” she said, “I must refuse you.” So there was nothing to it, when they heard that she was their sister and when the father saw that she was his daughter, there was nothing to it but she had to go back to Uist with them. And she left Coll and said goodbye to everybody at Coll and went back to her father and mother in Uist. They thought that years and years before that, that she was drowned - but no...

183 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2.2 ’S Gura Muladach Sgth Mi Hamish collected this song from an number of singers, and other collectors recorded it being sung by other singers. The score for this song shown below was published in Tocher 39 [1]. The ﬁrst verse is sung, followed by an extension of the refrain: ‘Hai o’. After that the last two lines of the previous verse form the ﬁrst two lines of the next verse. The short refrain, ‘Hai o’, follows each verse. The song ends with a repeat of the extended refrain.

= 54 Freely gura mu- la- dach sgith mi 's-mi liom fhin 'san tir ain- eoil, Anns na h-Eil- ea- nan Diu- rach 'Smor mo dhuil ri dhol thairis, Hoi o

Figure 6.1: First Full Verse

= 54 £ £ £ £ £ £ Hai o, 'sna h aibh o- ho Hiri o- horo ho Hai o 'sna hi aibh o- ho Hi £ £ £ £ £ £ £ ri na hi ri ri dhiu a Hill iu na hug hoireann o- ho£ Ei- leabh o- h- ro £ ho.

Figure 6.2: Extended Refrain

= 54 Anns na h-Eil- ea- nan Diu- rach 'Smor mo dhuil ri dhol thairis, 'Smi gun phiuthar gun bhra- thair Gu- un mha- thair gun a- thair, Hoi o

Figure 6.3: Second Full Verse

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Music engraving by LilyPond 2.18.2—www.lilypond.org

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Gaelic Lyrics

First full verse: Lùbùra’ chùilchlannaich. ’S gura muladach sg`ıthmi Lùbùra’ chùilchùbhraidh, ’S mi leam fh`ınsan t`ıraineoil, ’S toigh leam fhn do chaol mhala, Anns na h-Eileanan Diùrach ’S mòrmo dhùilri dhol thairis, Bu tu leannan na maighdinn Hai ò ’S an oidhche ga mealladh, Extended Refrain: ’S a dh’iarraidh a pòigeadh Hai ò,’s na h`ıaibh oho Eadar dheòinagus aindeoin, Hill òhoròhò Bu tu sealgair a’ choilich Hai ò’s na h`ıaibh oho ’S moiche ghoireas sa mhadainn Hi r`ına h`ır`ır`ıdhiùa Hill iùna hug hòireannoho ’S na circeige riabhaich ileabh òhoròhò. Dham bu bhiadh a’ fraoch meangain, Second full verse: ’S na circeige duinneadh Anns na h-Eileanan Diùrach Bheir a gur àsan rointich. ’S mòrmo dhùilri dhol thairis, ’S na faighinn-sa m’ òrdan ’S mi gun phiuthar gun bhràthair Bu leat mòrando dh’fhearann: Gun mhàthairgun athair, Bu leat Muil’ agus Ìle, Hai ò Cinn T`ıreagus Arainn Following verses Extended refrain (preceded by last two lines of previous verse): Gun duine dhem dhaoine Hai ò,’s na h`ıaibhoho Ris am faod mi mo ghearain, Hill òhoròòhò Hai ò’s na h`ıaibh oho Ch`ımi bàtatron chaolas: Hi r`ına h`ır`ır`ıdhiùa Tha mo ghaol-s’ orra dh’fhearaibh. Hill iùna hug hòireannhò. Tha mo leannan ga stiùireadh, Eileabh` òhoròhò

English Translation First Three Verses Only

How miserable and weary I am In the Islands of Jura On my own in a strange country How much I want to cross over, In the Islands of Jura When I am without sister, without brother, How much I want to cross over, Without mother, without father, Hai ó Hai ó When I am without sister, without brother, Without mother, without father, Without ay of my folk To whom I can make my plaint. Hai ó

You can hear Flora MacNeil singing this song on the website below. This version was collected by Hamish Henderson. http://www.tobarandualchais.co.uk/fullrecord/85402/1

185 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2.3 Mo Nighean Donn a C`oirneaig

= 50 ± Freely 6 8 Mo nig- ghean donn a Còir -neaig. 'sann tha i buidhe 4 bhòi dheach, Mo nighean donn a Còir -neaig. 'S'nuair chaidh càch dhan 8 D.S. t-searmoin chaidh na seala- gai- rean 'na mhoin- tich. Mo

