Bluegrass Messengers

Recordings & Info 9. Seventeen Come Sunday (Roud 277)

Contents

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Sixteeen next Sunday (c. 1961) with dance calls
Schroeder's Playboys based in Phoenix, Arizona. Led by John Schroeder on guitar, with Walter Noble on fiddle, Tony Cordasco on bass, and occasionally Jerry Jacka on piano accordion. Learn about them at: http://www.lloydshaw.org/Catalogue/CDs&Cassettes/Dashrecordings.htm
These recordings are from the Western Jubilee and Dash record labels.


"Where Are You Going My Good Old Man,"

Twenty-one Lincolnshire folk-songs
Patrick O'Shaughnessy, ‎Percy Grainger - 1968
I'm Seventeen Come Sunday

Canow Kernow (Songs and Dances from Cornwall) Inglis Gundry
Seventeen Come Sunday
collected by W.D. Watson, Redruth. Cornish translation by E.G. Retallack Hooper and the editor
Inglis Gundry presents a four-stanza text in Cornish.

Jumbo Brightwell sang Seventeen Come Sunday in a recording made by Keith Summers in 1971-77 on the Veteran anthology Good Hearted Fellows: Traditional Folk Songs, Music Hall Songs, and Tunes from Suffolk. Mike Yates commented in the liner notes:

    When the poet James Reeves included a text of Seventeen Come Sunday in the book The Idiom of the People (1958) he added the note, “The original of this song, whatever it was, shocked all other editors, from the eighteenth century onwards.” Reeves' text came from Cecil Sharp's manuscript and includes a verse that Sharp omitted when he printed the song in his English Folk Songs, Selected Edition, 1921, Volume 1:

        I went unto her mammy's house, When the moon was shining clearly,
        She did come down and let me in, And I laid in her arms till morning.

    Clearly, such goings on were not to be encouraged! As Reeves said, the song was first encountered in the eighteenth century when Robert Burns found a set being sung by a girl in Nithsdale. Burns forwarded a slightly rewritten text to James Johnson, who included it in his The Scots Musical Museum (Edinburgh, 1787, 6 volumes) under the title A Waukrife Minnie (A Lightly-sleeping Mother). Broadside texts, from the 1820's or earlier, were printed in London by Pitts and Jennings and dozens of versions of the song have been collected throughout the English-speaking world. Cecil Sharp alone collected 22 versions of the song in southern England and there are 14 Scottish versions in the Greig/Duncan collection.

A.L. Lloyd sang The Soldier and the Maid in 1956 on his Tradition album The Foggy Dew and Other Traditional English Love Songs. He commented in the liner notes:

    The encounter of the licentious soldier with the obliging young girl was an old story when Roman troops patrolled the great wall between England and Scotland. For newer versions, listen to the gossip around any army camp, any day, anywhere. Of the many ballads in the family of The Trooper and the Maid, this is perhaps the best. The song glides along the razor-edge between merryment and cruelty and maybe that has commended it to the imagination of many singers. This is another of those ballads which words are usually “cleansed” in print.
 

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BLACK AND ROLLING EYE - "As I walked out one morning" (Bs) "O kind friends you listen to me" (BB) - BSs incl BG Vol 9 #246 -- Bill BOTTING rec by PK, Balcombe, Sussex 2/9/63 RTR-0907 Comic Railway Song "Left holding the baby in a railway carriage" (a parody on "The Roving Kind" with recitation between verses)

Unprintable Ozark Folksongs and Folklore: Roll me in your arms
https://books.google.com/books?isbn=1557282315
Vance Randolph, ‎Gershon Legman - 1992 - ‎Music
Unprintable Ozark Folksongs and Folklore: Roll me in your arms, Volume 1
By Vance Randolph

The sixteenth-century ballad from which the modern form stems, sometimes keeping the old title of the "The Fire-Ship," takes this name and its invariable denouement from the fact that the nicely-dressed and presumably daycent girl (whose father is a minister, and her mother a Methodist, if not an acrobat!) turns out to be a plain prostitute, and gives the singer the nine-day-incubating gonorrhea in modern versions and in older ones plainly the pox: syphilis.

A DARK AND ROLLING EYE sung by Mr. F.H. of Berryville AR October 19, 1951

 As I went down into the town
To take my night's career,
There I met a pretty, fair miss,
Oh, she had a dark and rolling eye,
 Oh, she had a dark and rolling eye,
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AS I ROVED OUT - (SEVENTEEN) COME SUNDAY - "As I roved out one bright May morning, one May morning so early" - girl is questioned as to where she is going, where she lives and how old she is, and eventually agrees to be visited that night, however the parents hear the visitor and give her a beating - LAWS #0-17
ABBB 1957 p234 "Seventeen come Sunday" ("SCS") & P18 - ROUD#277/ 564 - BSs "I'm SCS" incl SBG 5:#112/ 6:#65/ 6:#73-
JOHNSON 1790 coll Burns Nithsdale "A Waukrife Minnie" -
LONG DIOW 1886 p111 (w/o) -
GREIG-DUNCAN 4 1990 #791 p149 "The Soldier Lad" 12var -
BARING GOULD SOW 1889 #73 Devon (text completely re-written) "On a May morning so early" - Ms#73 (a) Edmund Fry, Lydford HFS 1889 (b) J Parsons, Lew Down (c) W Bickle -
SBG-HITCHCOCK FSWC 1974 p14 (version a) "As I walked out" -
FORD 1899 Perthsh "My Rolling Eye" -
SHARP-MARSON EFSS 1905 1 pp104- 5 2 pp4-5 "words softened and to some extent reconstructed" -
SHARP-MARSON FSS 2 pp4-5 Lucy White "I'm SCS" - Schools 1908 - Sel Ed 1921 1 pp104-6 "I'm SCS" - SHARP Cf 2 p211 - SHARP- KARPELES CSC 1974 #108 pp422-3 Mrs Overd, Langport, Som 1904/ Mrs Kathleen Williams, Drybrook, Gloucestersh 1921 1v/m/ Mrs Jarrett, Bridgwater, Som 1908 1v/m/ Mrs Jane Gulliford, Comble Florey, Som 1908 (m/o)/ Mrs Lucy White, Hambridge, Som 1904 1v/m/ Mrs Chedgey, Wick, Som 1907 (m/o)/ Wm Spearing, Ile Brewers, Som 1904/ Wm Pittaway, Burford, Oxfordsh 1923 1v/m "SCS" -
JFSS 1:3 1901 pp92-3 Merrick: Henry Hills, Lodsworth, Sussex 1899 6v/m "I'm SCS" -
JFSS 2:6 1905 pp9-10 Sharp: Wm Spearing (refs)/ Lucy White, Hambridge, Somerset 1904 1v/m "I'm SCS" -
JFSS 2:9 1906 pp269-271 Kidson: nn, Horsbury/ nn, Goathland, Yorksh 1v/m/ T C Smith: Scarborough, Yorksh 1v/m/ BS (w/o) "I'm SCS" - JFSS 4:17 1913 pp291-3 Butterworth: Billingshurst, Sussex 1907 1v/m/ RVW Mr Urquhart (Scots), Howick, Northumb 1906 1v/m/ Ford 1v/m & "Mother Carey" (USA) -
JFSS 6 1918 p7 Frederick Keel: John Keene, Thursley, Surrey 1913 "SCS" -
GRAINGER ONS#82/ RNS#53 George Gouldthorpe, Brigg, Lincolnsh 1905 "The Dairy Maid"/ #125 Alfred Atkinson, Redbourne Linc 1905/ #126 Dean Robinson, Brigg 1906/ #127 Joseph Skinner, Barrow-on- Humber/ #128 Wm Clark & Mr Beedham, Barrow/ #129 Thomas Stark, Broughton/ #130 nn, Brigg/ #131 Bryan Cooper, Barrow/ #132 Edgar Hyldon, Brigg, Linc 1906/ #133 Thomas Gleadall, Lindrick, Yorksh 1906/ #410 Mrs F W Bulcock, Brisbane, Australia 1926 "I'm SCS" -
WILLIAMS #697 (w/o) "Roo-dum-day" -
BUTTERWORTH FSSX 1913 pp16-17 "SCS" -
KIDSON GEF 1926 pp2-3 "SCS" -
KIDSON- MOFFAT NC 1927 p2 Yorksh -
HENRY SOP #152/ HUNTINGTON 1990 pp266-7 nn, Ballycastle, Co Antrim 1926 (w/o) "I'm SCS"/ #793 "As I gaed over a whinny knowe" Coleraine -
REEVES IP 1958 pp126-8 Sharp: Wm Spearing, Ile Brewers, Somerset 1904 (w/o) "I'm SCS" -
REEVES EC 1960 pp238-9 SBG: Edmund Fry (orig words) Devon (w/o) "SCS" -
HOLST-RVW 1961 p14 5v/m sung at an inn Braithwell, Yorksh 1907 "SCS" -
GUNDRY CK 1966 p42 W D Watson Ms Redruth, Cornwall "SCS" -
PURSLOW WS 1968 p104 Gardiner: James Hiscock (w), Bartley, Hampsh 1908/ James Brading (m) Alverstoke, Hampsh 1909 "SCS" -
HAMER GGr 1973 pp75-76 Robert S Brader, Lincolnsh "SCS" -
KENNEDY FSBI 1975 #121 Seamus Ennis "As I roved out" 9v/m -
COPPER ETR 1976 pp252-3 Family, Rottingdean, Sussex "SCS" -
WALES WWD 1976 p38 Mr & Mrs Potter, Horsham, Sussex "SCS" -
DAWNEY PG 1977 p6 Butterworth: Mrs Whiting, Broseley, Shropsh "As I roamed out" (or is this another song ?) -
McCOLL-SEEGER TSES 1977 p168-9 Caroline Hughes, Dorset 1962-6 "SCS" ("Flash gals and airy too") -
PALMER EBECS 1979 #77 pp138-139 Walter Pardon, Knapton, Norfolk 1978 "SCS" -
RICHARDS-STUBBS EFS 1979 p103 Devon - FMJ 5:2 1986 p155 Kidson: Pickering, Yorksh nd "North Riding Hiring Song" - PATTEN SS 1987 pp10-11 Dave Bland: Charlie Showers, Drayton, Som 1973 (w/o) "SCS" ---
SHARP FSSA #11 p156 "Good morning, my pretty little miss" 4 versions incl Hester House, Hot Springs, Madison Co., NC 1916 (DC 2004) -
COX FSS 1925 p394 Bessie Bock, WVa 4v (w/o) "My Pretty Maid" -
EDDY Ohio 1939 p188 2v ref -
CREIGHTON-SENIOR NS 1950 p164 6v/m refs -
BROWN NC 1952-62 3 #11 p22 -
CAZDEN 1958 I p122 & II p479 -
HUBBARD BSFU 1961 p147 Mrs Susie Barlow, Utah 1948 "One Sunday Morning" -
CREIGHTON MFS 1962 p32 Wm Gilkie, Halifax 1949 "I'm SCS" -
PEACOCK SNO 1965 1 pp284-6 Howard Morry 1951/ George Samms, Nfl 1960 "Ill be SCS" -
CREIGHTON FSSNB 1971 p44 Angelo Dornan 1954-60 1v/m/ #46 pp104-5 C E Inkpen 6v -
WARNER TAFS 1984 #52 p148-9 Lena Bourne Fish, East Jaffray, NH 1940 "Hi Rinky Dum" -
Peter JONES rec by Maud Karpeles & Patrick Shuldham-Shaw, Bromsash, Herefordsh 18/8/52: RPL 18620 -
Ben BAXTER rec by Seamus Ennis, Southrepps, Norfolk 1953; RPL 22157/ FTX-234 "As I walked out" -
Charlie SCAMP (gypsy) rec by PK, Chartham Hatch, Kent 1954: RPL 19965/ FTX-140 -
Harry COX rec by PK, Catfield, Norfolk 1956: RPL 22915/ FTX-032 "As I walked out"/ 16mm film interview with Charles Parker 1962: FF-2217/ (TOPIC TSCD 512D) -
Tony WALES (with gtr): 7"RTR-0089 dub of FOLKWAYS FG-3515 Sussex F/S & Ballads (from Mr & Mrs Potter of Horsham) - Steve BENBOW (voc/gtr) with Vic PITT bass rec by PK, London 1959 RTR-0494 (Makem tune): FTX-091 -
Bill SMITH (71), Bridgnorth, Shropsh rec by his son Andrew (copy of cass with 25 songs): 5"RTR-0906 -
Jim COUZA (H-dulc) with Eileen MONGER (Harp): SAYDISC SDL-335 1983 - (Sophie LEGG: VETERAN CD VT119) - (Mary Ann Haynes: VETERAN CD VTC1) - Ireland -
Seamus ENNIS rec Jamestown (Finglas) Co Dublin 30/8/47: RPL 12488 "When cockle shells"/ rec by PK London 1951: 7"RTR-8588 & DAT/ CAEDMON TC-1142/ TOPIC 12-T-157/ FTX-013/ SAYDISC CD SDL 411 1995/ ROUNDER 1700 1997 -
Sarah MAKEM rec by PK, Keady, Co Armagh 30/7/52: 7"RTR-0552/ RPL 18474 "As I roved out" 2v only (Used for Radio series sig tune see AS I ROVED OUT)/ FTX-161/ rec by Jean Ritchie & George Pickow 1953: FOLKWAYS: FIELD TRIP IRELAND 1960/ OSSIAN OSS-15 1989 CASS- 0797/ DAT copy/ ELLIPSIS 4070 (1997) "Celtic Mouth music"/ filmed by David Hammond at home in Keady 1977: FF-2209 -
Paddy DORAN (tinker) rec by PK, Belfast 1952: RPL 18580 - John McLAVERTY (1v only) rec by PK, Belfast 8/7/52: 7"RTR-0545/ RPL 22326 "As I went out" -
Margaret McGARVERY rec by Seamus Ennis, Armagh 11/8/54: RPL 21837 -
Thomas MORAN rec by SE, Mohill, Co Leitrim 1954: RPL 22035/ FTX-076 -
Joe HEANEY of Carna, Co Galway rec London Studio 1960 : TOPIC 12-T-91 1963/ TSCD-651 1998 "Who are you, my pretty fair maid ?" -
Sean O Choilin O CONAIRE (unacc) Galway CIC-019 1988/ CASS 0884 "My Pretty Fair Maid"/ CIC 004 1987 CASS 0903 - BARNBRACK Irish Party Sing-Song: CASS-60-0926 nd - Scotland - Alex TROUP #051, Huntly, Aberdeensh, Wm J HAY, Edinburgh #136-7, Peter CHRISTIE, Stonehaven, Kincardinesh #166, Wm FARQUHAR, Maud, Aberdeensh #188 (1v only), Wm STILL, Cummingstown, Burghead, Moray #302, Wm MATHIESON, Turriff, Aberdeensh #346 rec on Dictaphone cylinder by James M.Carpenter 1929-35
"Bonnie Lassie" - Triona Ni DOMHNAILL with THE BOTHY BAND rec Paris Theatre, London 15/7/76: RPL/ Strange Fruit SFRSCD-063 1996 "16cS" - "Anon" singer rec by Neil Lanham: NLCD 5/6 2002 (3v only) "17cS" --- Lena Bourne FISH rec by Frank & Anne Warner, 1941: FTX-922 (6v) -
Jessie SHEILOR rec by PK, Meadows of Dan, Patrick Co, Va 1976: FTX-903 -
Ed Mc CURDY: VANGUARD SRL 7624 1965 [?] The Book of the Month Club) "When cockle shells turn silver bells" -
Tom KINES acc by Russell THOMAS: [RCA VICTOR PC/PCS-1014/ CASS-0233 -
C E Inkpen rec by Helen Creighton, NMM (7"-33 LP) 1971 -
"American Folksongs for Children" Mike & Peggy SEEGER: ROUNDER C-8001 (2 parts) 1987 CASS-1225-6 "How old are you?"

