Utah Urban Pioneers: Concert-Lecture, Matching Songs (2008)

Recording of a concert-lecture (50 minutes, 12 seconds) given by the Stewart sisters-folklore scholar Polly Stewart and folk musician Heather Stewart Dorrell. They play the guitar and sing a few folk songs to entertain and educate an audience. These songs demonstrated some topics and terms in the academic discipline of folklore study. Includes a transcription by Laura R. Marcus

In this lecture-concert, the Stewart sisters sing a few songs in traditional folk style, and introduce the concept of emotional core and maverick verses. They use folksongs in the collection of Child Ballads to demonstrate how a folksong can travel and change--while generating many derivative versions, keeping the emotional core consistent

Utah Urban Pioneers Project Concert-Lecture, Matching Songs Performance by Heather Dorrell and Polly Stewart Salt Lake City, Utah March 13, 2008 TRANSCRIPT Transcribed by Laura R. Marcus, June 11, 2009 Copy-edited by Laura R. Marcus, June 11, 2009 Heather Dorrell introduces and sings song, "False Knight on the Road" Heather Dorrell 00:03 . . . . me, ‘cause it talks about school. And this tune is probably, ah, a very, very old tune. And the song itself is probably pre-1600. [clears throat; singing] (transcriptionist's line breaks and punctuation) A knight met a child in the road Oh, where you going to Said the knight in the road. I am going to my school Said the child as he stood He stood and he stood And tis well because he stood. I am going to my school Said the child as he stood. Oh, what have you got there? Said the knight in the road. I have got my bread and cheese Said the child as he stood, He stood and he stood And tis well because he stood. I have got my bread and cheese Said the child as he stood. Oh, won't you give me some Said the knight in the road. No, not a bite nor a crumb Said the child as he stood He stood and he stood And tis well because he stood. No, not a bite nor a crumb Said the child as he stood Oh, I wish you were on the sand Said the knight in the road. Ay and a good staff in my hand Said the child as he stood. He stood and he stood And tis well because he stood. Ay and a good staff in my hand Said the child as he stood. Oh, I wish you were on the sea Said the knight in the road. Ay, and a good boat under me Said the child as he stood He stood and he stood, And tis well because he stood. Ay and a good boat under me Said the child as he stood. Oh, I think I hear a bell Said the knight in the road Ay, and it's ringing you to hell Said the child as he stood He stood and he stood And tis well because he stood. Ay and it's ringing you to hell Said the child as he stood. [applause] Polly Stewart talks about English ballads in the New World, the emotional core of ballads, change and continuity over time/story about Barre Toelken as a young folklorist collecting "The Riddle Song" in North Carolina/Polly Stewart sings the song Polly Stewart 03:00 [break in recording?] . . . . in that respect. And it's one of the features of the style of these English ballads. Ah, I thought I would give you an example of what can happen to a ballad, when it leaves its homeland in the British Isles, and then is transferred over to the New World. And what happens is that a great deal of the story can be just pared away, either because people no longer are interested in, say, for example knights, and you know, this kind of thing, because it isn't part of their life. Or because they forget, or you know, whatever the reason might be. What very often happens is that, only just a central thematic bit of the long ballad remains. And they call this the emotional core of the ballad. And one of the Child ballads that's about a, a contest, a verbal contest, between a man and a woman-or I should say, a woman and a man, 'cause she is the one who is the decider in this one. [laughter from audience] She's the, she's the fair lady who will not marry just anyone, and finally Captain Wedderburn comes along. And this song, which is known in Child's collection as Child Number 46, "Captain Wedderburn's Courtship"-ah, he does answer all six of the questions. And so he gets to marry her. And so what happened in this, in the New World, is that it came out as a song that you're all familiar with. And it's this one which is called, "I Gave My Love a Cherry." And the thing that I didn't know-and you all heard it, you know, everybody