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"The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. The Project Gutenberg EBook of Cowboy Songs, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Cowboy Songs and Other Frontier Ballads Author: Various Release Date: May 4, 2007 [EBook #21300] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK COWBOY SONGS *** Produced by The Online Distributed Proofreading Team at http://www.pgdp.net. Music transcribed by Linda Cantoni, Joyce Wilson, Espe (Nada Prodanovic), and the PG Finale Project Team. [Transcriber’s notes: -Page vii: The word following "view of what Owen" was unclear, and may not be the "Writes" which has been chosen. We’ve made every effort to match the original, except for the following formatting changes and corrections: 1. The music system layout in these pieces is sometimes odd (e.g. bars broken off in the middle), so the system layout has been normalized where necessary. 2. Text in small-caps could not be reproduced -- all-caps has been used instead. 3. Obvious musical errors in the original have been corrected, as follows: Days of Forty-Nine: bar 9, beat 3, piano left hand - corrected quarter note to dotted quarter note; bar 11, beat 1, piano left hand - corrected bottom note from F to G. Whoopee Ti Yi Yo: bar 6, beat 4, piano right hand - corrected next-to-last chord from A-B-D (which sounds very wrong) to F-G-D (to match chord in bar 9, beat 4); in lyrics, corrected "Its" to "It’s" in bar 15. Little Joe, The Wrangler: repeat barline moved to correct place at end. Prisoner for Life: third to last bar, piano left hand, bottom note corrected from C to B. The Dying Ranger: in bar 4, voice part, corrected dotted quarter to dotted eighth. Fuller and Warren: in bar 14, piano right hand, the D-sharp in the last chord was corrected to D-natural.] -1- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. COWBOY SONGS (p. i) AND -2- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. OTHER FRONTIER BALLADS -3- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. What keeps the herd from running, (p. ii) Stampeding far and wide? The cowboy’s long, low whistle, And singing by their side. COWBOY SONGS -4- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. (p. iii) AND OTHER FRONTIER -5- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. BALLADS COLLECTED BY -6- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. JOHN A. LOMAX, M.A. -7- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. THE UNIVERSITY OF TEXAS SHELDON FELLOW FOR THE INVESTIGATION OF AMERICAN BALLADS, HARVARD UNIVERSITY WITH AN INTRODUCTION BY BARRETT WENDELL New York THE MACMILLAN COMPANY 1929 All rights reserved Copyright, 1910, 1916, (p. iv) By STURGIS & WALTON COMPANY. Set up and electrotyped. Published November, 1910. Reprinted April, 1911; January, 1915. New Edition with additions, March, 1916; April, 1917; December, 1918; July, 1919. Reissued January, 1927. Reprinted February, 1929. PRINTED IN THE UNITED STATES OF AMERICA. BY BERWICK & SMITH CO. To (p. v) MR. THEODORE ROOSEVELT WHO WHILE PRESIDENT WAS NOT TOO BUSY TO TURN ASIDE—CHEERFULLY AND EFFECTIVELY—AND AID WORKERS IN THE FIELD OF AMERICAN BALLADRY, THIS VOLUME IS GRATEFULLY DEDICATED (p. vii) Cheyenne Aug 28th 1910 Dear Mr. Lomax, You have done a work emphatically worth doing and one which should appeal to the people of all our country, but particularly to the people of the west and southwest. Your subject is not only exceedingly interesting to the student of literature, but also to the student of the general history of the west. There is something very curious in the reproduction here on this new continent of essentially the conditions of ballad-growth which obtained in mediæval England; including, by the way, sympathy for the outlaw, Jesse James taking the place of Robin Hood. Under modern conditions however, the native ballad is speedily killed by competition with the music hall songs; the cowboys becoming ashamed to sing the crude homespun ballads in view of what Owen Writes calls the "ill-smelling saloon cleverness" (p. viii) of the far less interesting compositions of the -8- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. music-hall singers. It is therefore a work of real importance to preserve permanently this unwritten ballad literature of the back country and the frontier. With all good wishes, I am very truly yours Theodore Roosevelt -9- The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. CONTENTS (p. ix) Araphoe, or Buckskin Joe Arizona Boys and Girls, The Bill Peters, the Stage Driver Billy the Kid Billy Venero Bob Stanford Bonnie Black Bess Boozer, The Boston Burglar, The Brigham