Seventeen Come Sunday [Laws O17]

DESCRIPTION: The singer meets a pretty young girl. He gets acquainted by asking questions: "What are you doing?" "Where do you live?" "How old are you?" "May I visit you tonight?" She agrees to the meeting; they have their fun despite her mother's opposition
AUTHOR: unknown
EARLIEST DATE: 1790 (Burns's "A Waukrife Minnie" in _The Scots Musical Museum_)
KEYWORDS: questions courting nightvisit
FOUND IN: US(Ap,MA,MW,Ro,SE,So) Canada(Mar,Newf) Britain(England(Lond,North,South),Scotland) Ireland
REFERENCES (36 citations):
Laws O17, "Seventeen Come Sunday"
Eddy 74, "My Pretty Maid" (2 texts)
Neely, pp. 140-141, "The Gypsy Laddie" (1 text, a short mixture of "The Gypsy Laddie" [Child 200] and "Seventeen Come Sunday" [Laws O17])
Warner 52, "Hi Rinky Dum" (1 text, 1 tune, much worn down; there is no nightvisit, and the two mutually decide against marriage)
BrownIII 11, "Where Are You Going, My Pretty Maid" (2 texts, both very short)
Moore-Southwest 99, "My Pretty Little Miss" (1 text, 1 tune)
Owens-1ed, pp. 210-211, "My Pretty Little Miss" (1 text, 1 tune)
Hubbard, #74, "One Sunday Morning" (1 text, 1 tune)
Lomax-FSNA 106, "How Old Are You, My Pretty Little Miss?" (1 text, 1 tune -- a badly eroded version)
FSCatskills 128, "Where Are You Going, My Pretty Fair Maid?" (1 text, 1 tune)
Creighton/Senior, pp. 164-165, "I'm Scarce Sixteen Come Sunday" (1 text plus 2 fragments, 1 tune)
Creighton-Maritime, p. 32, "I'm Seventeen Come Sunday" (1 text, 1 tune)
Creighton-SNewBrunswick 16, "Seventeen Come Sunday" (1 text, 1 tune)
Peacock, pp. 284-286, "I'll Be Seventeen Come Sunday" (2 texts, 2 tunes)
SharpAp 127, "I'm Seventeen Come Sunday" (4 texts, 4 tunes)
Sharp-100E 61, "I'm Seventeen Come Sunday" (1 text, 1 tune)
Reeves-Sharp 44, "I'm Seventeen Come Sunday" (1 text)
Reeves-Circle 117, "Seventeen Come Sunday" (2 texts)
Palmer-ECS, #77, "Seventeen Come Sunday" (1 text, 1 tune)
OShaughnessy-Grainger 11, "I'm Seventeen Come Sunday" (1 text, 1 tune)
RoudBishop #37, "Seventeen Come Sunday" (1 text, 1 tune)
DallasCruel, pp. 54-56, "As I Roved Out" (1 text, 1 tune)
Graham/Holmes 68, "Seventeen Come Sunday" (1 text, 1 tune)
JHCox 126, "My Pretty Maid" (1 text)
JHCoxIIA, #25, pp. 99-100, "The Modesty Answer" (1 text, 1 tune, in which the girl asks her mother if she may marry, is refused, and decides to run away to North Carolina and eat cream and honey!)
SHenry H152, pp. 266-267, "I'm Seventeen 'gin Sunday"; H793, pp. 267-268, "As I Gaed ower a Whinny Knowe";(2 texts, 2 tunes)
GreigDuncan4 791, "The Soldier Lad" (14 texts, 12 tunes)
Lyle-Crawfurd2 181, "The Weil Payt't Dochter" (1 text)
MacSeegTrav 44, "Seventeen Come Sunday" (1 text, 1 tune)
Ford-Vagabond, pp. 99-102, "My Rolling Eye" (1 text, 1 tune)
Wiltshire-WSRO Mi 697, "Rudam Day" (1 text)
Butterworth/Dawney, p. 6, "As I Roamed Out" (1 text, 1 tune, listed by Dawney as "The Banks of Sweet Primroses" although the surviving text is quite close to the "As I Roved Out" versions of "Seventeen Come Sunday" [Laws O17]; Butterworth expurgated several verses which might have clarified the origin)
Darling-NAS, pp. 128-129, "Seventeen Come Sunday"; "When Cockle Shells Make Silver Bells" (1 text plus a fragment)
DT 334, YONHIGH* ROCKYMT (TROOPRM2* -- apparently a cross between this piece and Child 299)
ADDITIONAL: James Johnson and William Stenhouse, The Scotish Musical Museum (London, 1839 ("Digitized by Google")[new edition of James Johnson, The Scots Musical Museum (Edinburgh, 1790)]), Vol. III, #288 pp. 8, "A Waukrife Minnie" (1 text, 1 tune)
Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 45, 'Seventeen Come Sunday" (1 text, 1 tune)
Roud #277
RECORDINGS:
Harry Cox, "Seventeen Come Sunday" (on HCox01)
Mary Delaney, "New Ross Town" (on IRTravellers01)
Seamus Ennis, "As I Roved Out" (on FSB1)
Bob Hart, "Seventeen Come Sunday" (on Voice10)
Joe Heaney, "Who Are You, My Pretty Fair Maid" (on Voice01)
Howard Morry, "I'll Be Seventeen Come Sunday" (on PeacockCDROM) [one verse only]
Ken Peacock, "I'll be Seventeen Come Sunday" (on NFKPeacock)
Jean Ritchie & Doc Watson, "Where Are You Going?" (on RitchieWatson1, RitchiteWatsonCD1)
Tony Wales, "Seventeen Come Sunday" (on TWales1)
BROADSIDES:
Bodleian, Firth b.34(67), "Seventeen Come Sunday," J. Paul and Co. (London), 1838-1845; also Johnson Ballads 547, Firth b.34(264), Firth c.14(204), Harding B 11(690), "Seventeen Come Sunday"; Harding B 11(1732), "I'm Seventeen Come Sunday"
CROSS-REFERENCES:
cf. "Rolling in the Dew (The Milkmaid)"
cf. "The Overgate" (tune, theme)
cf. "Courting the Widow's Daughter (Hard Times)" [Laws H25] (plot)
cf. "Fly Around My Pretty Little Miss" (floating lyrics, some tunes)
cf. "I Love My Love (I) (As I Cam' Owre Yon High High Hill)" (lyrics)
cf. "The Light of the Moon" (theme: night visit ended by a crowing cock) [viz., "My Rolling Eye"/"A Waukrife Minnie"]
ALTERNATE TITLES:
Sixteen Come Sunday
Flash Girls and Airy Too
Blink Owre the Burn
NOTES: There are versions of this song which have mixed with "Trooper and Maid" [Child 299]; these generally file under that ballad and are sometimes known as "As I Roved Out." The Sam Henry text "My Darling Blue-Eyed Mary" has lost the key question about the girl's age, but the rest is clearly this song. - RBW
Also collected and sung by David Hammond, "As I Roved Out" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959))
Dick notes, "No. 187. Whare are you gaun, my bonnie lass. In the Interleaved Museum, Burns says, 'I pickt up this old song and tune from a country girl in Nithsdale. I never met with it elsewhere in Scotland.' It is thought that he amended some verses and wrote others. I can find no trace of any original prior to Burns (source: James C. Dick, The Songs of Robert Burns (Henry Frowde, 1903 ("Digitized by Google")), p. 414). Ford first published "My Rolling Eye" in 1899 (Robert Ford, editor, Vagabond Songs and Ballads of Scotland [first series] (Paisley, 1899 ("Digitized by Google")), pp. 102-105), and reprinted it in the reference listed above in 1904
The "Waukrife Minnie" text is "My Rolling Eye" stripped of the usual "Seventeen Come Sunday" banter. What is left is the night visit of "My Rolling Eye" in which the restless cock crows early, waking the girl's mother who beats the girl; as usual the soldier leaves. Of the six verses of "A Waukrife Minnie" only one differs substantially from Ford's text. Ford, commenting on "A Waukrife Minnie"/"My Rolling Eye" says "that it was known elsewhere than in Nithsdale, even in Burns's time is very likely." - BS

