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 http://www.shaysrebellion.stcc.edu "Address to the Ladies" is an adaptation of a song printed 20 years earlier. When it originally appeared in the //Boston Newsletter//, the song was part of an inter-colonial boycott of the British parliament for taxing the colonists without their consent for certain imported goods. The song encouraged women to join the boycott and use substitutes produced in America, or go without. During the economic downturn after the American Revolution, observers similarly urged American women, in particular, to curtail their spending on imported goods such as textiles, ceramics, and other "gew gaws" for the sake of their country. In 1787, a western Massachusetts newspaper printed this revised version of the original "Address." Young ladies in town, and those that live 'round Let a friend at this season advise you, Since money's so scarce and times growing worse Strange things may soon hap and surprise you. First then, throw aside your high-top knots of pride, Wear none but your own country linen; Of economy boast, let your pride be the most, To shew cloathes of your own make and spinning. What if homespun they say, is not quite so gay As brocade, yet be not in a passion, For when once it is known, this is much worn in town, One and all will cry out 'tis the fashion! No more ribbands wear, nor in rich dress appear, Love your country much better than fine things: Begin without passion, it will soon be the fashion To grace your smooth locks with a twine string. These do without fear, and to all you'll appear, Fair, charming, true, lovely and clever; Tho’ the times remain darkish, young men may be sparkish, And love you much stronger than ever.
 * "Address to the Ladies"**
 * LYRICS**

Allemand Swiss was a popular English country dance that was enjoyed in the American colonies and may have been one of the most popular American country dances by the end of the 18th century. The tune and dance also go by the title of the "Faithful Shepherd." The musicians on this recording have taken the liberty to play the tune as a canon, or round, with the various instruments coming in at the beginning of the tune, after other instruments have already started, and continuing on. This song first appeared in England in 1706 in a collection of songs entitled, //Pills to Purge Melancholy,// by Thomas D’Urfey. It became very popular in colonial America. The verses in the version sung here were composed by John Gay, who wrote //The Beggar’s Opera,// in which this song appears. Throughout the opera old tunes with new lyrics appear, composed for the production. The opera was performed in the American colonies as early as 1768 in Williamsburg, Virginia.


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 * Over The Hills And Far Away**

Lyrics
Were I laid on Greenland’s coast, And in my arms embraced my lass, Warm amidst eternal frost, Too soon the half year’s night would pass. Chorus: And I would love you all the day, Every night would kiss and play, If with me you’d fondly stray, Over the hills and far away. Were I sold on Indian soil, Soon as the burning day was closed, I could mock the sultry toil, When on my charmer’s breast reposed.  i acualy went onto google and found these instead of the flikkr thingie.

 =**Successful Campaign**=  From //Catchpenny Prints//, Bowles and Carver, London, first published in the late 1780s This tune is also known as "Success to the Campaign" and "Bath Frollic." It appeared as early as 1764 in a small book of country dances printed in London and soon became a popular dance melody. It is one of a number of dances named to reflect, or remember, battles, leaders, and sentiments about the American Revolution. It was also used as a marching tune for fifers and drummers. As a visiting French dignitary observed while attending a ball in Philadelphia in 1780, "These dances, like the 'toasts' we drink at table, have a marked connection with politics."

To play audio, please click arrow and wait for audio file to load. Instrumentation: fife, fiddle, hammered dulcimer, flute, soprano recorder



Sacred Music
From the earliest days of settlement, religious services in New England Congregational, or Puritan, meetinghouses included music. Religious beliefs dictated that this music be performed without instrumental accompaniment. By the early 18th century, the abilities of congregations to sing psalms and anthems had been reduced to a cacophony of voices singing multiple tunes and variations, often simultaneously. Ministers seeking to improve the quality of music and worship responded by calling on towns and churches to establish “singing schools.” These singing schools attracted many young people and dramatically altered the nature and variety of sacred music performed in New England meetinghouses. The tunes presented here are representative of the music taught and performed in the late 18th and early 19th centuries.

Audible above the noise and chaos of battle, __[|fifes]__ and __[|drums]__ were indispensable instruments in 18th century armies, both for communicating orders and for raising morale. In addition to playing popular marching tunes, fifers and drummers played out orders on the march, in camp and on the battlefield. The tunes presented here were particularly popular and would likely have been familiar to Massachusetts veterans of the Revolution.

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