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Adge Cutler & The Wurzels

"CARRY ON CUTLER!" LP


This was the fourth 'live' album by Adge Cutler & The Wurzels, originally released in October 1969 as a 12" vinyl LP on the Columbia EMI record label. It was released simultaneously in both mono (catalogue number SX6367) and stereo (catalogue number SCX6367). It was subsequently repressed in stereo a further three times between 1969 and 1979. 2009 saw the album released on CD.

The Band Line-Up:

Supporting Adge Cutler, 'The Wurzels' are credited on the sleeve as being Tommy Banner (Accordion/Piano), Gaffer Baylis (Bass/Sousaphone) and Reg Quantrill (Guitar/Banjo) all of whom appear on the sleeve artwork. Two session drummers are also credited - Eddie Clayton and Douggie Wright. This was the first album that Tony 'Gaffer' Baylis had recorded with the band, having joined at the beginning of the year after leaving the 'Temperance Seven', replacing Henry Davis. Henry remained in touch with the band for many years, often under the guise of their 'musical director'.

Track Listing:

  • Side 1
  • 1. DRINK UP THY ZIDER (Play-on) (Cutler)
    2. ALL OVER MENDIP (Cutler)
    3. DOWN ON THE FARM (Whitecomb)
    4. FOLK SONG (Dicks-Rudge)
    5. ALOHA, SEVERN BEACH (Cutler)
    6. OOM PAH PAH (from "Oliver") (Lionel Bart)
    7. THE HARVEST OF LOVE (Hill-Anthony)
  • Side 2
  • 1. I COULDN’T SPELL !!**&@&**!! (Thompson)
    2. THE CHEWTON MENDIP LOVE-IN
        (Whitehead-Gardner)
    3. SATURDAY NIGHT AT THE CROWN
        (Henderson-Barratt)
    4. RILEY’S COW-SHED (Damerell-Hargreaves)
    5. FERRY TO GLASTONBURY (Cutler-Thomas)
    6. WILLIE THE SHAKE (New lyric and music
       adapt - Cutler-Baylis-Banner-Quantrill)
    7. DRINK UP THY ZIDER (Cutler)

The Album:

This album, Adge's fourth, was promoted as being recorded LIVE at the Webbington, as had his previous album, but as can be read on the back of the sleeve some of the fourteen tracks were recorded at the White Buck in Burley, Hampshire. Actually, only thirteen tracks on the album were by Adge and his Wurzels since track 1 ('play-on') was performed by the house band. Quite why it was given a track number is rather odd. Credit is given to two drummers and the tracks they played on are indicated on the track list. Assuming there was only one drummer at each venue this would appear to be a way of working out which tracks were played where. However, it is not quite that simple. Firstly, as will be seen, not all the tracks were 'live' - several were studio takes - and secondly the session drummer Douggie Wright has no recollection of playing with Adge other than in the EMI Abbey Road studios! There is no doubt that all the chat between tracks was 'live' at one or other of the venues with the songs being interwoven to give the appearance of a seamless 'live' performance.

​ Adge had always put together songs for gig set-lists very carefully and had many different variations which he rotated and tweaked almost on a weekly basis. This particular set list was put together especially for this album recording and included his 'normal' songs with a few new numbers thrown in for the benefit of a new recording. ​

As for the reception of this album? That's best left to 'The Gramophone Magazine' in their review:

It was left to Adge Cutler and The Wurzels to enliven the end of this month’s listening vigil by the gramophone with “Carry on Cutler!” (Columbia SCX 6367 mono SX 6367), recorded at live performances in the West Country and offering earthy dialect humour and songs carrying the bracing tang of fresh manure


The Tracks:

The album was a mixture of both new material and previously recorded songs. The new material on this album was:

Side 1:
Track 3 Down On The Farm
Track 4 Folk Song
Track 6 Oom Pah Pah
Track 7 The Harvest Of Love

Side 2:
Track 1 I Couldn't Spell !!**&@&**!!
Track 2 The Chewton Mendip Love In
Track 4 Riley's Cowshed
Track 6 Willie The Shake

With the exception of 'Down On The Farm' and 'Riley's Cowshed' (which seem to bear all the hallmarks of having been recorded in the studio) the remaining tracks on the list appear to be quite possibly 'live' recordings made either at the The Webbington or The White Buck.

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'Ferry To Glastonbury' backed with 'Saturday Night At The Crown' was released as a single on the Columbia record label (Catalogue number DB8614) on September 5th 1969 to promote the forthcoming LP release. The A side - 'Ferry To Glastonbury' - was a clean studio recording. The album track (Side 2 track 5) was the same take as the single but audience atmosphere was overlapped at the start of the instrumental introduction to make it appear to be a live performance. The B side - 'Saturday Night At The Crown' - was also used on the album (Side 2 track 3), same take, but again, audience atmosphere was added to make it appear to be a live performance.