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DESCRIPTION: The singer meets a pretty girl, asks who her father is, asks where she lives, asks if she would marry. She is not overly enthusiastic. He bids farewell and hopes she will be kinder when he returns. In the chorus, he admits "But I love her yet...."
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan5)
KEYWORDS: courting rejection love floatingverses
FOUND IN: Britain(Scotland(Aber))
REFERENCES (3 citations):
Greig #18, p. 1, ("As I cam' owre yon heich heich hill") (1 text)
GreigDuncan5 964, "I Love My Love" (3 texts, 1 tune)
Ord, p. 129, "As I Cam' Owre Yon High High Hill" (1 text)
Roud #5548
CROSS-REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17] (floating lyrics)
cf. "Trooper and Maid" [Child 299] (floating lyrics)
ALTERNATE TITLES:
The Wanton Lad
NOTES: So much of this piece is shared with "Seventeen Come Sunday" and "Trooper and Maid" (which themselves cross-fertilize) that it cannot be regarded as an independent song. But this ends with the woman rejecting the man, and also has that interesting chorus: But I love my love, and I love my love, And I love my love most dearly; My whole delight's in her bonnie face, And I long to have her near me." So we split. - RBW

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Mainly Norfolk

Seventeen Come Sunday / As I Roved Out / One May Morning / The Soldier and the Maid

[Roud 277 ; Laws O17 ; G/D 4:791 ; Henry H152 , H793 ; Ballad Index LO17 ; VWML PG/2/49 ; Bodleian Roud 277 ; Wiltshire Roud 277 ; trad.]

A.L. Lloyd sang The Soldier and the Maid in 1956 on his Tradition album The Foggy Dew and Other Traditional English Love Songs. He commented in the liner notes:

    The encounter of the licentious soldier with the obliging young girl was an old story when Roman troops patrolled the great wall between England and Scotland. For newer versions, listen to the gossip around any army camp, any day, anywhere. Of the many ballads in the family of The Trooper and the Maid, this is perhaps the best. The song glides along the razor-edge between merryment and cruelty and maybe that has commended it to the imagination of many singers. This is another of those ballads which words are usually “cleansed” in print.

Joe Heaney sang As I Roved Out in 1964 in a recording made by Ewan MacColl and Peggy Seeger. This was included in 2000 on his Topic 2 CD anthology The Road from Connemara.

Harry Cox sang Seventeen Come Sunday in a recording made by Peter Kennedy in between 1953 and 1956 on the 1965 EFDSS album Traditional English Love Songs.

Louis Killen sang One May Morning in 1965 on his Topic album Ballads & Broadsides. Angela Carter commented in the sleeve notes:

    In the eternal springtime of English love songs a girl tries to fend off the advances of an importunate young fellow man by telling him that she is too young; but he proves to her the truth of the old saying, “when they're big enough, they're old enough.” Told from the point of view of the girl who, as in one American version, later brings forth a little baby boy after the statutory nine months—“and me not fifteen years of age”, the song can be intolerably poignant; most versions, though, are emphatically masculine as this bawdy guffaw. Hammond collected this treatment of a widespread theme in Dorset in the early years of the century, but it was deemed sufficiently indelicate to bring a blush to Edwardian cheeks and was duly doctored for publication. This is how Hammond heard it first of all.

Bob Hart sang Seventeen Come Sunday at home in Snape, Suffolk in July 1969. This recording by Rod and Danny Stradling was released in 2007 on his Musical Traditions anthology A Broadside. A later recording by Tony Engle from September 1973 was released in 1974 on the Topic album Flash Company.

The Broadside from Grimsby sang Seventeen Come Sunday on their 1973 Topic album The Moon Shone Bright: Songs and Ballads collected in Lincolnshire. Nine of the fourteen songs on this album were collected by Percy Grainger in 1905 and 1906, amongst them this one. The Broadside commented in their liner notes:

    Seventeen Come Sunday, from Fred Atkinson of Redbourne, [September 9,] 1905. A fine sturdy Dorian tune to one of the most widely-known sets of words. When Grainger published this song in 1912 he had to omit the seventh stanza.

Planxty sang this song under the generic title As I Roved Out in 1973 on their LP The Well Below the Valley. Their sleeve notes commented:

    Although the next song has the same title as one on the first side, the resemblance ends there—it is a completely different song. This version was learned from Andy Rynne of Prosperous, Co. Kildare.

Jumbo Brightwell sang Seventeen Come Sunday in a recording made by Keith Summers in 1971-77 on the Veteran anthology Good Hearted Fellows: Traditional Folk Songs, Music Hall Songs, and Tunes from Suffolk. Mike Yates commented in the liner notes:

    When the poet James Reeves included a text of Seventeen Come Sunday in the book The Idiom of the People (1958) he added the note, “The original of this song, whatever it was, shocked all other editors, from the eighteenth century onwards.” Reeves' text came from Cecil Sharp's manuscript and includes a verse that Sharp omitted when he printed the song in his English Folk Songs, Selected Edition, 1921, Volume 1:

        I went unto her mammy's house, When the moon was shining clearly,
        She did come down and let me in, And I laid in her arms till morning.

    Clearly, such goings on were not to be encouraged! As Reeves said, the song was first encountered in the eighteenth century when Robert Burns found a set being sung by a girl in Nithsdale. Burns forwarded a slightly rewritten text to James Johnson, who included it in his The Scots Musical Museum (Edinburgh, 1787, 6 volumes) under the title A Waukrife Minnie (A Lightly-sleeping Mother). Broadside texts, from the 1820's or earlier, were printed in London by Pitts and Jennings and dozens of versions of the song have been collected throughout the English-speaking world. Cecil Sharp alone collected 22 versions of the song in southern England and there are 14 Scottish versions in the Greig/Duncan collection.

Steeleye Span—then including Martin Carthy and John Kirkpatrick— recorded Seventeen Come Sunday in 1977 for their tenth album, Storm Force Ten. And John Kirkpatrick played it again in concerts with the John Kirkpatrick Band that were released a year later on their live album Force of Habit. He commented in the liner notes:

    Based on the version sung by the traditional Suffolk singer Bob Hart on the 1974 Topic LP Flash Company. I brought this song to the table when I was in Steeleye Span, and you can hear what we made of it on their 1977 recording Storm Force Ten. I was prompted to pair it with the dance tune, I think, because a couple of notes were the same as the song in one bar. The tune is called Johnny Get Your Hair Cut, and was included in The English Folk Dance & Song Society's Community Dance Manual No 6, first published in 1964. It's not very clear where the tune comes from, but we can be pretty sure it's American. There's a third part that we don't play. The riff is Martin Carthy's, and in Steeleye's version we ended it rather moodily with a long minor chord. Here we make it much snappier.

