FOLK MUSIC OF THE UNITED STATES From the Archive of Folk Song Music Division Edited by B. A. Botkin Recording Laboratory AFS L9

- I '-

-. -. SOIGS liD TUIIS LIBRARY OF CONGRESS WASHINGTON COVER: William Sidney Mount (1807-1868), "Dance of the Haymakers or Music Is Contagious," 1845, oil on canvas, 25 by 30 inches. Courtesy of The Museums at Stony Brook. Gift of Mr. and Mrs. Ward Melville, 1950. AI-HASTE TO THE WEDDING, Come, haste to the wedding, ye friends and OFF SHE GOES ( MEDLEY) ye neighbors, The lovers their bliss can no longer delay, A2-IRISH WASHERWOMAN Forget all your sorrows, your cares and your labors, A3-PIGTOWN FLING And let every heart beat with rapture to-day; A4-DEVIL'S DREAM Ye votaries all, Attend to my ca!l , AS- NANCY'S FANCY Come revel in pleasures that never can cloy, Played on the dulcimer by Thomas Mann at Come, see rural felicity, which love and Ortonville, Iowa, 1937. Recorded by Mrs. innocence ever enjoy. Sidney Robertson Cowell. According to a New Jersey legend, the Most of us, when we hear the world "dulci­ tune, "Devil's Dream," was so named because mer," think of the plucked dulcimer, of the zither it "was learned by a fiddler from the Devil him­ type, which is common in the southern Appala­ self." (Herbert Halpert, "The Devil and the chians. Mr. Mann's dulcimer is of the cymbalum Fiddle," Hoosier Folklore Bulletin 2 (December variety, struck with two padded hammers, and 1943): 42.) Ira W. Ford (Traditional Music has sixty-two strings instead of from three to of America New York, 1940) , p. 62) gives these eight, as in the case of the other. The cymbalum words with the tune: is a forerunner of the modern pianoforte. This Forty days and forty nights unique record derives added importance from The Devil was a-dreaming. the fact that the and reels played by Mr. Around the bark, old Noah's Ark, Mann are a direct link 'with the traditional dance The rain it was a-streaming. music of England. The monkey washed the baboon's face, In answer to an inquiry, Mr. Mann writes as The serpent combed his hair. follows of hi s instrument and his repertoire: And up jumped the Devil "I learned to play the dulcimer from my With his pitchfork in the air. father. He came from England and the family brought over the old English dulcimer player. A6-0LD BLUE SOW My playing, I think, is American. The dulcimer Played by Enos Canoy on the fidd le, Tim that I made the record with was made by myself. Canoy on the mandolin, and Lola Canoy 1 have built seven dulcimers. [Dulcimer] Number on the guitar at Magee, Miss., 1939. 4 made these records. The first 1 built I scrapped. All the rest are in use. Number 4 was built in A7- WHERE'D YOU GET YO' WHISKY? 1935 out of native lumber 1 got at the sawmill and was seasoned four years before being as­ AS-PORE LITTLE MARY SETTlN' sembled. 1 play at dances, jigs and reels, and IN THE CORNER also on other occasions.... I consider all types Sung with fiddle by Enos Canoy, with beat­ of music as suited to the dulcimer, as 1 play all ing of straws by Jim F. Myers, at Magee, types-classical, semi-classical, waltzes, etc . ... Miss., 1939. Recorded by Herbert Halpert. 1 have played in an orchestra, and my favorite is a trio consisting of violin, , and dul­ The three Canoys (Enos, hi s cousin, Tim, and cimer. ... I built my first dulcimer in 1912 as the latter's wife, Lola ) had been playing together I had an old one that did not suit me and would as the Canoy Band for about two years before not tune up true, so began to improve on them. the time of this recording. Enos Canoy has The first was almost a failure, but the rest are played the fiddle since he was twelve years old. good. Numbers 4, 5, 6, and 7 are wonderful He constructed hi s first fiddle out of a pine box instruments," and decorated his present instrument with hand­ The Amateur's Song Book (Part First, Boston, tooled and painted figures. In the last two pieces, 1843, pp. 4-5) gives a text for the tune, "Come, Jim Myers (who has been playing the fiddle Haste to the Wedding," beginning: since he was nine) furnishes a rhythmic accom­