Young, I Brigham Young, II Bronc Peeler’s Song Bucking Broncho Buena Vista Battlefield Buffalo Hunters Buffalo Skinners, The Bull Whacker, The By Markentura’s Flowery Marge California Joe California Stage Company - 10 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. California Trail Camp Fire Has Gone Out, The Charlie Rutlage Chopo Cole Younger Convict, The Cow Camp on the Range, A (p. x) Cowboy, The Cowboy at Church, The Cowboy at Work, The Cowboy’s Christmas Ball, The Cowboy’s Dream, The Cowboy’s Lament, The Cowboy’s Life, The Cowboy’s Meditation, The Cowgirl, The Cowman’s Prayer, The Crooked Trail to Holbrook, The Dan Taylor Days of Forty-Nine, The Deer Hunt, A Deserted Adobe, The Disheartened Ranger, The Dogie Song Down South on the Rio Grande Dreary Black Hills, The Dreary, Dreary Life, The Drinking Song Drunkard’s Hell, The Dying Cowboy, The Dying Ranger, The Fair Fannie Moore Fools of Forty-Nine, The Foreman Monroe Freckles, A Fragment Fuller and Warren Fragment, A Fragment, A Freighting from Wilcox to Globe (p. xi) Gal I Left Behind Me, The Gol-Darned Wheel, The Great Round-Up, The Greer County Habit, The - 11 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. Happy Miner, The Hard Times Harry Bale Hell in Texas Hell-Bound Train, The Here’s to the Ranger Her White Bosom Bare Home on the Range, A Horse Wrangler, The I’m a Good Old Rebel Jack Donahoo Jack o’ Diamonds Jerry, Go Ile that Car Jesse James Jim Farrow Joe Bowers John Garner’s Trail Herd Jolly Cowboy, The Juan Murray Kansas Line, The Lackey Bill Last Longhorn, The Life in a Half-Breed Shack Little Joe, the Wrangler Little Old Sod Shanty, The Lone Buffalo Hunter, The Lone Star Trail, The Love in Disguise (p. xii) McCaffie’s Confession Man Named Hods, A Melancholy Cowboy, The Metis Song of the Buffalo Hunters Miner’s Song, The Mississippi Girls Mormon Song Mormon Bishop’s Lament, The Mustang Gray Muster Out the Ranger New National Anthem Night-Herding Song Old Chisholm Trail, The Old Gray Mule, The Old Man Under the Hill, The Old Paint - 12 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. Old Scout’s Lament, The Old Scout’s Lament, The Old Time Cowboy Only a Cowboy Pecos Queen, The Pinto Poor Lonesome Cowboy Prisoner for Life, A Railroad Corral, The Rambling Bay Rambling Cowboy, The Range Riders, The Rattlesnake—A Ranch Haying Song Ripping Trip, A Road to Cook’s Peak Root Hog or Die Rosin the Bow (p. xiii) Rounded Up in Glory Sam Bass Shanty Boy, The Silver Jack Sioux Indians Skew-Ball Black, The Song of the "Metis" Trapper, The State of Arkansaw, The Sweet Betsy from Pike Tail Piece Texas Cowboy, The Top Hand Texas Rangers Trail to Mexico, The U.S.A. Recruit, The Utah Carroll Wars of Germany, The Way Down in Mexico Westward Ho When the Work is Done This Fall Whoopee-Ti-Yi-Yo, Git along Little Dogies Whose Old Cow Wild Rovers Windy Bill U-S-U Range Young Charlottie Young Companions - 13 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. Zebra Dun, The TRODUCTION - 14 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. (p. xiv) It is now four or five years since my attention was called to the collection of native American ballads from the Southwest, already begun by Professor Lomax. At that time, he seemed hardly to appreciate their full value and importance. To my colleague, Professor G.L. Kittredge, probably the most eminent authority on folk-song in America, this value and importance appeared as indubitable as it appeared to me. We heartily joined in encouraging the work, as a real contribution both to literature and to learning. The present volume is the first published result of these efforts. The value and importance of the work seems to me double. One phase of it is perhaps too highly special ever to be popular. Whoever has begun the inexhaustibly fascinating study of popular song and literature—of the nameless poetry which vigorously lives through the centuries—must be perplexed by the necessarily conjectural opinions concerning its origin and development held by various and disputing scholars. When songs were made in times and terms which for centuries have been not living facts but facts of remote history or tradition, it is impossible to be sure quite how they begun, and by quite what means they sifted through the centuries into the (p. xv) forms at last securely theirs, in the final rigidity of print. In this collection of American ballads, almost if not quite uniquely, it is possible to trace the precise manner in which songs and cycles of song—obviously analogous to those surviving from older and antique times—have come into being. The facts which are still available concerning the ballads of our own Southwest are