Sheena Wellington sang A Waukrife Minnie in a concert at Nitten (Newtongrange) Folk Club, Scotland, that was published in 1995 on her Greentrax CD Strong Women. She commented in her liner notes:

    Burns contributed this night-visiting to The Scots Musical Museum vol 3 with the note “I pickt up this old song and tune from a country girl in Nithsdale. I never met with it elsewhere in Scotland.” The girl, as usual, suffers for the encounter.

John Roberts and Tony Barrand recorded Seventeen Come Sunday in 1998 for their album Heartoutbursts: English Folksongs collected by Percy Grainger. They commented:

    Common as a broadside as well as in aural tradition, the “amorous encounter” song was more popular with singers than with collectors, who often considered such lyrics unfit or unworthy of publication. This one became well known to Grainger aficionados through his 1912 chorus arrangement. It comes from Mr. Fred Atkinson of Redbourne, 1905.

Waterson:Carthy—here Tim van Eyken, melodeon and vocals; Martin Carthy, guitar; Eliza Carthy, violin—recorded the two tunes Balancy Straw and Whitefriar's Hornpipe with the song Seventeen Come Sunday in between for their fourth album, A Dark Light. Martin Carthy commented in the album's notes:

    Balancy Straw is a Morris tune from quite a few places including Ascot under Wychwood and Bledington which Liza found in the Journals of the EFDSS, and chose to play more as a reel or a quick hornpipe, and it was Tim who introduces us to Whitefriar's Hornpipe, one of those crooked tunes gracing the repertoire of John Kirkpatrick, whence he learned it. Seventeen Come Sunday is pretty much the standard way with the song but set by Tim to a Cornish tune and with the alternative ending chosen because of Tim's predilection for Rum. Lots of it.

Joe Heaney sings As I Roved Out    

As I roved out on a May morning,
On a May morning quite early,
I met my love upon the way,
But oh lord she was early.

Chorus (repeated after each verse):
And she sang little lidle diddle idle dum
And she hidle deedle dum
And she hidle deedle doo and she landy

“Oh how old are you, my pretty fair maid?
How old are you, my darling?”
She answered my quite modestly,
“Sixteen come Monday morning.”

-----------------------

 Seventeen Come Sunday [Laws O17/Sh 127]

    Rt - As I Roved Out #1 ; Hi Rinky Dum ; How Old Are You (My Pretty Little Miss) - I ; When Cockle Shells Turn to Silver Bells ; Waukrife Minnie (Wakeful Mother)
    At - Soldier and the Fair Maid

    Laws, G. Malcolm / American Balladry from British Broadsides, Amer. Folklore Soc., Bk (1957), p234
    Cazden, Norman (ed.) / Merry Ditties, Bonanza Books, Bk (1958), p 42
    Dykema, Peter W.(ed.) / Sing Out! Teacher's Book, Birchard, Bk (1947), p160 (My Pretty Maid)
    Sharp, Cecil J. / One Hundred English Folksongs, Dover, Sof (1975/1916), p136/# 61 (I'm Seventeen Come Sunday)
    Ambrosian Singers. Greensleeves and Other Favorite Folk Songs, RCA (Victor) CSC 313, LP (1965), trk# B.09
    Barlow, Susie S.. Hubbard, Lester A. / Ballads and Songs from Utah, Univ. of Utah, Bk (1961), p147/# 74 [1948/11/28] (One Sunday Morning)
    Bikel, Theodore. From Bondage to Freedom, Elektra EKLS 200/7200, LP (1960), trk# B.04 (One Sunday Morning)
    Bock, Bessie. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p394/#126 [1915ca] (My Pretty Maid)
    Bothy Band. Old Hag You Have Killed Me, Green Linnet SIF 3005, LP (1982), trk# 7 (Sixteen Come Next Sunday)
    Brand, Oscar. Brand, Oscar / Folk Songs for Fun, Berkeley Medallion, Sof (1961), p 98 [1957] (As I Walked Out One May Morning)
    Cannaday, Lucy. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p158/# 127C [1918/08/22] (I'm Seventeen Come Sunday)
    Cox, Harry. Traditional English Love Songs, Folk Legacy FSB 020, Cas (1965), trk# A.01 [1950s?]
    Edwards, George and "Dick". Cazden, Norman, et.al. / Folk Songs of the Catskills, SUNY Press, sof (1982), p481/#128 [1940s] (Where Are You Going My Pretty Fair Maid)
    Franklin, George P.. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p156/# 127A [1918/08/26] (I'm Seventeen Come Sunday)
    Haslam, Cliff. Clockwinder, Folk Legacy FSB 093, LP (1983), trk# 2 (Sixteen Come Sunday)
    Hatfield, Aileen. Cox, John Harrington(ed.) / Traditional Ballads Mainly from West Virgini, WPA, Bk (1939), 25 [1928ca] (Modesty Answer)
    Kennedy, Norman. Ballads and Songs of Scotland, Folk Legacy FSS 034, LP (1968), trk# 2 (Sixteen Come Sunday)
    Kines, Tom. Folk Songs of Canada, RCA PC 1014, LP (1963), trk# B.03
    Langstaff, John. Nottamun Town, Revels 2003, CD (2003/1964), trk# 3
    Peacock, Ken. Songs and Ballads of Newfoundland, Folkways FG 3505, LP (1956), trk# B.07 (I'll Be Seventeen Come Sunday)
    Reed, Susan. Susan Reed Sings Old Airs, Elektra EKL 126, LP (1961/1954), trk# B.01
    Reynolds, Stella. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p158/# 127D [1918/08/29] (I'm Seventeen Come Sunday)
    Richards, Frances (Mrs.). Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p157/# 127B [1918/08/18] (I'm Seventeen Come Sunday
    Risinger, Robert L.. Moore, Ethel & Chauncey (ed.) / Ballads and Folk Songs of the Southwest, Univ. of Okla, Bk (1964), p213/# 99 [1940s] (My Pretty Maid)
    Shantalla. Shantalla, Wild Boar WBM 21004, CD (1998), trk# 9 (Sixteen Come Sunday)
    Spearing, William. Reeves, James (ed.) / Idiom of the People, Norton, Sof (1958), p125/# 44 [1904] (I'm Seventeen Come Sunday)
    Waterson - Carthy. Waterson - Carthy / The Definitive Collection, Highpoint HPO 6012, CD (2005), trk# 8b [2002ca]
    Wright, John; and Catherine Perrier. John Wright and Catherine Perrier, Green Linnet SIF 1011, LP (1978), trk# B.08

Rufus Crisp  Rocky Mountain

 Hi Rinky Dum [Laws O17]

    Rt - Seventeen Come Sunday ; Where Are You Going (to) My Pretty Maid

    Collins, Mitzie. Leaves of Life, Sampler aafm 7902, Cas (1979), trk# A.01
    Fish, Lena Bourne. Warner, Anne & Frank / Traditional American Folk Songs, Syracuse Univ. Press, Bk (1984), p148/# 52 [1940]
    Warner, Frank. Our Singing Heritage. Vol III, Elektra EKL 153, LP (1958), trk# A.02

 As I Roved Out #1 [Ch 299]

    Rt - Seventeen Come Sunday ; Dublin City ; Light Dragoon

    Broadside Electric. More Bad News, Clever Sheep CS-1704C, Cas (1996), trk# B.02
    Clancy Brothers and Tommy Makem. Boys Won't Leave the Girls Alone, Columbia CL 1909, LP (1962), trk# B.02
    Ennis, Seamus. Folk Songs of Britain, Vol 1. Songs of Courtship, Caedmon TC 1142, LP (1961), trk# B.01 [1951ca]
    Ennis, Seamus. Kennedy, Peter (ed.) / Folksongs of Britain and Ireland, Oak, Sof (1984/1975), #121, p297 [1951]
    Gooding, Cynthia; and Theodore Bikel. Young Man and a Maid, Elektra EKL 109, LP (1956), trk# B.01
    Hammond, David. I Am the Wee Falorie Man. Folk Songs of Ireland, Tradition TLP 1028, LP (1959), trk# B.01
    Hornbostel, Lois. Hornbostel, Lois / The Irish Dulcimer, Mel Bay, fol (1979), p35
    Makem, Sarah. At Home with the Clancy Brothers & Tommy Makem & their Familiies, Tradition TR 2060, LP (196?), trk# B.03
    Makem, Sarah. Celtic Mouth Music, Ellipsis 4070, CD (1997), trk# 31 [1953]
    Makem, Tommy. Songs of Tommy Makem, Tradition TLP 1044, LP (1961), trk# B.01
    Planxty. Well Below the Valley, Shanachie 79010, LP (1979/1974), trk# 10
    Planxty. Planxty Collection, Shanachie 79012, LP (1979), trk# B.06

 How Old Are You (My Pretty Little Miss) - I [Laws O17/Sh 127]

    Rt - Seventeen Come Sunday ; Next Monday Morning

    At - I'll Be Sixteen This Sunday ; Yaddle Daddle (Yaddle Laddle)

    Rm - Western Country

    Seeger, Ruth Crawford (eds.) / American Folk Songs for Children, Doubleday/Zephyr Books, Sof (1948), p 56
    Ives, Burl. Women. Folk Songs About the Fair Sex, Decca DL 8246, LP (1956/1953), trk# A.04 (My Pretty Little Miss)
    Mills, Alan. More Songs to Grow On, Scholastic SC 7676, LP (1955), trk# A.03
    Seeger, Peggy. Seeger, Peggy / Five String Banjo American Folk Styles, Hargail, sof (1960), p 7/# 3
    Seeger, Peggy. Lomax, Alan / Folk Songs of North America, Doubleday Dolphin, Sof (1975/1960), p212/#106
    Seeger, Peggy and Mike. American Folk Songs for Children, Rounder 11543-11544, CD( (1977), trk# 1-06