Gaelic Lyrics English Words: Refrain: Refrain: Mo nighean donn a Còirneaig, My bonny lass from Cornaig, ’S ann bha i buidhe bòidheach She was yellow-haired and beautiful, Mo nighean donn a Còirneaig, My bonny lass from Cornaig, Verses: Verses: ’Nuair chaidh càch dhan t-searmoin, When everyone else went to the church, Chaidh na sealgairean ’na’ mhòintich. The hunters went to the moor. ’S bha do chuailean taice riut, And your tresses were spread wide beside you, ’S do léineghlaic ’na h-ònar, And the blouse from your bosom lay alone, ’S do ch`ıochan m`ınegeala And your delicate white breasts ’S iad ri s`ıleadhfaladh còmhladh. Were both streaming with blood. Is truagh nach mi bh’air ’bhealach I wish I were bocking the way Romh na balaich rinn an do-bheairt, Of the fellows who did the crime, ’S na robh claidheamh ruisgt’ agam And if I had a naked sword Gu fiachainn lùthsmo dhòrnleis. I would try out the skill of my hand with it. ’S a lionn a bha gu d’bhanais againn, And the ale we had for your wedding, Air d’fhalaire a dh’òladh. It was at your funeral it was drunk.

The score for this song was published in Tocher[1] vol 34 and was recorded by Hamish Henderson. The singer was Alasdair MacLeod, and the entry in Tocher lists that he came from Kilmuir in Skye and also from Achnaba in Argyll. The title translates as ‘My brown girl from C`oirneaig’,which is generally taken to mean ‘My bonny lass from Cornaig’, rather than any reference to the colour of the girl’s hair, or her complexion. It is easy to tell from

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Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book the lyrics that the song refers to a murder. According to Sorley MacLean, quoted by Hamish in the new ‘History of Scottish Literature, vol. 1’, the girl was killed by her own brothers to prevent her marrying beneath her. The version of the song sung by Alasdair MacLeod and recorded by Hamish is not available on Tobar an Dualchais, but recordings of the song, sung by several other singers, are presented and they all sound quite similar. You can hear Hamish introducing Annie Arnnott singing this song on the website below http://www.tobarandualchais.co.uk/fullrecord/30687/1

187 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2.4 Dhannasmaid Le Ailean Hamish collected this song from Annie Arnnott and you can hear her singing on the website listed below. It is mouth music (Puirt a Beul) intended to support dancing in the absence of instrumental music. The score presented here relates to a version collected by Calum Maclean and at appeared in Tocher [1] Volume 1. A limited number of verses are presented here and more verses can be heard sung By Annie Arnott on the recording made by Hamish. The notes in Tocher indicate that the song was sung at a pitch a minor sixth below the score presented. That recording, also of Annie Arnnott, was made by Calum Maclean. The score in Tocher presents the verse in two slightly diﬀerent rhythms, and both are presented below. £ = 162 Refrain 9 £ £ 16 £

£ = 162 Verse 9 £ 16

You can hear Annie singing the version collected by Hamish on the website below. The lyrics are shown overleaf. http://www.tobarandualchais.co.uk/fullrecord/2759/1

188

Music engraving by LilyPond 2.18.2—www.lilypond.org

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

The song starts and ends with the chorus (i.e. the refrain) which also intersperses the verses.

Gaelic Lyrics. English Translation. Refrain: Refrain: Dhannsadh, gun dannsadh, We would dance, we would dance, Dhannsamaid le Ailean; We would dance, with Alan; Dhannsadh, gun dannsadh, He would dance, he would dance, Dhannsadh Ailean leinn. Alan would dance with us.

Verses: Verses: Ruidhleadh MàiriTàillear The tailor’s Mary reeled, Dhannsadh MàiriTàillear The tailor’s Mary danced, Ruidhleadh MàiriTàillear The tailor’s Mary reeled, Gos na dh’fhàsi tinn Until she grew sick.

Ged bha Màiricrùbach Though Mary was lame Agus car ’na gluùinean, And knock-kneed, Dhannsadh i gu sunndach She danced happily Air an ùrlar gurinn. On the fine floor.

189 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2.5 Air Do Shl`ainte Mh`airi’n Dotair Hamish took four recordings of this tune, ‘Good Health to the Doctor’s Mary’, from Annie Arnnott. It, like the previous one, is Puirt a Beul (mouth music) for dancing, in this case a strathspey. It was sung a minor third below the pitch presented here. As before, the rhythm of the verse was variable, and both rhythms are presented here You can hear Annie singing the song on the website below. The words of the song are presented overleaf.

£ = 86 Refrain £ 6 £ 16 £

£ = 86 Verse 0 6 £ 16 £

You can hear Annie singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/30634/1

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Music engraving by LilyPond 2.18.2—www.lilypond.org

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Gaelic Lyrics English Words Refrain: Refrain: Hùbhihàbhihùbhihàbhi Hùbhihàbhihùbhihàbhi Air do shlàinte Mhàiri’n dotair, Here’s your health, the doctor’s Mary Hùbhihàbhihùbhihàbhi Hùbhihàbhihùbhihàbhi Sid ort féin a Mhàiri. Here’s to you Mary.

Verses: Verses: Dannsadh air na staidhreachan Dancing on the stairs Aig banais r`ıomhach Mh`airi’n dotair, At the doctor’s Mary’s splendid wedding. Dannsadh air na staidhreachan Dancing on the stairs Aig banais r`ıomhach Mh`airi. At Mary’s splendid wedding.

