My mum is a massive Nic Jones fan; she knew him back in the 1960s/70s. She used to sing me this song when I was a baby. Adultery and two murders; no wonder I turned out as I did! Forget the recent moral panics about satanic metal, rap or drill music; some of these folk songs are fucking hardcore :)
Very important point. Some of this stuff would be banned if it were released today, even "Barratt Street", or "The Drowned Lovers" - sex, drinking, theft and suicide!
The guitar treatment and the entire beginning of the song lulls you into a false sense of gentle relaxation but you soon realise you're picking up something exceptionally compelling and powerful from the lyrics, the voice, the guitar and the story. Spellbinding.
We all go on and on about his unmistakable guitar tone and style, but that extraordinarily distinctive voice and the evocative the way he treats the lyrics turn out to be by far the strongest forces that bring me back to this, one of the most outstanding folk song performances that I've ever heard, right up there with his "Billy don't you weep".
I have a very clear video that plays in my head for every Nic Jones song - the way he sings and plays gets a vivid stream of visuals going and you never forget them
I had quite forgotten about Nic’s wonderful version of one of the great ballads. I remember playing his “Fresh Penguin Eggs” until it was ripped to shreds by stylus that I couldn’t afford to replace.
Was fortunate enough to have seen Nic perform this in his early days, before all those decades of silence following his terrible accident.. Beautiful tune, lyrics and his guitar sounding superb. Now I've found my favourite Irish musicians, Planxty, have a version of this with Christy Moore's lovely voice. What a feast to be able to hear both versions tonight whilst the Eurovision Song Contest dominates the media all night. So much feeling in these beautiful words. So glad to know that Nic and his son perform together now. Still treasuring those first two LPs. Thank you, Nic Jones for your great gift of your music to the world.
What a lovely post. Thank you. In my experience as a musician, In the world of music there are generally 2 types of performers (certainly at the high level) there's note players and there's musicians. There are great note players, really great ones. But a truly great musician can take you somewhere else. A great musician can press the buttons of the listener. A great musician can shape a song. This performance is about intensity. At no point do you feel relaxed in this song because he drives it, he pushes tempo he fluctuates dynamic, he changes vocal tone, he lures you in for a couple of bars of reflection then WHACK......he's at you again, he's making you listen, you can't switch off. Dylan would do similar, think of 'A hard rain' think of the plugged in 'ballad of a thin man' think of 'north country fair' Another more recent example was Ralph McTell last year on the Jools Holland show when he sang his song "West fourth street and Jones" inspired by the cover photo of "The Freewheeling Bob Dylan" album. It was a totally hypnotic performance, it was crafted and the listener had no option but to listen intently. I'll link it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C88NrWUENoE.html Another highly intense performance that was similarly crafted is the live version of Pentangle singing Willy-o-Winsbury absolutely brutal bit of intense music making. I'll link it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nwqP_yoszCE.html Thanks again.
An old favourite from the "Oxford Book of Ballads", a well-known collection of traditional English ballads - all human life is there. "The Seven Gypsies", another ballad from this collection, is a ghost story.
This is such a superb song! Years ago I used to sing an Esperanto version of it, translated by the late Scottish poet, William Auld. A Swedish friend has just reminded me of it - and might even be able to let me have a copy of my 1978 performance of it in the Netherlands. Thanks for sharing this classic track with us!
