logo Enthusiasms No 35
A collection of shorter pieces on subjects of
interest, outrage or enthusiasm ...


The Singing Miller: a gloss1. The piece that follows is something of an offshoot of a much wider enquiry as indicated in the text; but, in respect of that study and this piece, I would like to take the opportunity to thank the staff at Newbury public library and at the Public Record Office in Reading and to Margaret Carruthers, librarian at the offices of the Newbury Weekly News, and the proprietors of the newspaper themselves, for much patience and help.1

Keith Chandler's piece on Elizabeth Cross2. MT:  Enthusiasms, No. 34.2 raised some interesting questions about song-carriers, and the following details are offered more as additional information than as direct comment, and in the hope that they might offer something of a perspective.  They fall into three related sections.

Admittedly, there is an immediate need to take cognisance of the fact that Keith Chandler's information and that given below are separated by some forty years.  Times change and attitudes with them; and Elizabeth Cross began life in a culture which might be describes as pre-literate.  It could be argued that the style and intention of commentary had, during this period, developed onto a different level.  Nonetheless, during recent research into songs and singing in the Newbury (Berkshire) area, roughly over the last decade (and a bit) of the nineteenth century, a tangential view of phrases such as 'old English song' and 'excellent style', the epithets used to characterise Elizabeth Cross's singing, is revealed most particularly as it appeared in the pages of the local newspaper, the Newbury Weekly News3. It is also relevant that NWN reports during the 1880s seem to have followed the same pattern as those discussed below but further detailed research is still needed.3.  Sometimes, the wording of the reports was altered to accommodate changes, through indisposition, in the advertised programme.  In other words, copies of the advertised programme seem to have been circulated beforehand.  If nothing else, this does indicate the extent of preparation involved but may also illuminate a degree of formality, of premeditation, in the give and take attendant on the reporting of events.

At any rate, to take the idea of 'excellent style' first: a John Rayer, farmer's son, of Beedon, aged 30 in 1891 (and, subsequently, farmer in his own right), sang on several village occasions 'for the enlivenment' of a 'rather quiet and uneventful parish'4. The particular reference can be found in NWN, 28th January 1892, p. 8.  The emphasis in the text below is on Beedon and its immediate locality over a short period; but a very similar general situation is discernible.4.  The exact phrases as quoted above in connection with Elizabeth Cross cannot be found, but implications are clear in a general terminology.  Thus, at some of the events to which John Rayer contributed, we encounter descriptions such as that of two concerts (one in the afternoon and another in the evening) in aid of the repair of the church bells 'decidedly above the average of village concerts' where there were 'well-merited encores', violin solos played 'with considerable technique and much feeling', and piano solos displaying 'great musical talent and promise'5. NWN 24th December, 1890, p. 2 (the concerts actually took place on the previous Wednesday, 17th December).  One notes also a concert, at Reading, of a Ladies' Orchestral Society which was described as being 'distinctly above the average of amateur orchestras'... a suggestion, found also elsewhere, of a certain self-justification (NWN 25th May 1899, p. 6). 5.

On another occasion, at a meeting of the Beedon and East Ilsley Amateur Minstrels in aid of the Beedon cricket club, 'the choruses went with a good rhythmical cadence'6. NWN 22nd December 1892, p. 2. 6.  Again, a Miss Pinnock's songs, Grandmother's Advice and Daddy, especially Daddy, were 'very feelingly rendered, and the marks of favour they received classed them among the first favourites of the evening'.7. NWN 28th April 1892, p. 8.  This concert, which took place 'On Monday evening, the 25th last', was described as the first of the 'season'.   It is, indeed, clear that such a 'season' was proposed at more than one venue, thus taking a cue from practice amongst the eighteenth century bon ton, and, 
subsequently, from those who had notions of themselves in the Newbury area.  The 'Miss Pinnock' who featured in this case has not yet been positively identified.7