Bidh an t-òra’ gliogadaich Gold will be chinking Aig banais r`ıomhach Mhàiri’n dotair, At the doctor’s Mary’s splendid wedding. Bidh an t-òra’ gliogadaich Gold will be chinking Aig banais r`ıomhach Mhàiri. At Mary’s splendid wedding.

Tha rud beag a dh`ıthorm I lack one little thing A dh’fheumas mi mun deannainn banais That I need before I wed Tha rud beag a dh`ıthorm I lack one little thing A dh’fheumainn fh`ınis M`airi. That Mary and I would need

191 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.2.6 Uamh an Oir` Hamish collected one version of this song which, in English, means ‘The Cave of Gold’; but, sadly, it will not play on the Tobar an Dualchais website. There are quite a few versions of this song on ‘Tobar an Dualchais’, and there are noticeable variations between them, so there is no guarantee that the version presented here is identical to the one that Hamish collected. The score was published in Tocher [1] vol. 47 and it was transcribed from the version ‘sung’ by the Rev. William Matheson and recorded by Fred Kent in 1961. Tocher does not state who transcribed the score. Rev. Matheson learned it from Norman MacRury, a piper from Grogarry, S. Uist, and his cousin and neighbour, Colina MacRury. There are two recordings of Rev. Matheson singing this song, but neither is the recording used to establish the score presented here. It follows that the score may not exactly match the tune sung by Rev. Matheson on the recording listed below, but it is likely to be very similar. This song is a piobaireachd (on pibroch) - i.e. the words were set to the traditional piobaireachd pipe tune to help the piper learn and remember the tune. There are many legends of pipers entering caves, sometimes in search of fairy gold, sometimes for other reasons. In some cases they met with good fortune and found the gold, but in most cases their adventure ended in disaster with them getting lost, or trapped - sometimes as a consequence of fairy mischief, sometimes as a consequence of their own greed. Many legends exist of caves, or cave systems, where one can hear the ghostly sound of the tune played by the lost piper who is still, according to legend, seeking his escape. You can hear Rev. Matheson singing the song on the websites below. The score and lyrics can be found on the next page. http://www.tobarandualchais.co.uk/fullrecord/86909/1 http://www.tobarandualchais.co.uk/fullrecord/68553/1

Gaelic Lyrics

Is truagh, a R`ıgh,gun tr`ılàmhan, Bidh na minn bheaga ’nan gobhair chreagach Dàlàimhsa’ ph`ıobdàlàimhsa’ ph`ıob, Man tig mise, man till mis’ á Is truagh sa’ R`ıgh,gun tr`ılàmhan, Uamh an Oir,` Uamh an Oir,` Dàlàimhsa’ ph`ıob’s làmh sa’ chlaidheamh. ’S na lothan cliathta ’nan eich dhiallta Refrain: Man tig mise, man till mis’ á Uamh an Oir,` Uamh an Oir,` Eadarainn a’ chruit, a chruit, a’ chruit, Eadarainn a’ chruit mo chuideachd air m’fhàgail, Bidh na laoigh bheaga ’nan crodh eadraidh Eadarainn, a luaidh, a luaidh, a luaidh, Man tig mise, man till mis’ á Eadarainn, a luaidh: ’s i ’ghall’ uian’ a shàraich mi. Uamh an Oir,` Uamh an Oir,` ’S na mic uchda ’nam fir fheachda Mo taobh fodham,’s m’ fheóilair breothadh, Man tig mise, man till mis’ á Daol am shùil,daol am shùil: ` ` Dàbhior iarainn ga’ s`ıorsiaradh Uamh an Oir, Uamh an Oir, Ann an ghlùin,ann an ghlùin. ’S iomadh maighdeann ógfo ’ceud-bharr Théida-null, Théida-null Man tig mise, man till mis’ á Uamh an Oir,` Uamh an Oir,`

192 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

£ Freely Rhythmic = 48 6 8 Is truagh a Righ, gun tri làmh -an, Dà làimh sa' phiob, 4 (slower) (A tempo) 2 4 da làimh sa' phiob, Is truagh, a Righ, gun tri làmh -an, Dà làimh sa'

7 ± £ = 64 Pia mosso 2 6 4 8 phiob's làmh sa' chlaidheamh. Ea- dar- ainn a' chruit a' chruit, a' chruit, 11 Ea- dar- ainn a' chruit, mo chuideachd air m'fhà -gail. Ea- dar- ainn a luaidh, a 14 ½ Fine 2 6 luaidh, a luaidh, Ea- dar- ainn alu- aidh: 's-i 4'ghall' uain' a sha- raich mi. 8 £ 19 = 60 6 8 Mo thaobh fodham m'fheòil air breothadh. Daol am shùil, daol am shùil; D. S. al Fine 23 Dà bhior iarainn ga' sior siar- adh Ann am ghlùin ann am ghlùin Bidh na minn bheaga 28 5 6 8 8 'nan gobhair chreagach Man tig mise, man till mis' á Uamh an Òir 32 * 5 8 Uamh an Òir 'S na lothan cliathta 'nan eich dhiallta Man tig mise, D. S. al Fine Then repeat with variation * 36 5 6 5 8 8 8 man till mis' á Uamh an Òir Uamh an Òir 'S na mic uchd- a 40 5 6 8 8 'nam fir fheachd- a 'S iomadh maighdeann òg fo' ciud - bharr Théid a- null 44 D. S. al Fine 5 6 8 8 Théid a- null Man tig mise, man till mis' á Uamh an Òir, Uamh an Òir.

