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Sir Patrick Spens
Sir Patrick Spens
[
Roud 41
; Child 58
; Ballad Index C058
; trad.]
Ewan MacColl sang Sir Patrick Spens in 1956 on his and A.L. Lloyd's Riverside anthology The English and Scottish Popular Ballads (The Child Ballads) Volume II.
Fairport Convention rehearsed Sir Patrick Spens in 1969 during their Liege and Lief recording sessions with Sandy Denny singing. This track was left out of the final LP, however, but it was included in 1995 on Ashley Hutchings' anthology The Guv'nor Vol 2 with an early fade out, and as bonus track on the 2002 CD reissue of Liege and Lief.
A BBC radio version from the “Top Gear” session recorded on September 23, 1969 can be found on Fairport Convention's semi-bootleg From Past Archives with Sandy taking lead vocals and having some trouble on the low notes. IMHO, this version is better than the later studio one. This track was re-released on the Fairport unConventioNal 4CD set (even though this record's sleeve notes incorrectly claim this to be the Liege and Lief sessions out-take), and on the 5CD Fledg'ling Sandy Denny anthology A Boxful of Treasures.
In 1971, Fairport “officially” recorded and released Sir Patrick Spens for their album Full House with Dave Swarbrick taking lead vocals. A Fairport live version from the 1970 Los Angeles gigs appears on the album Live at the L.A. Troubadour and on the compilation Fiddlestix: The Best of Fairport 1972-1984. A further version—most likely from a BBC Radio “Sounds on Sunday” session at the Royal Albert Hall early in 1971—is on the compilation The Harvest of Gold.
Nic Jones sang Sir Patrick Spens in 1970 on his first solo album, Ballads and Songs. He commented in his album sleeve notes:
Three very common ballads are included in this record: Sir Patrick Spens, The Outlandish Knight and Little Musgrave. All three are well-known to anyone with a knowledge of balladry, as they are well represented in most ballad collections.
The tune of Sir Patrick Spens is basically that which appears in Christie's Traditional Ballad Airs, a collection well worth working through for anyone after some good tunes.
Peter Bellamy sang Sir Patrick Spens in 1982 on his privately issued cassette The Maritime England Suite, which was intended for a proposed BBC radio broadcast, We Have Fed Our Sea.
Martin Carthy sang Sir Patrick Spens on his 1998 album Signs of Life, accompanied by himself on guitar and by Eliza Carthy on fiddle. This track was also included in 2001 on The Carthy Chronicles. He also sang it live in studio in July 2006 for the DVD Guitar Maestros. Martin Carthy commented in his original recording's sleeve notes:
It was when I was about seven or eight that my mother first showed me Sir Patrick Spens, and it was many years before I understood that these things are supposed to be sung. The first tune I heard was from Ewan MacColl and subsequently others from Fairport and the great and marvellously inventive Nic Jones, who dug out what I think is the best tune to carry that song, and which I sing here. Nic recorded it on his first album which lies, along with 80% of his recorded output and a very large chunk of the work of other '70s musicians in a record company's maw. Or should that be mausoleum? Either way, it's sad that such spring heeled guitar playing and singing should lie unheard.
And June Tabor recorded Sir Patrick Spens in 2003 for her album An Echo of Hooves, and this track was also included in her anthology Always. She commented in her original recording's sleeve notes:
First appearing in Percy's Reliques, 1765, Child “does not feel compelled to regard this ballad as historical” but Margaret, daughter of Alexander the Third of Scotland was married in 1281 to Eric, King of Norway. She was taken by ship to Norway in the August of that year with a large escort of Noblemen, many of whom were drowned on the voyage home.
Martin Simpson sang Sir Patrick Spens in 2009 on his Topic CD True Stories.
