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The Grey Cock

[ Roud 179 ; Child 248 ; Ballad Index C248 ; trad.]

This song was collected from Mrs. Cecilia Costello in Birmingham in 1951 and published in Ralph Vaughan Williams and A.L. Lloyd's The Penguin Book of English Folk Songs. A.L. Lloyd recorded it in 1960 for A Selection from the Penguin Book of English Folk Songs. Like all tracks from this LP it was reissued in 2003 on the CD England & Her Traditional Songs. Lloyd wrote in the album's sleeve notes:

In folk song, when a cock crows, it's usually a sign that lovers are to be untimely parted or that ghosts are about. In this ballad it means both, for the lover is himself a revenant spirit. The cock in the song is a descendant of the legendary fowls of Oriental folklore, with feathers of gold, diamond beaks and ruby legs. Indeed, the whole ballad may be based on a tale that spread from the East, through Byzantium, as far as Ireland. This rare and well-kept song was recorded in Birmingham, of all places, in 1951. The singer was Mrs. Cecilia Costello; the collectors, Miss Marie Slocombe and Patrick Shuldham Shaw.

Nora Cleary sang a variant of this under the title Willie-O in her home at The Hand, Miltown Maybay, Co. Clare in July 1976. Jim Carroll and Pat Mackenzie recorded her; and this track was included on the anthology O'er His Grace The Grass Grew Green (The Voice of the People Series Volume 3; Topic 1998). This version also shares its first three verses with The Bay of Biscay / Willie the Waterboy.

It was also sung by Jez Lowe with Linda Adams singing harmony vocals on the later Fellside anthology A Selection from The Penguin Book of English Folk Songs. The record's sleeve notes said:

From Mrs Cecilia Costello, Birmingham, recorded in 1951 by Marie Slocombe and Pat Shuldham-Shaw. A number of lyrical folk songs present the situation of two lovers disturbed by the early crowing of a cock. Perhaps the origins of these songs is found in the supernatural ballad of the lover returned from the dead. Its themes echo ancient folklore notions that have spread from the Orient, through the Balcans, as far west as Ireland. (Mrs Costello was of Irish descent.) The song appears as no. 248 in Child's collection.

And Eliza Carthy sang The Grey Cock on Waterson:Carthy's eponymous debut album, Waterson:Carthy, and on the Topic Records anthology The Voice of Folk. Martin Carthy commented in the original album's sleeve notes:

Having decided to sing The Grey Cock again after quite a long time, I accidentally practised it in Eliza's hearing. She promptly announced that the song was, in fact, hers and, after another hearing-and-a-bit, she knew the whole thing. So that was that. Ho hum. The song comes from a recording made in the 1960s of Mrs Cecilia Costello, an Irish woman domiciling in Birmingham, who was featured on her own fine album produced by Bill Leader in the early 1970s. That the song turned up when and where it did was exciting given that it's a pretty rare piece. Maybe it's an indication that it's a trifle early to be counting this music out.

Eliza Carthy recorded this song again in 2005 with Salsa Celtica as Grey Gallito for their 2006 CD El Camino (The Road). The verses are nearly identical to the lyrics shown below with an additional chorus after verses five, seven and eight:

No le cantes, ahora gallito (Don't sing to him, not yet, cockerel)
No le cantes, ahora, no (Don't sing to him yet)

See also A.L. Lloyd's related The Lover's Ghost which he sang on both his albums Classic A.L. Lloyd and The Best of A.L. Lloyd.

Lyrics

A.L. Lloyd sings The Grey Cock Waterson:Carthy sing The Grey Cock

“I must be going, no longer staying,
The burning Thames I have to cross.
Oh, I must be guided without a stumble
Into the arms of my dear lass.”

“I must be going, no longer staying,
The burning Thames I have to cross.
I will be guided without a stumble
Into the arms I love the best.”