such as should go far to prove, or to disprove, many of the theories advanced concerning the laws of literature as evinced in the ballads of the old world. - 15 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. Such learned matter as this, however, is not so surely within my province, who have made no technical study of literary origins, as is the other consideration which made me feel, from my first knowledge of these ballads, that they are beyond dispute valuable and important. In the ballads of the old world, it is not historical or philological considerations which most readers care for. It is the wonderful, robust vividness of their artless yet supremely true utterance; it is the natural vigor of their surgent, unsophisticated human rhythm. It is the sense, derived one can hardly explain how, that here is expression straight from the heart of humanity; that here is something like the sturdy root from which the finer, though not always more lovely, flowers of polite literature have sprung. At times when we yearn for polite grace, ballads may seem rude; at times when polite grace seems tedious, sophisticated, corrupt, or mendacious, their very rudeness refreshes us (p. xvi) with a new sense of brimming life. To compare the songs collected by Professor Lomax with the immortalities of olden time is doubtless like comparing the literature of America with that of all Europe together. Neither he nor any of us would pretend these verses to be of supreme power and beauty. None the less, they seem to me, and to many who have had a glimpse of them, sufficiently powerful, and near enough beauty, to give us some such wholesome and enduring pleasure as comes from work of this kind proved and acknowledged to be masterly. What I mean may best be implied, perhaps, by a brief statement of fact. Four or five years ago, Professor Lomax, at my request, read some of these ballads to one of my classes at Harvard, then engaged in studying the literary history of America. From that hour to the present, the men who heard these verses, during the cheerless progress of a course of study, have constantly spoken of them and written of them, as of something sure to linger happily in memory. As such I commend them to all who care for the native poetry of America. Barrett Wendell. Nahant, Massachusetts, July 11, 1910. - 16 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. OLLECTOR’S NOTE (p. xvii) Out in the wild, far-away places of the big and still unpeopled west,—in the cañons along the Rocky Mountains, among the mining camps of Nevada and Montana, and on the remote cattle ranches of Texas, New Mexico, and Arizona,—yet survives the Anglo-Saxon ballad spirit that was active in secluded districts in England and Scotland even after the coming of Tennyson and Browning. This spirit is manifested both in the preservation of the English ballad and in the - 17 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. creation of local songs. Illiterate people, and people cut off from newspapers and books, isolated and lonely,—thrown back on primal resources for entertainment and for the expression of emotion,—utter themselves through somewhat the same character of songs as did their forefathers of perhaps a thousand years ago. In some such way have been made and preserved the cowboy songs and other frontier ballads contained in this volume. The songs represent the operation of instinct and tradition. They are chiefly interesting to the present generation, however, because of the light they throw on the conditions of pioneer life, and more particularly because of the information they contain concerning that unique and romantic figure in modern civilization, the American cowboy. The (p. xviii) profession of cow-punching, not yet a lost art in a group of big western states, reached its greatest prominence during the first two decades succeeding the Civil War. In Texas, for example, immense tracts of open range, covered with luxuriant grass, encouraged the raising of cattle. One person in many instances owned thousands. To care for the cattle during the winter season, to round them up in the spring and mark and brand the yearlings, and later to drive from Texas to Fort Dodge, Kansas, those ready for market, required large forces of men. The drive from Texas to Kansas came to be known as "going up the trail," for the cattle really made permanent, deep-cut trails across the otherwise trackless hills and plains of the long way. It also became the custom to take large herds of young steers from Texas as far north as Montana, where grass at certain seasons grew more luxuriant than in the south. Texas was the best breeding ground, while the climate