Side 1 Track 2: 'All Over Mendip' was self-penned by Adge and an established part of his repertoire by now. It was originally released as a single on October 6th 1967 - the single is quite clearly a studio recording, crisp and clear. The album version however is quite obviously not the same take as the single recording and is possibly a live performance, difficult to tell with any certainty. ​

Side 1 Track 3 'Down On The Farm' is a take with variations on an Ian Whitcombe song (recorded by the composer himself) - Adge spent quite some time listening to the vinyl recording of the composer's version and a recording on Adge's surviving rehearsal tapes of him singing along to the record makes interesting listening. Adge scribbled out the lyrics at the same time and annotated them with his thoughts, comments and amendments! ​

Side 1 Track 4 'Folk Song' is rather an odd little number. Originally written on commission for Bernard Cribbins by Ted Dicks, well known in the 1960s for his numerous comedy songs. Quite how Adge' came to have it in his repertoire is unclear other than George Martin of EMI commissioned its writing and producer Bob Barratt worked with George Martin. There is no evidence that Adge included this number in his normal set lists. ​

Side 1 Track 5 'Aloha Severn Beach' was another self-penned Adge number and a well-established song in his repertoire for many years. It was originally released as a single on August 23rd 1968 - the album version is without doubt the same studio take but with an edited introduction and an ending spliced on from another take. The album track has superimposed audience and atmospheric sounds. ​

Side 1 Track 6 'Oom Pah Pah' - quite obviously taken from the musical 'Oliver' with very few changes and is another track that appears on Adge's surviving rehearsal tapes. It made it on to Adge's set list for gigs from late 1967. ​

Side 1 Track 7 'Harvest Of Love' was recorded by Benny Hill back in 1961 - Adge did a straight rendition of it but more smoothly, with a touch more feeling and subtle humour than Benny Hill had done. It was regularly sung at gigs from 1969 onwards.



Side 2 Track 1 'I Couldn't Spell !!**&@&**!! ' was a track recorded by, amongst others, 'Sam The Sham & The Pharaohs’ - and it is their 1968 version that survives on Adge's rehearsal tapes with Adge singing along, later adding his own spin to make the entertaining version that appears on this album. ​

Side 2 Track 2 'The Chewton Mendip Love-In' is Adge's take on the Whitehead & Gardner song 'The Country Love-In'. Originally practised by the band with its original title in the lyrics, Adge's private recordings show that it very quickly metamorphosised into the Chewton Mendip version that appears on this album.​

Side 2 Track 3 'Saturday Night At The Crown' written by producer Bob Barratt appears to be a studio recording, edited to appear as a 'live' take as mentioned previously. This song had also been recorded the year before by comedian Mike Yarwood, his version also being produced by Bob Barratt. ​

Side 2 Track 4 'Riley's Cowshed' was actually written in the early 1920s but suits the style of Adge and his Wurzels just right! ​

Side 2 Track 5 'Ferry To Glastonbury '(another Adge Cutler composition, this time jointly written with Colin Thomas) was also a regular on the set list and is particularly interesting in that it was one of the very few tracks which eventually had a short accompanying film, which appeared in the 1974 'Great Western Thunderbox' TV series. ​

Side 2 Track 6 'Willie The Shake' is a parody of the 1968 'The Scaffold' number 1 hit single 'Lily The Pink'. Producer Bob Barratt was apparently quoted as saying that the song 'contains some startling, though probably mythical, revelations about the Bard of Avon' (as opposed to The Bard Of Avonmouth!). On this song each member of the band takes a turn at singing lead vocals with interesting results.... it is unclear whether Adge included this song regularly on his set lists. The rough lyrics to this song appear in a notebook belonging to Adge that predates the 'Lily The Pink' song - Adge had to wait for the right song to come along to parody! ​

The self-penned finale of 'Drink Up Thy Zider' dating from the 1950's appeared of course on a single, EP and Adge's first album (same take each time) but on this occasion (Side 2 track 7) it was a new 'live' version. 


Image below is a 1969 Columbia Records promotional photocard for the 'Carry On Cutler' album release. Interestingly enough - this image is actually just a black and white horizontally flipped version of the album cover!

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Disc and Label Variations:

This LP was originally released on the EMI silver-black single box label, in mono and stereo simultaneously. It appears that there were no further mono pressings of the album but it was repressed a further three times in stereo and can be found on the second version of the silver-black single box label and also on both variations of EMI's silver-black two box label.