It fell upon a holy day as many are in the year Musgrave to the church did go to see fine ladies there Some were dressed in velvet red and some in velvet pale Then in came Lord Barnard's wife the fairest among them all She cast an eye on Little Musgrave as bright as the summer's sun Said Musgrave unto himself this lady's heart I've won "I have loved you Fair Lady full long and many's the day." "And I have loved you Little Musgrave and never a word did say I have a bower in Bucklesfordberry its my heart's delight I'll take you back there with me and lie in your arms all night." Standing by was a little foot page, from the Lady's coach he ran "Although I am a lady's page I am Lord Barnard's man My Lord Barnard shall hear of this whether I sink or swim." And every where the bridge was broken he'd enter the water and swim "My Lord Barnard! My Lord Barnard! You are a man of life But Musgrave is at Bucklesfordberry asleep with your wedded wife." "If this be true my little foot page, this thing that you tell me All the gold in Bucklesfordberry I gladly will give to thee But if this be a lie my little foot page this thing that you tell me From the highest tree in Bucklesfordberry hanged you will be Go saddle me the black!" he said, "Go saddle me the grey! Sound you not your horns," he said, "lest our coming it betray!" But there was a man in Lord Barnard's train who loved the Little Musgrave He blew his horn both loud and shrill. Away Musgrave, away! "I think I hear the morning cock, I think I hear the jay I think I hear Lord Barnard's men, I wish I was away." "Lie still, lie still, my Little Musgrave, and hug me from the cold It's nothing but a shepherd lad a bringing his flock to fold Is not your hawk upon its perch? Your steed eats oats and hay You a woman in your arms, why would you go away?" So they turned around and they kissed twice and then they fell asleep When they awoke Lord Barnard's men were standing at their feet "How do you like my bed?" he said, "and how do you like my sheets? How do you like my fair Lady that lies in your arms asleep?" "It's well I like your bed he said. Great it gives me pain I'd gladly give a hundred pounds to be on yonder plain!" "Rise up rise up, Little Musgrave, rise up and then put on It'll not be said in this country I slayed a naked man." So slowly, slowly he got up and slowly he put on Slowly he went down the stairs thinking he'd be slain "There are two swords by my side, dear they cost my purse You can take the best of them and I will take the worst." And the first stroke Little Musgrave struck it hurt Lord Barnard sore But the next stroke Lord Barnard struck Little Musgrave ne'er struck more Then up spoke the lady fair from the bed whereon she lay "Although you're dead Little Musgrave, still for you I'll pray." "How do you like his cheeks?" he said, "How do you like his chin? How do you like his dead body now there's no life within?" "It's well I like those cheeks she cried and well I love that chin It's more I want that dead body than all your kith and kin!" He's taken out his long, long sword to strike the mortal blow Through and through the Lady's heart the cold steel it did go "A grave! A grave!" Lord Barnard cried, "to put these lovers in! With my lady on the upper hand, for she came from better kin For I've just killed the finest knight that ever rode a steed And I've just killed the finest woman that ever did a woman's deed!" It fell upon a holy day as many are in the year That Musgrave to the church did go to see fine ladies there
Yes, he did do several radio preformances back in the 70s. If the casette audio is acceptable, you might consider looking into digitizing it. I don't think there are many digitized versions of his radio performances around, so it would definitely be worth it to be able to conserve it better! :)
If this was a Beatles song, it would be the Beatles' best. I love this song so much. My comment here is to ask about the discrepancy between the key of this song and your other uploads from the album. I had bought from Amazon an official CD release of Ballads and Songs and was frankly disappointed that the songs were a tad slower and a half step down in tone. Your uploads here are vastly superior and are my go to versions of Nic Jones. Is it possible that your turntable played the track a little fast? Or possibly, the official mastering of the CD was slightly faulty in speed? Would it be possible to get WAV files of your first 2 Nic Jones's albums? Thanks, man, I need this like you wouldn't believe.......