1 paniment by "beating" or "knocking" two straws Gimme a piece o'pie, on the strings which the fiddler is not using at Gimme a piece o'pudding; the time. Give it all away "The Old Blue Sow" (played in A) is an old To hug Sallie Goodin. tune which Enos Canoy learned from his uncle, (Harvey H. Fuson, Ballads of the an old-time fiddler. "Where'd You Get Yo' Kentucky Highlands, p. 158) Whisky?" was learned from Robert Runnels of "Oh, Fly Around, My Pretty Little Miss" Simpson County, and "Pore Little Mary Settin' (recorded through the courtesy of the late Frank in the Corner," from Robert Runnels and Love C. Brown) is related to the play-party song Kennaday. known variously as "Pretty Little Pink" and A version of "Where Did You Git Yo' "Shady Grove." Whisky?" appears as a stanza of "Cindy," in Bascom Lamar Lunsford's 30 and I Folk Songs OLD SALLY BROWN from the Southern Mountains (New York, 1929), 1. Old Sally, young Sally, cousin Sally Brown, pp. 42-43. Hollow of her foot kept a-diggin' in the ground. WHERE'D YOU GET YO' WHISKY? Ho, babe, and-a come on dowD. 1. Where'd you git yo' whisky? Ho, boys, and you better get around. Where'd you git yo' dram? CHORUS Stole it from a bootlegger Swing old Adam and swing old Eve, Way down in Bootleg Town. Swing once more before you leave. 2. ?--­ CHORUS 3. Ho, babe, and-a come on down. Got a little home to go to--­ Ho, babe, and you better get around. 2. Where'd you git yo' whisky, etc. CHORUS CHORUS Swing old Adam and swing old Eve, Got a little home to go to, [3] Swing once more before you leave. Way down in jailhouse now. Ho, babe!

A9- SALLY GOODIN OH, FLY AROUND, Played on the by Justus Begley at MY PRETTY LITTLE MISS Hazard, Ky., 1937. Recorded by Alan and 1. Oh, fly around, my pretty little miss, Elizabeth Lomax. Oh, fly around, my daisy, Ob, fly around, my pretty little miss, You almost drove me crazy. AIO-OLD SALLY BROWN 2. Every time I go that road, Sung with banjo by Calvin Cole, assisted I! looks so dark and dreary [hazy]. by Dan Tate, at Fancy Gap, Va., 1941. Every time I go that road, Recorded by Fletcher Collins. I go to see my daisy. 3. If I had no horse a-tall, All-OU, FLY AROUND, I'd be found a-crawling' MY PRETTY LITTLE MISS Up and down the rocky branch Sung with banjo by O. L. Coffey of Shulls A-buntin' for my darlin'. Mills, N. C. Recorded at Blowing Rock, N. C., 1936, by John A. Lomax. A12-S0LDlER'S JOY These three "frolicking" songs have been Played by Nashville Washboard Band selected to represent various styles of southern (James Kelly on the mandolin, Frank Dal­ banjo playing in the hoedown class. ton on the guitar, Tom Carroll on tbe tin The most familiar of tbe pieces, "Sally Goo­ can, and Theopolis Stokes On the wash­ din," is more commonly played as a fiddle tune, board) at Nashville, Tenn., 1941. Recorded to which the following verses are often sung: by Alan Lomax and John W. Work.

