HDTenEightyP/NetNews huggingface dataset:
From: ntaib@silver.ucs.indiana.edu (Iskandar Taib)
Newsgroups: rec.music.folk,rec.music.makers,rec.music.makers.guitar,alt.guitar
Subject: Re: Name of Irish folk song?
Keywords: Jack Hardy
Date: 14 Dec 92 18:33:18 GMT
Article-I.D.: usenet.Bz9I7I.Gz2
Organization: Indiana University

In article <1992Dec9.185056.10249@das.harvard.edu> jmf@endor.harvard.edu ( ghost ) writes:

>Must be from before he drank the lye.

He did? 



-- 
-------------------------------------------------------------------------------
Iskandar Taib                          | The only thing worse than Peach ala
Internet: NTAIB@SILVER.UCS.INDIANA.EDU |    Frog is Frog ala Peach
Bitnet:   NTAIB@IUBACS                 !
Xref: sparky rec.music.folk:8546 rec.folk-dancing:2100 soc.culture.celtic:8174
From: rm4@st-andrews.ac.uk (Rosa Michaelson)
Newsgroups: rec.music.folk,rec.folk-dancing,soc.culture.celtic
Subject: Re: Adam Rennie [Scottish Dance music] info?
Date: 14 Dec 92 13:50:51 GMT
Organization: Dundee University


Adam Rennie was a scottish musician from Angus - up towards the
aberdeen end I think. Strictly Scottish Accordian Dance Music -
written in the 1930s onwards. Not very appropriate for a 19th
century ball - try anything by Niel Gow, Nathaniel Gow, Marshall,
George Riddle, the other Riddle family. You need to get hold of one
of the following: Gow's collection - 4 volumes plus 5 others by
his sons. Marshall's collection, The Simon Fraeser collection, most
of Ron Gonella's volumes of tunes are from pre-1900 transcriptions.
Another good source is the Hunter collection of fiddle tunes, or
Alasdair Hardie's Fiddle collection. The first 4 volumes of the Royal
Scottish Dance Society dance books are also full of early tunes/dances.
Look also at Flett on Scottish dance or The Music and Society of Lowland
Scotland by I forget who. Appropriate musical instruments would be -
fiddle, piano or harpsichord, german flute, cello, double bass, harp
and if late 19th century guitar and melodian. Hammer dulcimer is also
ok for late 19th century stuff. Whistles are also ok - but probably
not the B flat sort. Dances could include the Lancers only if after 1870.
The cottilion is ok, as is the waltz. But not the Mississipi dip, the
Barn Dance or the I suspect other popular scottish dances. Look at the
Swinging Sporran dance book as well for dates, and Robbie Shepheards new
dance book as well!
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Newsgroups: rec.music.folk
Subject: help with lyrics - heights of alma
Date: 14 Dec 92 23:17:50 GMT
Distribution: na
Organization: University of California, Davis

Well, I've been learning this one off a tape of Margaret Christl.
The subject matter of the song is definitely non-PC: an extremely
jingoistic recounting of a Crimean War battle from the British
point of view - but the tune is just so incredibly infectious
and energetic that I've decided to learn it anyway. There are
a few lines of lyrics which I can't make out, so if anyone in 
netland can help I'd appreciate it. There are several whole
lines which I've left blank, and I've put question marks by
lines where I'm unsure of what I heard.

Thanks in advance,

Richard
darsie@eecs.ucdavis.edu

The Heights of Alma
[Trad.]


September ........ on the eighteenth day
We were landed safe in the big Crimay
In spite of all the burning spray
To cheer our hearts for Alma.
That night we lay on the cold, cold ground,
Not a shelter to be found;
In the rain we almost drowned
On the heights of Alma.

Britain's sons may long remember
The glorious 20th of September.
We caused the Russians to surrender
On the heights of Alma.

Next morn the scorching sun did rise
In the east, in the cloudy skies.
.....
Prepare to march for Alma.
And when their sights were held in view,
Stepped as hard it would subdue (????)
To see the Russians' warlike crew
On the heights of Alma.

