BILLY BOY [2]. AKA and see "Walk Jaw Bone," "Green Mountain," "Cake's All Dough," "Did You Ever See the Devil, Uncle Joe," "Uncle Joe," "Hop Light/High Ladies," "Miss McLeod's Reel."
CAKE'S ALL DOUGH. AKA and see "Hop High/Light Ladies," "Miss McLeod's Reel," "Green Mountain," "Walk Jaw Bone," "Billy Boy," "Did You Ever See the Devil, Uncle Joe?" "Uncle Joe."
DON'T YOU WANT TO GO TO HEAVEN, UNCLE JOE? AKA and see "Uncle Joe," "Hop High/Light Ladies," "Did You Ever See the Devil, Uncle Joe."
DID YOU EVER SEE THE/A DEVIL, UNCLE JOE. AKA and see "(Miss) McCloud's Reel," "Miss McLeod's Reel," "Hop Light/High Ladies," "The Cake's All Dough," "Green Mountain," "Walk Jaw Bone," "Billy Boy." Old-Time, Breakdown. USA; southwest Va., eastern Ky. G Major. Standard. AABB'. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 71. Conqueror 8136 (78 RPM), Doc Roberts (Ky.). OKeh 45268 (78 RPM) {1927}, Fiddlin' Cowan Powers 1877-1952? (Russell County, southwest Va.). Rounder Records 0058, John Patterson - "Old Originals, Vol. 2" (1978).
GREEN MOUNTAIN [1]. AKA and see "(Did you Ever See the Devil) Uncle Joe," "Hop High/Light Ladies," "Walk Jaw Bone," "Billy Boy," "The Cake's All Dough," "Miss McLeod's Reel." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.
HOP HIGH LADIES (THE CAKE'S ALL DOUGH). AKA and see "(Miss) McCloud's Reel," "Mrs. MacLeod Raasay," "Miss McLeod's Reel," "Did You Ever Go To Meetin' Uncle Joe, Uncle Joe?" "Did You Ever See the Devil, Uncle Joe?" "Hop Light Ladies," "Uncle Joe," "Hop Up My Ladies," "Green Mountain," "Knickerbocker Reel," "Billy Boy," "Sally's Hornpipe," "Walk Jaw Bone," "Whitewash Station." Old-Time, Breakdown. USA, Widely known. G Major (usually - Thede published an odd version in G ['A' part] and D ['B' part). Standard. AB. An American 'old-time' version of the Scottish "Miss McCloud's/Miss McLeod's Reel," the main difference being that the old-time version resolves to the tonic on the cadence, while the Scottish tune generally ends on the dominant. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Wade and Fields Ward (Galax, Va.) recorded the tune in 1937 for Alan Lomax (AAFS #1363). Various lyrics to the tune go:
***
Hop high ladies for the cake's all dough (x3)
I don't mind the weather so the wind don't blow
***
The cow kicked Nelly in the belly in the barn
The cow kicked Nelly in the belly in the barn
The cow kicked Nelly in the belly in the barn
And another little snort wouldn't do us any harm
***
Did you ever see the devil, Uncle Joe, Uncle Joe (3x)
Well, I don't mind the weather if the wind don't blow.
***
Did you ever go to meeting, Uncle Joe, Uncle Joe (3x)
Well, I don't mind the weather if the wind don't blow.
***
How'd ya like the weather, Uncle Joe, Uncle Joe (3x)
Huh? What'd you say?
***
Hop high ladies and the cakes all dough (3x)
I don't mind the weather if the wind don't blow.
***
Tennessee entertainer Uncle Dave Macon did not always sing the three repeat lines of the chorus, "Hop High Ladies, (for) cake's all dough," but sometimes substituted instrumental fragments to hold the rhythm. Tom Paley says that Macon's last line occasionally went something like (it is not clear on the recording):
***
How I get enough time, my Lord, I never will know.
