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Songs of the West
'Performed' by Frankie Sercombe
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NOTE There are TWO versions of the melody for each song.
This is a small sample from the SONGS OF THE WEST - FOLK SONGS OF DEVON & CORNWALL "COLLECTED FROM THE MOUTHS OF THE PEOPLE" BY S. BARING-GOULD, М.А.H. FLEETWOOD SHEPPARD, M.А. AND F. W. BUSSELL, MUS. DOC. D.D.
(This collection is now in the Public Domain for all to use and enjoy.)
Some of these songs have since found their way into the playlists of modern-day folk artists, relying on Baring-Gold's record of the lyrics and melodies associated with them.
THE LATTER MAY DIFFER FROM THE RECORDINGS OFFERED HERE, so apologies in advance to those purists who may have expected original renditions.
** All recordings and melodies are
© 2025 John Morey
Songs of the West is a fantastic collection of traditional Westcountry folk songs. Providing context is key to bringing these historical pieces to life for a modern audience.
Here are suggested introductions for each song, focusing on context, background, and references.
Tommy A'Lynn
This song is a classic example of a folk nonsense ballad, likely intended for comic relief and entertainment in a pub or social setting. Tommy A'Lynn is a comical anti-hero, a mischievous or simple-minded fool whose attempts at everyday life—from dressing to hunting—go hilariously wrong due to his impractical choices (like the rabbit-skin hat worn inside-out, or the urchin-skin saddle).
The verses are structured like a catalog of blunders, capped off by his quick, cynical, and often cruel commentary, especially in the last two stanzas, showing a dark, satirical edge to his humour. The refrain, full of archaic or nonsensical filler words like "link-a-lum-lee" and "Brew, screw, rivet the tin," is characteristic of older folk songs, providing a rhythmic sing-along element that overrides literal meaning. It's less about a narrative and more about a character study in delightful ineptitude.
The Setting of the Sun
This is a very powerful and tragic murder ballad, a popular genre in which a crime of passion or accident forms the central narrative. Here, the story is unique because the shooting is accidental and deeply ironic. The narrator, hunting in low light, mistakes his own sweetheart—hiding from the rain "all under the bushes"—for a swan, leading to her death.
The title and the "setting of the sun" emphasize the dim light, fate, and finality of the tragedy. The profound guilt and despair of the narrator ("Like lead on my heart lies the deed I have done") are central to the song. However, the tragedy takes a turn in the third verse with a common folk motif: the spirit or ghost of the victim appears to offer forgiveness and comfort, relieving the lover of his guilt and assuring him of their eventual reunion "at the rising of the sun." It's a tale of eternal love overcoming a fatal mistake.
Come To My Window
This is a beautiful example of a traditional nocturnal courtship song, sometimes called a serenade (though usually sung outside a window rather than with a musical instrument). The theme is universal: a young lover anxiously waits outside his beloved’s window, pleading with her to join him under the cover of darkness.
The song captures the urgency and secrecy of a clandestine meeting, emphasizing the risk of being caught—specifically by her parents ("mammy is asleep," "daddy snoreth deep"). The time of the meeting is crucial, dictated by the fear of "day-light" or "morning streak the sky." The final verses highlight the lover’s emotional turmoil, portraying the wait as a near-torture that only her appearance can relieve, making it a perfect, emotive piece of musical drama.
The Blue Kerchief
"The Blue Kerchief" is a charming example of a flirtatious dialogue or courtship song. It follows a familiar pattern: a young man meets a beautiful, seemingly innocent maiden and begins to quiz her motives and intentions. The core of the song lies in the maiden's quick-witted and teasing responses, proving she is far from simple.
The blue kerchief itself is the central symbol. Initially a fashionable accessory, it transforms into a symbol of the girl’s modesty and steadfastness. When she demands a wedding ring ("show me a ring") before allowing a kiss, she clearly signals she is seeking a serious commitment, not just a casual encounter. Her final explanation—tying the colour blue to a loyal sailor and a love that is "certain to last"—solidifies the kerchief as a badge of virtuous, enduring love.
Three Drunken Maidens
This is a rare and hilarious example of a female drinking song that boldly subverts the typical depiction of women in folk music. Instead of being meek or love-sick, the three (later four) maidens are portrayed as boisterous, unrepentant revellers from the Isle of Wight. Their drinking spree lasts an improbable "Monday morning" until "Saturday night," showcasing an epic, defiant stamina.
The humour in the later verses addresses the social and financial consequences of their spree. They've consumed expensive delicacies ("woodcock and pheasant") and enormous quantities of alcohol ("four quarts of Malaga"). The final, most revealing verse addresses the loss of their material possessions ("spencers," "mantles") and, critically, their "characters" (reputations). Their blunt reply—that they have "drunk them clean away"—is a shockingly modern and unapologetic declaration of hedonism and freedom, making this a spirited and often-censored piece of folk history.
The Sailor's Farewell
This song belongs to the classic genre of sailor and sweetheart songs, common in a Westcountry region with strong maritime ties. It is a heartfelt moment of departure, capturing the genuine anguish and uncertainty of a seaman leaving his loved one for the dangers of the ocean.
The verses vividly contrast the hardship of the sea ("thund'ring billows," "tossing on the deep") with the peaceful life ashore, noting the comfort of "weavers and the tailors" who "are snoring fast asleep." The third verse highlights the sailor's cycle: a short, merry period of spending their wages ("pipe and glass, and buxom lass") before being compelled by necessity to return to the sea. Ultimately, the farewell is sealed by the promise of constancy, assuring Polly that while his body may roam, his heart will remain "with you still"—a deeply romantic and enduring theme.
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