Britain's sons may long remember...

Their cities were well fortified,
Battlements all lit besides.
....
We'll get our work at Alma.
Their shot it flew like winter rain
As we the battlements tried to gain.
Fifteen hundred Frenchmen slain
In the blood and gore at Alma.

Britain's sons may long remember...

Our Scottish lads with swords in hands
Were not last, as you may surmise.
Gallantly they faced their foes
To gain the heights of Alma.
To Sevastapol the Russians fled
Leaving the wounded and the dead.
Rivers there they ran with red
>From the blood that spilled at Alma.

Britain's sons may long remember...

Two hundred Frenchmen I heard say (????)
Died upon that fateful day.
But 1800 Russians lay 
In the blood and gore at Alma.
France and England, hand in hand,
Was no foe could them withstand.
Let it run throughout the land
Of the victory gained at Alma.

Britain's sons may long remember...
Newsgroups: rec.music.folk
From: jet@boxer.nas.nasa.gov (J. Eric Townsend)
Subject: buying a fiddle
Organization: Numerical Aerodynamic Simulation, NASA Ames
Date: 16 Dec 92 16:35:36
Distribution: na


I'm in the market for a used fiddle to learn on.  My family (in
sothern Louisiana) has a history of playing folk, and I miss the
music.  Unfortunately, I don't know a damn thing about fiddles (other
than that if I learn to play reasonably well I'll probably inherit an
antique fiddle in a few years :-).

Hints/pointers/clues?  I now live in the south bay, california, if
that makes any difference.
--
             J. Eric Townsend --  jet@nas.nasa.gov -- 415.604.4311
              '92 R100R, DoD# 0378, BMWMOA, AMA, ACLU, EFF, CPSR
                                "HotHead Rules!"
Newsgroups: rec.music.folk
From: robd@cherry09.cray.com (Robert Derrick)
Subject: Re: And the Band played Waltzing Mathilda
X-Newsreader: TIN [version 1.1 PL6]
Date: 18 Dec 92 09:56:37 CST

Rob Harrington (00rdharringt@leo.bsuvc.bsu.edu) wrote:
: (Khan) writes:
: > Thanks to the people who posted the lyrics to this song. Now, can
: > somebody also post the words to the spoof of it entitled "And the Band
: > Played 'And the Band Played Waltzing Mathilda'" ???
: 
: well they've already been posted recently (a couple of times)
: 
: also I wouldn't really call it a spoof... "And the band..." is really
: a moving song, esp for those in the military like myself.  It also helps
: that I know what happened at Gallipoli and to hear it from a another
: view point (someone who was there) is nice... I love the song...

I love the song you are talking about too.  And it is moving, and it was
something special for me to sing it around a campfire one night, and to
see that it brought tears to the eyes of several of the listeners.

However, the Khan-ster is talking about a different song, to whit:


    AND THE BAND PLAYED "AND THE BAND PLAYED WALTZING MATILDA
      [I have no idea who wrote this...]
          
    When I was a young man I played the guitar
    And I lived the free life of the rover 
    From Brisbane's green river
    To each dusty folk bar 
    I waltzed my old Martin all over
    
    But in each club I played in
    The people said, son
    We do like your singing 
    But when I was done
    They would leap on the stage
    Saying now I'll sing you one
    And this is the song that they sang me:
    
    And the band played Waltzing Matilda
    And the audience forgot about me
    So amidst all the tears, flag waving and cheers
    I went to the loo for a pee
     
    How well I remember that terrible day
    How my blood boiled much hotter than water
    For up to that time I'd been well on me way 
    To wooing the publican's daughter
          
    Johnny Turk he was there
    And he sang the song well
    I rained him with insults
    And truth is to tell
    I wished Eric Bogle
    Had gone straight to hell
    And never had come to Australia
          
    And the band played Waltzing Matilda
    It was such a well-loved refrain
    And when Johnny Turk was finished, the berk,
    Went and sang it all over again
          
