American Folklife Center, Library of Congress Alan Lomax Collection (AFC 2004/004) folder 04.02.35 field work British Isles, 1950-1958 transcripts, research notes, correspondence, radio scripts Jean {Robertson Higgins Reel 1 London Nov. 28th 195[4]3 15" Go away from my window (fragment) 1.00 Quick cut at end. 7 1/2 Talk THE MILL OF TIFTIE'S ANNIE (The Trumpeter of Fyvie) [Well they often talked...] "Well the story of "Tiftie's Annie".... ..so it's left to draw your own conclusions" 2.42 "At the Mill of Tiftie... (words of the ballad spoken) ...for all your lands in Fyvie" 3.50 1st verse sung 0.28 Tune of song sung 0.30 [1. "Well my father soldiered most of his days...] [(story about parents)] [...and got married in Aberdeen" 1.20] [2. "Well my early life...] [....we was married in Aberdeen" 0.30] [3. "My people canvassed....] [...what the country needed" 0.45] [4. "Well in that day there were no motors..] [... they carried home a good lot". 0.40] [5. "Well my father - I never heard my father sang...] [.. I would pick up maybe interested" 0.45] "O no I never heard that from my mother... talk about "Round Coolin's Peak". and one verse ...but usually when I sing it I sing it louder, you know" 1.00 Quick cut [Verse of Jean Ritchie- "Serving maid in master's garden" NO] [2] "I went to church last Sunday... one verse only (learnt of Jean's record) ...by the roving of her eye" 0.47 Quick cut. [3] The Cuckoo's Nest -- false start - sung too low - ...of the Cuckoo's Nest" 0.52 Quick cut at end [4] "Such like as now.... O Bonnie Lass come o'er the burn- ---on to your accordian sometimes" 0.40 Scottish Album Hebridean Flora MacNeill: Cairistiona" 1. Nach freagair thu Chairistiona E ho i iurobhi E o i horo oho E ho i u iribhi Na'm freagradh tu, chluinninn fhein thu E ho i iurobhi E o i horo oho E ho i u iribhi Thug mi bliadhn' an cuirt an righ leat E ho i iurobhi E o i horo oho E ho i u iribhi ------------ 2. Kate Nicolson [underlined] Waulking song Hi ri hoireann o Hi ri hoireann o Hi ri ri ri o ho Ro ho i hoireann o Tha mulad, tha mulad, tha lionn dubh orm fhein Hi ri ri ri o ho Hi ri hoireann o Tha oganach gasda ur ghaisgeach na sgeith Hi ri ri ri o ho Hi ri hoireann o Chan innsinn dha m' phiuthar miod mo chumha as do dheidh Hi ri ri ri o ho Ro ho i hoireann o No dha'n mhathair a rug mi chuir mi an cudthrom 'na ceud Hi ri ri ri o ho Ro ho i hoireann o Tha de mhi-ghean air m' aigne ni nach aidich mo bheul Hi ri ri ri o ho Ro ho i hoireann o. Mu'n tacas so 'n uiridh bu thoigh leat m' fhuran roimh'n cheud Hi ri ri ri o ho Ro ho i hoireann o. Cha mhotha leat mi 'm bliadhna na eunlaitht nan speur Hi ri ri ri o ho Ro ho i hoireann o. Ach a Mhairead nan cuiread, 's dan a chuir thu orm breug Hi ri ri ri o ho Ro ho i hoireann o. Thilg thu orm le malairt nach b' fhuilear dhomh am breid Hi ri hoireann o Hi ri hoireann o Hi ri ri ri o ho Ro ho i hoireann o. -2- 3. Dr. Allan MacDonald Rowing song: "Iomairibh aotram" (Row lightly) Iomairibh aotrom ho ro Iomairibh aotrom ho ro Ho ro 's na horo eile Iomairibh aotrom ho ro Chaidh a' bhanarach dha'n traigh Iomairibh aotrom ho ro Ho ro 's na horo eile Iomairibh aotrom ho ro 'S rinn i rud nach deanadh cach ann Iomairibh aotrom ho ro Ho ro 's na horo eile Iomairibn aotrom ho ro Chruinnich i maorach ri muir lan ann Iomairibh aotrom ho ro Ho ro 's na horo eile Iomairibh aotrom ho ro. Bhris i cas is ghearr i lamh ann Iomairibh aotrom ho ro Ho ro 's na horo eile Iomairibh aotrom ho ro. 4. Mrs. Rena MacLean "The Braes of Locheil" O theid is gu'n teid O theid mi thairis Gu innis nam bo Far an geum a' bho bhainne Il o obha o O hi ri ri u o Il o obha ho O hi ri ri oho Il o bha ho Gu innis nam bo Far an geum a' bho bhainne Gu Braighe Lochiall Far am bi fiadh 'san langan Il o obha ho O hi ri ri u o Il o obha ho O hi ri ri oho Il o bha ho. Il o bha ho. - 3 - 5. Kitty MacLeod Puirt a beul Larach do thacaidean No larach do chruidhean Larach do thacaidean Am bord loch na muille I id id aalum I id id é lum I id id aalum Mise am baile Sheumais Larach do thacaidean No larach do chruidhean Larach do thacaidean Am bord loch na muille Tha rathad mor nan coisichean Tha rathad mor nan ceuman Tha rathad mor nan coisichean Na lagan fo do cheuman I id id aalum I id id é lum I id id aalum Mise am baile Sheumais 6. John MacInnes and John MacLeod Di il i o idulum Deur chan 'eil 's a' phig' agam Di il i o idulum Deur cha robh riamh ann Di il i o idulum Deur chan 'eil 's a' phig' agam Di il i o idulum Deur cha robh riamh ann Nuair theid Domhnull dha'n tigh osd' Dh' oladh e na pigichean Nuair theid Domhnull dha'n tigh osd' Dh' oladh e gu fidhaich. Nuair theid Domhnull dha'n tigh osd' Dh' oladh e na pigichean Cha d' fhuair Domhnull riamh gu leor Gu ruigeadh a mheur air. Ei il i o idulum Deur chan 'eil 's a' phig' agam Di il i o idulum Deur cha robh riamh ann Di il i o idulum Deur chan 'eil 's a' phig' agam Di il i o idulum Deur cha robh riamh ann. Thoir a Nall Ailean thugam Ailean thugam Ailean agam Thoir a Nall Ailean thugam 'S gu'm peiteadh anan t-urlar Thoir a nall Ailean thugam Ailean thugam Ailean