***
These words are from the Memphis Jug Band (who called the tune "Whitewash Station"):
***
If you want to go to heaven
I tell you what to do
You put on your sock, a boot or a shoe
You place a bottle of corn in your right hand
That'll send you right over to the Promised Land
***
And if you meet the Devil
You ask him "How'd ya do"
"I'm on my way to heaven don'tcha wanna go too?"
You know there's a place
That'll do just as well
It's called a Whitewash Station
Ten miles from hell.
***
Source for notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Ruth (Pioneer Western Folk Tunes), 1948; No. 13, pg. 6 (appears as "Don't You Want to Go to Heaven, Uncle Joe?"). Thede (The Fiddle Book), 1967; pg. 99. Folkways FA 2494, "Sing Songs of the New Lost City Ramblers" (1978). Philo 1042, Boys of the Lough (with old-time mandolinist Kenny Hall) - "The Piper's Broken Finger" (1976). Vocalation 5154 (78 RPM), Uncle Dave Macon.
T:Hop Light Ladies
T:Hop High Ladies
T:Don't You Want to Go to Heaven, Uncle Joe?
L:1/8
M:2/4
S:Ruth - Pioneer Western Folk Tunes (1924)
K:G
G/A/B/c/ d/B/G/A/|BB/A/ BA|GA/B/c/ d/B/G/B/|AA/B/ Az|
G/A/B/c/ d/B/G/A/|BB/A/ Bd|e>d e/f/g/d/|BA Gz:|
|:Gg e/f/g/d/|BB/A/ BA|Gb e/f/g/e/|a>b a2|Gg e/f/g/d/|BB/A/ Bd|
e>d e/f/g/d/|BA G2:|
|:G/G/ g/g/ e/e/g/g/|BB/c/ BA|G/G/ g/g/ e/e/g/g/|a>b a2|G/G/ g/g/ e/e/g/g/|
BB/A/ Bd|e>d e/f/g/d/|BA G2:|
HOP LIGHT, LADIES. AKA and see "Hop High Ladies," "Did You Ever See the Devil, Uncle Joe," "Uncle Joe," "Walk Light Ladies," "Walk Jaw Bone," "Green Mountain," "Billy Boy," "The Cake's All Dough," "Miss McLeod's Reel," "Run Here, Johnny, There's a Bug Done Got on Me." USA; known in parts of Virginia (esp. Patrick County) and Tennessee under this title, and by Alabama fiddler D. Dix Hollis (1861-1927), who considered it one of "the good old tunes of long ago" (as mentioned in the Opelika Daily News of April 17th, 1926). Also played under this title by J.B. Crenshaw (Covington, Ga.) at a 1913 Atlanta, Ga., fiddlers' contest, and it is mentioned in reports of the De Kalb County (Alabama) Annual (Fiddlers) Conventions 1926-31. Under this title the tune was recorded by legendary Galax, Va., fiddler Emmett Lundy and by Steppville, Alabama, fiddler J.C. Glasscock (for the Gennett label, though it was unissued). The title appears in a list of traditional Ozark Mountain fiddle tunes (as does its alternate, "Hop High Ladies") compiled by musicologist/folklorist Vance Randolph, published in 1954. A version played by elderly Franklin County, Georgia, banjoist Mabel Cawthorn was called "Run Here, Johnny, There's a Bug Done Got on Me." County 201, "The Old Virginia Fiddlers...Patrick County, Virginia." Rounder 0057, Frank Dalton and George Wood (Meadows of Dan, Patrick County, Va.) - "Old Originals, Vol. 1" (1978).
HOP UP LADIES. AKA and see "Hop High Ladies."
KNICKERBOCKER REEL. AKA and see "Hop High Ladies."
McLEOD'S REEL. AKA and see "Miss McLeod's (MacLeod's) Reel," "Did You Ever See the Devil, Uncle Joe?" "Hop Light/High Ladies." American (originally Scottish), Reel. G Major. Standard. AABB. Ford (Traditional Music in America), 1940; pg. 31.