What you bought, whilst technically an 'official' release, was little more than a poorly-mastered, essentially 'home made', CD-R for which the artist received no royalty. There has never been an official CD of this album that has been mastered and manufactured to a professional standard and as long as the rights remain with its current owners there is never likely to be. It's a long, depressing and annoying story, but if you're really interested you could start here: mudcat.org/thread.cfm?threadid=49479 or here: mudcat.org/thread.cfm?threadid=49544#749078
AS it fell out on a highe holye daye, As many bee in the yeare, When yong men and maides together do goe Their masses and mattins to heare, Little Musgràve came to the church door, The priest was at the mass ; But he had more mind of the fine womèn, Then he had of our Ladyes grace. And some of them were clad in greene, And others were clad in pall ; And then came in my lord Barnardes wife, The fairest among them all. Shee cast an eye on little Musgràve As bright as the summer sunne : O then bethought him little Musgràve, This ladyes heart I have wonne. Quoth she, I have loved thee, little Musgràve, Full long and manye a daye. So have I loved you, ladye faire, Yet word I never durst saye. I have a bower at Bucklesford-Bury, Full daintilye bedight, If thoult wend thither, my little Musgràve, Thoust lig in mine armes all night. Quoth hee, I thank yee, ladye faire, This kindness yee shew to me ; And whether it be to my weale or woe, This night will I lig with thee. All this beheard a litle foot-page, By his ladyes coach as he ranne : Quoth he, thoughe I am my ladyes page, Yet Ime my lord Barnardes manne. My lord Barnàrd shall knowe of this, Although I lose a limbe. And ever whereas the bridges were broke, He layd him downe to swimme. Asleep or awake, thou lord Barnàrd, As thou art a man of life, Lo! this same night at Bucklesford-Bury Litle Musgrave's in bed with thy wife. If it be trew, thou litle foote-page, This tale thou hast told to mee, Then all my lands in Bucklesford-Bury I freelye will give to thee. But an it be a lye, thou litle foot-page, This tale thou hast told to mee, On the highest tree in Bucklesford-Bury All hanged shalt thou bee. Rise up, rise up, my merry men all, And saddle me my good steede ; This night must I to Bucklesford-Bury ; God wott, I had never more neede. Then some they whistled, and some they sang, And some did loudlye saye, Whenever lord Barnardes horne it blewe, Awaye, Musgràve, away. Methinkes I heare the throstle cocke, Methinkes I heare the jay, Methinkes I heare lord Barnards horne ; I would I were awaye. Lye still, lye still, thou little Musgràve, And huggle me from the cold ; For it is but some shephardes boye A whistling his sheepe to the fold. Is not thy hawke upon the pearche, Thy horse eating corne and haye ? And thou a gay lady within thine armes : And wouldst thou be awaye ? By this lord Barnard was come to the dore, And lighted upon a stone : And he pulled out three silver keyes, And opened the dores eche one. He lifted up the coverlett, He lifted up the sheete ; How now, how now, thou little Musgràve, Dost find my gaye ladye sweete ? I find her sweete, quoth little Musgràve, The more is my griefe and paine ; Ide gladlye give three hundred poundes That I were on yonder plaine. Arise, arise, thou little Musgràve, And put thy cloathes nowe on, It shall never be said in my countree, That I killed a naked man. I have two swordes in one scabbàrde, Full deare they cost my purse ; And thou shalt have the best of them, And I will have the worse. The first stroke that little Musgrave strucke, He hurt lord Barnard sore, The next stroke that lord Barnard strucke, Little Musgrave never strucke more. With that bespake the ladye faire, In bed whereas she laye, Althoughe thou art dead, my little Musgràve, Yet for thee I will praye : And wishe well to thy soule will I, So long as I have life ; So will I not do for thee, Barnàrd, Thoughe I am thy wedded wife. He cut her pappes from off her brest ; Great pitye it was to see The drops of this fair ladyes bloode Run trickling downe her knee. Wo worth, wo worth ye, my merrye men all, You never were borne for my goode : Why did you not offer to stay my hande, When you sawe me wax so woode ? For I have slaine the fairest sir knighte, That ever rode on a steede ; So have I done the fairest lady, That ever ware womans weede. A grave, a grave, Lord Barnard cryde, To putt these lovers in ; But lay my ladye o' the upper hande, For she comes o' the better kin. [Index]
I would be interested to hear if this song was still part of Nic's repertoire in his later performing years, and if it was, did he still use the same style of guitar backing. I think this style of playing was introduced to the UK by Peggy Seeger and/or Ramblin' Jack Elliott. I recall the first time was really conscious of this way of playing was when Pete Seeger performed "Freight Train" on UK TVs Sunday Night at the London Palladium in 1964. Bert Jansch used it beautifully on his first album ( think "Needle of Death" and "Running From Home" , But, interestingly I don't think he used it on trad material. Martin Carthy used it on his recording of "Lord Franklin". Probably, its most famous usage - in the UK - was on Ralph McTell's "Streets of London". It generally went out of fashion for traditional UK songs although I have a feeling I have heard it used more recently, and quite effectively, for British folk material. Nic's plays very that style very nicely but, by 1970, British folk guitarists were actively searching for less American based styles to accompany British material. Nic, of course, would go on to create his wonderful "mature" guitar style in the late 70s
@IanCarterTheCaller Thanks for your reply, and I'm glad you like it! Nic is/was such a wonderful artist, that I really thought more people deserved to hear some tracks from his no longer available albums. And coincidentally, I am from the Netherlands.
