
Lyrics and origin information from various sources including Wikipedia, TheSession.org, and other sites. I’ll try to make sure I get attribution set appropriately over time.
Set Lists
Starter Sets for Slow Session
We’ll try to work at least 2 of these in as part of warmup and general inclusion.
- Swallow Tail Jig, The Kesh, Morrison’s Jig (Jigs)
- The Silver Spear, The Earl’s Chair, The Merry Blacksmith (Reels)
Common Tune Set Lists and Collections
Some sessions publish lists of tunes they typically play, for a broad set of things to pick up, try these lists
- Colorado Springs Common Tune List – https://docs.google.com/spreadsheets/d/1FozrVviXg9Y5GthsHx-Tjkq7hpLNYWXBDnAnMNkDa_c/edit?gid=0#gid=0
- O’Neill’s Music of Ireland – https://www.freesheetmusic.net/music/oneills.html
- The Complete Works of Turlough O’Carolan – https://www.oldmusicproject.com/occ/tunes.html
- Carpilation Camp Tune Book
Tunes To Learn
Tunes introduced in the session that may not be as well known but definitely worth picking up!
- Tír Rafartaigh, Gort na Móna (Introduced by Chris Oltyan, two slip jigs composed by Michael Rooney)
- Jack Farrell’s (Introduced by Pete Strickler, composed by Colin Farrell for his nephew)
- Master McDermitt’s, Ambrose Maloney’s (Introduced by Patrick Gillard, visiting Flautist)
Irish Bar Songs
It was only in the 1960s at the onset of the folk revival, when singing moved into the pub scene. That’s when a lot of English language songs were made famous by bands such as the Dubliners and the Clancy Brothers. These bands would sing the songs accompanied by instrument, most notably guitar.
If the mood takes you, singing along to these songs is perfectly okay. For more traditional or unaccompanied songs it would be considered polite to keep conversation a bit more quiet to allow the songs to be heard and the performance appreciated.
Wild Rover
I’ve been a wild rover for many’s the year
And I’ve spent all me money on whiskey and beer
But now I’m returning with gold in great store
And I never will play the wild rover no more
[CHORUS]
And it’s no, nay, never
No, nay never no more
Will I play the wild rover
No never no more
I went to an alehouse I used to frequent
I told the landlady my money was spent
I ask her for credit, she answered me nay
Such a custom as yours I can have any day
[CHORUS]
I brought from me pocket ten sovereigns bright
And the landlady’s eyes opened wide with delight
She said:’I have whiskeys and wines of the best
And the words that you told me were only in jest’
[CHORUS]
I’ll go home to my parents, confess what I’ve done
And I’ll ask them to pardon their prodigal son
And when they’ve caressed me, as oft times before
I never will play the wild rover no more
[CHORUS] X 2
Go Lassie Go
Oh, the summertime is coming
And the trees are sweetly blooming
And the wild mountain thyme
Grows around the blooming heather
[CHORUS]
Will you go, lassie, go?
And we’ll all go together
To pull wild mountain thyme
All around the blooming heather
Will you go, lassie, go?
I will build my love a bower
By yon clear and crystal fountain
And on it, I will pile
All the flowers of the mountain
[CHORUS]
If my true love, he won’t have me
I will surely find another
To pull wild mountain thyme
All around the blooming heather
Tell Me Ma
ORIGIN
“I’ll Tell Me Ma” (also called “The Wind”) is a traditional children’s song. It was collected in various parts of the United Kingdom in the 19th century and again appears in collections from shortly after the turn of the 20th century. In Ireland, especially within Ulster, the chorus usually refers to Belfast city and is known colloquially as “The Belle of Belfast City”, although it is also adapted to other Irish cities, such as Dublin. Other versions refer to the “Golden City” or “London City”.
[CHORUS]
I’ll tell me ma, when I get home
The boys won’t leave the girls alone
Pulled me hair, and stole my comb
But that’s alright, till I go home.
Sea Shanties
Historians have traced examples of what might be called sea shanties back to at least the 16th century. However, the songs as we know them really flourished during the 19th century on board large sailing ships.
“A lot of people assume that these songs was naval, but it was predominantly merchant ships where these songs were sung,” says historian Kate Jamieson. “That’s why you have so many songs about whaling for instance.”
Old Maui
ORIGINS
“Rolling Down to Old Maui” (or Mohee) is a traditional sea song. It expresses the anticipation of the crew of a whaling vessel of its return to Maui after a season of whaling in the Kamchatka Sea. The words of Rolling Down to Old Mohee have been found in a copybook of a sailor called George Piper, who was on a whaling ship between 1866 and 1872.
CHORUS
Rolling down to Old Maui, me boys
Rolling down to Old Maui
We’re homeward bound from the Arctic Ground
Rolling down to Old Maui
Roll the Old Chariot Along
ORIGINS
A capstan shanty also known as A Drop of Nelson’s Blood, and variously claimed as a parody of a Salvation Army hymn or an African-American spiritual. “Nelson’s blood” is rum, a nod to the return of his body to England preserved in a barrel of spirits.
CHORUS
And we’ll roll the old chariot along
We’ll roll the old chariot along
We’ll roll the old chariot along
And we’ll all hang on behind
The Wellerman
ORIGINS
Known as “Soon May the Wellerman Come” as well as “Wellerman” or “The Wellerman,” the sea shanty from New Zealand dates back to 1860. The title of the song is a reference to supply ships owned by the Weller brothers, who were some of the earliest European settlers of the Otago region of New Zealand.
CHORUS
Soon may the Wellerman come
To bring us sugar and tea and rum
One day, when the tonguing is done
We’ll take our leave and go