How Old Are You (My Pretty Little Miss) - II

    Lewis, Laurie. Fiddler Magazine, Fiddler Mag., Ser, 16/1, p 8(2009)

 Yaddle Daddle (Yaddle Laddle)

    Us - How Old Are You (My Pretty Little Miss) - I
-------------------

 Where Are You Going

    Rt - Western Country

    Uf - Turn Around - I

    Ritchie, Jean; and Doc Watson. Jean Ritchie and Doc Watson At Folk City, Smithsonian/Folkways SF 40005, CD/ (1990/1963), trk# 9
    Stamper, Corbett. Corbett Stamper, Field Recorder FRC 306, CD (2006), trk# 4 [1980ca]
    West, Harry and Jeanie. Smoky Mountain Ballads, Perpetual 302-063-034-2, CD (2007/1956), trk# 17
    White Water. Echoes of the Northwoods, Clearcut 101, Cas (1988), trk# 4a
-------------------
 Coffee Grows on White Oak Trees [Me II-A25]

    Rt - Western Country ; Four in the Middle

    Lomax, John & Alan / Best Loved American Folk Songs (Folk Song USA), Grosset & Dunlap, Bk (1947), # 31
    Armstrong, George and Gerry. Simple Gifts, Folkways FW 2335, LP (1961), trk# B.05 (Coffee Grows)
    Carawan, Guy. This Little Light of Mine, Folkways FG 3552, LP (1959), trk# B.04 (White Oak Tree)
    De Cormier, Robert; Folk Singers. Dance Gal - Gimme the Banjo, Command RS 865 SD, LP (1964), trk# A.07a
    Rhoden, Mr. Arlie. Morris, Alton C. / Folksongs of Florida, Univ. Florida, Sof (1990/1950), p205/#117 [1934]
    Song Spinners. Johnson, Margaret & Travis (eds) / Early American Songs from ... the Spi, AMP, Fol (1943), #20
    Trotter, Pearl. Arnold, Byron, and Halli, Robert W.(ed.) / An Alabama Songbook, U. Alabama, Bk (2004), p174 [1946/07/22] (Acorns Grow on White Oak Trees)
--------------------------

 My Pretty Little Pink [Me II-A25]

    Rt - We're Marching Down to Old Quebec ; Western Country

    Sm - Yankee Doodle

    Sandburg, Carl (ed.) / American Songbag, Harcourt, Sof (1955/1928), p166
    Newell, William Wells (ed.) / Games and Songs of American Children, Dover, sof (1963/1909), p245/#175 (My Pretty Pink)
    Goodwin, Lonnie. Carolina Sampler, Global Village C 312, Cas (1992), trk# 8 [1980s] (Pretty Little Pink)
    Stamper, I. D.. That's My Rabbit, My Dog Caught It; Southern Trad. Instrument..., New World NW 226, LP (1978), trk# 3 [1977/08]
    Watson, Doc; Clint Howard and Fred Price. Old Timey Concert, Vanguard VSD 107/1088, Cas (1987/1967), trk# a.06 (Pretty Little Pink)
    Williams, Mrs. Dan. Owens, William A. (ed.) / Texas Folk Songs. 2nd edition, SMU Press, Bk (1976/1950), p101 [1940s]
    Workman, Nimrod. Mother Jones' Will, Rounder 0076, LP (1978), trk# 2
--------------------
 Western Country [Sh 268/Me II-A25a]

    Rt - Say, Darling, Say ; Where Are You Going ; Washing Mama's Dishes ; Black Jack Davy (Tune) ; Coffee Grows on White Oak Trees ; Little Betty Ann ; My Pretty Little Pink ; I Want to Go Back to Georgia ; Jaybird Died with the Whooping Cough ; Up and Down the Harbor