and grass of Montana developed young cattle for the market. A trip up the trail made a distinct break in the monotonous life of the big ranches, often situated hundreds of miles from where the conventions of society were observed. The ranch community consisted usually of the boss, the straw-boss, the cowboys proper, the horse wrangler, and the cook—often a negro. These men lived on terms of practical equality. Except in the case of the boss, there was little difference in the amounts paid each for his services. (p. xix) Society, then, was here reduced to its lowest terms. The work of the men, their daily experiences, their thoughts, their interests, were all in common. Such a community had necessarily to turn to itself for entertainment. Songs sprang up naturally, some of them tender and familiar lays of childhood, others original compositions, all genuine, however crude and unpolished. Whatever the most gifted man could produce must bear the criticism of the entire camp, and agree with the ideas of a group of men. In this sense, therefore, any song that came from such a group would be the joint product of a number of them, telling perhaps the story of some stampede they had all fought to turn, some crime in which they had all shared equally, some comrade’s tragic death which they had all witnessed. The song-making did not cease as the men went up the trail. Indeed the songs were here utilized for very practical ends. Not only were sharp, rhythmic yells—sometimes beaten into verse—employed to stir up lagging cattle, but also during the long watches the night-guards, as they rode round and round the herd, improvised cattle lullabies which quieted the animals and soothed them to sleep. Some of the best of the so-called "dogie songs" seem to have been created for the purpose of preventing cattle stampedes,—such songs coming straight from the heart of the cowboy, speaking familiarly to his herd in the stillness of the night. The long drives up the trail occupied months, and called (p. xx) for sleepless vigilance and tireless activity both day and night. When at last a shipping point was reached, the cattle marketed or loaded on the cars, the cowboys were paid off. It is not surprising that the consequent relaxation led to reckless deeds. The music, the dancing, the click of the roulette ball in the saloons, invited; the lure of crimson lights was irresistible. Drunken orgies, reactions from months of toil, - 18 - The Project Gutenberg eBook of Cowboy Songs And Other Frontier Ballads. Collected by John A. Lomax, M.A. deprivation, and loneliness on the ranch and on the trail, brought to death many a temporarily crazed buckaroo. To match this dare-deviltry, a saloon man in one frontier town, as a sign for his business, with psychological ingenuity painted across the broad front of his building in big black letters this challenge to God, man, and the devil: The Road to Ruin. Down this road, with swift and eager footsteps, has trod many a pioneer viking of the West. Quick to resent an insult real or fancied, inflamed by unaccustomed drink, the ready pistol always at his side, the tricks of the professional gambler to provoke his sense of fair play, and finally his own wild recklessness to urge him on,—all these combined forces sometimes brought him into tragic conflict with another spirit equally heedless and daring. Not nearly so often, however, as one might suppose, did he die with his boots on. Many of the most wealthy and respected citizens now living in the border states served as cowboys before settling down to quiet domesticity. A cow-camp in the seventies generally contained several (p. xxi) types of men. It was not unusual to find a negro who, because of his ability to handle wild horses or because of his skill with a lasso, had been promoted from the chuck-wagon to a place in the ranks of the cowboys. Another familiar figure was the adventurous younger son of some British family, through whom perhaps became current the English ballads found in the West. Furthermore, so considerable was the number of men who had fled from the States because of grave imprudence or crime, it was bad form to inquire too closely about a person’s real name or where he came from. Most cowboys, however, were bold young spirits who emigrated to the West for the same reason that their ancestors had come across the seas. They loved roving; they loved freedom; they were pioneers by instinct; an impulse set their faces from the East, put the tang for roaming in their veins, and sent them ever, ever westward. That the cowboy was brave has come to be axiomatic. If his life of isolation ..."

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