My Favorite Folk Songs to Hear and to Sing

People are often not clear about what a folk song is. Some may only consider the older ones, that have been with us for centuries, to be the only type that fit the definition. Others may only wish to consider the ones that gained popularity in and around the 1960s. As the reasonable and flexible guy that I am, I believe there is room within the category for both types.

I have kept in mind that, just because a given song is performed or even composed by someone considered a folk singer, does not make it a folk song. For example, I love Arlo Guthrie's "Alice's Restaurant" and even went so far as to memorize it, my senior year in college, when I had nothing better to do, other than a major term paper, final exams and comprehensive exams in my major subject. Don't worry, I managed to graduate, despite the discouraging fact that no test question whatsoever, during that whole time, required me to set down the lyrics to "Alice's Restaurant." What I am getting at is the song is simply too long and complex to be regarded as a folk song, Arlo Guthrie notwithstanding. Those of you who bought or heard the LP of that same name know it takes up the entire first side.

What I thought I would do, in light of the variations this art form takes, is to list my five favorite traditional folk songs, then, in a later essay, my five favorite modern ones. There will be one excellent song missing from my lists of five each. It is my favorite song of any type to sing, as I indicated in my earlier essay about Lilly the Pink. For one thing, it walks a very narrow line between a folk song and a "popular" song. For another, it is difficult to categorize within the list of folk songs. The more recent one, which bears the above title, came about in 1968, but its forerunner, "The Ballad of Lydia Pinkham," dates back to the 19^th Century. Here is a modern rendition of the song that incorporates only a few of its many verses. That said and done, let us move on to the main list.

The Traditional Folk Songs

Lavender Blue, English traditional

I am not entirely certain how far this song dates back. The folks at the big Wik think it goes back to the late 17^th Century, but I recall seeing on a copy of the sheet music that it went back as far as Tudor England, over a hundred years earlier. Inasmuch as the song was based on a nursery rhyme, its origins may be even more distant.

"Lavender Blue" is certainly the loveliest of the songs I have listed here, and one of our most melodic folk songs ever. I have been known to sing it at piano bars, while Burl Ives managed to squeeze out an Oscar (not a Grammy, but an Oscar) from the song. Even so, I would refer you to a link in the immortal epic, Odd Man Out 21. Click on the second link in the Resources section, and you will get to hear Sammy Turner's excellent R&B rendition of the song. If you click on the first link by mistake, you'll have to put up with Julius LaRosa singing "Eh, Cumpari."

Stewball, English traditional

If there is one finer melody than the above-listed song on this list, it is "Stewball," a ballad about a mottled race-horse. It dates back to the 18^th Century, when a skewballed horse (Note: black and white horses were said to be piebald, while brown and white horses were skewballed.) won an upset victory over a more powerful mare in an important stakes race. Somehow, over the years, the horse's description evolved into the name, Stewball.

As a folk song, it is subject to a great deal of tampering with the lyrics. To that end, I thought that Peter, Paul and Mary would have done better sticking closer to the traditional words, as they did not change the song for the better. I have always preferred the original Joan Baez version. I say the original because she put out a later rendition, in which she went on for far too long.

I have also sung this song, on a number of occasions, but with my own take on the lyrics. If you're interested (and it is, if I do say so, an interesting variation) you will either have to come and hear me sing or read the story, "The Red Horse," in that notable anthology, Shaggy Dogs: A Collection of Not-So-Short Stories.

C'e la Luna, traditional Sicilian

Some of you may know this 19^th Century Sicilian folk song-also called "La Luna Mezzo Mare"-from the opening scene of The Godfather, which is the wedding reception for Don Corleone's daughter. Both Mama Corleone and Old Man Cuneo, a fellow mob boss, take a turn at singing a verse, in between Sonny banging the flower girl and other such carryings-on.

It is a fitting song to be sung at weddings because it is a conversation between a mother and her daughter about her prospects for marriage. Again, as a folk song, it is subject to an enormous number of variations. When I perform the song, I tell the audience it is a song about a mother and her daughter, discussing marriage possibilities involving the three sons of a very, very, very wealthy widower.

I sing the first two verses in Italian, then the third verse and chorus in English, inasmuch as an Italian singer named Lou Monte composed a very loose translation. It goes like this:

Lazy Mary, you better get up.
She answered back, "I am not able."
Lazy Mary, you gotta get up,
We need the sheets for the table.

Lazy Mary, you smoke in bed,
So I know who you should marry.
If you follow my advice,
You shall marry the fireman.

(Chorus)

Oh, mama, don't get those men for me.
Oh, mama, I cannot marry three.
No, mama, that would be bigamy,
So, if I am to marry,
I'll take the father of the three.

Here is a really lively version of C'e La Luna that I found. It is entirely in Italian, unlike the one I do, but still very enjoyable, to my way of thinking.

Billy Boy, traditional English and American

This is probably my favorite children's folk song. Surely, all of you have heard it at some point in your lives. What I like about it is there is a nice little joke at the end.

There are verses galore to this song, but, as I do with most of the folk songs I sing, I try to be brief. The first verse is always the same, and we all know it: Where have you been, Billy boy, etc.

When I sing the song I generally stick in my variant of the most common of the middle verses:

Can she bake a cherry pie, Billy boy, Billy boy?
Can she bake a cherry pie, charming Billy?
She can bake a cherry pie,
But she's the apple of my eye.
She's a young thing who cannot leave her mother.

And, of course, the last verse is where the parent finally gets at this "young thing" business. The way I sing it is:

Did she tell you of her age, Billy boy, Billy boy?
Did she tell you of her age, charming Billy?
Why, she's only twelve (long pause) times four,
Plus a couple score or more,
But she's a young thing who cannot leave her mother.

The Wabash Cannonball, American, 1904

There is a train song of this melody that goes back into the 19^th Century, but we today are far more familiar with "The Wabash Cannonball," written by William Kindt.

There are a number of excellent train songs in traditional folk music, so it may be a little presumptuous to pick this one from the bunch, but it's the one I like the best.

Keep in mind, there is not, nor ever was any such train in real life, but The Wabash Cannonball will roll forever in song.

That wraps up the list of my favorite traditional folk songs. Stay tuned for the best of the long-haired hippie stuff.

Happy trails.

Sources

Wikipedia

YouTube

Own collection

Own experience