    So now every April I sits on me porch
    And I watch my past life go before me
    And I wish I had written that rambling song
    That brought Eric Bogle such glory
          
    The songs that I wrote
    I don't sing 'em no more 
    They're tiring old songs 
    From a tiring old bore
    And when young people ask
    What did he write them for
    I ask myself the same question
          
    And the band played Waltzing Matilda
    And the singers respond to the call
    As year after year all my hopes disappear
    That no one will sing it at all

--

rob derrick				robd@cherry.cray.com
Newsgroups: rec.music.folk
From: martin@lyra.cis.umassd.edu (Gary Martin)
Subject: Re: Bok Muir Trickett - discography?
Organization: University of Massachusetts Dartmouth
	<davis.724099739@garlic>
Distribution: na
Date: Sun, 13 Dec 1992 18:02:02 GMT

In article <davis.724099739@garlic> davis@garlic.IntelliCorp.COM (Nils Davis) writes:
   >Gordon Bok, solo
   >Return to the Land, FSI-118, 1990

   Is it just me, or is this album not up to the earlier ones? I picked
   it up a few months ago. I played it once, and then again because I
   thought I must have missed something. It did not grow on me. What do
   other people think?

I only have one other Bok album to compare to (Rogue's Gallery of Songs
For 12-String, which I like very much).  But I also had this experience
with Return to the Land.  I bought it about a year ago, and had listened
two or three times without getting hooked.  But recently I listened
again and enjoyed several songs quite a lot, and last night (after reading
your post) listened again more carefully.  The first half of the album
really impressed me, but I found myself getting exhausted after that.
It's a long album (66 minutes, 17 songs).  My suggestion (if you have
the CD and a programmable player) is to listen to:
	Get Her Into Shore
	These Dry Stone Walls
	Fiddler of Dooney
	Bare-Legged Kate
	The Wreck of the Green Cove
	A Little Road and a Stone to Roll
	The Swag and the Shiner
	Pearly [Little Red]
(There may have been a few other ear-catchers I can't recognize from
the titles, but this sample, listened to several times, may provide
the incentive for exploring the rest of the disc.  Maybe I'll try it
myself!)


--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Martin@cis.umassd.edu
Xref: sparky rec.music.folk:8678 rec.music.misc:29553
From: jmf@endor.harvard.edu ( ghost )
Newsgroups: rec.music.folk,rec.music.misc
Subject: Re: Modes; was: Re: Reading music - book sought.
Date: 19 Dec 92 13:52:03 GMT
Article-I.D.: das.1992Dec19.135203.11801
Organization: DAS Purchasing, Harvard University

In article <1992Dec19.002432.20909@das.harvard.edu> jmf@endor.harvard.edu ( ghost ) writes:
>I know the terminology, but wanted to know which, if any,
>of those named modes only allow 5 notes in their scale.  
>Reason is that stuff I like as often gets labelled generically
>'pentatonic' as 'modal'.
>Thanks for the example.  All named examples welcome.

And the rule books I have at my disposal (the ever faithful & confusing
Sacred Harp 'Rudiments of Music' section, for instance)
define hexatonic & pentatonic scales as heptatonic scales with 1 or 2 notes
disallowed...not saying *which* 1 or 2 notes, or which scale you've got to
knock them out of to get a particular sound.

I'm not saying that each subset of notes you can build a body of music
around has to have a name (other than "x-minor with notes y & z disallowed
& no 1/2 steps around notes a,b,c etc allowed either), but this
"understood" rather than proscribed limiting of ingredients seems to
be responsible for some very powerful music.  I just wondered if there
*were* specific names.  Apparently they'd be names beyond the 
classical modes I was asking about, because those are all defined as
heptatonic, but starting in different places...& in at least some cases
with the steps in different places, too.

It does seem as though, at least in some cases, scales that actually
didn't allow certain notes, or more importantly, certain relationships
between notes, had stuff added back to make them, on paper at least,
heptatonic & thereby mathematically acceptable to the
people doing the naming.