2 Al3-BILE DEM CABBAGE DOWN Bob McClary, a caller "from away back," Played by E. C. Ball on the guitar and demonstrates the hearty southwestern style of Blair C. Reedy on the mandolin, with sing­ singing and half-singing dance calls, to which ing by E. C. Ball, at Rugby, Va., 1941. a tune like "The Girl I Left Behind Me" is Recorded by Alan Lomax. excellently suited. The figures for the two dances, The old English dance tune, "Soldier's Joy," only excerpts of which are given here, are as has been considerably transformed in this break­ follows: 1. Swing the girl you left behind you; down arrangement. But, in spite of "hot licks" 2. All four gents swing Sally Goodin at the same on the lard-can bull fiddle and the washboard, time. the performance is in true folk style. The Dallas Square Dance Club is typical of For additional stanzas and the tune of the the many local groups of square-dance enthu­ siasts which have sprung up all over the country. minstrel song, "Bile Dem Cabbage Down," see On the Trail oj Negro Folk-Songs by Dorothy John Lomax, who recorded these dances, notes: "The Dallas Square Dance Club, with Dr. Ram­ Scarborough (Cambridge, 1925), pp. 124-25, sey Moore president, is composed of young mar­ 168, where it is given both as a dance song and ried couples popular in society, who gather twice as a song about animals. a month for the fun of square dances at the BILE DEM CABBAGE DOWN Dallas Tennis Club Building. Bob McClary, of 1. Went to see my gal last night, Farmers Branch, calls the turns ... the record­ I done it kinda sneakin'. ings catch the spirit of the dance; the 'band' plays Kissed at her mouth and hit her nose, in genuine old style, and the caller's couplets And the doggone thing was leakin'. are fairly clear." CHORUS THE GIRL I LEFT BEHIND ME Bile dem cabbage down [Bile dem cabbage, Break and trail home, bile dem cabbage], Lady in the lead and the gents follow up. Turn the hoe-cake round [Bile dem Circle eight and you'll all get straight, cabbage down]. And everybody dance. The only song that I can sing Don't be lazy, do-si-do, and a little more Is bile dem cabbage down. dough. Chicken in the bread tray scratchin' out 2. Went up on the mountain and dough. I give my horn a blow. Granny, will your dog bite? No, child, no. Thought I heard my true love say, And everybody dance. Yonder comes my beau. Swing your partners, promenade, 3. Took my girl to the blacksmith shop And-a home you go and you meet your taw. To have her mouth made small. Everybody dance just as pretty as you can. She turned around a time or two And swallowed shop and all. Four young gents swing out to the right, And swing them by the right hand. Swing your partners by the left And promenade the girl behind you. Bi-THE GIRL I LEFT BEHIND ME Oh, that girl, that pretty little girl, The girl I left behind me, With the rosy cheeks and the curly hair, B2-SALLY GOODIN Oh, the girl I left behind me. Played by Oscar Harper on the fiddle, Everybody rest. Harman Clem on the guitar, Homer Peters on the banjo, and Ray Hanby on the bass Four young gents swing out to the right, viol, with calling by Bob McClary, at Dallas And swing them by the right hand. Square Dance Club, Dallas, Tex., 1942. Swing your partners by the left Recorded by John A. Lomax. And promenade the girl behind you

3 Oh, that girl, that pretty little girl, Do-si, around your corner. The girl I left behind me, Back around your partner. With the rosy cheeks and the curly hair, Corner left with the old left hand, Oh, the girl I left behind me. Partner right with the grand right and left. Four young gents swing out to the tight, etc. Everybody dance. Watch your partner-and-a watch her close. Four young gents swing out to the right, You meet her on the corner, And swing them by the right hand. double the dose. Swing your partners by the left Once and a half and treat 'em all alike And promenade the girl behind you. If it takes all night, and everybody dance. Oh, that girl, that pretty little girl, Get hot! The girl I left behind me. Everybody dance just as pretty as you can. I'll weep and cry till the day I die For the girl I left behind me. Hooray ! boys. Swing your taw. Circle eight and you'll all get straight, Swing your partner and promenade the hall. And everybody dance. Everybody dance. Don't be lazy, do-si-do, and a little more Circle eight and you'll all get straight. dough.. . . And everybody dance. Don't be lazy, do-si-do, and a little more SALLY GOODIN dough. Four gents up and swing Sally Goodin Chicken in the bread tray scratch in' out with the old right hand, dough. Now your taw with your left hand, Granny, will your dog bite? No, child, no. Now the old lady with your right hand, And everybody dance. Now your taw with your left hand. Swing your partner and promenade, Don't forget that girl from Arkansas. And-a home you go, the old last tim e, Two-hand swing, And you know where. Everybody dance. Partners to the left, and the left all around. Promenade your corner as you come down. One foot up and the other one down, Make that big foot jar the ground. Amazing grace, how sweet it sounds. B3-DEVIL'S DREAM The jaybird kicked the snowbird down. Everybody rest. B4-MISSISSIPPI SAWYER Four gents up, etc. Played by string band (J. C. Fowler, Elic Don't forget to swing grandmaw. Buckner, and Alva Ruffner) with caIling by Two-hand swing. S. C. Simon, at Lubbock, Tex., 1937. Everybody dance just as pretty as you can. Recorded by John A. Lomax. Partners to the left, etc. One foot up and the other one down, Although this record has been selected for Make that big foot jar the ground. listening rather than for dancing, it is hard to keep one's feet still while "sitting out this one." Four gents up, etc. Mr. Simon's calls-spoken, half-sung, or sung­ Don't forget that girl from Arkansas. are more than calls; they are a new kind of Two-hand swing. musical performance, for which the string band Everybody dance just as pretty as you can. furnishes a sort of merry-go-round accompani­ Amazing grace, how sweet it sounds. ment and the interpolated cries of the dancers The jaybird kicked the snowbird down. and other sounds of the dance provide a vivid One foot up and the other one down, background. The picture evoked makes one feel Make that big foot jar the ground. like an eye witness if not an actual participant. Everybody dance. The figures for the two dances are as follows:

4 A. Wave the ocean, wave the sea, First gent lead. Wave that pretty girl back to me. Wave the ocean, wave the sea, B. Right hand cross and how do you do? Wave that pretty girl back to me. Left hand back and how are you? Change left, change to the right, Swing right, half way around; DEVIL'S DREAM Back to your left and all the way around; All promenade, single file. Promenade your corner, you come around. Right back, Indian style. Gents left; lad ies to the right. Swing the corner, two-hand swing. Swing right; a half way around; Now your partner, promenade the ring. Back to your left and all the way around; First couple lead. Promenade your corner, you come around. Dance the ocean wave. Same boy, different girl. Wave the ocean, wave the sea, Wave the ocean, wave the sea, Wave that pretty girl back to me. Wave that pretty girl back to me. Gents left, ladies right. Gents left, ladies to the right. Swing your corner by the right, Swing your right and a half way around; half way around; Back to your left and all the way around; Back to the left and all the way around; Promenade your corner, you come around. Promenade your corner and All wait till you get straight. you come around. Do-si, boys, you all know. Same boy, same girl. Chicken in the bread pan picking up dough. Wave the ocean, wave the sea, Come on, boys, don't be so slow. Wave that pretty girl back to me. Grab your partner and around you go. Gents left, ladies right. Same eight till you get straight. Swing right, a half way around; (Gil hot!) Back to the left and all the way around; Swing your corner by the right, Promenade your corner and Partner by the left. you come around. Grab 'em right along, all night long. Same old boy, different girl. Come on, boys, don't be so slow, Wave the ocean, wave the sea, Swing your corner, swing her twice. Wave that pretty girl back to me. Treat 'em aU alike. Gents left, ladies right. Swing that girl, that pretty little girl. Swing right, half way around; Swing your corner, swing her twice. Back to your left and all the way around; Swing your corner like you'r