Music engraving by LilyPond 2.18.2—www.lilypond.org

193 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

English Translation.

Oh Lord, I wish I had three arms: Little kids will be mountain goats Two hands for the pipes, two hands for the pipes, Ere I come, ere I return from Oh Lord, I wish I had three arms: The Cave of Gold, the Cave of Gold: Two hands for the pipes and one for the sword. And colts at the harrow will be saddled horses Chorus: Ere I come, ere I return from Between us the harp, the harp, the harp,18 The Cave of Gold, the Cave of Gold: Between us the harp, my companions have deserted me; Little calves will be milking cows Between us my love, my love, my love19, Ere I come, ere I return from Between us my love: it was the green bitch who wore me The Cave of Gold, the Cave of Gold: out. And nursling boys will be men of war, I lie on my side, my ﬂesh decaying, Ere I come, ere I return from A beetle in my eye, a beetle in my eye, The Cave of Gold, the Cave of Gold: With two iron spikes being constantly jabbed Many a young maiden in her ﬁrst covering20 Into my knee, into my knee. Will pass over, will pass over, Ere I come, ere I return from The Cave of Gold, the Cave of Gold:

Notes (taken from Tocher Vol 47)

1. Cruit originally meant a lyre, and in later times a harp, and that is how it has been translated here. It may be a reference to a lost story of a rival fairy musician enticing the piper away. An alternative explanation is based on the circumstance that a nearly identical word, usually written in Scottish Gaelic croit and pronounced diﬀerently, means a hump or hillock (as well as croft). There is the possibility that croit and might have been used in an earlier form of the song to describe a rise in the cave ﬂoor that the piper’s companion could not pass. 2. A luaidh sounds like an address to the piper’s beloved who may sometimes be able to hear him, but a’ luaidh (meaning ‘the lead’) might refer to something like a leaden door between them. Another song from Perthshire (believed to be: ‘O phiuthrag mo chridhe, tiugainn dhachaidh’) refers to iron gates separating people and (it is claimed) that might make more sense.

3. Fo ’ceud-bharr could metaphorically mean ‘in her ﬁrst bloom’, but is more likely to mean ‘wearing her ﬁrst head-dress’ and, hence, be a reference to the kertch mentioned in ‘The braes of Lochiel’ (see the footnotes to that song).

18See Note 1 19See Note 2 20See Note 3

194 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

6.3 Songs Collected by Alexander Carmichael

It seems fitting to acknowledge the contribution made by other folk song collectors to the national folk song archive. One of the most renowned is Alexander Carmichael. Alexander Archibald Carmichael (1832-1912) worked as an excise man in the outer hebrides and during that time he collected hymns, poems and songs as he travelled around the islands in the execution of his duties. Although looking back from our current era it seems as though Alexander Carmichael lived in a golden age of Gaelic culture and collected a wealth of material; it should be recognised that his collection, published under the title “Carmina Gadelica”, contains only a fragment of what had once been a rich and diverse musical tradition. There are many reasons for this. The Jacobite risings in Scotland and Ireland - and there were several: 1689, 1708, 1715, 1719, 1744 and 1745; resulted in an increasing persecution of the highlands by mainstream British society and also encouraged the erosion of the clan system. Clan chiefs gradually changed their attitude towards those who lived beside them on clan lands. Where previously they had regarded those people as fellow clan members who provided them with security and status, they began to see them as tenants. Cheviot sheep provided a larger financial return than the traditional ‘black face’, but were less hardy and could not survive the winter months on the high moorland pastures. They needed to be brought down to overwinter on the more sheltered land previously farmed by clans members. This, coupled with a rapid increase in population and the failure of the potato and kelp crops brought matters to a head and resulted in the ‘clearances’ - strongly resisted during ‘The Year of the Sheep’ (bliadhna nan caorach) 1792, and a dramatic loss of Gaelic culture. Few people in the Blairgowrie and Rattray area speak gaelic today. Gaelic culture, including the language, was persecuted by the establishment but it clung on in remote areas and there is even the suggestion that it was spoken in Glen Isla up until the reign of Queen Victoria. Although few of those reading this are likely to be familiar with many of the songs Carmichael collected, this one is included in tribute to his work. I am indebted to Anne Lorne Gilles[6] for permission to include it in this work. Seathan mac R`ıgh Eireann` (Seán,the son of Ireland’s King)21

