The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

DRUNK - DRY

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

DRUNK AT NIGHT AND DRY I' THE MORNING [1]. AKA and see "Lude's Lament." Scottish, Irish, English; Slow Air. England; North West, Northumberland. A Major (Gow): G Major (Kershaw). Standard tuning. AABCDC. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is a British Isles version (printed variously in 3/4 or 6/8 time, and with parts often juxtaposed) of what became the American old‑time tune "Drunken Hiccups.” Source for notated version: contained in the 19th century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]. Gow (Complete Repository), Part 3, 1806; pg. 1. The Joseph Kershaw Manuscript, 1993; No. 62. J. Murphy (Irish Airs and Jiggs), 1809; pg. 18. O'Farrell, 1797‑1800; pg. 19. Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997).

X:1

T:Drunk at Night and Dry in the Morning

M:3/4

L:1/8

R:Slow Air

S:Gow3rd Repository (1806)

Z:AK/Fiddler’s Companion

K:A

{AB}c4 ~B2| c>BA>B c2 | (E2A2) (B/c/d) | (d2c2)B2 | {d}c>BA>B c2|

E>DC>D E2| (F2A2)G2 | A6 :| A2 (ef/e/) c2  A2 (ef/e/) c2 | (A2e2)e2|e3d c2 |

A2 (ef/e/) c2|A2 (ef/e/)c2 | A2c2c2 | c3BA2 | ~c>BA>B c2 | E>DC>D E2| (F2A2) (Bc/d/)|

(d2c2)B2| c>BA>B c2 | E>DC>D E2 | (F2A2)G2 | A6 || (A,B,/C/) | D2 (FD) (FD)|

C2 (EC)(EC) | A,2 A2 (Bc/d/) | (d2c2)B2|D2(FD)(FD) | C2 (EC)(EC) |

A,2 A2G2 | A4 (A,B,/C/)|D2 (FD)(FD) | C2(EC)(EC) | A,2 A2 (Bc/d/) | (d2c2)B2 |

~c>BA>B c2 | ~E>DC>D E2 | (F2A2)G2 |A6 || A2 (fA)(fA) | A2(eA)eA | A2e2e2 |

e3d c2 | A2 (fA)(fA) | A2(eA)(eA) | A2c2c2 | c3BA2 | c>BA>B {AB}c2 | E>DC>D E2 |

F2A2 (Bc/d/) | d2c2B2 | {d}c>B A>B {AB}c2 | E>D C>D E2 | (F2A2)G2 | A4 ||

 

DRUNK AT NIGHT AND DRY IN THE MORNING [2]. Irish, Air (6/8). D Major. Standard tuning. AABB. The second part is marked “slow” by O’Farrell, and the tune is claimed as Irish in his publication. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 59.

X:1

T:Drunk at Night and Dry in the Morning [2]

M:6/8

L:1/8

R:Air

N:The second part is marked “slow”

S:O’FarrellPocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

d/e/ | fdB AGF | Eee e2 d/e/ | fdB AFA | Bdd d2 :: A | dfa dfa | dfa afe |

dfa dfa | bee e2 f/e/ | dfa dfa | dfa a2g | fdB AGF | Eee e2 d/e/ | fdB AFA |

Bdd d2F | GB/G/B/G/ FA/F/A/F/ | Eee e2 d/e/ | fdB AFA | Bdd d2 :|

                   

DRUNK IN SHILOH. American. G modal. 6/8 time.

                   

DRUNKARD'S BLUES. AKA and see "Blues de Soulard."

 

DRUNKARD'S DREAM [1]. AKA‑ "The Husband's Dream" (England). Old‑Time; Tune and song (3/4 time). USA; Oklahoma, Missouri. A Major. AEac# tuning. AABB. The Collins family (Pottawatomie County, Oklahoma) [Thede]. The words below are from Missouri:

***

Oh, Edward you look so happy now

You dress so neat and clean

I never see you drunk about

Pray tell me where you've been.