MISS McLEOD'S/MacLEOD's REEL [1] ("Cor Ingean Ni Mic Leod" or "Cor Mhic Leoid"). AKA and "Billy Boy," "The Cake's All Dough," "Did You Ever See the Devil Uncle Joe?" "Enterprise and Boxer," "The Enterprising Boxer," "The Girl with the Handsome Face," "Green Mountain," "Hop Up Ladies," "Hop High Ladies," "Hop Light Ladies," "John Brown," "May Day," "Miss MacLeod of Ayr," "MacLeod's Reel," "McLeod's Reel," "Miss McCloud," "Misses McCloud's Reel," "Mistress McCloud's Jig," "Mr. McLaw'd." "Mrs. McLeod of Raasay's Reel," "Mrs. MacLeod Raasay," "Nigger in the Woodpile" (Pa.), "Old Mammy Knickerbocker" (Pa.), "The Virginia Reel," "Walk Jaw Bone." Irish, Scottish (originally), American, Old-Time; Reel and Breakdown. Ireland, County Donegal. G Major (most versions): A Major (Ashman, Roche, Songer): F Major (Hardings). Standard. AABB. A universal favorite in the British Isles and North America. Apparently the tune was first printed in Gow's Strathspey Reels of 1809 (pg. 36), with the note "An original Isle of Skye Reel. Communicated by Mr. McLeod."
***
It was popular as long ago as 1779 in Ireland as its playing is mentioned in an account by a foreign visitor named Berringer or Beranger of a "cake" dance (i.e. where the prize was a cake) he participated in while visiting in Connacht. O'Neill (1913) relates Beranger's observations somewhat differently and gives that it was one of six tunes played by Galway pipers in 1779 for the entertainment of the traveller. In modern times in Ireland the tune was included in a famous set of the late Donegal fiddlers, brothers Mickey and Johnny Doherty, who played it as the last tune after "Enniskillen Dragoons" and "Nora Criona" (Wise Nora), though sometimes they substituted "The Piper of Keadue" for "Miss McLeod's." The whole set was played in the rare AAAE tuning, which required playing in position (Caoimhin MacAoidh).
***
The title "Peter Street" appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The reel was mentioned in an account of one of the old pipers of County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820's, and was engaged to teach the children of the 'dreadful' Mrs. Murphy. It seems that Carleton:
***
having spent several nights at piper Cassidy's house weighing up the local
dancers ...was impelled by vanity to show them how good a dancer he was
himself. He asked one of the handsomest girls out on the floor, and, in
accordance with the usual form, faced her towards the piper, asking her to
name the tune she wished to dance to. Receiving the customary reply, 'Sir,
your will is my pleasure,' Carleton called for the jig Polthogue. He next
danced Miss McLeod's Reel with his partner, and then called for a hornpipe,
a single dance, this is, one done without a partner. It was considered
unladylike for girls to do a hornpipe. The College Hornpipe was his choice
for this dance. (pg. 59)
***
Charlie Piggott, in his book Blooming Meadows (1998) written with Fintan Vallely, relates that accordion player Johnny O'Leary was at the deathbed of his mentor, the famed Sliabh Luachra fidder Pádraig O'Keeffe, in St. Catherine's Hospital, Tralee. O'Keeffe was lucid until the end, and engaged in witty repartee with O'Leary:
***
'You know two great reels,' he said. 'Don't ever forget them.'
'What are they?' said I.
'"Miss McCloud" and "Rolling in the Ryegrass",' he said.
'You see, "Miss McCloud" is a great reel,' he said, 'but we're playing
it wrong.'
'How do you mean it?' says I.
'I'm at it now,' he says, 'but I suppose I won't be left alive to do it-
play it backwards. And,' he says, 'you'll never in your life hear a nicer
reel.'
Whether 'tis right or not, I don't know. He was just going to do it when
he died. He said he had a sister that had the first part of it done backwards
with a concertina and, Pádriag said, 'twas double nicer than the way we're
playing it. He was a genius, you know. He was a genius.