5 First couple lead. Partner by the left. Ring up four, in the middle of the floor. Balance all, all night long. Right hand across, how d'you do? Same four, middle of the floor. Left hand back and-a how are you? Swing corner by the right, half way around; Swing your corner by the right, Back to the left and all the way around; Partner by the left. Promenade the corner, you come around. Balance all, all night long. Same four, middle of the fl oor. Same four, middle of the fl oor. Ring up six till you get fixed. Do-si, boys, you all know. Gents pass left, to the right, leads pass back. Chicken in the bread pan, picking up dough. Do-si round and swing your corner, you Come on, boys, don't be so slow. come around. Swing your partner, and around you go. Honor partners, balance all, all night long. Same four, the middle of the floor. Ring up six till you get fi xed. Change, six and two. Do-si, boys, you all know. Ring up six till you get fix ed. Chicken in the bread pan picking up dough. Gents swing right, leads pass back. Come 00, boys, I see you're so slow. Do-si round, swing your corner till you Swing your corner, round you go. corne around . Ring up eight till you get straight. Honor partners, balance all. Swi ng corner hy the right, Ring up six till you get fixed. Partner by the left. Gents swing right, leads pass back. Pass right along-all night long. Do-si round. Come on, boys, don't be so lazy. Swing your corners till you come around. Dip that hunk in a whole lot of gravy . Honor partners, balance all . Rope the bell, bell the calf. Same six till you get fixed. Swing your corner once and a half. Change, six and two. Treat 'em all alike. Ring up eight till you get straight. Come on, boys, don't he so slow. Right hand across and how d'you do? Whip that babe, and around you go. Left hand back and-a how are you? Honor partners, balance all . Swing corner by the right, Partner by the left. Balance all, all night long. Ring up eight till you get straight. NEG RO GAME SONGS Swing your corner by the right, Partner by the left. Pass right along, al1 night long. BS-WE'RE GOIN' AROUND THE Come on, boys, don't be so lazy. MOUNTAIN Dip that hunk in a whole lot of gravy. Sung by Eva Grace Boone and group at Swing that corner like swinging on a gate. Brandon, Miss. , 1937. Recorded by John Honor partner, and pul1 your freight. A. Lomax. Same eight till you get straight. Four lad ies change. Change once more. B6--0LD LADY SITTIN' IN THE DINING Change this time, you all know. ROOM Change th is time and no more. Honor your partners and bow, balance all. B7- LITTLE SALLY WALKER First gent lead. Ring up four in the middle of the floor. B8-ALL AROUND THE MAYPOLE Right hand across and-a how d'you do? Sung by Eva Grace Boone and group at Left hand back and-a how are yo u? Brandon, Miss., 1939. Recorded by Herbert Swing corner by the right, Halpert.

6 B9- SISSY IN THE BARN 3. That's a pretty po' motion, two by two.

BIO-L1TTLE ROSA LEE 4. Let me see you make a better one, two by Sung by Eva Grace Boone and group at two. Brandon, Miss. , 1937. Recorded by John A. Lomax. Bll- GWAN ROUN', RABBIT Directions: The players in couples walk around in a ring, clapping hands on the second BI2-SAT1SFIED and fourth stanzas. The odd player in the center, Sung by Anne Williams and group of who is squatting as the game begins, rises as bid Dundee, Miss. Recorded at Moorehead and makes a motion of some sort, like a dance. Plantation, Lula, Miss., 1942, by Alan Lomax and Lewis Jones. OLD LADY SITTIN' IN THE DINING ROOM Whether singing the older English games, such Old lady sittin' in th e dining room, as "Sally Walker," or the newer games of Negro Sittin' by the fire. origin, these Mississippi Negro school children Her foot slipped and she fell down , bring to their performance the rhythmic and Raise up higher and higher. mimetic qualities that belong to folk drama and ritual. These traits emerge most strikingly in games that combine clapping with a marked de­ Choose the one the ring go round, gree of repetition, as in "Gwan Roun', Rabbit" Choose the one the morning, and "Satisfied." The latter is a particularly good Choose the one with the coal black hair, example of the "call" and "response" (solo and And kiss her and call her honey. chorus) structure of Negro folk songs, including [Repeat.] work songs and spirituals as well as game songs. In Negro Folk Rhymes (New York, 1922), pp. 264 If., Thomas W. Talley relates this phase of Directions: The players join hands in a ring play and dance songs to field calls. John W. and skip about, while the player in the center Work, in American Negro Songs (New York, acts out the words-squatting, falling, rising, 1940), pp. 4-5, cities evidence of African origin. choosing and kissing a partner. The game is The usage, however, is also found among other repeated, with the one chosen taking the center, peoples . while the other joins the ring. For another text and tune of "Old Lady Sittin' in the Dining Room," see Our Singing Country , collected and compiled by John A. Lomax and LITTLE SALLY WALKER Alan Lomax, Ruth Crawford Seege r', music edi­ Little Sally Walker, tor (New York, 1941 ), p. 70. For a variant of Sittin' in the saucer, "All around the Maypole," see On the Trail of Rise, rise, little Sally, rise. Negro Folk-Songs, by Dorothy Scarborough Oh, cry, Sally, cry, (Cambridge, 1925) , p. 142. Oh, wipe yo' cheek, Oh, shake it to the east, WE'RE GOIN' AROUND THE MOUNTAIN Oh, shake it to the west, 1. We're gain' around the mountain, two by Oh, shake it to the very one you love the best. two, [Repeat.] We're goin' around the mountain, two by two, We're gain' around the mountain, two by Directions: The players join hands in a ring, two, singing, while the player in the center suits the So rise, Sally, rise. action to the words. At the end of the song, the player chooses another one "in" and the game is 2. Let me see you make a motion, two by two. repeated.