    At - Daisy - I

    Rm - How Old Are You (My Pretty Little Miss) - I ; Leroy Troy's Rabbit Dog

    Mf - Shady Grove - I

    Brody, David (ed.) / Guitar Picker's Fakebook, Oak, Sof (1984), p148
    Journal of American Folklore, AFS, Ser (1887-), 6, p134(1893) [1880s] (Daisy - I)
    Weissman, Dick; & Dan Fox / Guide to Non-Jazz Improvisation Fiddle, Mel Bay, Sof (2007MelB), p 75 (Fly Around My Pretty Little Miss/Pink - I)
    Bell Spur String Band. Bell Spur String Band, Heritage (Galax) HRC 047, LP (1984/1963), trk# B.03 [1963/08/12] (Susannah Gal)
    Blackard, Dad;'s Moonshiners. It'll Never Happen Again. Old Time String Bands, Vol. 1, Marimac 9110, Cas (1986), trk# 6 [1927/08/03] (Susannah Gal)
    Blackard, Dad;'s Moonshiners. Shelor-Blackard Family, Field Recorder FRC 112, CD (2009), trk# 2 [1927/08/03] (Susannah Gal)
    Blevins, Frank; and His Tarheel Rattlers. Ballads and Breakdowns of the Golden Era, Columbia CS 9660, LP (1968), trk# B.06 [1927/11/08] (Fly Around My Pretty Little Miss/Pi
    Bogtrotters (Bog Trotters). Original Bogtrotters, Biograph RC 6003, LP (1968), trk# 11 [1940/01/09]
    Bumgartner, Samantha. Good Old Mountain Dew. Banjo Songs of the Southern Mountains, Washington WLP 712, LP (196?), trk# B.09 [1955] (Fly Around My Pretty Little Miss/Pink - I
    Camp Creek Boys. Camp Creek Boys - Old Time String Band, County 709/2719, CD/ (1967), trk# 6 (Susannah Gal)
    Carlin, Bob. Brody, David (ed.) / Banjo Picker's Fakebook, Oak, Fol (1985), p176a
    Carter, Peggy. Dulcimer Players News, DPN, Ser, 38/4, p24(2012) (Susannah Gal)
    Cedar Point String Band. Cedar Point String Band, Roane, Cas (1983), trk# 11 (Fly Around My Pretty Little Miss/Pink - I)
    Clayton, Bob. Banjo Newsletter, BNL, Ser (1973-), 1977/10,p15
    Cockram, Grover. Old Five String, Vol 2, Heritage (Galax) HRC 052, Cas (1991/1984), trk# 6 (Fly Around My Pretty Little Miss/Pink - I)
    Cockerham, Jarrell and Jenkins. Down to the Cider Mill, County 713, LP (1968), trk# 5 (Susannah Gal)
    Conner, Myrtle. Old-Time Smoky Mountain Music, Smoky-Mountains 01, CD (2012/2010), trk# 18 [1939] (Pretty Litle Miss)
    Creed, Kyle. Brody, David (ed.) / Fiddler's Fakebook, Oak, Sof (1983), p288
    Creed, Kyle. Banjo Lessons on Kyle's Back Porch, Old Blue OB 502, CD (2009), trk# 9 [1970s]
    Crisp, Rufus. Rufus Crisp, Folkways FA 2342, LP (1972), trk# A.02 [1946/09] (Blue Eyed Gal/Girl)
    Cunningham, Bill. Cunningham, Bill / Hoedown Fiddle in America (How to Play It), Ryckman-Beck, fol (1977), p16 (Fly Around My Pretty Little Miss/Pink - I)
    Curley, Clyde. Songer, Susan; and Clyde Curley (eds.) / Portland Collection, Portland Coll., Fol (1997), p208
    Douglas, Wilson. Boatin' Up the Sandy, Marimac AHS 1, Cas (1989), trk# 3 (Blue Eyed Miss)
    East, Earnest; & the Pine Ridge Boys. Old Time Mountain Music, County 718, LP (1969), trk# 7 (Susannah Gal)
    Eller, Lawrence & Vaughn. Art of Field Recording, Vol. 1, Dust to Digital DTD 08, CD( (2007), trk# 1.25 [1977/05/28] (Fly Around My Blue Eyed Gal)
    Eller, Lawrence. Art of Field Recording. A Sampler, Dust to Digital DTD 07, CD (2006), trk# 23 [1977/05/28] (Fly Around My Blue Eyed Gal)
    Feldmann, Peter. How to Play Clawhammer Banjo, Sonyatone STI 104, LP (1975), trk# 10 (Fly Around My Pretty Little Miss/Pink - I)
    Ford, Tennessee Ernie. Ford, Tennessee Ernie / Gather 'Round, Capitol T 1227, LP (1959), trk# B.01 (Pretty Little Pink)
    Gaskin, Phyllis. Mountain Dulcimer - Galax Style, Heritage (Galax) 094C, Cas (1991), trk# 8 (Fly Around My Pretty Little Miss/Pink - I)
    Gingerthistle. Grandad's Porch, Kudzu KPP 007, CD (1998), trk# 15 (Fly Around My Pretty Little Miss/Pink - I)
    Hall, Kenny. Gray, Vykki M,; and Kenny Hall / Kenny Hall's Music Book, Mel Bay, Sof (1999), p 75 (Susana Gal)
    Hall, Kenny; and the Sweets Mill String Band. Kenny Hall and the Sweets Mill String Band, Vol. 2, Bay 103, LP (1973), trk# 3 (Susannah Gal)
    Hart and Blech. Build Me a Boat, Voyager VRCD 354, CD (2001), trk# 10 (Blue Eyed Gal/Girl)
    Hellman, Neal. Hellman, Neal; and Sally Holden / Life Is Like a Mountain Dulcimer, TRO, sof (1974), p 3 (Daisy - I)
    Hellman, Neal. Pickin' Magazine, Pickin' Magazine, Ser, 1976/12,p28
    Herald Angels. You've Been a Friend to Me, Herald Angels HA1001, Cas (1994), trk# 18 (Fly Around)
    Hicks, Buna. Traditional Music of Beech Mountain, NC, Vol II, Folk Legacy FSA 023, LP (1965), trk# 18 [1961-63] (Fly Around My Pretty Little Miss/Pink - I)
    Honig, Peter. Young Fogies, Heritage (Galax) 056, LP (1984), trk# 36 (Fly Around My Pretty Little Miss/Pink - I)
    Hopkins, Al; and his Buckle Busters. Fiddlers Convention in Mountain City, Tennessee, County 525, LP (1972), trk# B.02 [1926/10/22] (Blue Eyed Gal/Girl)
    Howard, Clint; and Fred Price. Old-Time Music at Clarence Ashley's. (vol. 1), Folkways FA 2355, LP (1961), trk# 17 [1960/09] (Fly Around My Pretty Little Miss/Pink - I)
    Howard, Clint;, Doc Watson & Fred Price. Original Folkways Recordings of Doc watson and Clarence Ashley, Smithsonian/Folkways SF 40029/30, CD( (1994/1962), trk# 2.08 [1960/09
    Iron Mountain String Band (Galax). Music from the Mountain, Heritage (Galax) 101-C, Cas (1992), trk# 5 (Old Time Flyin' Around)
    Jarrell, Tommy; and Kyle Creed. June Apple, Mountain 302, LP (1972), trk# 9 (Susannah Gal)
    Jarrell, Tommy. Fiddler Magazine, Fiddler Mag., Ser, 2/1, p27(1995) [1970s] (Suzanna Gal)
    Kazee, Buell. Buell Kazee, June Appal JA 009, LP (1977), trk# 6a [1970s?] (Blue Eyed Gal/Girl)
    Kazee, Buell. Old Time Herald, Old Time Herald, Ser, 3/3, p34(1992) (Pretty Little Miss - I)
    Kazee, Buell. Buell Kazee Sings and Plays, Folkways FS 3810, LP (196?/1956), trk# A.03 (Dance Around My Pretty Little Miss)
    Kazee, Buell. Mountain Frolic. Rare Old Timey Classics; 1924-37, JSP 77100, CD (2007), trk# C.15a [1929/07/01] (Fly Around My Blue Eyed Gal)
    Keefer, Jane. Old Time Stringband Workshop for Fiddle, Banjo, Guitar & Mandolin, Mel Bay, Sof (2011), p59
    Kimble Family. Pine Knots School Rowdies, Marimac 9037, Cas (1992), trk# 14 (Susannah Gal)
    Kimmel, Dick. Banjo Newsletter, BNL, Ser (1973-), 1974/12,p 5 (Blue Eyed Gal/Girl)
    Kincaid, Bradley. Bradley Kincaid. Volume 2, Old Homestead OHCS 155, LP (1984), trk# A.06 [1929/10/04] (Pretty Little Pink)
    Kincaid, Bradley. Lair, John (ed.) / 100 WLS Barn Dance Favorites, Cole, fol (1935), p59 (Pretty Little Pink)
    Krassen, Miles. Krassen, Miles / Clawhammer Banjo, Oak, sof (1974), p27
    Kretzner, Leo; and Jay Leibovitz. Dulcimer Fair, Traditional TR 018, LP (1981), trk# B.04a (Susannah Gal)
    Ledford, Lily May. Lily May Ledford, Old Blue --, CD (2005), trk# 7 [1966/06/29] (Pretty Little Pink)
    Luckiamute River String Band. Waterbound, Lucks '94, Cas (1994), trk# A.01 (Fly Away My Pretty Little Miss)
    Lundy, Emmett. Fiddle Tunes from Grayson County, String 802, LP (1977), trk# 17 [1941/08] (Susannah Gal)
    Lundy, Emmett. Krassen, Miles (ed.) / Masters of Old Time Fiddling, Oak, Sof (1983), p 35 (Susannah Gal)
    Lunsford, Bascom Lamar. Appalachian Minstrel, Washington VM 736, LP (1956), trk# B.02 (Fly Around My Blue Eyed Gal)
    Mabus, Joel. Flatpick and Clawhammer, Fossil 793CD, CD (1993/1991), trk# 15 (Pretty Little Pink)
    Michels, Amy. Fowl Farmer, Michels, CD (2002), trk# 8 (Fly Around My Pretty Little Miss/Pink - I)
    Michael, McCreesh & Campbell. Host of the Air, Front Hall FHR 023, LP (1980), trk# A.03 (Fly Around My Pretty Little Miss/Pink - I)
    Mill Run Dulcimer Band. Sunday at the Mill, Lark LRLP 3094, LP (1980), trk# A.01
    Moore, Charlie. Charlie Moore Sings Good Bluegrass, Vetco LP 3011, LP (196?), trk# B.01 (Fly Around My Pretty Little Miss/Pink - I)
    New Lost City Ramblers. New Lost City Ramblers, Vol. 3, Folkways FA 2398, LP (1961), trk# 17 (Fly Around My Pretty Little Miss/Pink - I)
    New Lost City Ramblers. Cohen, John, Mike Seeger & Hally Wood / Old Time String Band Songbook, Oak, Sof (1976/1964), p 66 (Fly Around My Pretty Little Miss/Pink - I)
    Old Reliable String Band. Old Reliable String Band, Folkways FA 2475, LP (1963), trk# A.01 (Fly Around)
    Old Virginia Fiddlers. Old Time Fiddle, Patrick County, VA, County 201, LP (1977), trk# B.02 [1948] (Susannah Gal)
    Parsons, Parley. Old Galax Fiddle, Field Recorder FRC 705, CD (2013), trk# 26-27 [1982ca]
    Pegram, George; and Parham, Red (Walter). Pickin' and Blowin', Riverside RLP 12-650, LP (1959), trk# 9 [1957] (Fly Around My Pretty Little Miss/Pink - I)
    Piney Creek Weasels. Squirrel Heads and Gravy, Hay Holler HHH-1101, CD (1996), trk# 4 (Fly Around My Blue Eyed Gal)
    Pleasant Family. Old Time String Band, Pleasant --, CD (2005), trk# 12 (Blue Eyed Gal/Girl)
    Powell, Dirk. Hand Me Down, Rounder 0444, CD (1999), trk# 5
    Price, Truman; and Jane Keefer. Songs and Tunes of the Oregon Trail, True West TW C-21, Cas (1991), trk# 13
    Ramsey, Obray. Obray Ramsey Sings Folksongs from the Three Laurels, Prestige International INT 13020, LP (196?), trk# B.03 (Shady Grove - I)
    Reed, Ola Belle. Ola Belle Reed, Rounder 0021, LP (1973), trk# 4 (Fly Around My Pretty Little Miss/Pink - I)
    Ross, Butch. Dulcimer Players News, DPN, Ser, 36/4, p 9c(2010) (Fly Around My Pretty Little Miss/Pink - I)
    Russell Family. Old Time Dulcimer Sounds from the Mountains, County 734, LP (1972), trk# 8 (Old Susannah)
    Schwarz, Tracy and Eloise. Home Among the Hills, Folk Variety FV-12 007, LP (1980), trk# B.07 (Fly Around My Pretty Little Miss/Pink - I)
    Seeger, Pete. Darling Cory and Goofing-Off Suite, Smithsonian/Folkways SF 40018, CD (1993), 9a [1947-49] (Fly Around My Pretty Little Miss/Pink - I)
    Sexton, Lee "Boy". Mountain Music of Kentucky, Smithsonian/Folkways SF 40077, CD( (1996), trk# 2.62 [1959] (Fly Around)
    Shelor, Clarice and Bill. Shelor-Blackard Family, Field Recorder FRC 112, CD (2009), trk# 1 [1975/07ca] (Susannah Gal)
    Shelor Family. Eight Miles Apart, Heritage (Galax) 022, LP (1978), trk# A.07 [1973/08/07] (Susannah Gal)
    Skillet Lickers. Old Time Fiddle Tunes and Songs from N. Georgi, County CD 3509, CD (1996), trk# 8 [1928/10/23] (Fly Around My Pretty Little Miss/Pink - I)
    Smith, Earl;'s Band. 1941 Old Fiddlers Convention, Galax, Virginia, Voyage Beyond, CD (200?), trk# 31 [1941] (Fly Around My Pretty Little Miss/Pink - I)
    Smith, Hobart. Banjo Songs, Ballads and Reels from the Southern Mountains, Prestige International INT 25004, LP (196?), trk# 15 [1959/08/24] (Fly Around My Pretty Little Mi
    Smith, Hobart. Southern Journey. Vol. 2: Ballads and Breakdowns, Rounder 1702, CD (1997), trk# 17 [1959/08/24] (Fly Around My Pretty Little Miss/Pink - I)
    Smith, Hobart. In Sacred Trust. 1963 Fleming Brown Tapes, Smithsonian/Folkways SFW 40141, CD (2005/1963), trk# 4 [1963/10] (Fly Around My Pretty Little Miss/Pink - I)
    Smith, Hobart. Blue Ridge Piano Styles, Global Village 1005, Cas (1992), trk# 12 (Fly Around My Blue Eyed Gal)
    Stamper, Corbett. Corbett Stamper, Field Recorder FRC 306, CD (2006), trk# 35 [1980ca]
    Stoneman, Ernest; and the Blue Ridge Corn Shuckers. Day in the Mountains, County 512, LP (196?), trk# B.03e [1928/02/22] (Possum Trot School Exhibition)
    Ward, Wade; and Glen Smith. Clawhammer Banjo, Vol. 3, County 757/2718, CD/ (2004/1978), trk# 12 [1965-71]
    Ward, Wade. Uncle Wade. A Memorial to Wade Ward, Old Time Virginia Banjo ..., Folkways FA 2380, LP (1973), trk# 2
    Whitetop Mountain Band. Seedtime on the Cumberland. Sampler 1990-91, June Appal JA 067C, Cas (1992), trk# 1 (Fly Around My Pretty Little Miss/Pink - I)
---------------------------

 Where Are You Going (to) My Pretty Maid

    Rt - Seventeen Come Sunday ; My Fine Maid (Fy Morwyn Ffein I)

    Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p228/#112A [1915] (Milkmaid)
    Snyder, Jerry (arr.) / Golden Guitar Folk Sing Book, Hansen, fol (1972), p121
    Cazden, Norman (ed.) / Merry Ditties, Bonanza Books, Bk (1958), p 3 (Rolling in the Dew)
    Tobitt, Janet E. (ed.) / Ditty Bag, Tobitt, Sof (1946/1939), p 52b
    Glassmacher, W. J. (ed.) / Songs for Children, Amsco, fol (1934), p104
    Herder, Ronald (ed.) / 500 Best-Loved Song Lyrics, Dover, Sof (1998), p385b
    Sharp, Cecil J. / One Hundred English Folksongs, Dover, Sof (1975/1916), p100/# 44 (Dabbling in the Dew)
    Atwater-Donnelly. Where the Wild Birds Do Whistle, RIM 1005-2, CD (1997), trk# 5 (Dabbling in the Dew)
    Barlow, Susie S.. Hubbard, Lester A. / Ballads and Songs from Utah, Univ. of Utah, Bk (1961), trk# p148/# 75A [1948/10/10]
    Barnett, Wally/Wallie. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p392/#125A [1916] (Milkmaid)
    Dobson, Adna. Pound, Louise (ed.) / American Ballads and Songs, Scribner, Sof (1972/1922), p230/#112B [1910s] (Pretty Milkmaid)
    Duvall, Leone. Randolph, Vance / Ozark Folksongs. Volume I, British Ballads and Songs, Univ. of Missouri, Bk (1980/1946), p330/# 79 [1926/08/13] (Milking Maid)
    Hubbard, Salley A.. Hubbard, Lester A. / Ballads and Songs from Utah, Univ. of Utah, Bk (1961), p149/# 75B [1948ca]
    Jenkins, Mrs. Allen. Moore, Ethel & Chauncey (ed.) / Ballads and Folk Songs of the Southwest, Univ. of Okla, Bk (1964), p214/#100 [1930s] (Mary Jane, the Milkmaid)
    Johnson, Leslie. Kennedy, Peter (ed.) / Folksongs of Britain and Ireland, Oak, Sof (1984/1975), #189, p420 [1954] (Rolling in the Dew)
    Kirkpatrick, John; and Sue Harris. Rose of Britain's Isle, Topic 12TS 247, LP (1974), trk# B.02 (Milkmaid's Song)
    Lashbrook, Dicky. Kennedy, Peter (ed.) / Folksongs of Britain and Ireland, Oak, Sof (1984/1975), # 94, p224 [1952]
    Loomes, Jon. Fearful Symmetry, Fellside FECD 186, CD (2005), trk# 4 (Rolling in the Dew)
    Myers, Mabel A.. Cox, John Harrington (ed.) / Folk-Songs of the South, Dover, Sof (1967/1925), p393/#125B [1916/07/10] (Milkmaid)
    Ritchie, Jean. Most Dulcimer, Greenhays GR 714, LP (1984), trk# 10 (Dabbling in the Dew)
    Swain, John. Reeves, James (ed.) / Idiom of the People, Norton, Sof (1958), p100/# 24 [1909] (Dabbling in the Dew)
 My Fine Maid (Fy Morwyn Ffein I)

    Rt - Where Are You Going (to) My Pretty Maid

    Thomas, Andrew; and Ben Phillips. Kennedy, Peter (ed.) / Folksongs of Britain and Ireland, Oak, Sof (1984/1975), # 60, p148 [1953]

---------------------------

 Next Monday Morning [Sh 143]

    Rt - How Old Are You (My Pretty Little Miss) - I

    Rm - Sweet Betsy from Pike

    Sharp, Cecil J. / One Hundred English Folksongs, Dover, Sof (1975/1916), p 88/# 38 (Sign of the Bonny Blue Bell)
    Bruce, W. Guy. Rosenbaum, Art (ed.) / Folk Visions & Voices. Traditional Music & So...., Univ. of Georgia, Bk (1983), p136 [1981/04/25] (As I Walked Out One Morning in Spring
    Cox, Harry. Traditional English Love Songs, Folk Legacy FSB 020, Cas (1965), trk# A.03 [1950s?]
    Cox, Harry. Kennedy, Peter (ed.) / Folksongs of Britain and Ireland, Oak, Sof (1984/1975), #137, p314 [1953]
    Gallagher, Mrs. Edward. Folk Music from Nova Scotia, Folkways FM 4006, LP (1961), trk# B.10 (I'm Going to Get Married (Next Sunday/Monday))
    Hooper, Louie; and Lucy White. Reeves, James (ed.) / Idiom of the People, Norton, Sof (1958), p198/# 94 [1903] (Sign of the Bonny Blue Bell)
    Hubbard, Salley A.. Hubbard, Lester A. / Ballads and Songs from Utah, Univ. of Utah, Bk (1961), p146/# 73 [1947/01/04] (I'm Going to Be Married)
    James, Karen. Karen James, Folkways FG 3549, LP (1961), trk# B.02 (Monday Morning - III)
    King, Mrs. Ollie. Sharp & Karpeles / English Folk Songs from the Southern Appalachians II, Oxford, Bk (1932/1917), p189/# 143 [1917/04/20] (I'm Going to Get Married (Next Sunday)

-------------------

Seventeen Come Sunday
From Wikipedia, the free encyclopedia
   
"Seventeen Come Sunday"

"Seventeen Come Sunday" is an English folk song (Roud 277, Laws O17) which was used in the first movement of Ralph Vaughan Williams' English Folk Song Suite and a choral version by Percy Grainger (1912). The words were first published between 1838 and 1845.[1]

According to Roud and Bishop[2]
    "This was a widely known song in England, and was also popular in Ireland and Scotland. It is one of those which earlier editors, such as Sabine Baring-Gould and Cecil Sharp, felt obliged to soften or rewrite for publication. It was also common on broadsides throughout the nineteenth century"

An earlier version was first printed on a broadside of around 1810 with the title Maid and the Soldier. Early broadside versions were sad songs focused on the abandonment of the girl by the young man.[3] Later broadside and traditional folk versions celebrate a sexual encounter. A censored version published by Baring-Gould and Sharp substitutes a proposal of marriage for the encounter.

Lyrics

As I walked out on a May morning, on a May morning so early,
I overtook a pretty fair maid just as the day was a-dawning.

Chorus: With a rue-rum-ray, fol-the-diddle-ay,
Whack-fol-lare-diddle-I-doh.

Her eyes were bright and her stockings white,
and her buckling shone like silver,
She had a dark and a rolling eye,
and her hair hung over her shoulder.

Where are you going, my pretty fair maid?
Where are you going, my honey?
She answered me right cheerfully,
I've an errand for my mummy.

How old are you, my pretty fair maid?
How old are you, my honey?
She answered me right cheerfully,
I'm seventeen come Sunday.

Will you take a man, my pretty fair maid?
Will you take a man, my honey?
She answered me right cheerfully,
I darst not for my mummy.

But if you come round to my mummy's house,
when the moon shines bright and clearly,
I will come down and let you in,
and my mummy shall not hear me.

So I went down to her mummy's house,
when the moon shone bright and clearly,
She did come down and let me in,
and I lay in her arms till morning.

So, now I have my soldier-man,
and his ways they are quite winning.
The drum and fife are my delight,
and a pint of rum in the morning.

The influential version published by Cecil Sharp substitutes:

O soldier, will you marry me ?
For now's your time or never:
For if you do not marry me,
My heart is broke for ever.
With my rue dum day, etc,[4]

Other versions sung by traditional singers end differently. In Sarah Makem's rendering the unfortunate girl is first beaten by her mother:

I went to the house on the top of the hill
When the moon was shining dearly,
She arose to let me in,
But her mother chanced to hear her.

She took her by the hair of her head,
And down to the room she brought her,
And with the butt of a hazel twig
She was the well beat daughter.

and then abandoned by her self-righteous lover:

I can't marry you, my bonny wee lass,
I can't marry you, my honey,
For I have got a wife at home
And how can I disdain her?[5]
Related songs

This song has been compared[who?] to a song usually called "The Overgate" or "With My Roving Eye". In both songs the narrator has a chance meeting with a pretty girl, leading to a sexual encounter. And the songs may have similar nonsense refrains. However the details of the texts are so different that the Roud Folk Song Index classifies them separately. "The Overgate" is Roud Number 866. One well-known recording end the account of the encounter with:

    But I said, I've lost my waistcoat, my watch chain and my purse!
    Says she, I've lost my maidenhead, and that's a darned sigh worse!
    Chorus
    With my too-run-ra, lilt-fa-laddy
    Lilt-fa-laddy, too-run-ray[6]

Recordings

Versions of the song have been recorded by:

    1956: A.L. Lloyd (The Foggy Dew and Other Traditional English Love Songs)
    1974: Christy Moore (on Planxty's The Well Below the Valley)
    1976: The Bothy Band (Old Hag You Have Killed Me)
    1977: Steeleye Span (Storm Force Ten)
    1985: Boiled in Lead (BOiLeD iN lEaD)
    1988: Joe Heaney (The Voice of the People Vol 1)
    1988: Bob Hart (The Voice of the People Vol 10)
    1996: John Kirkpatrick (Force of Habit)
    1997: Kate Rusby ("As I Roved Out" on Hourglass)
    1998: Fairport Convention (The Cropredy Box)
    2002: Waterson–Carthy (A Dark Light)
    2007: Dalla (Rooz)
    2011: The High Kings ("As I Roved Out" on Memory Lane)
    2012: Charlie Scamp (The Voice of the People : I'm a Romany Rai)

See also

    One Morning in May (folk song)

References

First publication
Roud, Steve & Julia Bishop (2012). The New Penguin Book of Folk Songs. Penguin. ISBN 978-0-141-19461-5.
Roud & Bishop p. 404
Sharp, Cecil J & Charles L Marson. (1911). Simkin & Co.
The Voice of the People Sarah Makem, The Heart is True, Topic TSCD674
Belle Stewart "The Overgate" recorded 1976. Issued on The Voice of the People Volume 20 "There is a man upon the farm" (1988)

----------------

No. 29. I'M SEVENTEEN COME SUNDAY.

Words and air from Mrs. Lucy White, of Hambridge.

This ballad, with words rewritten by Robert Burns, is in the Scots Musical Museum, 1792, No. 397. The tune there given is a traditional one and was recovered by Burns himself from a singer in Nithsdale. The Scottish tune has little in common with Mrs. White's, although both are in the Dorian mode.