***

Your wife and family air they well

You once did use them strange

You have kinder to them grown

How come this happy change

***Cho:

 How come this happy change

 You have kinder to them grown

 How come this happy change     (Thede)

***

More verses in Thede. Thede (The Fiddle Book), 1967; pg. 56‑57.

 

DRUNKARD'S DREAM [2]. AKA and see "Reve de Soulard."

 

DRUNKARD'S HICCUPS. See "Drunken Hiccups".

 

DRUNKARD'S SORROW WALTZ (La Valse de Bamboche). See "Valse d'Evangeline."

 

DRUNKARD'S WALTZ. Cajun, Waltz. USA, Louisiana. A Major. Standard. AABB(Vocal), etc.  A related song is Aldus Roger's and Phillip Alleman's "La Valse d'Ennui." Source for notated version: Chuck Guillory [Francois]. Francois ( Yaille Chère!), 1990; pg. 118.

 

DRUNKEN BILLY GOAT. AKA and see "Rocky Mountain Goat," "Mud Fence." Old‑Time, Breakdown. USA, Missouri. A Major. Standard or AEae. AABBCC. A related tune is "Brilliancy." Source for notated version: Vivian Williams (Seattle) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 91. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 75. American Heritage 25, "Poor Richard's Almanac." Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'"

 

DRUNKEN DRUMMER, THE. English, Jig. G Major. Standard. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), Vol. II, 1783; Nos. 170, pg. 63. Raven (English Country Dance Tunes), 1984; pg. 114.

X:1

T:Drunken Drummer, The

M:6/8

L:1/8

R:Jig

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

d | BAG G2D | GAG B2d | BAG G2D | EFE E2d |

BAG G2D | GAG Bcd | efg dBG | “tr”A3 G2 :|

|: A | Bcd ded | ded dec | Bcd def | gdB A2G |

Bcd ded | ded def | gdB dBG | A3 G2 :|

 

DRUNKEN FRIDAY. Scottish, Reel. D Minor. Standard. AABB. Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 38). It also appears in Kirkmichael, Perthshire, fiddler and composer Robert Petrie’s 2nd Collection of Strathspey Reels and Country Dances, 1796, with the note “An auld Highland Reel.” Petrie’s volume was dedicated to his patron and employer, Mrs. Garden of Troup.

X:1

T:Drunken Friday

C:"An auld Highland Reel"

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 17

% Gore's Index gives earliest publication as Neil Stewart's

% "Collection of the Newst & Best R. or C.D.s for VnÉ." Edinburgh 1761

L:1/8

M:C|

R:Reel

K:Dm

d/d/d  (fe) dAA=B|cdcA G/F/E/D/ CE |d/d/d fe dAAc|d/c/=B/A/ cE D/D/D D2:|

|:(F/G/A) (FD) FAdF |(E/F/G) (EC) EGcE|(F/G/A) (FD) FAdF|GEcE D/D/D D2:|

 

DRUNKEN GANGER'S, THE. Irish (?), Slip Jig. A Major. Standard. AB. The title probably a corruption of “Drunken Gauger” (see note below). Cole (1000 Fiddle Tunes), 1940; pg. 63. Ryan’s Mammoth Collection, 1883; pg. 94.

X:1

T:Drunken Ganger’s, The

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

Ace (f/g/a).f ecA | Ace (f/g/a).f e2c | Ace (f/g/a).f ecA | BAF ABc d2B |

Ace (f/g/a).f ecA | Ace (f/g/a).f e2c | Ace agf edc | BAG ABc d2B ||

cBA BAF AFE | cBA ABc d2B | cBA BAF AFE | (A/B/c).A BAG A3 |

cBA BAF AFE | cBA ABc d2B | cBA BAF AFE | (A/B/c).A BAG | A3 ||

 


