From Dorothy Spicer, Selsfield, West Sussex.
From a tape recorded by Ken Spicer
Sussex Traditions https://sussextraditions.org/record/hopping-down-in-kent-2/
From Dorothy Spicer, Selsfield, West Sussex.
From a tape recorded by Ken Spicer
Sussex Traditions https://sussextraditions.org/record/hopping-down-in-kent-2/
From Mary Ann Haynes
Recorded by Mike Yates, Sussex, July 1974
Travellers, Topic Records 12TS395, 1985.
This is a parody of the Music Hall song ‘Our threepenny hop’, the chorus of which runs
At our threepenny hop, our threepenny hop;
Where the boys and girls are found
Hopping it round and round and round;
When you start a-dancing you never know when to stop.
It’s Hi! Hi! Go as you please, at our threepenny hop.
See https://folksongandmusichall.com/index.php/our-threepenny-hop/
From Mary Ann Haynes
Recorded by Mike Yates, Sussex, July 1974
Folk Music Journal, 1975, Vol. 3, No. 1, pp66-67; Travellers, Topic Records 12TS395, 1985.
This detailed transcription of the tune and its variations is as printed in the Folk Music Journal, although in practice it is quite likely that Mary Ann Haynes never sang the song the same way twice.
From Phoebe Smith
Recorded by Peter Kennedy, Melton, Suffolk, 1962
I am a Romany, Folktrax FTX100 (1975)
Collected by S. Elizabeth Bird
‘Lord Randal’ in Kent: The Meaning and Context of a Ballad Variant, Folklore, Vol. 96, No. 2 (1985), pp. 248-252, https://www.jstor.org/stable/1259648
Roud 10, Child 12
“When performing the song, the informant usually stresses the third line of each stanza heavily and melodramatically, until the final stanza, which takes on a slightly maudlin tone”.
S. Elizabeth Bird had this from her father-in-law, Douglas Tobin. She noted that “I have heard him sing the song often”. A version of the classic Child Ballad ‘Lord Randal’, it is closely related to the variant usually known as ‘Henry, my son’ – although the name Henry is not used here. This version is also unusual in identifying gypsies as the poisoners – usually the main character has been poisoned by a relative, normally his father, or a sister.
My informant recalls that he first heard the song as a small child, remembering that his older sister sang it often, with the same emphases. His 32-year-old son recalls his aunt using the threat, ‘I’ll sell you to the gypsies,’ when he and his brothers misbehaved as children. Furthermore, the informant remembers that in his community, gypsies were more than a fearful symbol, but were a very real presence, at least for part of the year. Born in 1922, he spent his childhood in Ramsgate, Kent, a hop-growing county that every summer attracted large numbers of itinerant hop pickers, including many gypsies. Gypsies would often visit houses to tell fortunes, sell clothes-pegs and other items, and the informant remembers ‘one woman in particular, or maybe it’s just a picture of a gypsy woman type – dark, dressed in unusual, bright scarves and big earrings.’ The children were warned to stay away from the gypsies, who ‘stole children’ and ‘were dirty.’ In thinking about the song, the informant said that ‘it certainly seemed to be part of that general thing; you had to be wary of gypsies.’ He added that although his sister sang the song jauntily, she would ‘try to scare us with the snakes and gypsies bits.’
The informant’s sister does not recall any role in initiating the change of the central evil character in the song; in fact she does not recall where she learned it herself. So it cannot be known when the addition of the gypsies motif took place.
Douglas Tobin had two sisters, both several years older than him – Marjorie (born 1909) and Eileen (born 1912).
‘Henry, my son’ has been collected in both England and Ireland. When the Irish singer Frank Harte recorded the song on his 1967 Topic LP Dublin Street Songs the album notes stated that “This inelegant version, now first recorded, is still popular among Dublin schoolchildren”. Given that Douglas Tobin’s father John was born in County Galway, it is possible that his version had an Irish origin. However the song was known elsewhere in East Kent in the same period: George Spicer learned his version while working in the Dover area, 1928-1935, from Tommy Goodban at The Wheatsheaf at Martin.
From Ike Harvey
Transcribed by David Harvey from a handwritten note in pencil by Ike Harvey.
George Frampton, “I don’t know if this is actually a folk song”: The Life and Music of George Spicer (1906-1981), Part 2: The West Langdon Years, 1928-35, Musical Traditions, 2012, https://www.mustrad.co.uk/articles/g_spice2.htm
Roud 44890
“I have copied this as to spelling and punctuation, more or less as Ike wrote it” – David Harvey.
Steve Gardham has identified this as a version of ‘Paddy Casey’, which appeared in various broadside printings in the 1870s.
See for example the version published by the Poet’s Box (Glasgow), 30th December 1876, at https://archives.vwml.org/songs/RoudBS/B240979
From “an old seaman”
Collected by Derek Sarjeant in a Chatham pub
Sing 7:4 (Jan/Feb 1963) p.44
When printed in Sing, the accompanying note said “Collected by Derek Sarjeant in a Chatham pub, the tune is surely one of the most persistent found in oral tradition. And so is much of the lyric too”.
Derek Serjeant recorded this song on his Man of Kent EP (Oak, 1963), where the liner notes say “Derek collected this song from an old seaman in one of the Medway Towns”.
Collected by James Madison Carpenter, Royal Alfred, Belvedere, 1928
James Madison Carpenter Collection – sound recording (JMC/1/11/78)
Collected by James Madison Carpenter, Royal Alfred, Belvedere, 1928
James Madison Carpenter MSS Collection (JMC/1/5/4/A, JMC/1/1/1/A)
Collected by James Madison Carpenter, Royal Alfred, Belvedere, 1928
James Madison Carpenter MSS Collection (JMC/1/1/4/C)
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