knows it. But what I hadn't realized until I studied this book-this is my mentor, Barre Toelken, who is now retired, but he was my teacher. And he told about how when he was in North Carolina, he was the guest of some people and there was a sort of community gathering- he was just a young boy-fellow-then. But there was a, they were importuned a mar-a couple who were engaged-an engaged couple-to sing this song. And the couple were furiously blushing and everybody was sort of, you know, jabbing in the ribs and all this kind of thing. And the reason it was, the reason it was so momentous is that this couple was not yet married. But they were going to be pretty soon. And the way it was sung in that context was, the girl sang the first line, the boy sang the second line, the girl sang the first line, the boy sang-third line, the boy sang the fourth line. Okay-one, two-you know, alternating. Then, second verse, opposite sex, so it goes the other way. And then, back again. So what it really is, it's a contest. It's a riddle contest, that's why it's called "The Riddle Song," but when you understand that it is about courtship, and not just courtship but procreation, one of the most important things for a community. And that's why everybody was involved in this, and everybody was approving of the overt sexual message of this song. Well, I'm just solo, I'm going to sing all of the lines. But anyway, I'd like you to know that, that, its, its original form, it was a sexual contest, and it was about fertility, it was about procreation. And then the emotional core, which only remains, just in these little tiny bunch of verses, is the same. Polly Stewart 06:33 [clears throat; singing] I gave my love a cherry that had no stone I gave my love a chicken that had no bone I gave my love a ring that had no end I gave my love a baby that's no crying. How can there be a cherry without no stone? How can there be a chicken without no bone? How can there be a ring without no end? How can there be a baby with no crying? A cherry when it's blooming, it has no stone, A chicken when it's peeping, it has no bone, A ring when it's rolling, it has no end, A baby when it's making, there's no crying. [applause] Polly Stewart and Heather Dorrell sing Child Number 76, "The Lass of Roch Royal", a cruel mother-in-law story/talks about the flexible emotional core of the story So Heather, we're going to go on with some more of these ballads and how they change, from the Old World to the New World. I'm going to be singing a little tiny bit of a- Heather and I are together, going to be singing a little bit of a long, long ballad, Child Number 76, which was known as "The Lass of Roch Royal." And it is in the, it's in Volume II of this, of the Child collection that I brought. And in that, it's a, it's a cruel step-mother, a cruel mother-in-law story. And she for some reason doesn't want her boy to marry this girl, but unfortunately, she's already had a baby with him. So-so she, the girl and the baby go to the mother-in-law's door, in the middle of this horrible storm, and she won't let 'em in, and they die out there. But before they die, the son says, "Who's going to take care of you? Who's going to shoe your pretty little foot?" And she answers, "It's not going to be your mother, I can tell you." [laughter from audience] So anyway, I don't mean to-it's not nice to make fun of it, but I mean it's, it's a, it's a clear, sort of, condemna-condemnation of the cruel mother-in-law, who for some reason wants to thwart the, the propagation of a new family. Heather Dorrell 09:46 Do you want some water, before you . . . . ? Polly Stewart 09:47 Oh, thanks. So then, we'll see, we're going to-yeah, I'm going to be doing, alright. Ay ay, are-you're going up three frets. Okay, alright. Yes, yes. [strums guitar] This is another one that, that I learned about, a long time before I met Dr. Barre Toelken, but it was Barre who explained the, the fact-this, the way this is sung here, it could mean any number of different things. It could mean that somebody's going away, and he's asking his girlfriend who's going to-how she's going to take care of herself, or-and she might be saying, "Well I don't need you." Or she might be saying, "I'm going to be okay without you." Or it could be any number of different things. In other words, the, the, it's-the emotional core of this song is much more flexible than just the way it was in the original form