agam Thoir a nall Ailean thugam 'S gu'm peiteadh e an t-urlar. Mac Thormaid an gille 'S e 'ga iarraidh 's ga shireadh Mac Tharmaid an gille 'Ga shireadh 's 'ga iarraidh. -4- Tha MacThormaid an gille 'S ga iarraidh 's ga shireadh Tha MacThormaid an gille 'Ga shireadh 's ga iarraidh. Thoir a nall Ailean thugam Ailean thugam Ailean agam Thoir a nall Ailean thugam 'S gu'm peiteadh e an t-urlar. Ceann ruadh air a' ghille Ceann ruadh air a' ghille Ceann ruadh air a' ghille 'S ceann dubh air a mhathair Ceann ruadh air a' ghille Ceann ruadh air a' ghille Ceann ruadh air a' ghille SCeann dubh air a mhathair. (very abrupt ending) 7. Psalm precenting: Psalm 73, v. 25 Oo th' agam anns na neamhaibh shuas Ach thusa, Dhia nan dul? Is chan 'eil neach air thalamh fos Ach thus' am bheil mo dhuil. 8. Mrs. Kate Nicolson and her cow Trobhad, a Bheauty, 's mi dol 'gad bhleoghan - Come on, Beauty, and I am going to milk you. Taorais, taorais, taorais, taorais, a' Bheauty.... Tillaan crodh, laochain Gheibh thu bean ghaolach Till an crodh, laochain Gheibh thu bean bhoidheach Till an crodh, laochain Gheibh thu bean ghaolach 'S bualadh na faoile taobh Mhic an Toisich. Till an crodh, till an crodh Till an crodh againne Till an crodh, till an crodh Till an crodh, Dhomhnuill Till an crodh, till an crodh Till an crodh, againne 'S gheibh thu bean bheadarra, leadanach bhiodheach. Till an crodh, laochain Gheibh thu bean ghaolach Till an crodh, laochain Gheibh thu bean bhoidheach Till an crodh, till an crodh Till an crodh againne Bualadh na faoile taobh Mhic and Toisich. Well, it makes the cow more content and I will get more milk when she hears me singing. 9. Blathach gu dorn 's im gu uilinn Thig a chuinnegg thig Tha glug a so, tha glag a so Tha glag a so, tha glug a so Tha rud is fhearr na or a so Tha rud is fhearr na fion ann. Thig/ -5- Thig a chuinneag thig Blathach gu dorn's im gu uilinn Thig a guinneag thig Thig an lon dubh, thig an smeorach Thig an ceo as a' ghruth Thig a chuthag, thig a' cheathag Thig an osgag adhair Thig a chuinneag, thig Blathach gu uilinn 'S im gu dornaibh Thig a chuinneag, thig Annie Johnston continues: She wishes butter to come quick and she wants the buttermilk to the wrist and the butter to the elbow. Spinning song O's fhada bhuam Anna Fada bhuam Anna 'S truagh nach fhaighinn sid sir m' ordan Oeathrar de dh' oigearan geala O's fhada buam Anna Rachadh a dh' Uidhist an eorna 'S 'gan deoin nach tigeadh as falamh O's fhada buam Anna O ho 's gur hi do leannan O 's fhada bhuam Anna. Iain is Niall is ramhadh Is Eoghan Ban air tobhta thamar O's fhada bhuam Anna. Calum's e cur suas na pioba 'S e dol sir tir a' charraig O's fhada bhuam Anna. (aburpt ending) -------------- Lewis waulking Heman dubh 6 12. Barra Waulking E ho ao ri o E ho ao ri ri o ho gu E ho ao ri ri o i I bho hi iu rubh. 'S e nochd a' cheud oidhche foghmhair 'S a raoir a chuala mi an fhaghaid Eadar Ceann a' Bhaigh 'san Fhadhail Cha ghuth gallain, cha ghuth gadhair 'S i fhein a rinn an taghadh Dhiult i an diughaidh 's ghabh i a roghainn conversation: "Tha e air a dhol a stigh"a nisde, tha mi 'creidsinn. (Laugh) "Tha'n t-am aige" - "Am pos thu e" ..."a Dhia" ... posaidh an ceartair. I o hu o I mo thrath nach tigeadh a nall 13. Kate Nicolson Fail il i i u o eile Coisich agus faigh dhomh céile Fail il i i u o eile Coisich agus faigh dhomh céile Fail il i i u o eile Fail il i i u o eile Alan Lomax bheir mi fhein leam Fail ill i i u o eile Coisich agus faigh dhomh ceile Falbh 's thoir dhomh do cheile Suas an rop is theid mi fhein leat Mairead bhan a bheir mi fhein leam. Fail il i i u o eile. 14. Mary Gillies: "When the clo was ready that was shoved outside and the dancing was started...the pipers[s] came in the back door and here he was... "Hi ri u i..." (Laugh) "We had people coming and the glamour boys and the glamour girls and the Scotch reels and... 15. Mary Morrison: Imitation of bagpipes 16. Annie Johnston: "Sid ort, sad ort 'S na faiceam cion ort" -it's a toast. -"xxxxxxxxx "Here you are, and there you are, and may I never see you in want' "Very good". "Sid ort, sad ort 'S na faiceam cion ort" Ho ali, hé ali, chaidh an dileag ud 'nam cheann Ho ali, hé ali, ho ali, chaidh i ann. Tacan beag am measg nan neighean Is an uair sin bi mi falbh -7- Toast (cont.) Gheibh sibh mise na mo chadal, gheibh sibh mise na mo shuain Ho ali hé ali, ho ali, chaidh i ann. Ho ali ili ali, ho ali, chaidh i ann. 17. John Burgess: Piping End of first part 18. Dr. Allan Macdonald Barra Boasting A bhradag dhubh O i o han Niall a' chaisteil O hao o i oro O hi o hao. 'S Niall chuid dubh O hi o hao Is Niall Frasach O hao o i O hi o hao. Fail u o ho O ho o hao. Is Ruaraidh Tartair O hao o i oro O hi o hao. Is a mhac cliuiteach O i o hao 'S gill' Fhionnain O hao o i oro O hi o hao Mor an gaisgeach O hi o hao. 19. Kitty MacLeod: (and chorus) (0 little sister) A phiuthrag 's a phiuthar Hù-rù A ghaoil a phiuthar Hu rù Nach truagh leat fhéin Hó hola leo An nochd mo chumha Hù rù. Nach truagh leat fhéin An nochd mo chumha 'S mi 'm bothan beag Iosal cumhang Gun lùb seomain Gun sop tughaidh. -8- 20. Penny Morrison: Mermaid song Och o i o i o u Och o i o i o u Och o i o i o u Och o i o i o u 'S mise chunnaic an t-ioghnadh Maduinn moch 's mi 'g iarraidh chaorach. Maduinn moch 's mi 'g iarraidh chaorach Nighean donn a' chuailein chraobhaich. Nighean donn a' chuailein chraobhaich 'S i 'na suidh' air lic na faoilinn. 