Gaelic Lyrics English Words H`ıri o na h`ıòro Hi ri o na hi o rò h`ıri o na h`ıòro hi ri o na hi o rò B’annsa Seathan a falbh slèibhe, I loved Seathan22 crossing mountains na h`ıo ro hòhug òro na hi o ro hòhug òro b’annsa Seathan a falbh slèibhe, I loved Seathan crossing mountains h`ıri o na h`ıòro hi ri o na hi o rò mise lag is esan treubhach; I weak but he strong na h`ıo ro hòhug òro na hi o ro hòhug òro cha ghiùlaininn ach beag èididh; I’d wear only scant clothing; h`ıri o na h`ıòro hi ri o na hi òro còtaruadh mu leth mo shlèisne, a russet coat around my thigh, na h`ıo ro hòhug òro na hi o ro hòhug òro criosan caol-dubh air mo lèine and a narrow black girdle round my shift h`ıri o na h`ıòro hi ri o na hi òro Seathan! Seathan! mo ghile grèine Seathan! Seathan! my sun’s brightness na h`ıo ro hòhug òro na hi o ro hòhug òro

21This is a waulking song, sung to accompany the work involved in treating and pre-shrinking tweed cloth 22Seathan is the Scottish Gaelic form of John.

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× × × × 12 × 8 Hi ri o na hi o ro, hi ri o na hi o ro 3 × × × × × b'ann -sa Seath -an a' fal -(a)bh sleibh -e, na hi o -ro ho hug o ro; 5 × × × × × b'ann -sa Seath -an a' fal -(a)bh sleibh -e, hi ri o na hi o ro 7 × × × × × × × mis -e lag is es -an truebh -ach; na he o -ro ho hug o ro; 9 × × × × × × cha ghuil -ain -inn ach beag eid -idh. hi ri o na hi o ro 11 × × × × × × cot -a ruadh mu leth mo shleis -ne na hi o -ro ho hug o ro.

och dham dheòingun d’ghlac an t-eug thu; woe is me that death has caught you: h`ıri o na h`ıòro na hi o ro hòhug òro dh’fhàgsiud mise dubhach, deurach, it has left me sad and tearful. Chorus Chorus na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro ’S iomadh beinn is gleann a shiubhail sinn: Many a mountain and glen we travelled: h`ıri o na h`ıòro h`ıri o na h`ıòro bha mi ’n Ìle, bha mi ’m Muile leat; I was in Islay and I was in Mull with you: na hi o ro hòhug òro na hi o ro hòhug òro bha mi ’n Ì nan cailleachan dubha leat; I was in Iona of the nuns with you, h`ıri o na h`ıòro h`ıri o na h`ıòro bha mi ’s Slèibhte nam ban buidhe leat; I was in Sleat of the yellow-haired girls with you; na hi o ro hòhug òro na hi o ro hòhug òro

196

Music engraving by LilyPond 2.18.2—www.lilypond.org Collated by C. M. Chandler Blairgowrie and Rattray Song Book bha mi ’n Eirinn` an Còig’ Mumha leat, I was in Ireland, in the Province of Munster with you, h`ıri o na h`ıòro h`ıri o na h`ıòro ’s dh’èistmi ’n Aifreann sa Choille Bhuidhe leat. and I heard Mass in the Yellow wood with you. na hi o ro hòhug òro na hi o ro hòhug òro Nam faighte Seathan ri fhuasgladh, If Seathan could only be freed, h`ıri o na h`ıòro h`ıri o na h`ıòro dh’fhàsadhan t-òrfo na bruachaibh, gold would grow beneath the river-banks; na hi o ro hòhug òro na hi o ro hòhug òro cha bhiodh gobhair an creig ghuanaich there would be no goats in the wild crags, h`ıri o na h`ıòro h`ıri o na h`ıòro ’s cha bhiodh l`ıongun iasg an cuantan and there would be no net without fish in the oceans Chorus Chorus na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro

B’annsa Seathan air cùltobhta, I would rather be with Seathan behind a black wall, h`ıri o na h`ıòro h`ıri o na h`ıòro 23 na bhith le mac r`ıghair lobhta, than with the king’s son in an upstairs room, na hi o ro hòhug òro na hi o ro hòhug òro ged bhiodh aige leabaidh shocair, even if he had a comfortable bed. h`ıri o na h`ıòro h`ıri o na h`ıòro 24 ’s sròldhen t-s`ıoda bhith fo chasan and a sheet of satin beneath his legs. Chorus Chorus na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro na hi o ro bòhug òro