of the ballad. Alright. [strums] E. Heather Dorrell 10:52 You're A, yeah. Polly Stewart 10:52 Alright, alright. [singing] Who's going to shoe your pretty little foot? Who's going to glove your hand? Who's going to kiss your red ruby lips? Who's going to be your man? [Heather joining, in harmony] Who's going to be your man? Who's going to be your man? Who's going to kiss your red ruby lips? Who's going to be your man? [Polly, solo] Papa's going to shoe my pretty little foot, Mama's gonna glove my hand, Sister's gonna to kiss my red ruby lips, I don't need no man. [Polly and Heather together] I don't need no man, I don't need no man, Sister's going to kiss my red ruby lips, I don't need no man. [applause] Polly Stewart talks about the concept of maverick verses in American folk singing/Heather Dorrell sings "The Fourth of July" as an example of this phenomenon That's all, that's all there is. Out of that whole ballad, with like fifty verses, that's all that remains in the, in the New World. Um, and it's okay, right? Because it's much more open that way. Okay, now, the question of-[sounds of rearranging things, taking off guitar] oops, sorry. Thank you (laughing)-the question of the emotional core of a song, the central part of it, in this case, a couple of verses, "Who's going to shoe your pretty foot?" and the answer, is so compelling that that verse will travel around and attach itself to different songs. And this is what they call a maverick verse, and there are lots of maverick verses in American folk singing. And a lot of them are just strung together in sort of a little mish-mash, without even any particular story. And these are called lyrics, because they're really more an expression of feeling than they are about an actual story. So Heather's going to sing an example of a lyric, American lyric song, which has a lot of these maverick verses. Heather Dorrell 13:22 So you'll hear some of the ones that we just heard in that song in this one. [strumming] This is called "The Fourth of July." And I first learned it from-was it Jean Ritchie, I think. Polly Stewart 13:31 I don't know. Heather Dorrell 13:34 [singing] Oh where was I last Fourth of July? A-drinkin' a good wine And talking to some pretty little thing Who broke this heart of mine. Her lips was like a rose, a bud, That blooms in the month of June. Her voice was like fine instruments And the (inaudible) kept in tune. The blackest crow that ever flew Would surely change to white If I should prove untrue to you Bright days would turn to night. I'm going away ten thousand miles Ten thousand miles and more, But I'll return to you my love If I go ten thousand more. And who will shoe your foot, my love? And who will hold your hand? And who will kiss your red ruby lips? When I'm away in the far-off land? Oh I've a father to shoe my foot, my love, A Mother to hold my hand, And you may kiss my lips, my love, When you return from the far-off land. Oh where was I last Fourth of July? A'drinkin' a good wine, And talking to some pretty little thing Who broke this heart of mine. [applause] Heather Dorrell and Polly Stewart sing the song, "Don't Let Your Deal Go Down" as an example of the maverick verse with flexible emotional core phenomenon Polly Stewart 16:19 So we thought we'd throw in another one that has that same set of verses in a very, very different musical and performing context. This is actually a, kind of a rounder song, it's not a very nice song. Heather Dorrell 16:33 Mmm. [audience laughs] Polly Stewart 16:35 Ah, but it's-it uses the same, it uses the same verses. I mean, those maverick verses go floating around. And this was a version of the song that Heather and I heard, well during the early '60s. You know, most of these songs we already knew by the time 1964 ran, came around. I mean, these were songs that we learned very early on, not together necessarily, but we had the same body of material that we were listening to a whole lot. And so we learned 'em independently. We were five years apart, and that's almost a generation. So we were not singing together at that time. But so now, here we are, and we have this same body of material. So this is called, "Don't Let Your Deal Go Down." And it was from, it was from the singing of a group called the New Lost City Ramblers, who had picked up the recording from a 1920s field recording that was made into a commercial record, so ah- Heather Dorrell 17:34 So the deal, of