'S i 'na suidh' air lic na faoilinn 'S craicionn cul a cinn 'ma h-aodann. 21 Calum Johnston: (Charm against hailstones) "This is a charm for stopping a hail-shower" Clach mhin mheallain 'S an tobar ud thall Clach mhin mheallain 'S an tobar ud thall Am buachaille bochd Ri fasgadh nan cnoc 'S a bhata fo uchd 'S a dhealg 'na bhroit 'S e 'g iarraidh air Dia Turadh is grian a chur ann Clach mhin mheallain 'S an tobar ud thall Clach mhin mheallain 'S an tobar ud thall Am buachaille bochd Ri fasgadh nan cnoc 'S a bhata fo uchd 'S a dhealg 'na bhroit 'S e 'g iarraidh air Dia Turadh is grain a chur ann. 22. Bird sounds: "The thrush says this to her chick":- Iain 'Ic 'Ille Mhoire Bhig Thig dhachaidh, thig dhachaidh Ciod thuige, ciod thuige Gu'd dhinneir, gu'd dhinneir; Dé'n dinneir dé'n dinneir? Aran cruaidh cuirc agus coirce Agus meog leis, agus meog leis Bi clis, bi clis. John, son of little Mary Come home, come home What to, what to? To your dinner, to your dinner What dinner, what dinner? Hard dry bread, oat bread And whey with it and whey with it Be quick, be quick. "All these birds speak in Gaelic, you know". -9- Calum Johnston (contd.) "This is what the lark says":- Ig ig igean Có chreach mo neadan? Ma's e duine beag e Cuiridh mi le creig i Ma's e duine mor e Bogaidh mi 's a' lon e Ma's e duine beag bideach Gun chaill gun nair' e Gu'n gleidheadh Dia Dha athair 's aha mhathair fhein e. Ig ig igean Who stole my nest Ma's e duine beag e If it's a little man Guiridh mi le creig e I will put him over a rock Ma's e duine mor e If it's a big man Bogaidh mi's a' lon e I will dip him in the pool Ma's e duine beag dideach e Gun chaill gun naire If it is a wee wee man Without sense of shame Gu'n gleidheadh Dia aig Athair 's aig a mhathair fhein e. May God preserve him to His own father and mother 23. Mary Morrison: Imitation of Pipes 24. Flora MacNeill: (Lament for William Chisholm) "Och, a Thearlaich Oig Stiubhairt" Och, a Thearlaich Oig Stiubhairt 'S e do chùis rinn mo léireadh Thug thu bhuam gach ni bh' agam Ann an cogadh na t-aobhar: Cha chrodh, a's cha chaoraich Tha mi caoidh ach mo chéile, Ged dh' fhagte mi m' aonar Gun sian 'san t-saoghal ach léine. Mo run geal òg. Bu tu'm fear mor bu mhath cumadh O d' mhullach gu d' bhrògan Bha do shlios mar an eala 'S blas ba meal' air do phògan; T- fhalt dualach, donn, lurach, Mu do mhuineal an òrdugh 'S e gu cam-lubach, cuimeir, 'S gach aon toirt urram d'a bhoidhchead. Mo run geal òg. -10- 25. Kitty MacLeod (and chorus) Fliuch an oidhche (Pirate song) 'S fliuch an oidhche Hù il o ro Nochd 's gur fuar i O hi ibh o Ma thug Cloinn Neill Hu il o ro Druim a chuain orr' Boch ho-rinn o. Ma thug Cloinn Neill Druim a chuain orr' Luchd nan seol ard 'S nan long luatha 'S nam brataichean Dearg is uaine 'S nan gunnachan Caola cruadhach Is i omadh sgeir dhubh Ris na shuath i Is iomadh liaghan Dearg a bhuain i. Agus bairbeach glas a bhruan i 'S cha b; fhear cearraig Bheireadh bhuat i. Na fear laimhe Deis is fuachd air Bheir thu mach A dhruim a' chuain i 'S bheir thu steach A dh' uisge Chluaidh i. 26 Kitty MacLeod (Puirt-a-beul) Tha Domhnull Dubh an Domhnullaich An nochd an tòir air Mor a' cheannaich Tha Domhnull Dubh an Domhnullaich An nochd an toir air Morag. Tha Domhnull Dubh an Domhnullaich An nochd an tòir air Mor a' cheannaich Domhnull Dubh an Domhnullaich An nochd an toir air Morag. I i abhi u i abhi Sin do lamh a Mhor a cheannaich I i abhi u i abhi Sin do lamh a Mhorag I i abhi u i abhi Sin do lamh a Mhor a cheannaich Domhnull Dubh an Domhnullaich An nochd an toir air Morag. Tha rud no dha a dhith orm A dh' fheumainn fhein Mu'n deanainn banais Tha rud no dha a dhith orm A dh' fheumainn fhein Mu'm pòsainn I i abhi u i abhi Sin do lamh a Mhor a cheannaich I i abhi u i abhi Sin do lamh a Mhorag I i abhi u i abhi Sin do lamh a Mhor a cheannaich Domhnull Dubh an Domhnullaich An nochd an toir air Morag. — 11 - Dhannsainn is ruidhlinn Air oidhche banais Mor a' Cheannaich Dhannsainn is ruidhlinn Air oidhche banais Moraig Dhannsainn is ruidhlinn Air oidhche banais Mor a' Cheannaich I i abhi u i abhi Sin do lamh a Mhorag. END OF REEL Lighnamara, Castlebay I. of Barra 21.8.57 Scottish Programme Executive, Broadcasting House, Queen Margaret Drive, Glasgow, W.2. Dear Mr. Lomax, I am very sorry I cannot accept the offer of singing or take part in the chorus which is to be arranged soon for the Scottish ? Programme, as I intend to leave here for Aberdeenshire shortly, and shall be away from home for a few months. Mary Gillies and her sister & cousin Mrs. Mary Johnston, are delighted that they are about "to come into their own at long last". Many a song they have given to song gleaners, now they are about to get honourable mention - Thanks to you