DRUNKEN GAUGER [1], THE (An Tuiséara ar a Mheisce). AKA and see "The Munster Rake," "Welcome the Piper" (Failte don Piobaire), "The Swaggering Jig [1]," "The Noggin of Cream," "Taggit along the Room," "An Seanduine Coileailte," "The Silly Old Man [1]," "Girls take care how you marry," “Give Us a Drink of Water [2], "Just at/in the height of her bloom." Irish, Set Dance (6/8). Ireland, County Clare. G Major. Standard. One part (Roche): AABB (Breathnach). At one time a ‘gauger’ was a functionary whose job it was to monitor public houses to insure that various sized drinks were served in vessels of accurate measure: i.e. that a pint drink served actually measured a full pint, a gill measured a gill, and so on. Such intense scrutiny of alcoholic conveyances would undoubtedly be a thirsty business, perhaps helped along by a hopeful or sly publican if the measure might be short. Not a few gaugers probably achieved the level of inebriation required for the title.  The set dance is supposed by some to imitate the attitude of a staggering gauger, weary and perhaps too ‘affected’ by his work. Breathnach says the set dance is especially associated with County Clare. The term ‘gauger’ has largely died out, says Caoimhin Mac Aoidh, although it is retained in modern usage (with a derogatory connotation) in County Donegal for a social service functionary whose job it is to monitor fraud with regard to welfare, or ‘the dole’.

***

Charlie Piggott, in his book Blooming Meadows (1998), in the essay on Kilmaley, County Clare, fiddler, flute player and uilleann piper Peader O’Loughlin, remarks on tunes being disseminated into local, isolated traditions in Ireland by visiting musicians. It is remembered that “The Drunken Gouger” was introduced into the Kilmaley-Connolly, Clare, area “from the repertoire of dancing-master Paddy Barren, who regularly visited the O’Loughlin household and held dancing classes there.” The tune is now commonly played throughout Clare. Clare fiddler Junior Crehan was recorded playing the tune and talking about it beforehand; he remembered it from the mendicant dancing master Barron’s second visit to his area, around 1935 (Barron’s first visit had been for an extended period from 1914-1918). Crehan learned the tune at the behest of Barron, who wanted him to play for the dancers, to whom Barron would teach both steps and sets for a shilling for three nights of instruction. Source for notated version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 61, pg. 30. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 90. Roche Collection, 1982; vol. 3, pg. 68, No. 193. Treoir. Claddagh CC47, Ronan Browne & Peter O’Loughlin - “The South West Wind.” Mulligan Records LUN 018, Bobby Casey ‑ "Taking Flight" (1979).

X:1

T:Drunken Gauger [1]

M:6/8

L:1/8

S:learned from David Kidd

R:Jig

Z:Lorna LaVerne

K:G

D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |

c2A BdB | AGA BGE | DEG AGA | BGG G2

D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |

c2A BdB | AGA BGE | DEG AGA | BGG G2

D | GBd g2e | dBe dBG | Ace a2a | agb age |

dBd g2e | dBe dBG | c2A BdB | AGA BGG |

GBd g2e | dBe dBG | Ace a2a | agb age |

dBd g2e | dBe dBG | c2A BdB | AGF G2 ||

X: 2

T: Drunken Gauger [1]

S: "Treoir"

M: 6/8

L: 1/8

R: jig (set dance)

Z: Transcribed by Bill Black

K: G

D | GAB c>BA | BAG AGE | GBd g2 e | dce dBG |

c3 B3 | AGA BGE | DEG AGA | BGG G2 :|

D | GBd g2 e | dce dBG | A^ce a3 | agb age |

dcd g2 e | dce dBG | c3 BdB | AGA BGE |

GAB c2 A | BAG AGE | GBd g2 e | dce dBG |

c3 B3 | AGA BGE | DEG AGA | BGG G2 :|

X:3

T:Drunken Gauger [1]

M:6/8

L:1/8

S:Based on Bobby Casey’s version from “Ceol an Clair.”