6.3.1 Seathan mac Righ Eireann (Seathan, the son of Ireland’s King) The following is quoted from ‘Carmina Gadelica’[5]. Both the Gaelic and English versions are presented in that work, but only the English translation is presented here. This song was obtained from a number of singers: from MórMacNeil (daughter of Alexander son of fair-haired Roderick), cottar, Ceann Tangabhal, Barra; from Mary MacDonald and Mary the wife of Angus Campbell, cottars in Mingulay, Barra, on Saturday 22nd May 1869; from Mary Ferguson, Carinish, North Uist, a poor miserable woman but full of music and old lore, on 29th May 1869; from Mary Boyd, Glen, Barra; from Mary Macrae, crofter, Dunan Letterfearn, Glen Shiel, on 22nd August 1903; from Mary Henderson, Morvern (sister of the great Ann); from Jessie Matheson (Mrs. Cameron), nurse, Oban, a native of Kilmuir; from a ’cailleach Chnòideartach’, an old woman fromKnoydart, whose name is not recorded, High Street, Oban; and from Janet MacLeod, the School-house, Island of Eigg, January 1905. It is Janet’s song that is printed here25. MórMacNeil said: ‘This lament was composed by his wife for Seathan son of the King of Ireland. Seathan was a

23Ordinary people lived in low taighean dubha (black houses); to have glass in the windows, and more than one storey was a mark of wealth and social status. 24literally: banner 25Only Janet’s words are presented - the score has been taken from ‘Songs of Gaelic Scotland’[6].

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great marauder, killing and plundering in every quarter as he best got the chance. He was an outlaw and a fugitive and his wife hid him in hope of sending his pursuers past and saving his life for herself.’ Mary MacDonald and Mary wife of Angus Campbell. These two women sang the lament together and separately, – in the latter case one sang the refrain and the other the lament. Both sang the whole of the refrain at the end of each line. One of them was carding and one of them was spinning, and each had a strong, sweet voice and right well could they sing. Mary Macrae sang the song as though at the waulking frame, and sang it finely, and it was a pleasure to one to listen to her. Mary Ferguson. She heard this from an old man who was in Baile Sear (Baleshare), and the old man heard the lament in a fairy bower inside a heather-clad hill. ‘The man was one day pulling heather for ropes out in the hill. The day was warm and sultry. And the man heard the most beautiful melody that he had ever heard with his two ears. He sat down in the shadow of the hill away from the warm rays of the sun and listened carefully to the melody. When the man came home in the evening with a load of rope-heather on his back, he related word for word what he had heard without changing a syllable. The man sang the song as he had heard it fom the fairy in the fairy dwelling. The folk of the townland came out to listen to him, and by the Book it was worth that.’ The man’s name was John son of Angus MacAulay in the Baile Sear26 It was at the Black Hill of the River of the Fishing that the man was pulling the heather when he heard the music. The Black Hill was always uncanny and to the present day people do not like to go near it. Kenneth MacLeod and Alexander Carmichael were together in Eigg in January 1905, in search of traditional lore, and this is the conversation that took place between the two and Janet MacLeod. Q: Where did you hear this song? A: I have heard it from many a person, and many a time have I myself sung it lustily at the waulking frame. My father’s people, the tribe descended from the Counsellor27, were famous for old songs and things of that kind, – was it not about them it was said that they never forgot any poetry or lore, but were constantly adding to the cairn? And when my father came to Trotternish, whether or not he brought any property with him from MacLeod’s Country, he at least brought enough poetry and lore to fill the world. Q: That legacy was not worth much! A: Was it not? I would not say so! Every thing that endures is good. ‘Shared gold goes not far, but a shared song lasts a long time.’ A gold coin does not go far in company but a good song will suffice for a whole world of people. But what I was going to say was that ‘Seathan son of the King of Ireland’ was the choice of the waulking songs. The women to-day have only fragments of it; when I first remember, ‘Seathan’ by itself would be sufficient to complete the waulking, however tough the cloth. I myself remember but little of it to-day, compared with what I knew when no waulking was complete without me, – it is not through vainglory I say it but though many a lad was matched with me, I never left one of them in obscurity28. I detest what I dislike, and indeed I would consider it no small disgrace that a poor lad should be matched with me and that I would not raise him above the rest in the fore-front of a verse. Q: But who was Seathan? A: Who but the son of the King of Ireland. But according to the tale he was not at all as good as the song makes him out to be. The man he would not kill in the north but he would kill in the south, and the rapine he would not commit in the west, he would commit that and more in the east. At last every town and village was on his track in pursuit of him, and he was three years an outlaw, and three years in sanctuary29the gaelic word used was ‘cain’), and three years among his kin. Q: Three years in cain? What is that?