Mr. Lomax. Here are a few 2. notes on some of the songs which were sung at Mary Gillies's the evening you were there. I hope you find the notes interesting. There was so much music, religion, romance and dancing at Waulkings, to say nothing of the hard work expended on the tweed from the day the wool left the sheep's back till the suit arrived from the tailor ready to be worn. Then a man (never a woman at first) would pronounce his blessing on the new suit - In these words, "May you enjoy it and wear it (wear & tear) and throw me your cast offs. Yours sincerely R. MacLeod 2. Her joy and darling she continues is coming across water - burn. The inhabitants of St. Kilda had a positive dread of mentioning the word ocean, or water, on the principle of "ill will come if mentioned", - Listening Powers would cause evil - similiar to the evil eye - so the evil powers must be 'dodged'. The stranger wears a blue bonnet with a favour (a gift from his lady love. The ribbons flying behind his blue bonnet) Martin in his tour of the Hebndes quotes many instances of dodging certain words. Rock was referred to as the hard [underlined]. Bog, a constant source of peril, as "the soft thing' likwise ocean was 'burn'. In one cog she would have meal, & ale in the other. I can - 4. not understand why the two shackles, unless the stranger was to help with the milking - but I hardly think so. I wish we knew more of this song. R.M.L. SONGS FROM THE ISLE OF BARRA [underlined] Recording: Thursday 26th April, 1951: 8.15/9.15 p.m. Number: DGW. 15146 Introduced by Annie Johnson File in Scotland [written in ink] ----------------------------------------------------------- ANNIE JOHNSON: Where is Barra? If you look at the map of Scotland, you will notice that long chain of Islands known as The Outer Hebrides, which forms a bastion protecting the mainland of Scotland on the West from the fury of the Atlantic gales. The southernmost tip of this chain is the Barra group, consisting of several small islands, of which the largest is Barra. These are the most westerly inhabited islands of Great Britain. Barra, once the stronghold of the Clan MacNeill is but a small island, twelve miles in circumference, with a population of about two thousand people, mostly crofter-fishermen; whose love for the old way of life and the old traditions has preserved for us a rich heritage of folklore and folk music. It is an island of sailors. The sea is in their blood. It is their inheritance from the days of Roderick the Turbulent, that bold Barra adventurer who roamed the seas and harried the ships of good Queen Bess as they returned laden with booty from the Spanish Main. What cared he for an Atlantic gale? His galley sheltered in the trough its mountainous surges. The following song describes his boat putting to sea on one of its reiving expeditions on a cold dark wet night. It describes the ship - tall-masted with spreading sails and floating banners. It praises the skill of the helmsman/ -2- helmsman who steered his boat unscathed through a channel so narrow that she shaved the limpets off the rocks and scraped the red-brown tangle off the sea- bottom. "IS FLIUCH AN OIDHCHE" [underlined, centered] The next is also a Sea Song. It is called "O son of the Earl of the White Banners". Who he was cannot be determined from the words of the song which is a rhapsody in extravagant praise of the Earl's Son's Galley. "O! Son of the Earl of the White Banners I have seen they boat on the sea It had a golden rudder, And two silver masts And stays and tackle of Galway silk Not from Glasgow did it come Nor from lowly Dunvegan Nor from Duntulm of the white banners, But thick brown silk from Spain." K.A.N. [written in ink] "MAC IARLA NAM BRATACH BANA" [underlined, indented] While the men went off to seek adventure or perhaps to earn their livelihood on the seas, the women were left to the more prosaic work of 'keeping the home fires burning'. What a lot of work that involved! They had to grind the corn, make the bread, milk the cows, make the butter, spin, weave and make the clothes for the family, tend the bairns, besides doing most of the work on the croft. When all work was done by hand as it was, and mostly still is in the Western Isles of Scotland, the labour songs helped to relieve the monotony of repeated action, and to sweeten and lighten the work in hand. A great many of these labour songs can still be heard in Barra, and there is an endless variety of them, with rhythms admirable suited to go with the work/ -3- work to which they form an accompaniment. The making of wool into cloth involved many processes such as carding, spinning, dyeing, weaving and finally waulking or shrinking the finished web of cloth. The next is a spinning song, the rhythm of which fits the rhythm of the spinning wheel to perfection. It is a love-song. "I have given you love and affection Such as sister ne'er gave brother Nor mother to her first-born nursling. You are the wheel, I am the thread Spun together by Fate". SPINNING SONG [underlined, centered] Weaving the cloth on