***
The melody has had a long history in America and has proved enduringly popular with fiddlers in many regions. Cauthen (1990) notes the tune's mention in the "Marion Standard" of April 30, 1909, which reported its having been played at a housewarming in Perry County, Alabama, in 1827. Bronner collected the tune from central New York fidders, who also knew it under the title "Virginia Reel" and, from one source, the "interchangable title" of "Campbells are Coming," a jig. Some confusion in his sources seems to stem from the interchangability of many triple and duple meter tunes under the "Virginia Reel" moniker, but Bronner states that versions of "Miss McLeod" in 12/8 time were "not uncommon" in his collecting experience. Samuel Bayard (1981) also wondered if "Miss McLeod" was a reworking of some set of the 6/8 time "The Campbells Are Coming," a family which includes (among others) "The Burnt Old Man" and "Hob or/and Nob." O'Neill (1913) has no doubts and states unequivocably that the 'McLeod' and 'Campbell' tunes either had a common origin or that the former was derived from the latter (or its Irish equivalent, "An Seanduine"). The title appears in a list of the repertoire of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the mid-1920's) and it was cited as having commonly been played for Orange County, New York, country dances in the 1930's (Lettie Osborn, New York Folklore Quarterly). Arizona fiddler Kenner C. Kartchner remembered the tune being played in the Flagstaff-Williams (Ariz.) area in 1903 (Shumway). The title (as "MacLeod's Reel") appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. A rendering of the tune under the title "Mistress McCloud's Jig" was recorded by him for the Library of Congress from fiddlers in that region in the early 1940's. Bayard (1981) noted that the tune was usually played in the British Isles with with the parts ending on the second of the scale, resulting in an "endless" or "circular" tune, while fiddlers in the Americas usually ended on the tonic. Also in the repertoire of Uncle Jimmy Thompson (Texas, Tennessee) as "McLeod's Reel."
***
Novelist and fiddler Thomas Hardy, of Devonshire, England, knew the tune and worked it into his novel The Mayor of Casterbridge (1886):
***
Farfrae was footing a quaint little dance with Elizabeth-Jane--an old
country thing, the only one she knew, and though he considerately toned
down his movements to suit her demurer gait, the pattern of the shining
little nails in the soles of his boots became familiar to the eyes of every
bystander. The tune had enticed her into it; being a tune of a busy,
vaulting, leaping sort--some low notes on the silver string of each fiddle,
then a skipping on the small, like running up and down ladders--'Miss
McLeod of Ayr' was its name, so Mr. Farfrae had said, and that it was
very popular in his own country [Scotland].
***
Words are sometimes set to the tune, especially in American variants. These words were collected in Scotland:
***
Macaphee turn yer cattle roon loch o' Forum (3 times)
Here and there and everywhere the kye are in the corn.
***
Waitin' at the shielin' o Mhaire bhan mo chroi (pronounced: varie van ma cree)
Waitin' at the shielin' o faur awa' tae sea
Hame will come the bonny boats Mhaire bhan mo chroi
Hame will come the bonny boys, Mhaire bhan mo chroi.
***
A curious alternate title for "McLeod's," "The Enterprising Boxer" is a miss-hearing of the name "Enterprise and Boxer," which refers to a naval engagement between two ships of those names.