@xmaywildx Actually, as far as I have been able to determine, Matty Groves is the American version of the original English ballad. So Matty Groves can't really be the 'true version'. But as the album sleeve noted, Nic Jones was also influenced by the Matty Groves version when arranging his version. :)
John and Nige are right.... hear it from the horse's mouth! Christy Moore tells the story here ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-p0-gcccksAg.html I think its also recounted on an album sleeve somewhere....As so often with some of the most memorable 'folk' ballads, its an extraordinary combination of ancient words/sentiment and Nick Jones' composed sympathetic tune and style that makes it so special.
Here is the Fairport's equally listenable treatment of that same story, but as mentioned above, it's a song with a different tune, a different name, but only slightly different lyrics: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1it7BP5PckI.html
(Although Christy Moore's version probably borrows heavily from Jones' arrangement, and does not include the fantastic line about wishing the foot page an untimely death)
Matty Groves is the older form - seventeenth century scotland at least, most likely earlier because if it appears in textual sources there it was probably older. It wouldn't make much sense as an American ballad - Matty Groves appeals to nobility and the class system about a dozen times, neither of which America had and, in the early days of America, it was going out of its way to distance itself from these things (check out Mencken's On The American Language, for example).
No it isn't, this is a song about real people in real places, Little Musgrave is a village in the old English county of Westmorland, Lord Barnard comes from Barnard Castle just across the hill along what is now the A66. The people in the song were alive in the 1500's.
Well, this recording is from 1970, the Planxy album that contains this song is from ten years later, in 1980. It's difficult to say who developed the tune, but based on the timeline, it would seem it was Nic?
***** I know, many of the songs in the Folk Revival era were found in archives and such. But Nic did arrange a lot of his own melodies, because many of the texts found in archives do not come with one, they're more like poems.
I think in a Planxty RU-vid video or an interview he explains that he found the words for the song lying around somewhere, and he used the melody he heard from Nic Jones, if that helps.
This is nice, but miles away from the great recordings that were to follow. Nic's guitar playing is very unimaginative compared with the style he would develop being as it is a simple "pattern playing" or "claw hammer" style as it was called in the UK back in the day.
@@musik102 , low and behold, ‘tis sad to see you haven’t matured much in 7 years. Some people never learn. The guitar playing on this track is lovely. If you can’t admit that then it’s because of your own jealousy of Nic Jones’ musical ability. Let’s hear your guitar playing and musical recordings?? Haha....thought not!!!
@@jerrylong6011 Do you know ANYTHING about Nic's development as a musician/guitarist? It's agreed by all a sundry that Nic went through a sort of Robert Johnson "Crossroads" moment when he - seemingly - suddenly moved on to a much higher plain as a musician. Again, Nic's guitar playing on his earlier recordings is ordinary and predictable but later....after his "crossroads" moment it blossomed into something magical.
It’s a matter of taste. You can’t say that either one did a better version, as it is completely subjective and based on your musical taste. I love both. I can’t say either is better because it’s such a pointless endeavor. They’re both brilliant.