the small hand loom was the next process and here is a weaving song: "Wait today until tomorrow Till I weave a shirt for thee The lint is sown but has not grown The loom still grows in St. Patrick's wood The shuttle I've lent to the queen And the bobbin to the King of France But tarry till I weave a shirt for thee". WEAVING SONG [underlined, indented] When the weaving was finished, the cloth had then to be washed and shrunk. For this, a table was improvised, long enough to allow a team of from eight to ten women, four or five a side to be seated comfortably at it. The wet cloth, previously soaked in lye, was lifted on to the table and laid along its length, folded back on itself like an elongated U. Each woman took a handful of the cloth lying in front of her, and together they started beating it on the boards, swaying their/ -4- their bodies backward and forwards till they were in perfect rhythm. Then the leader began a slow waulking song, singing a verse line, the rest taking up the chorus, each moving her handful of cloth to her neighbour, her neighbour doing likewise, thus keeping the cloth moving slowly round the table in perfect time with the song. The song might be a love-song or one describing heroic deeds, or exploits at sea, but the music of them all is old and the verses full of poetic expressions. After the first slow song, a livelier song followed and then a third, when the women of the house measured the cloth across its width in finger-lengths to find out how much it had shrunk. When it was think [n crossed out] enough, the web was rolled up and clapped to a merry song and the waulking was finished. This is a slow waulking song: "On Saturday I was mournful On Monday I made my lamentation Closing the eye which was beautiful Composing the mouth which was shapely Raising the sails on the galley Sailing from the land of the best-grass Where could be heard the sound of the sand on the window pane. WAULKING SONG [underlined, indented] And here is a livelier waulking song: "I will not go, not I With the son of the Steward He is a foolish lad. Give me the lad of the brown ringlets, Who would lie in the heather And kill the plover and the grouse And the slender-necked wild duck" "CHA TEID MISE" [underlined] - 5 - The clapping song is a merry one sung to a lively rhythm. While the song is in progress, the roll of cloth is unwound, and rolled up again little by little, the team, now exhausted, putting a last spurt to the completion of their job. The object of this 'clapping' is to raise the pile. Here is the clapping song: "I am sitting all alone Everyone is getting married But I still remain unwed For an old man I will not have He is slow in getting up He needs a stick to get about He wears his bonnet in the house He cannot see when he goes out He thinks the sungis the moon He thinks the sheep are rocks He thinks the foal's a mare He thinks the hens are geese". "But give me a smart young lad,", etc. SONG After the waulking was finished, the women retired to wash their hands and get ready for the waulking feast, while the young men of the village gathered round to prepare the barn for a dance. If there was no piper at hand, and sometimes it happened that way, why, a port-a-beul or mouth tune would do as well. PORT A BEUL And this is another rhythm. The woman's household duties were not confined to the making of cloth. She had to milk the cows and make the butter and cheese. It is well-known that Highland cows are very responsive to music, and some have been known to have a favourite milking song which produced a better yield than any other. Doubtless the soothing, luring effect of a beautiful/ - 6- beautiful melody produced a tranquility in the animal which was conducive to a large milk yield. In any case the Highland dairymaid always had her milking-song, the words of which invariably praised the cow. Here it is: "Dearest cow, darling cow Sweet little cow thou art mine Though other cows might stray away My little brown heifer would aye come home". SONG "bard a cluith" When the cream was ready for churning, there was the churning song to accompany the process. The old-fashioned plunge churn with the froth-stick was the one in common use in the islands. This is a churning song: "The churning which Mary had on the floor of the Glen To augment the butter And decrease the milk Come, butter, come Buttermilk to the wrist Butter to the elbow Come, butter, come." CHURNING SONG And that's it. Many of these songs were attributed to the fairies. The following one, which is a waulking song, has this story: A little girl was stolen by the fairies. Years afterwards her younger sister, one day herding cattle on the hillside, heard a voice coming from a knoll near which she was sitting. It was the voice of her sister, and the knoll inside which she was singing was a fairy hill, and this is the song she sang: "O sisterling! O little sister! o/ -7- O beloved little sister Do you not pity my plight tonight As I sit in this little hut, Low end narrow, Without a wisp of thatch Or thatch rope With cold hill