In fact, this kind of comment emerged throughout the period under review, often general in nature, as the above examples show, but, more pertinently, containing also familiar wording.  Items at an entertainment (which involved schoolchildren) in the North Heath school at Chieveley earned the accolade, 'excellently performed'.  Four days earlier, though, it should be noted that, in Chieveley, at a meeting of the Church of England Temperance Society which did not involve singing, 'Excellent speeches' were given and a 'capital piece' of reading ensued8. NWN 16th April 1891, p. 8.  The first event was on the 14th April and the second on the 10th: the NWN came out (and still does come out) each Thursday.8.  Then, returning to the focus in this piece, at Englefield, at a smoking concert, 'Mr. Robinson sang…in excellent style'9. NWN 4th February 1892, p. 2.  See below for more details of Mr. Robinson's singing career.9; at East Ilsley, items were performed 'in excellent manner'10. NWN 8th September 1892, p. 2.  No specific 'cause' is cited; but the concert took place under the auspices of Thomas Ward, a landowner in the district.10; at West Ilsley, at a cricket club dinner, in 'capital style'11. NWN 5th May 1892, p. 6.  At the Reading concert mentioned above there was a 'capital performance of Webern's 'Oberon' overture'.11.  Finally, as emphasis, at Englefield (at another 'smoker') a Mr West 'played the concertina in good style' (my italics)12. NWN 31st July 1890, p. 3.12.  There are many more such comments with one or two other variants thrown in.

This all might suggest that, despite the time difference between Elizabeth Cross and John Rayer and his contemporaries (and, whilst we are concentrating here on singing events, the Chieveley Temperance report above shows how similar phraseology was used in other spheres) these phrases may well have been stock-in-trade comments of local observers.  This, in turn, may underline the notion expressed above of a certain expectancy and gratification surrounding reportage.  There is, in any case, no doubt that the general intention was to praise and, in praising, ignorance was circumscribed.  In this light, 'excellent style' cannot, perhaps, be seen to be any kind of genuine judgement.

Following on from this, where 'old English' is concerned, this phrase may just as well not reveal a kind as it might indicate a certain pedigree.  Firstly, 'old' was stock-in-trade for some of the Revival collectors such as Baring-Gould and Alfred Williams, when, in fact, Baring-Gould's usage seems to have been, in some cases, a kind of wishful thinking, a matching of imagined stereotype13. In the first edition of SBW, Baring-Gould's notes declare that his informants were 'old' and 'illiterate' (SBW, 1889-1892, Introduction, p.viii). This is not the place to go into detail but, given that, in some cases, Baring-Gould was accurate in his observations - of, say, Matthew Baker and Jonas Coaker - his four principal contributors, when first encountered, were aged as follows: James Parsons, 60; Robert Hard, 76; Sam Fone, 57; and John Woodrich, 41.  Baring-Gould, to be fair, was quite open about John Woodrich's age.  Clearly, though, some revision is needed (and is being undertaken by the present writer...one also looks forward to the result of work being done by Chris Bearman and Martin Graebe in connection with Baring-Gould).13; and Alfred Williams' usage a reference to a period in the order of a hundred years, rather than to times ancient, a way of blurring evidence in a somewhat romantic fashion14. In one essay, Williams wrote of the songs he was collecting that 'It is to be noted...that the oldest are the best' (October 1915) and he seems to have taken this assumption for granted.  In fact, 'old', for Williams, mostly began in the eighteenth century.  Prolonged discussions and correspondence with Andrew Bathe (Cirencester), who has been researching the work of Alfred Williams, has led to this conclusion.  Cecil Sharp, be it noted, never fell into the trap of equating age with quality.14.  Perhaps observers of events such as are described here had no greater inkling.  This is to take into account a possible increase in longevity amongst the principals involved in singing itself during the nineteenth century which would, obviously, throw a slightly different light on the word 'old' as used.