Aside on Sacred Harp stuff:  its a hybrid between the very stark & the
incredibly ornate, which its what makes it so neat.
I've always thought the stark aspect came from the predominantly
"modal" structure (whatever that really means) & the ornate came from
the overlay of "classical" ornamentation.
From: rm4@st-andrews.ac.uk (Rosa Michaelson)
Newsgroups: rec.music.folk
Subject: Capercaille
Summary: accident on road to Aberdeen
Date: 17 Dec 92 10:36:48 GMT
Organization: Dundee University


Wednesday 16th December evening Capercaille's tour bus was involved
with a 13 vehicle accident on the road to Aberdeen. John the percusionist
has been detained in hospital with serious injuries - 
Tayside Radio News said to neck last night, Radio Scotland just said serious
this morning - Donald Shaw has a broken wrist, cuts and bruises to
the rest of the band. Tour which included Aberdenn last night and Perth
tonight, and Glasgow friday is cancelled.
The weather has been ranging over extremes in different parts of Scotland -
this was probably a black ice crash.
Newsgroups: rec.music.folk
From: jsarna@vax.clarku.edu
Subject: Black '47
Organization: Clark University
Date: 16 DEC 92 20:09:47 GMT

To add to Eamon's last post...

The new Black '47 ep has 5 songs on it, a combination of old and new tunes.
It is, in fact a prelude to an album which is coming out in January or
February.  To my knowledge, they still play in NYC every Wed. and Sat. night
at a pub called Paddy Reilly's (2nd ave & 28th st).

oops....
B47 sax player Geoff Blythe was in the original (?) lineup of Dexy's
Midnight Runners (remember them), and some late 60s soul band of some
noteriety (the name escapes me)

There's a small write-up on the band in the April '92 issue of MUSICIAN
magazine (with Def Leppard on the cover).  It's not extremely informative,
but it's cool to see them getting some attention :-)

New Yorkers can get the lastest on the band by listening to 92.3 FM
on Sunday nights (8:00--2am) to a show called "Idiot's Delight."  The DJ
Vin Scelsa is a friend of the band, and he promotes them every chance he gets.

To join the mailing list, write to...

        Black '47
        275 E. 7th Street
        Mt. Vernon, NY
        10550

                        -jeremy
Xref: sparky rec.music.folk:8681 rec.music.misc:29558
From: kassover@rumsey.crd.ge.com (David Kassover)
Newsgroups: rec.music.folk,rec.music.misc
Subject: Re: Modes; was: Re: Reading music - book sought.
Date: 19 Dec 92 19:28:05 GMT
Organization: nope

In article <BzGnuD.5xM@dcs.glasgow.ac.uk> jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>
>Major (Ionian) mode (C D E F G A B C): an awful lot.  You must know what
>this sounds like.  "Baa Baa Black Sheep" for a start.

Someone whose name I have misplaced has informed me that it is
this, the Ionian mode, that Plato railed against in "The Republic".

In _Piano Pieces for Children_,  Everybody's Favorite Series No.
3, Maxwell Epstein, Ed. copyright 1934 Amsco Music Publishing
Company, there is "Ah! Vous dirais-je maman", accredited to
French Folk Tune.  There are no words.

"Baa Baa Black Sheep" and variants, "Twinkle, Twinkle, Little
Star", and the alphabet song all use this melody, which, btw,
leaves out the seventh note.