torrents Running o'er it". SONG Another fairy song is the lament of a fairy for her mortal love, killed by his brothers when they discovered that he was keeping tryst with a beanshithe, or fairy woman. The fairy afterwards came on the body and sang this lament: "It is I who am sorrowful About the hunger of the woodcock I heard your cry on the hillside But paid no heed, Until I heard the raven's call; A thousand curses on the brothers Who have wounded you to death, etc". ORAN SITHE In the midst of all these activities the children were not forgotten. Running about all day, in and out of mischief, tired little bodies had to be soothed and comforted and rested. Who could do that better than granny and the little one soon forgot her tiredness being dandled on granny's knee to this little dandling tune: "I would give this to Mary I would give this to Mary I would give this to Mary For the mending of her gown. I would give to my love Scissors/ -8- Scissors and a needle I would give y darling A thread from the shop I would give to my dear one A ribbon and a reel I'd give that to Mary to mend her gown". LULLABY To pass an evening when the men happened to be ashore, there was always the ceilidh. Friends came visiting in am informal way, and before long the singing had started. Perhaps some one knew a song unknown to the others, and that was the time for them to learn it. If the song had a story to it, so much the better. One storysuggested another, and the village seanachaidh (or story-teller) could keep his audience enthralled until cock-crow with tales heroic or uncanny. A tale of heroic deeds would surely awaken memories of an epic composed by the bravery of a clan chief. In this way, the native culture was fostered and it became a living tradition. Few could return from a Ceilidh without having been emotionally stirred, or without having learned a verse or a rhyme to carry away with them, such songs as this, an Oran Mor, or poem such as the elegy on the death of Colin Campbell of Glenure, the victim of the Appin murder, or which Robert Louis Stevenson wrote in his book "Kidnapped". "Sad thoughts in my mind Have cause me grief and pain When in bed I sleep not but toss, My cheeks are blanched My tears ever flowing For the news from Appin (which has caused this unrest SONG These are but a few of our old traditional Barra songs. In this mechanised age, however, when the machine has taken/ -9- taken the place of manual labour throughout the country it may happen that before long they may not be required for their original purpose even in Barra, but we fervently hope they will never be forgotten. RB Cottenham 31 Rruggers Lane Cheddingstone. Hoath Edenbridge. Kent To Mr Lomax Please make some Use of this old Book. 1851 Best wishes in your task RB Cottenham (Mrs) v ) 9 ) \^ 6 [unk] gift from an unknown stranger and I will add it to my Library c/o The BBC Queen Margaret Drive, Glasgow, W.2. 25th September, 1951 Dear Sorley, Unfortunately, I got all the records packed today without sending you yours, but I'll do that from London. Meantime, about the notes. They should cover, where you can, the type of song, how it is performed in relation to other Gaelic music, the history of the song, if known, its function, if known, its appeal to the Gaelic folk group, how it is set in the context of Gaelic culture, its poetic and aesthetic qualities. This sounds like a large order, but if you would regard the thirty minutes of music as an unfolding programme of Gaelic songs, related to each other in the way the culture is inter-related, and use the songs as a way to tell the story of Hebridean folklore, so far as this record covers it, you'll be hitting the right level. Be sure of your facts, but write as eloquently as you please. You're writing to the world audience, sophisticated but uninformed about this world. For instance, you should begin by saying that songs are now found largely in rocky islands a hundred miles approximately from North to South, fifty miles off the coast of Scotland, where so many thousand people still live. There are so many thousand people who still speak Gaelic, and the tradition of the folklore goes back so many hundred years with bards, but a basis of work song, folk medicine, etc., connected with the oldest lore in Europe. This is just a suggested way to begin. Don't worry about the job, for God's sake, because, as the best poet in the language in Scotland, you will speak with real authority about this world that no one else will have. I'm sure I'll like whatever you choose to write, and all I'll do is to add a few lines perhaps at the end of your essay about the circumstances of the recording and the way the singers impressed me. I'll be back in Scotland for the week-end of the 7th October, and will see you then to finish up the whole literary part of the job. I'll bring the tapes along and we can check the texts finally then. With all best regards, (Alan Lomax) Mr. Sorley McLean, 54 Queen Street, Edinburgh. EHS 17th October, 1951. Hugh McPhee, Esq., Gaelic Section, B.B.C., Queen Margaret Drive, Glasgow. Dear Hugh, I forgot to mention the other day how much help it was for me to be able to use your library of Gaelic books. You and Miss McPherson and Finlay Macdonald certainly did everything you could to make my stay in Scotland pleasant and successful, and I appreciate it very much. In my opinion your Department could originate the most exciting musical broadcasts in Great Britain, given the will and the opportunity. I am sure that this will one day come about. With gratitude for many kind favours and courtesies, I am yours very sincerely, Alan Lomax c/o The BBC Queen Margaret Drive, Glasgow, W.2. 