Secondly, though, since there were never any reports in the NWN which concentrated on the activities of what may here be termed the lower classes, amongst whom we would expect to have heard 'traditional' songs sung, it is difficult to see how a reporter or observer would have the experience to be able to characterise in particular anything out of the ordinary where the usual run of concert-giving is concerned. Servants' balls were noted right enough but in scant detail15. There was, for instance, a servants' party at Stargrove Farm, East Woodhay (south of Newbury and just over the county border in Hampshire) where dancing was 'kept up' until midnight when supper followed (NWN 15th January 1891, p. 2); and another East Woodhay servants' party, this time at the Rectory, where 'several songs were sung' (NWN 5th January 1892,p. 2).  The servants' party at Barton Court, Kintbury, 'On Fri. Last, the 11th inst.', received a little more attention  (NWN 17th January 1895) - dancing, it was reported, went on until five in the morning.  Normally, gatherings of the lower orders finished well before midnight - reports of the Mock Mayor elections in the 'City' area in Newbury, contemporary with the singing activity under review, regularly emphasise the point.15.  One reference (one only - so far, to a concert at Ashmansworth, south of Newbury) indicated that there was singing in a particular tap-room16. NWN 6th April, 1893, p. 816; one other, a report of the Kingsclere Petty Sessions (Hampshire) referring to a subsequent disturbance involving evidence from the landlord of The Falcon, pleaded that customers were merely singing comic songs together17. NWN 5th March 1896, p. 617.  The very idea of concert-giving is not, in any case, one normally associated with 'traditional' singing.

If the Newbury experience is anything to go by, then, in the end, it may not be wise to rely on the supposed knowledge of the observer in the case of Elizabeth Cross.  None of this is meant to dismiss her 'old English' songs but, on the contrary, is to underline the intrigue.

In terms of Elizabeth Cross' social standing it is, of course, useful to recall the name of John Helmore, the miller at South Brent, one of Baring-Gould's earliest contacts and, at a later stage still, that of William Spearman, Sharp's miller, both valuable sources of songs.  And, widening the spectrum, Henry Burstow, one of the most prominent of contributors to the Revival canons, was a shoemaker, not one of the 'old' and 'illiterate' peasants frequently found in Revival mythology - for instance, in Baring-Gould's various writings issued between 1888 and 189518. Despite evidence that he found to the contrary Baring-Gould repeated such attributions later ... an article is in preparation discussing the matter.18.  Similarly, Joseph Taylor was a farm bailiff.  These are well-enough known examples of a complexity in social status amongst contributing singers during the Revival years19. This does not mean that the 'ag lab' idea is one to scorn ... quite clearly, in the annals of Revival collecting, it figured prominently - but not necessarily in the most simplistic ways.19.

At Beedon, John Rayer and his widowed mother, Mary - described as 'Farmer' in the 1891 and 1901 censuses - would certainly have been amongst the minor gentry of the village and several other names from a similar social background have emerged at the same series of singing venues in Beedon: Percy Lowe, for instance, the father of whom was a 'Trainer of race horses' in nearby East Ilsley; and the Misses Pilleau, ladies of independent means, also from East Ilsley20. For Percy Lowe, see NWN and 22nd December 1892, p. 2 and for the Misses Pilleau 24th December, 1890, p. 2 - these are but examples.20.  Successive Reverends at Beedon, Buckland and Jennings, were also noted21. For instance, the Bucklands were reported in NWN 24th December 1890, p. 2 (and at other times) and Rev. Jennings on 18th February 1892, p. 2.  The Rector at Beedon, Rev. Thomas Terry, and his wife, are also often reported as contributing.  The Rector at West Ilsley, Rev. Eames, fulfilled a like function as did Rev. Browne at Faccombe (south of Newbury, on the Hampshire border)...21.  The local schoolteachers, the Morgans, were involved22. NWN 22nd January 1890, p. 6.  The Morgans, as it happens, left Beedon later during 1890 and were replaced by the Martins...22; and, in fact, schoolteachers participated in events elsewhere.  For instance, the regular accompanist at events in Englefield was Albert Robinson, a Northampton man, who, in 1891, aged but 24, was the local 'Schoolmaster in elementary school', living at 'The Schools', Englefield, with his mother, his sister and a young female cousin23. He must have arrived in the village before then because he is recorded also as singing in 1890 (NWN 30th January 1890, p. 3; 20th February 1890, p. 8; 27th February 1890, p. 5; 31st July 1890, p. 3; and 18th September 1890, p. 7); and then later, (NWN 4th February 1892, p. 2; and 3rd March 1892, p. 5 - where it was also noted that he had achieved the distinction of becoming an A. L. C. M.  Obviously, there is more to be recovered where Mr. Robinson is concerned.23.