If someone knows of authentic French words, I and a bunch of
little kids, would like to hear about them.  If nothing else, they
may amuse their parents and teachers  8-)
-- 
David Kassover             "Proper technique helps protect you against
uupsi!khazad!kassover	          sharp weapons and dull judges."
kassover@aule-tek.com                   F. Collins
kassover@ra.crd.ge.com
Newsgroups: rec.music.folk
From: elevine@world.std.com (Eugene Levine)
Subject: Re: Stephen Foster
Organization: The World Public Access UNIX, Brookline, MA
Distribution: usa
Date: Thu, 17 Dec 1992 12:02:35 GMT

rblackma@nyx.cs.du.edu (robert blackman) writes:


>Emmylou Harris has also recorded "Hard Times" on our recent album
>"Live at the Ryman."
>One of my very favorite recordings of a Foster song is Cathy Fink's
>beautiful version of "My Old Kentucky Home" on "Doggone My Time"
>(Sugar Hill records).
>There's a new album in the classical bins of Stephen Foster songs --
>I forget the singer's name but Jay Ungar and Molly Mason back him up.
>I believe this has actually been on the Billboard classical charts.
>I assume the singer is sort of operatic in approach, although anything
>with Jay and Molly is worth hearing.  (If anyone reading this HAS heard
>that one, I'd be interested in a review.)
>S

"American Dreamer - songs of Stephen Foster" by Thomas Hampson
(accompanied by Jay Ungar, Molly Mason, David Alpher) - Angel CDC 0777 7
54621 2 8
"art song" approach - the acvcompaniment (some of it without voice)
is like the score to PBS' Civil War series - bittersweet and well-played.
The singing is beautiful; Hard Times is backed up by Garrison Keillor -
very affecting (though I really like the new Dylan version and the Emmylou
Harris, too). Terriffic album - but maybe for a limited audience. I
wouldn't hesitate to recommend it to fans of opera or American music. 
Maybe not so good for folk fans, definitely not for hardcore bluegrass
fans. Various additional instruments. Good liner notes with a bibliography
of Foster work. Hampson is an American baritone.

g'luck; g'day
--Gene Levine
elevine@world.std.com
Newsgroups: rec.music.folk
From: jerry@teetot.acusd.edu (Jerry Stratton)
Subject: Makem & Clancy, Waltzing Mathilda, Rostubble
Organization: usd
Distribution: usa
Date: Tue, 15 Dec 92 09:48:54 GMT

Okay, here's a lyric question for y'all. I've got an ancient Makem &
Clancy tape; in the song 'Waltzing Mathilda' (which is not the standard
Waltzing Mathilda previously posted), there's the following lines:

"Waltzing Mathilda, Waltzing Mathilda,
 Who'll come a Waltzing Mathilda with me?
 and their ghosts may be heard
 as they march by the temenole,
 who'll come a Waltzing Mathilda with me?"

Okay, what are they marching by? It sounds sort of like what I've
written, but this poor American boy can't quite make out what they're
saying.

There's another song that goes:

"So farewell to the guns and the drilling and the marching,
 and when I get back home no more soldierin' for me.
 Oh, I'm going back to the town of Rostobble,"
 (near all sorts of neat stuff).

What's the name of the town?

Also, does anyone know where I can get Makem & Clancy albums? This tape
was old when I got it, and is getting harder and harder to deal with.
It'd be nice to have a record or CD.

Jerry Stratton
jerry@teetot.acusd.edu
-----
"And the young people ask, what are they marching for....
 and I ask myself the same question.
 And the band plays Waltzing Mathilda;
 and the old men still answer the call
 and year after year, the numbers get fewer...
 someday no one will march there at all."
                     -- Waltzing Mathilda
                        Makem & Clancy
-- 
jerry@teetot.acusd.edu
Newsgroups: rec.music.folk
From: umcarman@ccu.umanitoba.ca (Chris D. Carman)
Subject: Re: holly berry song
Organization: University of Manitoba, Winnipeg, Manitoba, Canada
Distribution: rec
Date: Wed, 16 Dec 1992 19:05:10 GMT

> Now, the holly bears a berry as white as the milk,
> And Mary bore sweet Jesus, who was wrapped up in silk:
>  And Mary bores Jesus Christ our Saviour for to be,
>  And the first tree in the greenwood, it was the holly,
>  Holly, Holly!
>  And the first tree in the greenwood, it was the holly!

British folk rockers Steeleye Span do an excellent version of this
song.  I don't recall what album it is from, or if it was taken from
some other source.  It is excellent, though.