R:Jig

Z:Jeffrey Erickson

K:G

D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |
c3 BdB | AGA BGE | DEG AGA | BGG G2
D | GAB c2A | BAG AGE | GBd g2e | dBe dBG |
c3 BdB | AGA BGE | DEG AGA | BGG G2
D | GBd g2e | dBe dBG | Ace a2a | agb age |
dBd g2e | dBe dBG | c3 B3 | AGA BGE |
(6DEFGAB c3 | BAG AGE | GBd g2e | dBe dBG |
c3 BdB | AGA BGE | DEG AGA | BGG G2
D | GBd g2e | dBe dBG | Ace a2a | agb age |
dBd g2e | dBe dBG | c3 BdB | AGA BGE |
(6DEFGAB c3 | BAG AGE | GBd g2e | dBe dBG |
c3 BdB | AGA BGE | DEG AGA | BGG G2 ||

 

DRUNKEN GAUGHER [2], THE. AKA and see “The Cook in the Kitchen [2],” “The Angry Peeler,” “The Boys of Thomastown.” See also “The Tromore Jig.”

 

DRUNKEN GAUGHER [3], THE. See note for “The Funny Tailor.”

 

DRUNKEN GAUGER [4], THE. AKA and see “The Ganger [2],” “The Steampacket [2].”  Irish, Slip Jig. G Major. Standard. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 19, pg. 6.

X:1

T:Drunken Gauger [4]

M:9/8

L:1/8

R:Slip Jig

K:G

d | BGG AGE EDD | BGG AGE c2A | ….

 


DRUNKEN HICCUPS [1]. AKA‑ "Drunkard's Hiccups," "Drunken Hiccoughs." AKA and see "Rye Whiskey [1]," "Jack of Diamonds [3]," "Way Up on Clinch Mountain," "Clinch Mountain," "The Mocking Bird" (Pa.), "My Name is Dick Kelly" (Ire.), "The Lame Beggar" (Ire.), "The Cuckoo [5]" (Ford). Old‑Time, Texas Style; Air, Waltz, Jig, and Song Tune (3/4 time). USA; Pennsylvania, North Carolina, Alabama, Mississippi, Arkansas, Texas, Arizona. A Major. AEac# (Brody, Jarrell, Reiner & Anick, Shumway): AEae (Ford). AABCC (Brody, Ford, Thede): AA'BB'CC'DD' (Reiner & Anick, Shumway). Paul Clayton identifies the tune as "old and of English origin." Arizona fiddler Kartchner called it a "favorite from the South." The tune was recorded for the Library of Congress from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph. It was listed by the Tuscaloosa News of March 28, 1971, as one of the specialty tunes of Tuscalosa, Alabama, fiddler "Monkey Brown," who frequently competed in fiddlers' contests in the 1920's and 30's (Cauthen, 1990), and it was recorded by Herbert Halpert for the Library of Congress in 1939 on two separate occasions by Mississippi fiddlers Charles Long and W.E. Claunch. Mt. Airy, North Carlolina, fiddler Tommy Jarrell knew the melody as a show piece in a repertoire heavy with dance tunes, having learned it from his father, Ben Jarrell (who recorded it with Frank Jenkins in 1927). Ben Jarrell, according to Tommy, had the tune from "old man" Houston Galyen at Low Gap, North Carolina. Bayard (1981) states it was a vocal piece before it was an instrumental one, and identifies the following songs from the British Isles and America as using the tune: "Johnnie Armstrong," "Tod(d)linHame," "Bacach," "Robie Donua Gorach," "The Wagoner's Lad," "Clinch Mountain," "The Cuckoo [5]," "Rye Whiskey [1]," "Jack of Diamonds [3]," "Saints Bound for Heaven," "Separation," "John Adkins' Farewell." Instrumental variations from the British Isles he has identified include "Drunk at Night and Dry i' the Morning [1]" (noted variously in 3/4 and 6/8 time) and "Lude's Lament."  Two and a half pages of the song can be found in "The Oxford Book of Light Verse." In Pennsylvania, reported Bayard, it was customary for fiddlers to sing the repeated line:

***

Oh, I will never get drunk anymore!

***

to the first (or sometimes second) strain. Most American versions include a part that is supposed to suggest hiccups.

***

I'm a rambler and a gambler a long ways from home,

And them that don't like me can leave me alone.