22nd August, 1952 Andrew MacCormick, Esq., "Tir nan Og", Newton Stewart. Dear Sir, Your friend, Noel Stevenson, was kind enough to give me your address. Perhaps he has told you that I'm trying to put together a collection of living Scots folk songs. I have made extremely beautiful records in the Hebrides, and in Buchan, and have a few examples of Lowland folk music, but would like to record a bit more, so that the portrait of Scotland can be complete. Mr. Stevenson encouraged me to believe that you might know some local singers who still have the ballads in the oral way. If you do, I can come down with my Magnecord and visit them and take the records for my purpose as well as for deposit in the BBC Library, the Library of Congress, and so on. In expectation of an early reply, I remain, Yours sincerely, (Alan Lomax) EHS c/o The BBC, Queen Margaret Drive, Glasgow, W.2. 22nd August, 1951 Dear Mr. Murison, Thank you for your long, if discouraging letter. It's just one more example of the unending kindness and courtesy of you Scots. Of course there's a great deal of living balladry still to be found in this country, but it will take someone with a great deal more time than I have left to me. I suppose I'll have to do with the excellent material I've found in the Islands and in Aberdeenshire. A fellow American was here about ten years ago - a chap by the name of Carpenter - he worked with a dictaphone, I think, recorded a perfectly tremendous number of songs from the old people - left a trail that I ran into everywhere in Buchan. This material is now in Duke University, in case anyone is interested, and I think Carpenter is dead. It's never been published or used, as far as I know. Well anyway, thanks for the note. Sincerely yours, (Alan Lomax) Mr. David Murison, The Scottish National Dictionary Association Limited, King's College, Aberdeen. EHS 24th August, 1951 Dear Mrs. McLeod, Thank you for your charming letter and for the very interesting note which I'll certainly use in my work. The contract that the BBC sent you was not for work that you will do, but for what you have already done in recording for me. Some of the records I made will be actually used on BBC on a programme called "Scots Musicalogue" to be broadcast soon. With all kind regards, Sincerely, (Alan Lomax) Mrs. R. MacLeod, Tighnamara, Castlebay, Isle of Barra. EHS c/o International House, Castle St. Edinburgh. 13 June '51 Dear Alan, Just a line to say that I was dipping into your Jelly Roll book again yesterday, and wondering whether you were coming North after all? There are meadows in Lanark and mountains in Skye... pibwehs in Western Ron and bothy ballads on Deeside! "Some can drink and no' be drunk, Some can Lecht and no' be slain: I can kiss anither lad's lass And aye be welcome tae ma ain." Do you remember the ballad from Ulster which I sang once or twice - to "South Down Miliha"? Well, the other day a London lad to whom I sang it a couple of years ago sent me a 2) new creation of his own, which is South Down with a difference. Just listen to this: I work in a famous factory whose story you may know; In one united action we laid the bosses low; And from Greenland's icy mountains to Injy's coral strand The strike we had a Duple's was the finest in the land. The bosses aimed to cut our pay and break the Union's back And one fine day the active blokes were told they'd got the sack but twice five hundred workers said "For this we will not stand; "We'll strike at Duple's Bodies for the finest in the land." Each week the local news came out and put the bosses' case So we went to see the editor and made him show his face. "You're just a bunch of reds" he cried and waved a lily-white hand But the lads who struck at Duple's were the finest in the land. For eight long weeks we fought it out and kept our kids alive, They told us they would lock us up under order Thirteen O Five. But eight unions stood together in one united band So the strike we had at Duple's was the finest in the land. In years to come the engineers'll remember and they'll say "What they did at Duple's, well we can do today. Yes we can do the same as well, its plain to understand Though the lads who struck at Duple's were the finest in the land. 16th October, 1951. Finlay McDonald, Esq., Gaelic Section, British Broadcasting Corporation, Queen Margaret Drive, Glasgow. Dear Finlay, It was nice that we had a long drink together Sunday night and it was too bad