***
Sources for notated versions: Michael Coleman (Co. Sligo/New York) [DeMarco and Krassen], John McDermott, (New York State, 1926) [Bronner], 8 southwestern Pa. fiddlers [Bayard]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; accordion player Johnny O'Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Piobairi Uilleann, October, 1984 [Moylan]. Adam, No. 20. Allan's Irish Fiddler, No. 69, pg. 17. American Veteran Fifer, 1927; No. 6. Ashman (The Ironbridge Hornpipe), 1991; No. 25a, pg. 6 (appears as "Mr. Mc Law'd a Popular Dance"). Bayard (Dance to the Fiddle), 1981; No. 249A-H, pgs. 211-213. Brody (Fiddler's Fakebook), 1983; pg. 192. Bronner (Old Time Music Makers of New York State), 1987; No. 4, pg. 26 (appears as 1st tune of "Virginia Reel Medley"). Burchenal (American Country Dances, Vol. 1), 1918; pgs. 10-11 (appears as "Virginia Reel" [2]). Cazden (Dances from Woodland), 1945; pg. 24. Cazden (Folk Songs of the Catskills), pg. 29. Cole (1001 Fiddle Tunes), 1940; pg. 29 (appears as "Miss McCloud's"). DeMarco and Krassen (Trip to Sligo), 1978; pgs. 38, 52, 66. Gale, No. 30. Hardings All Round Collection, 1905; No. 183, pg. 58. Hardings Original Collection and Harding Collection, No. 36. Howe (Diamond School for the Violin), 1861; pg. 44. Howe, 1951; pg. 34. Jarman (Old Time Fiddlin' Tunes), No. or pg. 10. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 48, pg. 24 (appears as "May Day"). Kerr (Merry Melodies), Vol. 1; pg. 5. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 109. Moylan (Johnny O'Leary), 1994; No. 143, pg. 84. O'Malley, pgs. 10 & 22. O'Neill (1915 ed.), 1987; No. 275, pg. 140. O'Neill (Krassen), 1976; pg. 134. O'Neill (1850), 1903/1979; No. 1418, pg. 263. O'Neill (1001 Gems), 1907/1986; No. 655, pg. 117. Robbins, No. 96. Roche Collection, 1982, Vol. 1; No. 148, pg. 59. Ruth (Pioneer Western Folk Tunes), 1948; No. 112, pg. 39. Smith (Scottish Minstrel), Vol. 4, pg. 50. Songer (Portland Collection), 1997; pg. 136. Surenne, pg. 11. Sweet (Fifer's Delight), 1965/1981; pg. 32. Trim (Thomas Hardy), 1990; No. 4 (appears as "Miss MacLeod of Ayr"). Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 19. White's Excelsior Collection, pg. 42. White's Unique Collection, No. 170. Biograph 6003, The Bogtrotters- "The Original Bogtrotters" (appears as "Hop Up Ladies"). Brunswick (78 RPM), John McDermott (N.Y. state), 1926 (appears as 1st tune of "Virginia Reel Medley"). CCF2, Cape Cod Fiddlers - "Concert Collection II" (1999). County 201, The Old Virginia Fiddlers- "Rare Recordings" (appears as "Hop Light Ladies"). Davis Unlimited 33015, Doc Roberts- "Classic Fiddle Tunes" (appears as "Did You Ever See the Devil, Uncle Joe"). Gael-Linn CEF 045, "Paddy Keenan" (1975. Appears as "McLeod's Reel/Cor Mhic Leoid"). Glencoe 001, Cape Breton Symphony- "Fiddle." Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - "The Rushy Mountain" (1994. Reissue of Topic recordings). Green Linnet 1023, Joe Shannon and Johnny McGreevy- "The Noonday Feast." Green Linnet SIF1122, Kevin Burke - "Open House" (1992). John Edwards Memorial Foundation JEMF-105, Uncle Joe Shippee - "New England Traditional Fiddling" (1978). June Appal 007, Thomas Hunter- "Deep in Tradition." Nimbus NI 5320, Ciaran Tourish et al. - "Fiddle Sticks: Irish Traditional Music from Donegal" (1991). Rounder 0057, Frank Dalton and George Wood- "Old Originals, Vol. 1" (appears as "Hop Light Ladies"). Rounder 0058, John Patterson- "Old Originals, Vol. II" (appears as "Did You Ever See the Devil, Uncle Joe?"). Shanachie 33001, Patrick J. Touhey- "The Wheels of the World." Tennvale 001S, Bob Douglas- "Old Time Dance Tunes Fron the Sequatchie Valley" (Appears as "Hop Light Ladies"). Tennvale 003, Pete Parish- "Clawhammer Banjo." Topic 12T309, Padraig O'Keeffe, Denis Murphy & Julia Clifford - "Kerry Fiddles." Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Victor 20537 (78 RPM), Mellie Dunham, 1926 (appears as 1st tune of "Medley of Reels"). Mickey Doherty - "The Gravel Walks."