26Angus MacAulay, tenant in Iolaraidh (Baleshare). 27This may, possibly, refer to the well known Jacobite, Lord George Murray 28unsung 29(

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A: That he was under the protection of the church, in Cill Chumhann30, wherever that is, and that he could not be touched. Q: And three years among dàimh31? What on earth is that? A: That his wife had him hidden and that not even the tiny mouse knew where he was. Q: And was he caught at last? A: He was indeed, by his own clumsiness and the snares of women. There was a hag in Ireland called the ‘Hag of the Three Thorns’ and she loathed Seathan. She was a sister of the King of Ireland, and she hoped, if Seathan could be got out of the way, that her own son would be the king’s heir. She was a wicked witch, and there was a deadly venom in each of the thorns. “You go,” she said to her son, ‘and get the six strongest men in the five provinces of Ireland, and at sunset we shall all arrive at Seathan’s house’. This was done. At sunset Seathan’s wife was in the cattlefold, and her place in the house was hardly cold before the ‘Hag of the Three Thorns’ was inside on the floor. ‘Seathan, my love’, said she, ‘a boar’s bristle has wounded my finger; come and let blood’. Seathan sprang quickly from his hiding-place, and in a trice the warriors were upon him, and though five of them were killed, the sixth man gave his death-blow to Seathan. Woe to him who heard of it and did not tell it, Hu ru na hur i bhi o Woe to him who heard of it and did not tell it, Na bhi hao bho hao bhi o an32 That my darling was in Minginish; If thou wert, my love, thou hadst returned long since: I would send a great ship to seek him there, With a famed crew, fresh and bright and expert, Young men and lads would be there, He would visit here when he returned, I would spend a festal day dallying with him, I would sit on a knoll and engage in sweet converse, I would curl thy hair as I did oft-times, I would lie in thy arms and keep the dew from thee, I would wash a fine-spun shirt full white for thee So long as any water remained in the pool, And I would dry it on a moorland branch. But Seathan to-night is a corse, A sad tale to the men of Scotland, A grievous tale to his followers, A joyous tale to his pursuers, To the son of the Hag of the Three Thorns. Dear Seathan of the tranquil eyes, Oft didst though redden the hillocks: It was not with the blood of cattle or horses, Or the blood of the swift deer, Or the blood of he roe in a nook of the corn-field, But the blood of thine enemy bent on strangling thee. When I thought thou wast giving chase, Thou was dead in the conflict,

30the Narrow Chapel 31kin 32Each line of the song is repeated, followed by half the refrain 199 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

Borne on the shoulders of the young men, And on the point of being buried. When I thought thou wast in Galway, Thou wast dead without breath, Borne on the shoulders of scornful men, And as cold as the mountain snow. My love thy right hand, though now cold, Oft did I have it, seldom was it away from me, Oft did I have a present from it, And never with aught that was mean, It was not with stick or cudgel, It was not with abuse or quarrelling, But with green satin and fine silk, With the noblest of gifts. O brown-haired Seathan, calf of my love, I would go far away with thee, my love, I would go with thee through the branchy wood, Where the birds are wont to warble, I would cross the Irish Sea with thee Where the swelling ocean surges, I would cross the Sea of Greece with thee, The haunt of swarthy corsairs. I and Seathan traversing mountains, I was weak, but Seathan was strong, I could endure but little clothing, A russet coat to the middle of my thigh, A kerchief of fine pure-white linen, As I fared with my darling Seathan. O Seathan, Seathan, bereft of life, Own son to my king from Tyrconell, Oft have I lain beneath thy cloak; If I did, it was not in a homestead, But in a green hollow in a tree-sheltered field, Under the slope of the rugged blue peaks, The wind from the mountains sweeping over us, The wind from the glens with a sough taking Its fill of the first burgeoning of spring. Many a glen and ben we traversed, I was in Islay and in Uist with thee, I was in Sleat of the yellow haired women with thee, I was in Iona of the nuns with thee, I was in the land of birds and eggs with thee,33 I was in Ireland, I was in Latium34 with thee,

33probably referring to St. Kilda 34province of Munster

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I traversed Brittany and Burgundy with the, I traversed the Continent and the Mearns35 with thee, I traversed the Boyne, I traversed Munster with thee, I heard Mass in Cill Chumha36 with thee, I heard the music of the fairy-mansions with thee, I drank a draught from the well of wandering with thee, I was the day before yesterday and last year with thee, I was from cape to cape with thee, I was in Kildonan of the pines with thee, I was three years on the hills with thee. I kept watch for a day in the treetops with thee, I kept watch for two days in the sea wrack with thee, I kept watch for a night on a sea rock with thee, I kept watch, my love, and I did not regret it, Wrapped in a corner of thy tartan plaid, The spindrift ever breaking over us, Water that is very pure, cool and wholesome. My love is Seathan of the tranquil eyes, I would lie with thee on an uneasy bed, A bed of heather with my side on stones; Dearer Seathan in a coil of heather rope, Than a king’s son on a bed of linen; Dearer Seathan behind a dyke Than a king’s son in silks on deal ﬂooring, Though he should have a restful bed Which had been well-planned by wrights, And protected by power of druids; Dearer Seathan in the birch wood Than to be in Magh Meall with Airril, Though he had satins and silk under his feet, And pillows lustrous with red gold. If Seathan were seen as he arose In shade of hill on a May morning, A short kilt to the middle of his thigh, A narrow black belt about his tunic, His foster-mother’s love, his wife’s darling, The sight seven times dearest to his own mother, A secret lover he is to me. O brown-haired Seathan, thou gentle hero, Small is the place in which I would put thee, I would put thee on the very top of my head, I would put thee between my breasts, Between Bride and her soft kerchief, Between a young maiden and her snood,