course, is cards. And this girl is a real card shark, and she, she wins a lot. Polly Stewart 17:42 So, so what I am I doing? I'm-you're, you're playing- Heather Dorrell 17:43 Well it's, I'm playing in-tchoo, tchoo, tchoo, tchoo-(talking about her capo) I put that up there, so what are you going to play? Polly Stewart 17:48 (laughing) I don't know-wait a minute! I used to know this, wait a minute! Um, I'm on fret five and I'm playing in D, that's what I know, so alright. Well we'll just see about that. [guitar plinking] No. Heather Dorrell 18:00 No, you can't play it there. Polly Stewart 18:01 So go down? Heather Dorrell 18:02 Yeah. Polly Stewart 18:04 Yeah, fourth. Fourth fret. Alright. I knew that. [audience laughs] Heather Dorrell 18:24 No, wait. Okay. I'm sorry about this, it has to be right. [tuning guitars; strumming guitars] [signing] Don't let your deal go down little girl, Don't let your deal go down, Don't let your deal go down, little girl, Till your last gold dollar's done gone. Where did you get them high-buttoned shoes? Dress that you wear so fine? Got that dress from a railroad man, And the shoes from a driver in the line. [Polly joining in on harmony] Don't let your deal go down little girl, Don't let your deal go down, Don't let your deal go down, little girl, Till your last gold dollar's done gone. [Heather singing solo] Who's gonna to shoe your pretty little foot? Who's gonna to hold your hand? Who's gonna to kiss your red ruby lips? Who's gonna to be your man? [Polly joining in on harmony] Don't let your deal go down little girl, Don't let your deal go down, Don't let your deal go down, little girl, Till your last gold dollar done gone. [Heather singing solo] Papa's gonna to shoe my pretty little foot, Sister's gonna to hold my hand, Sister's gonna to kiss my red ruby lips, I don't need no man. [Polly joining in on harmony] Don't let your deal go down little girl, Don't let your deal go down, Don't let your deal go down, little girl, Till your last gold dollar's done gone. Till your last gold dollar done gone. [applause] Thanks, y'all! (?) Well the only reason that I don't say anything about the songs is 'cause I might tell a lie, and you know- Polly Stewart 20:59 (laughing) Heather Dorrell 20:59 And I might say something wrong, like it's the wrong Child ballad, or something like that. [audience laughs] Polly Stewart 21:01 (laughing) That's right! Oh well. Heather Dorrell 21:05 Well that's how it is. (?) Heather Dorrell sings Child Number 20, "The Cruel Mother" Polly Stewart 21:05 Oh yeah, well here's, here's a good one, yeah, man. This is really good. One of the, one of the most, really searing stories to be found among all the Child ballads-which are almost always connected with betrayal and death and killing-is the Number 20, which was called "The Cruel Mother." And in this ballad, Heather-which Heather's going to perform unaccompanied, what you see happening is the thing that very often happens in these English, in the English versions of these, which is a horrible, inevitable, unstoppable build-up of consequence. And I'll just leave it at that. [audience laughs] Heather Dorrell 21:53 Yeah. [sings a cappella] There was a girl who lived in York All alone alone-y, She fell in love with her father's clerk, Down by the greenwood sidey. She loved him up, she loved him down, All alone, alone-y, She loved him till he filled her arms, Down by the greenwood sidey. She leaned her back against an oak, All alone, alone-y But first it bended and then it broke, Down by the greenwood sidey. She laid her hand in a bush of thorn, All alone, alone-y, And there she had two fine babes born, Down by the greenwood sidey. She took down her long yellow hair, All alone, alone-y, And bound it around their feet and hands, Down by the greenwood sidey. And she took out her wee pen knife, All alone, alone-y, And stabbed those two babes to the heart, Down by the greenwood sidey. She buried them under a marble stone, All alone, alone-y And there she sits like a fair maid home, Down by the greenwood sidey. One day she was sittin' in her father's hall, All alone, alone-y, He saw two boys come playing at ball, Down by the greenwood sidey. Oh boys, oh boys, if you was mine, All alone, alone-y I'd dress you up in scarlet fine, Down by the greenwood sidey. Oh mother, oh mother, when we was yours, All alone, alone-y, Scarlet fine was our own heart's blood, Down by the greenwood sidey. You wiped