However, the relationships amongst organisers and performers were a little more complex.  So that we also find, on several occasions at different venues, the offspring, particularly the daughters, of tradespeople participating.  In this respect we find a Helen Hibbert (born 1871), daughter of a local blacksmith and innkeeper, contributing to concerts at East Ilsley in 1890 and 1891. The Hibberts lived at The Sun in East Ilsley24. Both events were organised on behalf of the CETS, which, as can be seen here (NWN 4th November 1890, p. 5 and 19th November 1891, p. 5) and from other evidence, was very active in the area.24.  Helen it was who married a Sergeant Snelley who himself appeared at least one concert in Beedon, in 1892, when he played a mandolin solo and sang, almost too appropriately, The Bugler and Every Inch a Soldier25. NWN 24th December 1890, p. 2.  The Hibbert-Snelley union was described in NWN 1st January 1892, p. 5.  Helen Hibbert then disappeared from the pages of the NWN but the wedding report had intimated that she and her new husband were to move elsewhere.  Sergeant Snelley was, at the time of his marriage, attached to the Ordnance depot in Aldershot.25.

Elsewhere in the area the situation is even more complex with sons and daughters of our seemingly ubiquitous 'ag lab' involved although not nearly to the same extent as were the bourgeoisie.  The Mathews sisters at East Ilsley are a case in point, daughters of an 'ag lab' and, it seems, 'coached' through the ranks of the CETS, and yet, as instance, appearing on the same bill as Helen Hibbert26. Such references can be multiplied.   Incidentally, with regard to terminology, much of the repertoire which was predominant in the Newbury area either embraces or is very similar to that described in Derek Scott: The Singing Bourgeois (Ashgate Publishing, Aldershot, 2001 edn.).26.

Where repertoire is concerned, it could certainly have been the case that the songs sung by Elizabeth Cross were 'traditional' in character.  There were even a handful of 'traditional' songs listed in connection with the Newbury events27. We find, for instance. When Jones' Ale was New (NWN 30th January 1890, p. 3); All amongst the barley (NWN 18th September 1890, p. 7); The Bailiff's Daughter of Islington (NWN 17th January 1895, p. 5); and Richard of Taunton Dene (NWN 9th January 1896, p. 2 and 9th January 1901, p. 6).27.  By far the majority, though, came from minor scribblers (sometimes major ones) and commercial sources even if some had been adopted in 'traditional' circles28. John Howson's present-day series of songs sung in the Suffolk nexus - on the Veteran label -illustrate the way that this kind of process appeared to succeed what we may have once taken to have been a more clearly demarcated social and musical situation.   For evidence of adoption of songs into 'traditional' repertoire in the context being surveyed here, see The Faithful Sailor Boy (NWN 4th January 1894, p. 2 ), sung by one, H. Cox (!), a member of a group calling itself The Domino Minstrels which looks to have been part of a larger organisation specifically set up for the benefit of young men, the Guildhall Club, in Newbury; Old Brown's Daughter sung at a concert in Ashmansworth (NWN 1st February 1894, p.2); Down the Road and I Can't Change It both sung at a smoking concert at the Guildhall Club (NWN 14th November 1895, p. 5); Grace Darling at a 'popular concert' in Enborne (NWN 16th January 1896, p. 3); The Ship that Ne-er Returned at a smoking concert in Englefield (11th March 1897, p. 3); and The Rose of Allandale, found several times but one reference serves: that to a Highclere Volunteer Cricket club entertainment (NWN 30th May 1901, p. 4).28.  We ourselves are more likely to accept into the canon songs from very different backgrounds and it is worth remembering that we simply do not know how much 'other' material our favourite singers from Revival days sang in addition to the familiar stuff29. Michael Pickering's Village Song and Culture (Croom Helm, 1982) provides a fascinating study of the kind of nexus mentioned here; not parallel but, as in the case of the Walton brothers whose repertoires were so different from one another's, most germane.29.  There is evidence to suggest that if it did not fit a preconceived notion then it was left out of the equation.  It appears that the famous John England, as example, had a great deal of music-hall material in his repertoire… 30. According to Dave Harker, in Fakesong (1985, p. 182), John England's repertoire included 'dozens of music-hall pieces'; and, referring to lecture notes written by Sharp (14.12.1905), apparently Louie Hooper's and Lucy White's songs included 'modern and worthless stuff' some of which Sharp, nevertheless, noted down in order to satisfy the two ladies.    Mr. Harker's overall views have been challenged by Chris Bearman in Who were the folk: the demography of Cecil Sharp's Somerset folk singers (The Historical Journal,vol. 43, no. 3, 2000, pp. 751-773) but these particular observations were not questioned.30