35the meaning of the Gaelic is doubtful here 36The Narrow Church

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Between a fair virgin and her silken mantle, Between myself and my shirt of linen. But Seathan is in the lonely chamber, Without drinking of cups or goblets, Without drinking of wine from splendid silver tankards, Without drinking of ale with his cronies and gentlemen, Without drinking to music, without kiss from seductive woman, Without music of harp, without listening to melody, But straight bands on his shoulders, And looped bands on the bier poles. I am a sister of Aodh and yellow-haired Brian, I am a kinswoman of Fionn son of Cumhall, I am the wife of brown-haired Seathan, the wanderer, But alas! for those who said I was a joyous wife, I am a poor, sad, mournful, sorrowful wife, Full of anguish and grief and woe. My father put me in a distressing place On that night he made a wedding-feast for me, Alas, O King! that it were not my lyke-wake, That the linen shroud had not been cut for me, That the pine planks had not been polished for me, That the loops had not been tied on me, That I had not been hidden in the mould, For fear I should be alive on earth. There is many a table where I shall be slighted, Where my teeth shall no more chew bread, Where my spoon shall no more draw, Where my knife shall no more cut, Where my fancy shall no more linger. If Seathan could be but redeemed The ransom could be got like rushes, Silver could be got like ashes, Gold could be got on the fringe of meadows, Wine could be got like spring water, Beer could be got like a cool verdant stream; There would not be a goat in the rock or stony upland, There would not be a young she-goat in meadow, There would not be a sheep on rocky shelf or mountain top, There would not be cattle on plain or in fold, There would not be pig or cow in pastures; The salmon would come from the seas, The trout would come from the river-banks, The geldings would come from the rushes; There would not be a black or white-shouldered cow High or low in the fold, At the edge of township or in stall,

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That I would not send, my love, to redeem thee, Even to my green plaid, Though that should take the one cow from me, And it was not the one black cow of my fold, But herds of white-shouldered cattle, Of white-headed, white-backed, red-eared cattle. But Seathan is to-night in the upper town, Neither gold nor tears will win him, Neither drink nor music will tempt him, Neither slaughter nor violence will bring him from his doom, Neither tumult nor force will wake him from his slumber; And my heart is broken and distraught, My tears ﬂow like a well, Uneasily I sleep on my pillow, For thou hast no one who pities thee Save me, running to and fro. O Seathan dear! O Seathan dear! I would not give thee to law or king, I would not give thee to the gentle Mary, I would not give thee to the Holy Rood, I would not give thee to Jesus Christ, I would not, for fear I would not get thee myself. O Seathan, my brightness of the sun! Alas! despite me death has seized thee, And that has left me sad and tearful, Lamenting bitterly that thou art gone; And if all that the clerics say is true, That there is a Hell and a Heaven, My share of Heaven - it is my welcome to death - For a night with my darling, With my spouse, brown-haired Seathan. You can hear Annie and Calumn Johnston (with another unidentiﬁed male) singing this song on the website below. http://www.tobarandualchais.co.uk/fullrecord/25944/1

A slightly diﬀerent version of this song can be heard on the site below. http://www.tobarandualchais.co.uk/fullrecord/99404/1

203 Collated by C. M. Chandler Blairgowrie and Rattray Song Book

204 Bibliography

[1] Tocher: Tales, songs, tradition. 27 George Square, Edinburgh, EH8 9LD, Scotland. [2] Bertrand Harris Bronson. The Taditional Tunes of the Child Ballads With Their Texts, Acording to the Extant Records of Great Britain and America, volume I. Princeton University Press, Princeton, New Jersey, USA, 1959. [3] Bertrand Harris Bronson. The Taditional Tunes of the Child Ballads With Their Texts, Acording to the Extant Records of Great Britain and America, volume III. Princeton University Press, Princeton, New Jersey, USA, 1966.

[4] Bertrand Harris Bronson. The Taditional Tunes of the Child Ballads With Their Texts, Acording to the Extant Records of Great Britain and America, volume IV. Princeton University Press, Princeton, New Jersey, USA, 1972. [5] Alexander Carmichael. Carmina Gadelica: Hymns and Incantations, volume V. Scottish Academic Press, Edinburgh, second edition, 1928. Reprinted 1987.

[6] Anne Lorne Gillies. Songs of Gaelic Scotland. Birlinn, 10 Newington Road, Edinburgh, 2005. [7] Hamish Henderson. Alias MacAlias. Polygon, Edinburgh, 2004. [8] Alfred Moﬀat, editor. The Minstrelsy of Scotland. Augener Ltd, 6, New Burlington Street, London., second edition, 1896.

[9] Sheila Stewart. Queen Amang the Heather. Birlinn, West Newington House, 10 Newington Road, Edinburgh, EH9 1QS, 2006.

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