Jon Boden sang Sir Patrick Spens as the February 25, 2011 entry of his project A Folk Song a Day. He commented in his blog:
One of the finest ballad melodies going, as discovered by Nic Jones. I heard this first from a brilliant version on Martin Carthy’s Signs of Life album, and have had the great privilege of playing on Martin Simpson’s equally brilliant version. No surprise then that I didn’t opt for a guitar accompaniment on this one…
Lyrics
| Fairport Convention's Sir Patrick Spens from the Liege and Lief recording sessions |
Fairport Convention's 1969 BBC “Top Gear” session |
|---|---|
|
The King sat in Dunfermline town |
(The verses are the same except for the two verses below) |
|
Then up there spoke a bonny boy | |
|
The King has written a broad letter | |
|
“An enemy then this must be | |
|
“Last night I saw the new moon |
“Last night I saw the new, new moon |
|
They had not sailed upon the sea | |
|
Then up there came a mermaiden, |
Then up there came a mermaiden, |
|
“Oh, long may my lady look | |
|
Forty miles off Aberdeen | |
| Martin Carthy sings Sir Patrick Spens | Digital Tradition version from the Mudcat Café |
|
Oh the king sits in Dunfermline town |
The King sits in Dumferlane toon |
|
And up and spoke an old, old man, |
Then out there spoke an old carle, |
|
So the king he has written him a long, long letter |
The King has written a long letter |
|
“To Norowa, to Norowa, | |
|
And the very first line that Patrick read |
The first line that Sir Patrick read |
|
“Oh, who is this, who has done this deed |
“Oh who is this has done this deed |
|
“To Norway, to far Norway, | |
|
Now they set sail with all good speed | |
|
And they'd not been in far Norway |
They hadn't been in Norowa |
|
“Oh, you Scots foreigners spend our king's gold, |
“The outland Scots waste our King's gold |
|
“Make ready, ready my good men all, |
“Take tent, take tent, my good men all |
|
But up and spoke our own weatherman, |
Then out there spoke the weatherman |
|
And they'd not sailed a league and a league, |
They had not sailed a league, a league, |
|
“Oh, where will I get me a brave young boy, | |
|
And he'd not gone a step and a step, | |
|
“Oh, fetch me a web of the silken cloth, | |
|
And they got a web of the silken cloth, | |
|
Oh, the anchor snapped, the topmast cracked, | |
|
And there came a gale from the north-north-east, | |
|
And loath, loath were the good Scots lords |
Oh loath, loath were the good Scots lords |
|
And many were the fine feather bed | |
|
And long, long will the ladies sit, | |
|
Oh, it's east by north from Aberdour, |
Half over, half over by Aberdeen |
Notes
Regarding “feather beds”: a note from R. Palmer, Everyman's Book of British Ballads: “The image of so domestic an object as a feather bed floating in the sea conveys a powerful feeling of desolation. However, the truth is more prosaic; from earliest times sailors used feather beds, partly because they were comfortable, but also because the feathers' extreme buoyancy made them excellent life rafts.”
Regarding “shoen”: Bill Bryson notes in Mother Tongue (1990), p. 55: “In Old English there were at least six endings that denoted plurals, but by Shakespeare's time these had by and large shrunk to two: -s and -en. But even then the process was nowhere complete. In the Elizabethean Age, people sometimes said shoes and sometimes shoen, sometimes houses and sometimes housen.”
A note from The Penguin Book of Folk Ballads of the English Speaking World: “... The chronicles fail to mention Sir Patrick Spens, though his mission seems to have been the high matter of transporting a Scottish princess to Norway or a Norwegian princess to Scotland. A daughter of Alexander III was married to Eric, King of Norway, in 1281. The courtiers who accompanied the new queen to Norway in August of that year were drowned on the return voyage. ... [the ballad also] might refer to Margaret of Norway, shipwrecked off the Scottish coast in 1290...”
The Contemplator's page for this song gives more details, as well as another set of words.
Acknowledgements
Transcribed by Garry Gillard; many thanks to Wolfgang Hell.
