Sleeve Notes
TRADITIONAL BALLADS by EWAN MacCOLL
"Defined in its simplest terms, the ballad is a folksong that tells a story. Whatever may be added to this statement is by way of amplification, to explain and clarify, merely, since the whole truth of the matter is in it. What we have come to call a ballad is always a narrative, is always sung to a rounded melody, and is always learned from the lips of others rather than by reading."
Gerould: The Ballad of Tradition.
Gerould might also have added that the traditional ballad form is one which has proved extremely durable. Not only has it survived social upheaval, revolutions in science and technology, profound changes in public taste and fashion; it has even survived the collectors, anthologists, 'improvers' and concert singers.
This extraordinary capacity for survival appears to have escaped the notice of the most brilliant ballad scholars. Professor Child in a letter to the Danish savant, Svend Gruntvig, wrote: "The sources of British ballads are dried up forever." Thirty five years later Cecil Sharp observed: "The English ballad is moribund, its account is well nigh closed."
Fortunately, these obituary notices have proved premature for while it is true that the TV set has usurped the function of the village storyteller and ballad singer, it is equally true that the occasional intelligent use of TV and radio has introduced the traditional ballad and ballad singer to a large new audience. Furthermore, with the advent of the tape-recorder and the LP disc, the story of the complete ballad form (words and music together) has reached a completely new stage.
The Beggar Man (Child appendix 279) The first printed version of this song appeared in Vol. 1 of Ramsey's Tea Table Miscellany, 1724. Child printed it as an appendix to The Jolly Beggar. According to tradition it chronicles one of the adventures of James V in the guise of "the goodman of Ballengeich". Unlike The Jolly Beggar, which has become something of a rarity, The Gaberlunzie Man is still a popular piece with country singers in the Perthshire and Aberdeenshire areas. A cant version is still current among Scots 'travelling folk'.
Lord Gregory (Child 76) The Lass of Roch Royan. The first printed text of this beautiful song was published by Herd in 1776. Child printed eleven texts and though the ballad is, today, somewhat rare among country singers, it is not entirely unknown. Two versions have recently been recorded from traditional singers, one in Ireland and the other from a Scotswoman living in the south of England. Learned from Margaret Logan of Corsham, Wilts.
Young Beichan (Child 53) A 12th century manuscript of a poetical narrative credits Gilbert Beket, father of St. Thomas of Canterbury, with adventures similar to those experienced by the ballad hero. While it is unlikely that the ballad derives from the legend there is little doubt that it has been influenced by it. Learned from Greig and Keith.
Glasgow Peggy (Child 228) "Common in stalls", says Motherwell, "under this title ('Glasgow Peggie') or that of "The Earl of Hume', or 'The Banks of Omey':" The ballad is encountered rarely outside Scotland. The version given here is from the singer's father.
Amang The Blue Flowers and The Yellow (Willie's Lyke-Wake)
Bessie Bell And Mary Grey (Child 201) According to popular tradition the two young women whose names give the title of this ballad, built a hut in the countryside outside Perth in a vain attempt to cheat the plague of 1645. The ballad, popularized, in the 19th century by broadside texts, was known as far back as the end of the 17th century. Alan Ramsey made a drawing-room adaptation of it and a 19th century music-hall song was based upon the ballad. A nursery rhyme version is still known to children in Gt. Britain. First verse and tune learned from Margaret Logan, of Cor sham, Wilts, second verse from Greig and Keith.
The Bonnie House O' Airlie (Child 199) In 1640 the Committee of Estates commissioned the Earl of Argyle to take up arms against certain persons hostile to the Covenant and "unnatural to their country". The Earl of Airlie, a loyal supporter of the Stuart cause, retired to England in order to avoid being pressed into supporting the Covenant, meanwhile leaving his house in the keeping of his eldest son, Lord Ogilvie. On being informed that Argyle was marching against him with a force of several thousand men, Ogilvie abandoned his father's house. Lady Ogilvie was not present during the burning of the Airlie establishment and ten of the eleven children mentioned in the song had no existence outside the ballad-maker's imagination. Learned from the singing of Boston Dunn of Falkirk, Stirlingshire.
Captain Ward and The Rainbow (Child 287)
The Gypsy Laddie (200) Tradition has it that towards the end of the 17th century, the wife of the Earl of Cassilis eloped with Sir John Faa who had disguised himself as a gypsy. Apart from the fact that Cassilis is the name given to the wronged husband in many of the Scots and English versions of the ballad, there is little evidence to suggest that the ballad has any historical basis. The song is widespread throughout Gt. Britain, Ireland and the United States. Learned in a fragmentary form from the singer's father, additional stanzas from Greig and Keith.
The Broomfield Hill (Child 43) Child begins his notes on this ballad by saying: "A song of 'Brume, brume on the hill' is one of those named in The Complaint of Scotland, 1549." While he is possible that the title refers to the ballad given here, there is not enough evidence to make it a certainty. The theme of a young woman wagering her virginity against a large sum of money is fairly common in European balladry. Learned from the singer's father.
Hughie Graeme (Child 191) "According to tradition," says Stenhouse, "Robert Aldridge, Bishop of Carlisle about the year 1560, seduced the wife of Hughie Graham, one of those bold and predatory chiefs, who so long inhabited what was called the debatable land on the English and Scottish border. Graham being unable to bring so powerful a prelate to justice, in revenge made an excursion into Cumberland and carried off, inter-alia, a fine mare belonging to the bishop." It is a pity that historical facts do not substantiate this excellent story. With the exception of a version collected in Aberdeenshire by Gavin Greig, the ballad has not been recovered from tradition since the days of Child. Tune learned from Thomas Armstrong of Newcastle-on-Tyne, text from Scott's 'Minstrelsy of the Scottish Border'.
Geordie (209) There is some doubt concerning the historical facts surrounding this ballad. It is generally agreed the hero was George Gordon, the fourth Earl of Huntley who was slain at the battle of Corrishrie, October 8, 1562. The nature of the offence for which he was committed to jail is largely conjectural. According to Child his fault lay in "having failed to execute a commission against a highland robber, thus incurring the Queen's displeasure." He was imprisoned in 1554 but released soon after on payment of a fine. There is an English ballad called 'Georgie', but this is a distinctly different ballad. Learned from Greig and Keith.
Proud Lady Margaret (47) Child published five versions of this story of a proud lady whose brother returns from the dead to teach her humility. In four of them he appears, at first, as a suitor, is tested by riddles and does not reveal his identity until his wooing is successful. In the version given here, the riddle element is absent, the story being confined to the wooing. Stanzas 5 and 6 appear to have been borrowed from Sweet William (Child 77) Learned from Greig and Keith.
The Sweet Kumadee (Child 286) The earliest known printed text of this ballad is to be found in a broadside published 1682-85. Although the song is obviously of English origin, a number of interesting versions have been found in Scotland. The nationality of the enemy ship varies a good deal, appearing as French, Turkish, Spanish etc. The tune and one verse of the version given here were learned from the singer's mother, the rest of the stanzas are from various printed sources.