your pen knife on your shoe, All alone, alone-y, More you wiped, more red it grew, Down by the greenwood sidey. You buried us under a marble stone, All alone, alone-y, And there you sit like a fair maid home, Down by the greenwood sidey. Oh boys, oh boys, it's heaven for you, All alone, alone-y, Oh mother, oh mother, it's hell for you, Down by the greenwood sidey. [applause] Polly Stewart talks about the line and metaphor contained therein, "She leaned her back against an oak . . . ." and sings "The Water is Wide" to illustrate another song containing this maverick verse Polly Stewart 24:37 So, it's, it's horrible to listen to that, 'cause you know what's going to happen, you can't stop it, right? Anyway, I'd like to perform a, an American sort of version of, not that song, but a collection of maverick verses that contains that same image, ah which you heard in "The Cruel Mother," which is, "She leaned her back against an oak, but first it bended and then it broke." That is a metaphor, which has dropped out of contemporary English, but which used to be completely tran-transparent to the audience, which means, she was seduced and abandoned. Then the next, she, ah, ah, what-how does it go again? Heather Dorrell 25:18 "She laid her hand in a bush of thorn." Polly Stewart 25:20 Yeah, "She laid her hand in a bush of thorn, and there she had two fine babes born." Well, Heather's going to accompany me on, on a solo version of "The Water is Wide." Heather Dorrell 25:30 Right. Polly Stewart 25:30 On guitar, yeah, yeah. And-'cause she's a better guitar player than I am. And you'll see, again, this is, this-what I'm going to sing is not a story, but it's a lyric, it's a feel-just an expression of feeling. [Heather re-tunes guitar] It's ah, G. Heather Dorrell 26:06 (laughs) Polly Stewart 26:08 (laughs) [singing] The water is wide, I cannot get over, Neither have I the wings to fly, Give me a boat that can carry two And both shall row my love and I. A ship there is and she sails the sea, She's loaded deep, as deep can be, But not so deep as the love I'm in, I know not how I'll sink or swim. I leaned my back against an oak, Thinking it was a trusty tree, But first he bent it, and then he broke And thus did my (inaudible) not to be. I put my hand into some soft bush, Thinking the sweetest flower to find, I pricked my finger to the bone, And left the sweetest flower unknown. Though love is handsome and love is fine, It is a jewel when first it is new But love grows old and waxes cold, Then fades away like summer dew. [applause] Heather Dorrell sings "The Sailor Boy" as an example of a song composed of maverick verses So, while we're in the department of maverick verses, Heather and I thought we would do a couple of ones that really are just a mish-mash-not really a mish-mash, but I mean, it's like "The Water is Wide," you get a lot of beautiful little sentiments, expressions of sentiment, but they don't really add up to much of anything. The first one, however, is a story, tells a story, I should say that. But it has a maverick verse at the end and you're going to find the same maverick verse at the end of the next one we do. This is called "The Sailor Boy." Heather Dorrell 29:35 Okay. So in this song, the sailor is sometimes called a soldier, and sometimes the loved one hears about the death of this person, um, it's always from his ship's captain. So, but that's the thing that ties those things together. [singing a cappella] A soldier's life is cruel life, It robs young girls of their heart's delight, It causes them to weep and moan, The loss of a loved one never to return. Father, Father, build me a boat, It's over the ocean I must go, And every rock island (?) I pass by, It's there I'll inquire for my sailor boy. She set her ship against the main, She saw three ships come a'sailing from Spain, She hailed each captain as he passed by And there she inquired for her own true love. Auburn was the color of his hair, His eyes were blue, his cheeks were fair, His lips were of the ruby wine, Ten thousand times they've met with mine. Lady, lady, he's not here, Killed him in the battle my dear, At the head of rock island (?) we pass by, It's there we let your true love lie. She run her boat against a rock, I saw that lady's heart was broke, She run her hands all through her hair, Oh like a lady in despair. She called for a chair to sit upon, A pen and ink to write it down, At the end of a verse she