Jon reminices, “Although my time in the north east was more on the banks of the Wear and, to some extent, the Tyne, this song by Graeme Miles really captures the atmosphere of the area and of that time in my life. I heard it from Robin Dale and Martin Wyndham Reed”
Not the first of Graeme’s songs to feature here, this is very timely. A quick flit over at Mudcat brought up the Ironopolis project that features Graeme and includes this track on a new double CD set. Regrettably I’m having trouble launching the website. I’m intrigued as I’ve liked all of Graeme’s stuff and have been tempted by the book. I may try and get the CD and let you know.
Jon recalls “Ian Woods and I used to sing this at the Half Moon. Or rather Ian Woods would sing it and I’d sort of mumble along in harmony having never quite got round to learning the words…”
He’s following the Watersons here as Mainly Norfolk will reveal. You’ll note the alternative version from Martin Carthy, which follows the same story thread but with different words. There’s also a different song, again recorded by Carthy that seems to originate from the other side of the Atlantic, where this action and the resulting death of the general took place. The battle was actually one of the decisive actions of the war in Canada. As such it seems slightly short on the detail, as a degree of cunning and surprise won the day. According to Wiki Wolfe was wounded in three places and died, but not before noting the routing of the French forces. There is another ballad that focuses on his grieving betrothed, although he quite possibly entered that ‘arrangement’ out of convenience before heading off to war. He seems an intriguing and complex character, undoubtedly a hero to the British and commemorated with statues and paintings. At this point I’d like to hear from any Canadians regarding his status across the water, which I’m guessing is tempered by cultural duality. I picked up some interesting notes on Mudcat somewhere suggesting that the British spied some washer women and used their route to scale the cliffs outside Quebec. A Scottish soldier who could speak French fooled the sentries and surprise and the upper hand was gained. Again, I’d like to know whether this has any grounding in reality, or is simply a yarn. Still, a rousing song this one.
Jon intrigues with “I’ve written a lot of scores for professional plays, but I think my favourite theatre experience is still writing music for As You Like It as a university production (castletheatre.co.uk), which toured for two weeks around various beautiful country houses in the south of England. The cast sang and played all the music and I loved every minute of it. Somehow professional theatre has never quite matched up to it. This is one of the better known songs from As You Like It, but with a folkier tune than the standard one.”
One of seven songs to feature in the play and I’m assured that the original scores have long been lost thus leaving them open for interpretation. A fine job Jon does of it too. You might like to follow this link through to see more about Shakespeare’s songs that also sets the scene for this one. I’d like to claim more insight and knowledge of The Bard, as there’s an undeniably clever contradiction involved in the delivery of this. Is it me or are we on a roll this month? Perhaps it’s just the lighter evenings, the blossom on the trees and the air filled with birdsong. Perhaps I should get a grip (see what I’m doing here?)
Jon admits “I’m a big fan of Kate Rusby’s first album Hourglass – this is one of the few non-trad tracks on it and it’s a pretty convincing ‘fake folk song’ I reckon. Sophie Polhill (from Magpie Lane) sings this unaccompanied and it’s one of those songs that shouldn’t really work as a chorus song, but really, really does.”
She’s one of a number of talented writers working convincingly in the folk style. It’s encouraging that there are so many of them. On that subject watch out for Bella Hardy’s new album Songs Lost And Stolen, which has quietly worked its way under my skin and I’m sure will reward your patient attention. April is turning out to be a top month.
I think Jon’s on the mark describing this as “A bit of a classic. I’m not sure where it comes from – it’s fairly ubiquitous, although I s’pose I associate it most with Lou Killen. It’s unusual in that it’s a folk song actually celebrating chastity…”
Cyril Tawney is credited for unearthing this and Tony Rose and then Lou Killen for taking it on, at least according to this Mudcat thread. It only seems to have been collected twice, but about half way down that thread you’ll find a link though to ‘Twas On A Monday Morning O that refers to a song called Green Willow (that song is then transcribed in another post just below), which shares much of this. I’m rather taken with June Tabor’s notes on Mainly Norfolk that seem to indicate how widely kown this song had become on the circuit. It’s not entirely surprising, as it is lovely and Jon’s guitar adds a certain something that instantly makes this a great start to the month.