***

I'll take up my fiddle and rosin my bow,

I'll make myself welcome wherever I go.

***

I'll eat when I'm hungry and drink when I'm dry,

If a tree don't fall on me I'll live till I die.

***

Its beefsteak when I'm hungry and whiskey when I'm dry,

Money when I'm hard up, sweet heaven when I die.

***

I'll cross the wide ocean my fortune to try,

And when I get over I'll sit down and cry.

***

It isn't the long journey that troubles me so,

Its leavin' the darlin' I've courted so long.

***

Hic‑cough, O Lawdy, how bad do I feel,

Hic‑cough, O Lawdy, how bad do I feel.

***

Rye whiskey, rye whiskey, you're no friend to me,

You killed my poor daddy, goddam you try me.

***

Raw whiskey, raw whiskey, raw whiskey, I cry,

Sweet heaven, sweet heaven, whenever I die.      (Thede)

***

Rye Whiskey, rye whiskey, rye whiskey I crave,

If I don't get rye whiskey I'll go to my grave.

***

I eat when I'm hungry, and drink when I'm dry,

And if whiskey don't kill me I'll live till I die.      (Ford)

***

Way out on Clinch Mountain I wander alone,

Drunk as the devil and can't find my home.

***

Oh Lordy, how drunk I do feel {Hic}

Oh Lordy how sleepy I feel.                 (Clayton)

***

Played cards in England, I've gambled in Spain,

Goin' back to Rhode Island, Gonna' play my last game.

***

I'll tune up my fiddle, and rosin the bow,

Make myself welcome, wherever I go.

***

Jack o' diamonds, jack o' diamonds, I know you from old,

Robbed by poor pockets of silver and gold.

***

Corn whiskey and pretty women, they've been my downfall,

Beat me and they bang me, but I love them for all.

***

My shoes is all tore up, my toes're stickin out,

Don't get some corn whiskey, I'm agoin' up the spout.

***

Gonna' beat on the counter, or I'll make the glass ring,

More brandy, more brandy, more brandy to bring.

***

Gonna' drink I'm gonna' gamble, my money is my own,

Them that don't like me can leave me alone.               (T. Jarrell)

***

Sources for notated versions: Benny Thomasson (Texas) [Brody]; 'old man' Houston Galyen (Low Gap, N.C.) via Ben Jarrell via his son Tommy Jarrell (Mt. Airy, N.C.) [Reiner & Anick]; Louise and W.S. Collins (Pottawatomie County, Oklahoma) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Emery Martin (Dunbar, Pa., 1946) [Bayard]; John Wolford (elderly fiddler from Fayette County, Pa., 1944) [Bayard]; Mary Ann Rogers (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 646, pgs. 566‑567. Brody (Fiddler’s Fakebook), 1983; pg. 92. Ford (Traditional Music in America), 1940; pg. 126. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 93. Ruth (Pioneer Western Folk Tunes), 1948; No. 17, pg. 8. Thede (The Fiddle Book), 1967; pg. 54‑55. County 519, Reaves White County Ramblers ‑ "Echoes of the Ozarks, Vol. 2." County 723, Tommy Jarrell ‑ "Down at the Cider Mill" (appears as "Jack of Diamonds"). County 756, Tommy Jarrell (N.C.) ‑ "Sail Away Ladies" (1976). Rounder 0421, Bruce Molsky - “Big Hoedown” (1997. Appears as “Clyde’s Hiccups” as version was from Clyde Davenport). Voyager 304, Ora Spiva‑ "More Fiddle Jam Sessions" (appears as "Rye Whiskey"). County 724, Benny Thomasson (Texas) ‑ "Country Fiddling." Rounder Records, Hobart Smith – “Southern Journey, Vol. 6: Sheep, Sheep, Don’t You Know the Road” (a reissue of Alan Lomax recordings). Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from Tommy Jarrell). Tradition Records TLP1007, Hobart Smith ‑ "Instrumental Music of the Southern Appalachians" (1956). Recorded for Victor in 1928 by Jilson Setters (as Blind Bill Day) {b. 1860, Rowan County, Ky.} under the title "Way Up on Cinch Mountain."