dropped a tear, At the end of a line, cried "Oh my dear." Go dig my grave both wide and deep, And place a stone at my head and feet, And on my breast come a turtledove, To tell the world I died of love. [applause] Polly Stewart sings "I Once Had a Love" Polly Stewart 32:33 So now we're going to do another kind of a pastiche song, but it's a, it's a, it's about loss. They all are, you know? [laughter from audience] It gets pretty, pretty depressing singing all these songs. [laughter from audience] This is called, "I Once Had a Love," and I learned it actually from a fellow here in, singing here in Salt Lake. And he said it was from Ewan MacColl, and I don't know, I've never heard anyone else sing it. But it became a very, almost a flagship song of the civil rights movement from the perspective of white liberals wanting to support civil rights. Some of you'll recognize this tune. Okay, you're in-you're going to-you're Heather Dorrell 33:19 I'm in D. Polly Stewart 33:20 Yeah, so I go up to-alright. Alright. I know what I do here. [sound of capo being adjusted; guitar picking] [singing] Oh I once had a love, and I loved her so well, I hated all others that spoke of her ill. And now she's rewarding me well for my love, For she's gone to be wed to another. When I saw my love, all in the kirk door, With a bride and bride's maidens, it made a fine show And I followed after her with a heart full of woe, Where she's gone to be wed to another. When I saw my love for sit down to dine, I sat down beside her and I poured out the wine And I drank to the lassie that should have been mine, But she's gone to be wed to another. (inaudible), they asked of me How many strawberries grow in the salt sea? And I answered ay, with a tear in my eye, How many ships sail in the forest? Go dig my grave so wide and so deep And cover it over with a loam that's so sweet And I'll lay meself down for to take a long (?) sleep, And maybe one day I'll forget her. So we dug him a grave so wide and so deep And we covered it over with a loam, it was so sweet, And he laid himself down for to take a long (?) sleep, And maybe by now he's forgot her. [applause] Polly Stewart talks about the folk song revival in Britain and in the U.S./sings "Old Man Rockin' the Cradle" So um, we're still in the department of loss and betrayal, there is a, the English folk song revival movement was very, very strong. Ah, it was even stronger in Britain than it was in the United States-it had a different lot of people doing the work. But probably the most famous of the urban revival singers in Britain was a man named Ewan MacColl. And he married Peggy Seeger, so they were sort of the royalty of- Heather Dorrell 37:14 Marriage of-yeah. Polly Stewart 37:14 Of, of the two movements got married. And Ewan MacColl had a, a really, a very important effect upon British singing, he and-like, like the American revivalists, such as Alan Lomax, Ewan MacColl encouraged young singers to develop their voices and to be-come forth. And they, he just had a huge effect. So one of these, one of his protégés was a woman named Isla Cameron, and she sang a song which I heard, again, in this '60s period, when I was just like a sponge, just sort of listening madly to everything on records and studying books. And doing the thing that a-you know, everybody in-every girl that was doing in the United States back in those days, ah, learning folk songs. [audience chuckles] So . . . . Heather Dorrell 38:07 Well, I don't think it was rather quite that common to learn those folk songs! [audience laughs] Polly Stewart 38:10 Oh I thought it was. I thought-every- Heather Dorrell 38:11 Well we did-maybe . . . . Polly Stewart 38:13 Every-every other girl was, you know, sort of long blond hair and she was carrying a guitar back in those . . . anyway, this one, this one just affected me so deeply, and I, I'll just sing it and it's called "The Old Man Rockin' the Cradle-Cradle [rhymes with paddle]" And we're going to do a matching song from the United States after that. [sings a cappella] One bright summer's mornin' I chanced to go roaming A'down the green meadows, I joggled along. I heard an old man makin' sad lamentation He was rockin' a cradle and signin' this song. Singing ee, ay oh, sweet baby [rhymes with cabby] lie easy Your own daddy might never be known It's weepin' and wailin' and rockin' the cradle And nursin' a baby and a child not your own. When first that I married