that you had to wash the car the next day. I hope not personally, although the ringmaster seemed as if he didn't care whether you did it personally or not. At any rate it was a nice drink and I wish we had more of them. If we do have more, let them be in London or New York, at least for a while. I confess that I was overwhelmed by your particular part of the world, but I sincerely believe (although I am not entirely sure), that you helped me to combat the severe attacks of Presbyterian conscience that kept overwhelming me in Glasgow, nearly drowning me the first two weeks of September. Seriously, you were most kind and it wasn't always easy for you to be kind I know, but I hope to return the favour to you in kind some day. If you hear any kind words spoken about "Over the Sea to Skye", you might pass them along. All the best to you and your handsome lady, and by the way, to Shirley. Yours, Alan Lomax. Oak Cottage Hingham Lane Hyde Cheshire. Feb. 21/51 [*Scotland - Contacts*] Dear Alan I wrote to Hugh MacDiarmid asking him to persuade J. Lorne-Campbell to assist you in your search for Gaelic folk singers in Scotland. I enclose his reply. If you do manage to get to Scotland, I am sure you will find him most helpfull. I have also written to Hamish Henderson who has an extensive collection of soldiers songs - he will probably communicate with you directly. I understood you were coming to Manchester on Sunday or Saturday, - but I expect I misunderstood you. I'm sorry for I should have enjoyed meeting you again. I leave for Bergen on Saturday and won't be back in England until March 25. If you are still in London perhaps we could meet. Best wishes for Robin and yourself, Jimmy Miller. Would it not be advisable (before producing such a travesty as the Public were subjected to on the evening of Tuesday 9th of the 45 rising) to become conversant with the History of that Period) It was an insult to the unfortunate Stuart Prince and The Noble Lady Flora MacDonald The Scottish idea of Production seems to be Noise, inarticulate shouting [*Scotland*] [*1. APOS 2. HSP 3. M. Lomax*] Postcard [STAMP] UDDINGSTON 1. - PM 10 09 51 GLASGOW [END STAMP] [*As Features Organiser*] To Mr Alan Lomax Broadcasting House [St Margarets Drive Glasgow W. ] Rothwell House London. [STAMP] RECEIVED GLASGOW 11 OCT 1951 Ansd_________ 13 July 1951 W. O'Reilly 63 College St Dumfries - 1259 Ins Co-op. Pbs. Alan Lomax B.B.C. Edinburgh. International Driving Retreat No. 40695 Corner Forrester Rd. Le Parrisienne 26 Rue Doruot Paris 9. Refer to Andre Bone. BELGRAVE RD. 10 yds CLERMISTON TERRACE [FORRESTER RD] 7 yds [CLERMISTON TERRACE] [BELGRAVE. RD.] CLERMISTON TERRACE 4 3 10 3yds [CLERMISTON TERRACE] Morris Minor AG 7556 Citroen 4553 Q75. THE BRITISH BROADCASTING CORPORATION Head Office: Broadcasting House, London, W.1 Broadcasting House, Queen Margaret Drive, Glasgow, W.2 TELEPHONE AND TELEGRAMS: [WESTERN 6721] Western 8844 Time of Collision: 12 midday. Both parties agree to measurement. Estimate speed of [cars] both cars = 18 - 20 m.p.h. Signed: Alan Lomax W. O'Reilly Pip. M. Angus MacCauley 74 Fosters Road London, N. W 5 Gul 3037 [?] broch - Munich Isle of Canna, Scotland 10/12/50 Dear Dr. Lomax I have waited replying to your letter until I was able to consult with Professors Jackson and McIntosh of the Linguistic Survey of Scotland and also with the other officials of the Folklore Institute of Scotland of which I am president. We are agreed on the following points: - 1. Scotland is not a province of England, therefore Scottish folklore cannot be treated on a regional basis like Corsican or Norman folklore. 2. It is therefore very desirable that there should be an album of records devoted entirely to Scottish folkmusic and folksong. We do not believe that such an album would be in any way inferior to an Irish album. 2. 3. The production of such an album is an enterprise we would prefer to undertake ourselves as a long term project. We do not believe that recordings of all the material that should go into it are immediately available, nor could they be made within the space of a few weeks, as we all have heavy commitments in various other ways at the moment. 4. In view of No 3 above it is natural that we prefer to retain the best of our Gaelic folksong recordings for publication in such an album, especially as very careful work will be necessary upon the texts and translations of such songs. There are not many people who are able to edit and translate such texts and the calls on their time are already heavy. [*3*] I hope these remarks do not seem discouraging from your point of view but I am sure that if you are able to discuss the position with us personally you will understand our point of view. I am going away just now for a much needed rest & don't expect to be back until the end of January or the beginning of February, when perhaps we may see you in Edinburgh. Yours Sincerely J.L.Campbell President, Folklore Institute of Scotland Transcribed and reviewed by volunteers participating in the By The People project at crowd.loc.gov.