And when he came to his true love's window,
He knelt down gently on a stone,
And it's through a pane he whispered slowly:
“My dear girl, are you alone?”

And when he came to his true love's window,
He knelt down gently all on a stone,
And it's through the pane he has whispered slowly,
“My darling dear, do you lie alone?”

She rose her head from her down-soft pillow,
And snowy were her milk-white breasts,
Saying: “Who's there, who's there at my bedroom window,
Disturbing me from my long night's rest?”

She's raised her head from her down-soft pillow,
And snowy were her milk-white breasts,
Saying: “Who's there, who's there at my bedroom window,
Disturbing me from my long night's rest?”

“Oh, I'm your lover and can't discover,*
I pray you rise, love, and let me in,
For I am fatigued from my long night's journey.
Besides, I'm wet into the skin.”

“Tis I, your love, but don't discover,*
I pray you rise and let me in,
For I am fatigued from my long night's journey,
Besides, I am wet unto my skin.”

Now this young girl rose and put on her clothing.
She quickly let her own true love in.
Oh, they kissed, shook hands, and embraced together,
Till that long night was near an end.

So this young girl rose and put on her clothing,
So swift she's let her true love in.
And it's there they kissed and embraced each other
Through that long night they lay as one.

“Oh Willie dear, oh dearest Willie,
Where is that colour you'd some time ago?”
“O Mary dear, the clay has changed me,
I'm but the ghost of your Willie, oh.”

Then it's: “Willy dear, oh dearest Willy,
Where's your colour you'd some time ago?”
“O Mary dear, the clay has changed me
And I'm but the ghost of your Willy, oh.”

“Then oh cock, oh cock, oh handsome cockerel,
I pray you not crow until it's day.
For your wings I'll make of the very first beaten gold,
And your comb I'll make of the silver grey.”

“Then it's cock, oh cock, oh handsome cockerel,
I pray you not crow before it is day,
And your wings I'll make of the very first beaten gold,
Your comb I will make of the silver grey.”

But the cock it crew, and it crew so fully.
It crew three hours before it was day.
And before it was day, my love had to go away,
Not by the light of the moon or the light of day.

But the cock he crew, and he crew so fully,
He crew three hours before it was day,
And before twas day, my love had to leave me,
Not by light of the moon nor light of the sun.

Then it's “Willie dear, oh dearest Willie,
Whenever shall I see you again?”
“When the fish they fly, love, and the sea runs dry, love,
And the rocks they melt in the heat of the sun.”

“So Willy dear, oh dearest Willy,
When shall I see you again?”
“When the fishes fly, love, and the sea runs dry, love,
And the rocks they melt in the heat of the sun”

 
Nora Cleary sing Willie-O

As Mary lay sleeping, her love came creeping
To her bedroom door so slow,
Saying, “Rise up, Mary, my lovely Mary,
I'm your charming Willie-o.”

Mary arose, she put on her clothes
And to her bedroom door did go,
And there she found her own true lover
And his face was white as the lily snow.

“Oh, Willie dear, where are those blushes,
That you had some long ago?”
“Mary dear, the clay has changed them;
I'm but the ghost of your Willie-o.”

They spent that night in deep conversation
Concerning their courtship years ago.
They kissed, they shook hands and sorrowful parted
Just as the cock began to grow.

And as they were in deep conversation
Down her cheeks the tears did flow.
“Farewell, Darling, I must leave you;
I'm but the ghost of your Willie-o.”

“Oh, Willie dear, when will we meet again?”
“When the fishes there will fly
And the sea it will run dry
And the rocks they will melt with the sun.”

*Perhaps the phrase should be: 'but I can't uncover' (can't reveal myself). [note in the book]

Acknowledgements

The words are from The Penguin Book of English Folk Songs, eds Ralph Vaughan Williams & A.L. Lloyd, Penguin, 1959. Eliza Carthy's variations transcribed by Garry Gillard. A.L. Lloyd's variations transcribed by Reinhard Zierke.