The examples below and the associated statistics are taken from the collection of Professor Wurzel and represent what a collector should expect to find. For more information on references to matrix information (including information on acetates), vinyl tax codes , album sleeves, singles sleeves, and Columbia album labels, then refer to the Vinyl Collecting Guides on the main menu.

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Image Ref. 1
October 1969 first mono pressing of SX6367, silver and black single box Columbia EMI label with the XAX3942 and XAX3943 matrix. No pressings with a master or mother code other than '1' have been found to date.

This disc comes in a triple flipback sleeve (1963-1971 style) and generally the crimson EMI advertising inner sleeve type F . The catalogue reference on the outer sleeve rear top right corner notes the availability of a stereo version of the LP.
This pressing's vinyl weight is mid-range, sleeve weights pretty consistent in all pressings.

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Image Ref. 2 ​
October 1969 first stereo pressing of SCX6367, silver and black single box Columbia EMI label with the YAX3942 and YAX3943 matrix. No pressings with a master or mother code other than '1' have been found to date. ​

This disc comes in a triple flipback sleeve (1963-1971 style) and generally a crimson EMI advertising inner sleeve type F . The outer sleeve is of interest in that there is no reference on the back relating the availability of a mono release except in the small print statement 'printed and made etc' on the bottom flap. This pressing's vinyl weight is mid-range, sleeve weights pretty consistent in all pressings.

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Image Ref. 3
1969 - 1971 second stereo pressing of SCX6367, silver and black single box Columbia EMI label with the YAX3942 and YAX3943 matrix. No pressings with a master or mother code other than '1' have been found to date. This pressing's vinyl weight is mid-range, sleeve weights pretty consistent in all pressings. ​

This disc can be found in the triple flipback sleeve (1963-1971 style) or double flipback sleeve (1970-1973 style) and generally the crimson EMI advertising inner sleeve type either F or G. The outer sleeve has no reference on the back relating the availability of a mono release except in the small print statement 'printed and made etc' on the bottom flap.

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Image Ref. 4
​1971-1973 third stereo pressing of SCX6367, silver and black double box Columbia EMI label with the YAX3942 and YAX3943 matrix. No pressings with a master or mother code other than '1' have been found to date. ​

This disc can be found in the triple flipback sleeve (1963-1971 style), the double flipback sleeve (1970-1973 style) or the wrap-around sleeve (1973 onwards). The inner sleeve is generally the crimson EMI advertising inner sleeve type G or the EMI company sleeves H or J. The outer sleeve again has no reference on the back relating the availability of a mono release except in the 'printed and made etc' statement on the bottom flap.

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Image Ref. 5
An interesting item for collectors - on the surface this disc is the same as the previous one - ie a 1971-1973 stereo repressing. However, on close inspection it can be seen that the text layout for the track listing is quite different.

If this layout is compared to the next example, Ref No. 6, it becomes clear that this is actually a 1973-79 pressing (see next item) but using left-over stock of the previous label blank at the printers. As such it is probably a very early pressing. The vinyl weight is very much on a par with the previous pressings of this disc. The outer sleeve is of the wrap-around design (1973 onwards). 

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Image Ref. 6
​1973 - 1979 fourth stereo pressing of SCX6367, silver and black double box Columbia EMI label with the YAX3942 and YAX3943 matrix. The rim text refers to 'EMI Records Ltd', the company name change that came into being on July 1st 1973. No pressings with a master or mother code other than '1' have been found to date. ​

The outer sleeve is of the new wrap-around design (1973 onwards). This sleeve design resulted in the loss of the information previously appearing on the flaps, so the 'filing' information (previously 'File under STANDARD' and 'Humorous Records' ) and the printer and catalogue reference information (Garrod & Lofthouse etc etc) did not appear. The words 'Garrod & Lofthouse Ltd' only were printed along the bottom edge of the sleeve. A minor consequence of the wrap round sleeve is that the top and bottom edges (but not the spine) are now white, previous designs had the cover image folding over. Potentially this disc could be found in the double flipback sleeve (1970-1973 style). The inner sleeve is normally of type G to L covering 1973 - 1980. 

Album Sleeve Details:

All sleeve variations are essentially the same content-wise with just minor changes to filing information, printer etc.

Version 1: Triple-flipback album sleeve 1967-1971 with laminated front and flaps, mono version initial album release.
Spine text 'Carry On Cutler! Adge Cutler & The Wurzels'

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Version 2: Triple-flipback album sleeve 1967-1971 with laminated front and flaps, stereo version initial album release.