Cheers,
C

Newsgroups: rec.music.folk
From: TDOPER35@ysub.ysu.edu
Subject: Cleveland setlist for Indigo Girls 12-15-92
Organization: Youngstown State University
Date: Thu, 17 Dec 1992 10:10:06 GMT

In no particular order:
      strange fire
      welcome me
      hammer & nail
      pushing the needle too far
      3 hits
      galileo
      ghost
      chicken man
      jonas & ezekial
      let it be me
      closer to fine
      tangled up in blue (dylan)
      down by the river (n. young)
 
The sound was great at the Palace in Cleveland. Great acoustics. Farrin? was th
e opening act. Also, Sousie from the Banshies was a surprise guest. Also their
violin player was Scarlet Rivera who toured with Dylan during the Rolling Thund
er Review days and played on many songs on Desire. They said this was their las
t concert of the Rites Of Passage Tour and that they would take a break until F
ebruary. However, they might do a couple benefits in between.Their drummer wa
s from the Banshies and the female bassist was formerly of the b-52's.
 
DOGGER
Newsgroups: rec.music.folk
From: martin@lyra.cis.umassd.edu (Gary Martin)
Subject: Re: Folk Radio Threatened Again
Organization: University of Massachusetts Dartmouth
	<BETSYS.92Dec11234125@ra.cs.umb.edu>
Distribution: ne
Date: Sat, 12 Dec 1992 20:09:23 GMT

In article <BETSYS.92Dec11234125@ra.cs.umb.edu> betsys@cs.umb.edu (Elizabeth Schwartz) writes:

   1) WGBH also airs Rocky Mountain Stage on Sundays from 7-9 pm

You're thinking of Mountain Stage (from West Virginia, not the Rockies),
which is on WBUR (while WGBH is broadcasting The Jazz Decades).

   2)  Just personally, I can't get too upset about this because Saturday
   afternoon is, I suspect, THE lowest audience time of the week. Except
   for  WERS and WUMB, most of the folk shows in Boston are aired at this
    useless time. I for one am NEVER around on Saturdays. If they had the
   folk on at a decent hour, I would be more interested, but by putting
   the shows on Saturday afternoon they are already in the graveyard. 
      Flame me if I'm wrong :-) I just wish someone would run a WEEKDAY 
   EVENING folk music show.

I'm not sure that a personal opinion, yours that the time is inconvenient
or mine that Folk Heritage isn't the best folk program in Greater Boston,
is relevant.  The point is that its presence on one of the most
listened-radio stations in the country, with a powerful and high-quality
signal, and with a highly varied programming range, means that folk
has high visibility (audibility?) in the area, and that non-folkies
may get exposed to the music (and eventually discover WERS and WUMB, etc.).
I'd bet that even if the time is inconvenient and the show isn't the
greatest, it still is the most popular folk show in New England.


--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Martin@cis.umassd.edu
Newsgroups: rec.music.folk
From: jdalin@devildog.att.com (Jimmy Dalin)
Subject: Re: And the Band Played Waltzing Mathilda
Organization: AT&T IMS - Piscataway, NJ (USA)
Distribution: usa
Date: Wed, 16 Dec 1992 13:03:11 GMT

In article <1992Dec15.143626.15649@hemlock.cray.com> robd@cherry09.cray.com (Robert Derrick) writes:
>Ugo Piomelli (ugo@eng.umd.edu) wrote:
>: 
>: For I'll go no more Waltzing Mathilda
>: All around the green bush far and near
>: ... a man needs both legs
>  ^^^ For to hunt, tent and pegs,...
>: No more Waltzing Mathilda for me
>
It's: "For to hump tent and pegs."  "Hump" is vernacular for "carry."
Tents and pegs are out of season in Australia (as well as everywhere else)
all year round.

-- 
Jim Dalin            "No Salga Afuera"  
AT&T                    N.Y.C.T.A.
ATTMail id: !jdalin            
Compuserve: 72260,1573