John Rayer's songs, as it happens, included Sweet Lass of Richmond Hill and The Old Brigade31. NWN 28th January 1892, p. 8.31; True Till Death and Where Did You Get that Hat?32. NWN 18th February 1892, p. 2.32; Our colours and A Little Farm Well Tilled, the latter sung in company with two other singers: it was encored and the trio then sang Dame Durden33. NWN 28th April 1892, p. 8.33…  And in 1899 John Rayer

... gave a nautical song "The girl he left behind him" with good effect, as well as a plantation song with chorus, "My Old Kentucky Home"34. NWN 2nd February 1899, p. 6.34.
This comment on The girl he left behind him alone might suggest a skewed view of the nature and source of songs (note also 'good effect'); and we cannot attribute John Rayer's songs to this or that source: the best that can be said is that his selection was eclectic35. Perhaps the saddest thing is that we shall most probably never know where John Rayer and others like him got their songs from.35. Clearly, then, because of the continuing puzzle one would hesitate to pinpoint both Elizabeth Cross's exact standing in the community or the nature of her songs and, most particularly, to make too firm a tie-up between the two.  We would certainly, in general terms, need to look more closely at the occupations and social standing of other singers; a process already being undertaken by such as Chris Bearman - as Keith Chandler pointed out - but still alarmingly undersubscribed, and our own 'enlightened' ideas of what is or was accounted as 'traditional' still needs refinement.  Keith Chandler's piece is thought-provoking in this regard.

Roly Brown - 4.2.03
Massignac, France,

Notes:

  1. The piece that follows is something of an offshoot of a much wider enquiry as indicated in the text; but, in respect of that study and this piece, I would like to take the opportunity to thank the staff at Newbury public library and at the Public Record Office in Reading and to Margaret Carruthers, librarian at the offices of the Newbury Weekly News, and the proprietors of the newspaper themselves, for much patience and help.
  2. MT: Enthusiasms, No. 34.
  3. It is also relevant that NWN reports during the 1880s seem to have followed the same pattern as those discussed below but further detailed research is still needed.
  4. The particular reference can be found in NWN, 28th January 1892, p.8.  The emphasis in the text below is on Beedon and its immediate locality over a short period; but a very similar general situation is discernible.
  5. NWN 24th December, 1890, p.2 (the concerts actually took place on the previous Wednesday, 17th December).  One notes also a concert, at Reading, of a Ladies' Orchestral Society which was described as being 'distinctly above the average of amateur orchestras' … a suggestion, found also elsewhere, of a certain self-justification (NWN 25th May 1899, p.6).
  6. NWN 22nd December 1892, p.2.
  7. NWN 28th April 1892, p.8. This concert, which took place 'On Monday evening, the 25th last', was described as the first of the 'season'.  It is, indeed, clear that such a 'season' was proposed at more than one venue, thus taking a cue from practice amongst the eighteenth century bon ton, and, subsequently, from those who had notions of themselves in the Newbury area.  The 'Miss Pinnock' who featured in this case has not yet been positively identified.
  8. NWN 16th April 1891, p.8.  The first event was on the 14th April and the second on the 10th: the NWN came out (and still does come out) each Thursday.
  9. NWN 4th February 1892, p.2.  See below for more details of Mr Robinson's singing career.
  10. NWN 8th September 1892, p.2.  No specific 'cause' is cited; but the concert took place under the auspices of Thomas Ward, a landowner in the district.
  11. NWN 5th May 1892, p.6.  At the Reading concert mentioned above there was a 'capital performance of Webern's "Oberon" overture' (my italics).
  12. NWN 31st July 1890, p.3.
  13. In the first edition of SBW, Baring-Gould's notes declare that his informants were 'old' and 'illiterate' (SBW, 1889-1892, Introduction, p.viii).  This is not the place to go into detail but, given that, in some cases, Baring-Gould was accurate in his observations - of, say, Matthew Baker and Jonas Coaker - his four principal contributors, when first encountered, were aged as follows: James Parsons, 60; Robert Hard, 76; Sam Fone, 57; and John Woodrich, 41. Baring-Gould, to be fair, was quite open about John Woodrich's age.  Clearly, though, some revision is needed (and is being undertaken by the present writer … one also looks forward to the result of work being done by Chris Bearman and Martin Graebe in connection with Baring-Gould).
  14. In one essay, Williams wrote of the songs he was collecting that 'It is to be noted ... that the oldest are the best' (October 1915) and he seems to have taken this assumption for granted.  In fact, 'old', for Williams, mostly began in the eighteenth century.  Prolonged discussions and correspondence with Andrew Bathe (Cirencester), who has been researching the work of Alfred Williams, has led to this conclusion.  Cecil Sharp, be it noted, never fell into the trap of equating age with quality.
  15. There was, for instance, a servants' party at Stargrove Farm, East Woodhay (south of Newbury and just over the county border in Hampshire) where dancing was 'kept up' until midnight when supper followed (NWN 15th January 1891, p.2); and another East Woodhay servants' party, this time at the Rectory, where 'several songs were sung' (NWN 5th January 1892,p. 2).  The servants' party at Barton Court, Kintbury, 'On Fri. Last, the 11th inst.', received a little more attention (NWN 17th January 1895) - dancing, it was reported, went on until five in the morning.  Normally, gatherings of the lower orders finished well before midnight - reports of the Mock Mayor elections in the 'City' area in Newbury, contemporary with the singing activity under review, regularly emphasise the point.
  16. NWN 6th April, 1893, p.8
  17. NWN 5th March 1896, p.6
  18. Despite evidence that he found to the contrary Baring-Gould repeated such attributions later ... an article is in preparation discussing the matter.
  19. This does not mean that the 'ag lab' idea is one to scorn ... quite clearly, in the annals of Revival collecting, it figured prominently - but not necessarily in the most simplistic ways.