your innocent mother, I thought like a fool I was gettin' a wife. But for all that I loved her, she's proved to be airy (?) She's turned out to be the torment of me life. [audience laughs] Singing ee, ay oh, sweet baby lie easy Your own daddy might never be known It's weepin' and wailin' and rockin' the cradle And nursin' a baby and a child not your own. So come all ye young fellas that wants to get married Take my advice, leave the women alone, For by the Lord Harry if you ever get married, You'll be nursing a baby that's none of your own. Singin' ee, ay oh, sweet baby [rhymes with flabby] lie easy Your own daddy might never be known It's weepin' and wailin' and rockin' the cradle And nursin' a baby and a child not your own. [audience laughs; claps] Polly Stewart talks about John Lomax, the Texas folk song collector and the song, "Get Along Little Dogies"/Polly Stewart and Heather Dorrell sing "Get Along Little Dogies" So when you think about what's going on, you know, there, I've been blabbing about the continuity of stuff in folklore and how that you get surface changes, but there's a sort of conservative base that can be recognized over and over again. And this is a, a cowboy song, it was collected by John A. Lomax in-and it was first published in his very, very influential, very important book, called American Cowboy Songs, in 1910. And he picked it up from, he was from Texas, the Lomax family were from Texas, and he was just one of these, you know, he just collected stuff from people. And so, I don't think that there was necessarily a large number of people singing this song, but it happened to get into that book. And then it got into a lot of other books, and then, you know, the Sons of the Texas Rangers picked it up, you know, and then they- so it became very, very famous. And what you're going to see is that it's the same form and it's also a lament. But it's got a very, very different feel to it and a very different sound. And so we're going to be, I'm going to be up on the third fret, it says here, and you're going to be- Heather Dorrell 42:20 I'm doin' the G. And then, and a dogie, of course, is a parentless little calf, so- Polly Stewart 42:24 Yeah, it's a motherless calf. So, there you go. Heather Dorrell 42:27 So there's this whole motherlessness and fatherlessness- Polly Stewart 42:28 The continuities are just unbelievably fabulous. [guitar picking] Heather Dorrell 42:33 Wait a sec-are we in tune here? Let's wait a second. [guitars strum] Let's tune that down a little. [tuning guitars] Polly Stewart 42:46 Alright. [singing, to guitar accompaniment] As I went out walkin' one mornin' for pleasure, I spied (?) a young cowboy out walkin' along, His hat was throwed back and his spurs was a'jinglin' As I approached him, he was singin' this song. [Heather joins in on harmony] Whoopy ti yi yay, get along little dogies It's your misfortune and none of my own Whoopy ti yi yay, get along little dogies You know Wyoming will be your next home. [Polly singing solo] Early in the springtime, we bring in the dogies Mark 'em and brand 'em and lop off their tails, Drive (?) up our horses, get up the chuck wagon, And throw them little dogies out on the trail. [Heather joins in on harmony] Whoopy ti yi yay, get along little dogies It's your misfortune and none of my own Whoopy ti yi yay, get along little dogies You know Wyoming will be your next home. [Polly singing solo] Now some boys go up the trail for pleasure But them that does gets it awfully wrong For they don't have any idea them dogies are trouble [audience laughs] As we go ridin' them dogies along. [Heather joins in on harmony] Whoopy ti yi yay, get along little dogies It's your misfortune and none of my own Whoopy ti yi yay, get along little dogies You know Wyoming will be your next home. [applause] Heather Dorrell 44:43 Well that's about it for matching songs, isn't it? Polly Stewart and Heather Dorrell close the concert with a song about Brigham Young, learned from Rosalie Sorrels Polly Stewart 44:44 Yeah, we're going to finish off this program with one that we actually learned from Rosalie Sorre[els]-the singing of Rosalie Sorrels. And many of you know her. Rosalie spent her early career in Utah and Idaho, and a large part of what she did was apply her skill at collecting to collecting Mormon songs. And the way that she did was that she would go to Relief Society meetings and just ask ladies if they would sing any songs