The ballad, with a tune not unlike our version, is published in Songs of the West, No. 73, under the title, "On a May morning so early." See also the Journal of the FoIk-Song Society, Vol. I, 92, and Vol. II, 9.

"I'm Seventeen come Sunday " is widely known throughout Somerset and I have noted it down eight times. The tunes of these several variants are closely related and the words vary but little. I have chosen the particular variant sung by Mrs. White, because it seems to me to embody the characteristics of the tune in their purest forms. Mrs. White learned the song from Mrs. Hannah Bond of Barrington last summer. Poor Hannah had recently broken her thigh, and was tying in bed, singing to amuse herself. She died two days later, at the age of eighty-nine. The words have been softened and to some extent reconstructed by Mr. Marson.
----------

 National Library of Scotland site, LC 2807 (19) The Lady and Soldier, printed by Morren of Edinburgh. Pitts and followers titled it 'The Maid and Soldier'. Check out the version at Bodleian, Harding B25 (1158) Maid & Soldier.

------------------

The Northern and Eastern Songster: A Choice Collection of Fashionable Songs, 1835

THE FARMER'S DAUGHTER.

WHERE are you going my pretty maid? 
I’m going a milking, sir, she said; 
May I go with you, my pretty maid? 
It’s just as you please, kind sir, she said. 

What is your father, my pretty maid? 
My father's a farmer, sir, she said; 
Then I will marry you, my pretty maid; 
It’s not as you please, kind sir, she said. 

  What is your fortune, my pretty maid?
My face is my fortune, sir, she said; 
Then I can’t marry you, my pretty maid; 
Nobody ask’d you, sir, she said. 

--------------

-----------------

Where Are You Going, My Pretty Maid? [Nursery Rhyme]

Where are you going, my pretty maid?
I'm going a milking, sir, she said.

May I go with you, my pretty maid?
You're kindly welcome, sir, she said.

What is your fortune, my pretty maid?
My face is my fortune, sir, she said.

Then I won't marry you, my pretty maid.
Nobody asked you, sir, she said.

Notes: Here's another version from The Mother Goose; Containing All The Melodies The Old Lady Ever Wrote, edited By Dame Goslin (1850): 

O where are you going,
My pretty maiden fair,
With your red rosy cheeks
And your coal-black hair ?

I'm going a-milking
Kind sir, says she,
And it's dabbling in the dew
Where you'll find me!

Here's a slightly different version from The Real Mother Goose (1916):

"Where are you going, my pretty maid?"
"I'm going a-milking, sir," she said.

"May I go with you, my pretty maid?"
"You're kindly welcome, sir," she said.

"What is your father, my pretty maid?"
"My father's a farmer, sir," she said.

"What is your fortune, my pretty maid?"
"My face is my fortune, sir," she said.

"Then I can't marry you, my pretty maid."
"Nobody asked you, sir," she said.

Here's the version from The Little Mother Goose (1912):

"Where are you going, my pretty maid?"
"I'm going a-milking, sir," she said.

 "May I go with you, my pretty maid?"
"You're kindly welcome, sir," she said.

 "What is your father, my pretty maid?"
"My father's a farmer, sir," she said.

"Say, will you marry me, my pretty maid?"
"Yes, if you please, kind sir," she said.

"What is your fortune, my pretty maid?"
"My face is my fortune, sir," she said.
"Then I can't marry you, my pretty maid."
"Nobody asked you, sir!" she said.

The version in A Baby's Opera by Walter Crane (1877) is slightly longer (this is the version in the 2nd mp3):

1. "Where are you going to, my pretty maid?
Where are you going to, my pretty maid?"
"I'm going a-milking, Sir," she said,
"Sir," she said, "Sir," she said,
"I'm going a-milking, Sir," she said. 

2. "Shall I go with you, my pretty maid?"
"Yes, if you please, kind Sir," she said,
"Sir," she said, "Sir," she said,
"Yes, if you please, kind Sir," she said.

3. "What is your fortune, my pretty maid?"

"My face is my fortune, Sir," she said,

"Sir," she said, "Sir," she said,

"My face is my fortune, Sir," she said.

4. "Then I can't marry you, my pretty maid."

"Nobody asked you, Sir," she said,

"Sir," she said, "Sir," she said,

"Nobody asked you, Sir," she said.

-----------------

LESS than a century ago, "Where are you going, my pretty maid?" was one of the most popular songs of the country and the town. The history and origin of the words and music are enveloped in a maze of uncertainty, though variations by the dozen have appeared from time to time. In "Mother Goose's Nursery Rhymes" there is a version slightly different from what has been generally accepted as the original. The first verse runs:

"Oh, where are you going,
 My pretty maiden fair, 
With your red rosy cheeks, 
  And your coal-black hair?" 

"I'm going a-milking, 
   Kind sir," says she; 
"And it's dabbling in the dew 
Where you'll find me."

"Mother Goose" has formerly been regarded as a native of Boston, Mass., and the authoress of many quaint nursery rhymes. Recent investigation in the field of folk-lore discredits the supposition and refers "Mother Goose" to a French origin of remote antiquity. Several versions of the "Pretty Maid" song are found in different editions of "Mother Goose."

Some discussion on the subject took place in the pages of the English "Notes and Queries," in 1870, when one correspondent said he had known the song personally more than sixty years, and had heard it

sung in Monmouthshire by a youth; and that he recollected an old woman born more than a century previous to 1870 who used to sing the song, and probably learned it in her childhood.

- The version to which this writer refers, and which, at least in part, is familiar in this country, is as follows:

"Where are you going, my pretty maid?" 
"I'm going a-milking, sir," she said, 
  "Sir," she said, "sir," she said; 
"I'm going a-milking, sir," she said. 

 "What is your fortune, my pretty maid?" 
"My face is my fortune, sir," she said, 
  "Sir," she said, etc. 

"Then I won't marry you my pretty maid." 
"Nobody asked you, sir," she said, 
  "Sir," she said, etc. 

"Then I must leave you, my pretty maid." 

"The sooner the better, sir," she said, 

  "Sir," she said, etc. 

But this is not the whole of the song. As usually recognized, there are three additional verses which come between the first and second as given above, They are:

"May I go with you, my pretty maid?" 

"Yes, if you please, kind sir," she said. 

"What is your father, my pretty maid?" 

"My father's a farmer, sir," she said. 

"Shall I marry you, my pretty maid?" 

"Yes, if you please, kind sir," she said. 

and then follow the second, third, and fourth verses of the lines already quoted.

---------------

The Folk Handbook: Working with Songs from the English Tradition

https://books.google.com/books?isbn=0879309016

John Morrish - 2007 - 

Jean Orchard
}
"Where are you going, my fair pretty maid?
Where are you going, my honey?"
She answered me, yes quite cheerfully,
"On an errand for my mammy."
With my rue dum a day, for the diddle-ay,
Right for the lor a li do.

"May I come too, my fair pretty maid?
May I come too, my honey?"
She answered me, yes quite cheerfully,
"You may for me and welcome."
With my rue dum a day, for the diddle-ay, 
Right for the lor a li do.

The Irish Dulcimer - Page 37

https://books.google.com/books?isbn=1619114100

LOIS HORNBOSTEL - 1979 - ‎Preview - ‎More editions

Who are you, me pretty, fair maid” 

Who are you, me darlin'? 

She answered to me quite rogueishly, 

"I am me mommy's daughter." With me – 

(Chorus) 

And where are you goin', me pretty, fair maid” 

Where are you goin', me honey? 

Where are you goin', me pretty, fair maid? 

Where are you goin', me honey? 

She answered me right modestly, 

"I've a message for me mommy." 

With me – (Chorus) And how old are you, me pretty, fair maid” How old are you, me darlin'? How old are you, me ..

-----------

Coffee Grows on White Oak Trees
John & Alan Lomax, Best Loved American Folk Songs, 1947


Notes from the book:

You'll enjoy this Southwestern play-party game as a song, but, in case you want to try the play-party which it describes, we give the directions herewith.

This one is for any number of couples. They join hands, with the ladies on the left, form a ring, and march around and around a lone man, who stands inside the circle. As they march, they sing the introduction in slow tempo. The man inside the circle chooses a partner from the ring. Then, while the dancers in the ring skip around him, singing ?

Two in the middle and I can't dance Josie ?

he swings his partner, first by the right hand and then by the left. Then the introductory stanza is sung again, while the dancers in the ring circle round and round and the two dancers in the middle each choose themselves a partner. All sing ?

Four in the middle and I can't dance Josie ?

while the two couples in the middle of the ring swing by the right and the left. The introduction is repeated, while all four dancers in the center of the ring choose partners. Then on ?

Wheel around and twirl around, I can't dance Josie ?

the eight dancers now inside the ring break into groups of four and swing by the right and left. Then, as all dancers sing at a slow tempo ?

Railroad, steamboat, river an' canal ?

six of the dancers inside rejoin the ring and all march around the couple that remains inside. They sing at a livelier tempo ?

O she's gone, gone, gone ?

to allow the couple remaining in the middle to swing right and left. Then game then begins again with the introduction, skipping the first stanza this time, since a couple now stands in the center of the ring. Use any of the remaining haywire stanzas that you care to in repeating the dance pattern until everyone has had enough.

The Song:
Intro:

Cofee grows on white oak trees
The river flows with brandy-o
Go choose some one to roam with you
As sweet as 'lasses candy

Two in the middle and I can't dance Josie
Two in the middle and I can't get around
Two in the middle and I can't dance Josie
Hello, Susan Brown

Intro
Four in the middle and I can't dance Josie

Intro
Wheel around and twirl around, I can't dance Josie

Intro
Rats in the boots and the boots turn over

Intro
Cow in the well and can't jump Josie

Intro
Briar in my heel and I can't dance Josie

Intro
Fiddler's drunk and I can't dance Josie

Finale:
Railroad, steamboat, river an' canal
I lost my true love on that ragin' canal
O she's gone, gone, gone
O she's gone, gone, gone
O she's gone on that ragin' canal

---------------

---------------
Mr. Bussell colletor,  seventeen come sunday from William Bickle, Baring-Gould
---------------
Grainger; "I'm Seventeen come sunday" Mrs F W Bulcock, Brisbane, Australia 1926