  20. For Percy Lowe, see NWN and 22nd December 1892, p.2 and for the Misses Pilleau 24th December, 1890, p.2 - these are but examples.
  21. For instance, the Bucklands were reported in NWN 24th December 1890, p.2 (and at other times) and Rev Jennings on 18th February 1892, p.2.  The Rector at Beedon, Rev Thomas Terry, and his wife, are also often reported as contributing.  The Rector at West Ilsley, Rev Eames, fulfilled a like function as did Rev Browne at Faccombe (south of Newbury, on the Hampshire border) ...
  22. NWN 22nd January 1890, p.6. The Morgans, as it happens, left Beedon later during 1890 and were replaced by the Martins…
  23. He must have arrived in the village before then because he is recorded also as singing in 1890 (NWN 30th January 1890, p.3; 20th February 1890, p.8; 27th February 1890, p.5; 31st July 1890, p.3; and 18th September 1890, p.7); and then later, (NWN 4th February 1892, p.2; and 3rd March 1892, p.5 - where it was also noted that he had achieved the distinction of becoming an ALCM.  Obviously, there is more to be recovered where Mr Robinson is concerned.
  24. Both events were organised on behalf of the CETS, which, as can be seen here (NWN 4th November 1890, p.5 and 19th November 1891, p.5) and from other evidence, was very active in the area.
  25. NWN 24th December 1890, p.2.  The Hibbert-Snelley union was described in NWN 1st January 1892, p.5.  Helen Hibbert then disappeared from the pages of the NWN but the wedding report had intimated that she and her new husband were to move elsewhere.  Sergeant Snelley was, at the time of his marriage, attached to the Ordnance depot in Aldershot.
  26. Such references can be multiplied.  Incidentally, with regard to terminology, much of the repertoire which was predominant in the Newbury area either embraces or is very similar to that described in Derek Scott, The Singing Bourgeois (Ashgate Publishing, Aldershot, 2001 edn).
  27. We find, for instance, When Jones' Ale was New (NWN 30th January 1890, p.3); All Amongst the Barley (NWN 18th September 1890, p.7); The Bailiff's Daughter of Islington (NWN 17th January 1895, p.5); and Richard of Taunton Dene (NWN 9th January 1896, p.2 and 9th January 1901, p.6).
  28. John Howson's present-day series of songs sung in the Suffolk nexus - on the Veteran label - illustrate the way that this kind of process appeared to succeed what we may have once taken to have been a more clearly demarcated social and musical situation.  For evidence of adoption of songs into 'traditional' repertoire in the context being surveyed here, see The Faithful Sailor Boy (NWN 4th January 1894, p.2 ), sung by one, H Cox (!), a member of a group calling itself The Domino Minstrels which looks to have been part of a larger organisation specifically set up for the benefit of young men, the Guildhall Club, in Newbury; Old Brown's Daughter sung at a concert in Ashmansworth (NWN 1st February 1894, p.2); Down the Road and I Can't Change It both sung at a smoking concert at the Guildhall Club (NWN 14th November 1895, p.5); Grace Darling at a 'popular concert' in Enborne (NWN 16th January 1896, p.3); The Ship that Ne-er Returned at a smoking concert in Englefield (11th March 1897, p.3); and The Rose of Allandale, found several times but one reference serves: that to a Highclere Volunteer Cricket club entertainment (NWN 30th May 1901, p.4).
  29. Michael Pickering's Village Song and Culture (Croom Helm, 1982) provides a fascinating study of the kind of nexus mentioned here; not parallel but, as in the case of the Walton brothers whose repertoires were so different from one another's, most germane.
  30. According to Dave Harker, in Fakesong (1985, p.182), John England's repertoire included 'dozens of music-hall pieces'; and, referring to lecture notes written by Sharp (14.12.1905), apparently Louie Hooper's and Lucy White's songs included 'modern and worthless stuff' some of which Sharp, nevertheless, noted down in order to satisfy the two ladies.  Mr. Harker's overall views have been challenged by Chris Bearman in Who were the folk: the demography of Cecil Sharp's Somerset folk singers (The Historical Journal, vol. 43, no. 3, 2000, pp.751-773) but these particular observations were not questioned.
  31. NWN 28th January 1892, p.8.
  32. NWN 18th February 1892, p.2.
  33. NWN 28th April 1892, p.8.
  34. NWN 2nd February 1899, p.6.
  35. Perhaps the saddest thing is that we shall most probably never know where John Rayer and others like him got their songs from.

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