that they might know. And she learned a great number of them. A lot of these songs were sung in the fashion of, of, you know, solo singing that was popular back in the '90s, [audience laughs] where you're supposed to stand like this, and they would be enunciated and, you know, sort of, you know, performed in this way. But they, but it was obvious that they were traditional songs that were in the families. And so, Rosalie likes to tell about one particular song that she had learned. And it was about Brigham Young. And so, she was at a Relief Society meeting one day, and she was finishing up her little presentation and stuff, and, and one of the women got her attention and said, "Sing us that one." [audience laughs] And she said-she was afraid-ah, "Well I'm not sure what you mean." "You know." [audience laughs] So anyway, what they wanted was this song about Brigham Young, and it's completely, you know, not-it was not, it's not exactly-well what is it? It's- Heather Dorrell 46:17 Oh, it's very cute. Polly Stewart 46:18 It's cute, yeah it's cute. [audience laughs] Um so- Heather Dorrell 46:20 And, and you guys have, on your seat, you have the chorus to it and I'd like to go through it a couple of times, 'cause we're just going to end with everybody joining in. And so it goes like this- Polly Stewart 46:30 It's irreverent-that's what it is! I couldn't think of the word. Heather Dorrell 46:35 [singing] Brigham, Brigham Young, It's a miracle he survived, With his roaring rams (?) and his pretty little lambs And his five-and-forty wives. Again: [joined by Polly and audience] Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. Again: Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. Okay, you have to sing that when I stop singing the verse (?). [Heather singing solo] Brigham Young was a Mormon bull, Leader of the roaring rams, Shepherd of a flock of phantom (?) sheep And a passel of pretty little lambs. Lived in the valley of the Great Salt Lake With his five-and-forty wives, Where they cackle and (inaudible) like ducks in the drink And they cackle like ducks to a drink-oops! [joined by Polly and audience] Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. [Heather singing solo] Now Number Forty-Five's about sixteen Number One is sixty-and-three, If you run such a riot (?) how he ever keeps 'em quiet It's downright mystery to me. Where they cackle and they caw and they jaw, jaw, jaw, Each one has a different desire, It would add to the renown of the finest shop in town To provide them with half they require. [joined by Polly and audience] Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. [Heather singing solo] Now the old ones all sing songs, And the young ones all sing songs, Among such a crowd things get kind of loud They're as noisy as Chinese gongs. And when they advance for a Mormon dance, It fills 'em with the direst of alarm, 'Cause they're bound to end the night In a Tabernacle fight, just to see who has the fairest of charms. [joined by Polly and audience] Brigham, Brigham Young, It's a miracle he survives, With his roaring rams and his pretty little lambs And his five-and-forty wives. [Heather singing solo] Now there never was a house like Brigham Young's So curious and so queer He had a lot of trouble, he married by the double And they gained on him year by year. Now he sits in state and he bears his fate In a sanctified kind of way He had one wife to marry, one wife to bury, And a new kid born every day. [joined by Polly and audience] Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. Again! Brigham, Brigham Young, It's a miracle he survived, With his roaring rams and his pretty little lambs And his five-and-forty wives. [applause] Audience member 49:36 Hooray! [continued applause] Heather Dorrell 49:41 Thank you all for coming. You know, come out on a Thursday night, it's just, I appreciate it so much. And I see members of my family here-Dan and Chris Balderras (?). Polly Stewart 49:51 Yeah, cousins! Heather Dorrell 49:52 My-my mom's sister's side of the family and, and Caroline and David Bird (?) are, are here too, my uncle's kids. And the Petersens (?), friends since my dad and their dad were eleven years old, in Salt Lake City. So thank you all for coming, and many friends and, and family. Polly Stewart 50:11 Thank you. Come on up and look at these books-this is what I'm all about, over here, so . . . . [audience laughs] END OF RECORDING END OF CONCERT