7 ALL AROUND THE MAYPOLE 4. Ah, little Rosa Lee, All around the maypole, maypole, maypole, Little Rosa Lee, little Rosa Lee, All around the maypole, Ah, little Rosa Lee, And now, Miss Sally, won't you shout for Come go with me to Tennessee. joy? Shout for joy, shout for joy, shout for joy? 5. Ah, little Rosa Lee,. And now, Miss Sally, won't you shout for I got a horse and buggy, too. joy? Ab, little Rosa Lee, And now, Miss Sally, won't you bow? I got a buggy can pull me through. [Repeat. ] 6. Ah, little Rosa Lee .... Directiolls: The players join hands in a ring and walk around, stopping and clapping hands Directiolls: The players couple up in a ring, while the player skipping in the center bows and while the odd player in the center tries to steal a partner. The odd player sings the verses, the chooses a partner to "jump" or dance with. others sing the refrain: "Ah, ~ittle Rosa Lee." The first stanza serves as a chorus.

SISSY IN THE BARN GW AN ROUN', RABBIT Sissy in the barn, barn, the levee, 1. My dog treed a rabbit, Prettiest little couple I ever did see. My dog treed a rabbit. Oh, barn, barn, put your arms all around me , Now watch that critter sittin' on that log, Say, little sissy, won't you marry me? Now watch that critter how he do that dog.

CHORUS Oh, step back, gal, don't come ne ar me. Now gwan roun" rabbit, All those sassy words you say. Now gwan roun', rabbit. Oh, barn, barn, put your arms all around me, Say, little sissy, won't you marry me? Gonna catch my cow, gonna catch her by the tail, Gonna milk her in the coffee pot, pour it LITTLE ROSA LEE in the pail. 1. Ah, little Rosa Lee, Little Rosa Lee, little Rosa Lee, Ah, little Rosa Lee, 3. My dog treed a rabbit, Come go with me to Tennessee. My dog treed a rabbit.

4. Now watch that critter sittin' on that log, 2. Ah, little Rosa Lee, Now watch that critter how he do that dog. I got a horse and buggy, too. Ah, little Rosa Lee, 5. My dog treed a rabbit, I got a buggy can pull me through. My dog treed a rabbit. Gonna catch my cow, gonna catch her by the tail, 3. Ah, little Rosa Lee, Gonna milk her in the coffee pot, and throw What did the hen duck say to the grey it in the pail. [drake?]? Ah, little Rosa Lee, 6. My rabbit's gittin', No more cross you have to lay. My rabbit's gittin' my turnip top.

8 SATISFIED I never been I never been Satisfied. Satisfied. Went to the river, I never been Satisfied. Satisfied. Been baptized, Went down in, Sati sfied . Satisfied, That didn't make me New ground field , Satisfied. Satisfied. I never been Rattlesnake bit me, Satisfied. Satisfied, I never been On my heel, Satisfied. Satisfied. Went down in, That didn't make me Satisfied, Satisfied. New ground field, That didn't make me Satisfied. Satisfied. Rattlesnake bit me, I never been Satisfied, Satisfied. On my heel, I never been Satisfied. Satisfied. That didn't make me Been to the river, Satisfied. Satisfied. Mamma can't make me Been baptized, Satisfied. Satisfied . Papa can't make me That didn't make me Satisfied. Satisfied. I never been That didn't make me Satisfied . Satisfied. I never been I never been Satisfied. Satisfied.

9 ., " o I'

~ 0 '" z -' C)

" "

Library of Congress Catalog Card Number R59- 582 rev

Available from the Recorded Sound Section, Music Division, Library of Congress, Washington, D.C. 20540