T:Miss McLeod's Reel
L:1/8
M:C|
K:G
|:G2 BG dG BG|GB BA Bc BA|G2 BG dG BG|A2AG (3ABc BA|
G2BG dG BG|GB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
|:G2 gf ed eg|B2BA BcBA|G2 gf ed Bd|ea ag fd ef|g2 gf ef ge|
dB BA Bc d2|(3efg ed Bd ef|ge dB Ac BA:|
MOUNTAIN REEL [1]. Old-Time, Reel. USA, Mo. G Major. Standard. AABB. Appears related to "Hop High Ladies." Ford (Traditional Music in America), 1940; pg. 100. Columbia 15279-D (78 RPM), 1926, Charlie Poole and the North Carolina Ramblers (or is it another tune?). Caney Mountain Records CEP 208 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66.
MRS. MACLEOD (OF) RAASAY. AKA and see "Miss McLeod of Raasay," "Miss McCloud," "Miss McLeod('s Reel)," "Miss Macleod of Ayr," "Da Broon Coo" (Shetland), "Hop High Ladies," "Enterprising Boxer." Scottish, Reel or Scottish Measure. Scotland, Isle of Skye. A Major. Standard. One part (Gow): AB (Honeyman): AABB (Perlman): AA'BB' (Athole, Skye). Composed by Sir Alexander MacDonald, according to Keith Norman MacDonald, editor of the Skye Collection. When played as a jig the melody is "The Campbells are Coming." The piece was published in Niel Gow's Fifth Collection, 1809, and is the obvious ancestor to the famous American fiddle tune known variously as "Hop High Ladies," "Hop Light Ladies" or other titles. Gow said he had the tune from Mr. McLeod of Raasay who described it as an original Isle of Skey reel. Source for notated version: "Communicated (composed?) by Mr. McLeod of Raasay. An original Isle of Skye reel" (Gow). Source for notated version: Elmer Robinson (b. 1910, Mount Pleasant, West Prince County, Prince Edward Island; now resident of Woodstock) [Perlman]. Carlin (The Gow Collection), 1986; No. 304 (appears as "Mrs. McLeod of Rasay"). Emmerson (Rantin' Pipe and Tremblin' String), 1971; No. 52, pgs. 141-142. Gow, 5th Collection. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 18. Hunter (Fiddle Music of Scotland), 1988; No. 249. Kerr (Merry Melodies), Vol. 1; Set 5, No. 2, pg. 5 (appears as "Mrs. McLeod"). Lowe (A Collection of Reels and Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg. 8. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 98. Stewart-Robertson (The Athole Collection), 1884; pg. 6. "The Caledonian Companion" (1975). "Melodeon Greats" (1978). Bob Smith's Ideal Band - "Ideal Music" (1977). "Fiddlers Three Plus Two."
SALLY'S HORNPIPE. AKA and see "Hop High Ladies."
UNCLE JOE. AKA and see "Miss McCloud's Reel." AKA- "Green Mountain," "Walk Jaw Bone," "Hop Light/High Ladies," "Did You Ever See the Devil, Uncle Joe," "Billy Boy." Old-Time, Breakdown. USA; Arkansas, Oklahoma. Another derivative of the British Isles' "Miss McCloud's Reel." The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's. G Major. Standard. AABB.
***
Do ya wanta go to heaven Uncle Joe, Uncle Joe,
Do ya wanta go to heaven Uncle Joe, Uncle Joe,
Do ya wanta go to heaven Uncle Joe, Uncle Joe,
Where the sun don't shine and the wind don't blow. (Thede)
Don't you want to go to heaven, Uncle Joe, Uncle Joe!
Don't you want to go to heaven, by and by?
Don't you want to go to heaven, Uncle Joe, Uncle Joe!
Where the 'possum and the sweet potatoes grow up in the sky? (Ford)
***
Source for notated version: Rance Willhite (Jefferson County, Oklahoma) [Thede]. Ford (Traditional Music in America), 1940; pg. 47. Thede (The Fiddle Book), 1967; pg. 100.
WHITEWASH STATION. See "Hop High Ladies."