X:1

T:Drunkard’s Hiccoughs

T:Rye Whiskey

M:3/4

L:1/8

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948).

Z:AK/Fiddler’s Companion

K:G

(GA)|:B2G2 (GE)|D2B,2D2|E2G2G2|B4(GA)|B2G2 (GE)|D2B,2D2|

E2G2A2|G4 (GA):|

|:G2A2 (Bc)|d2G2A2|B2c2B2|A4 (GA):|

B2G2(GE)|D2B,2D2|E2G2A2|G4 B,2||

|:C[CE] [CE][CE][CE][CE]|B,[B,D] [B,D][B,D][B,D][B,D]|

E[B,G [B,2G2] [B,2G2]|[G4B4] B,2|C[CE] [CE][CE][CE][CE]|

B,[B,D] [B,D][B,D][B,D][B,D]|E2G2A2|[B,4G4]:|

 


DRUNKEN HICCOUGHS [2], THE. AKA and see "Oil City Quickstep [2]." American, Country Dance Tune (4/4 time). USA, Western Pa. G Major. Standard. AB. "This tune is also quite popular in Fayette County. Its variants show little change. The title is one of the 'floating' variety, being mentioned in Odum, 'An American Epoch', p. 202, and Carmer, 'Stars Fell on Alabama', p. 276; and found in connection with a quite different air in Ford, p. 126. The tune's usual title in Pennsylvania is 'The Oil City Quickstep'" (Bayard). Bayard (Hill Country Tunes), 1944; No. 52.

                             

DRUNKEN HUSSARE. English, Jig. B Flat Major/A Major. Standard tuning. One part. A  hussar is a type of 19th century cavalryman. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No’s. 15 & 16.

                             

DRUNKEN LANDLADY, THE. Irish, Reel. E Dorian. Standard tuning. AABB. Many have pointed out the similarity of this tune with the perhaps better known “Pigeon on the Gate,” which sometimes makes for confusion in sessions. Seamus Ennis is often cited as the source for this tune, and, according to piper Néillidh Mulligan, Ennis collected the tune as an untitled piece in Inishnee, Connemara, in the 1940’s, but subsequently heard the title “The Drunken Landlady” from musicians in County Cavan. However, it was not until the 1970’s that “The Drunken Landlady” was recorded commercially, and it does not appear in printed collections until the next decade after.  Breandan Breathnach included the tune "The Drunken Landlady" (in A Dorian) is his Man and His Music article on Seamus Ennis, from 1982. A similar tune called "The Drunken Tailor" was recorded by accordionist Michael Grogan and fiddler John Howard in 1946. Sources for notated versions: Donal De Barra (Co. Limerick) [Mulvihill]; Bothy Band [Sullivan]; from the playing of piper Séamus Ennis (Dublin), who learned them from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned piper and pipemaker Billy Taylor of Drogheda and later Philadelphia [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 9, pg. 5. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 2, pg. 71. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 63. Harker (300 Tunes from Mike Rafferty), 2005; No. 77, pg. 24. Mallinson (Essential), 1995; No. 70, pg. 30. Miller (Fiddler’s Throne), 2004; No. 149, pg. 97. Mulvihill (1st Collection), 1986; No. 5, pg. 2. Peoples (Fifty Irish Fiddle Tunes), 1986; 36. Sullivan (Session Tunes), vol. 3; No. 61, pg. 25. Taylor (Crossroads Dance), 1992; No. 33, pg. 24. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 15. Atlantica Music 02 77657 50222 26, Kim Vincent - “Atlantic Fiddles” (1994). CCE Néillidh Mulligan - "The Leitrim Thrush" (learned from Seamus Ennis). DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Islander Records, Kim Vincent - “Welcome Paddy Home” (1989). Shanachie 79006, Mary Bergin- “Feadoga Stain.” Shaskeen ‑ "My Love is in America."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s