 Spine text 'Carry On Cutler! Adge Cutler & The Wurzels'

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Version 3: Double-flipback album sleeve 1970-1973 with laminated front and flaps, stereo version repressing.

                          Spine text 'Carry On Cutler! Adge Cutler & The Wurzels' 

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Version 4: Wrap-around album sleeve 1973 onwards with laminated front wrapping slightly onto the back (spine edge), stereo version repressing.

                            Spine text 'Carry On Cutler! Adge Cutler & The Wurzels'

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Album Transcript:

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Collectors' Extras:


This is an unusual and rare copy of the 'Carry On Cutler' LP.

It came from the personal collection of Bob Barratt - Adge's record producer and close friend - and is known as a 'factory sample' - as can be seen from the label on the image - 'factory sample - not for sale'. Most records had a few pressings with label like this and it was purely a quality assurance check. From a collector's point of view it often means that the record has been played once to test and then filed away.

This particular example is a 1973 - 1979 fourth stereo pressing of SCX6367, silver and black double box label variation on the Columbia EMI label with the YAX3942 and YAX3943 matrix with the outer sleeves of the new wrap-around design (1973 onwards) and an inner sleeve type J both in near mint condition as is the vinyl. It has a stamper code of '1 GM' on side 1 and '1 GA' on side 2. The vinyl weighs in at 121g which is pretty standard for vinyl produced in the mid 1970's.

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Collectors' Extras:


An example of the October 1969 first mono pressing of SX6367, silver and black single box Columbia EMI label with the XAX3942 and XAX3943 matrix.
The 'G' stamper indicates it was one of the first pressings of this album.

This item is of particular interest to musicophiles in that it was used to remaster this album to CD in 2009 ​

This disc came in a triple flipback sleeve (1967-71) and a sepia EMI advertising inner sleeve type F (1968-69).  

Carry On Cutler - Album Song Lyrics

  • Side 1
  • 1. DRINK UP THY ZIDER (Play-on) (Cutler)
    2. ALL OVER MENDIP (Cutler)
    3. DOWN ON THE FARM (Whitecomb)
    4. FOLK SONG (Dicks-Rudge)
    5. ALOHA, SEVERN BEACH (Cutler)
    6. OOM PAH PAH (from "Oliver") (Lionel Bart)
    7. THE HARVEST OF LOVE (Hill-Anthony)
  • Side 2
  • 1. I COULDN’T SPELL !!**&@&**!! (Thompson)
    2. THE CHEWTON MENDIP LOVE-IN
        (Whitehead-Gardner)
    3. SATURDAY NIGHT AT THE CROWN
        (Henderson-Barratt)
    4. RILEY’S COW-SHED (Damerell-Hargreaves)
    5. FERRY TO GLASTONBURY (Cutler-Thomas)
    6. WILLIE THE SHAKE (New lyric and music
       adapt - Cutler-Baylis-Banner-Quantrill)
    7. DRINK UP THY ZIDER (Cutler)

Side 1

Side 1, Track 1 - Drink Up Thy Zider (Play on) [by venue’s house band]


Side 1, Track 2 - All Over Mendip

(Chorus)
Hitch up the wagon, get out the grey mare
We ain’t been drunk since Bridgwater Fair
Get George and Jacko, and Crowey and Joe
Get everyone you know
Bring out your brother, your sister and Dad
Get everyone in sight
Oh, we'll dance and shout, and roll about
All over Mendip tonight

Saying of Harptree, and Charterhouse too
Blagdon and Ubley, right over the Chew
They say it'll be the do of the year
Oh, how we'll all be there
So, drink up thee cider, and drink up thee beer
Let go with all your might
Oh, we'll dance and sing, and let our voices ring
All over Mendip tonight

So…

(Repeat Chorus)

Say in from Dundry, Priddy and Frome
Weston and Wookey, and Burrington Combe
Barrels and hampers, and their Sunday best
From north south east and west
And one thing I’m certain, they won't hurry home
Until it's broad daylight
So, let it rain or snow, as long as we're aglow
All over Mendip tonight

So…

(Repeat Chorus)

All over Mendip tonight!

See thee up on Harptree Hill
Hey!



Side 1, Track 3 - Down On The Farm

Cows and sheep and horses, meals with seven courses
Down on the farm, peaceful and calm
Rooster wakes you ‘bout a quarter to five,
Morning breeze don't make me shudder
Get my milk straight from the udder
And when days are ending, golden skies are blending
Down on the farm, peaceful and calm
Turkeys chatter and gobble with me
Nanny goats invite me to tea
They've never heard of old Simon Dee
Down on the farm with me

[Instrumental]

Hear the flowers growing, when you're busy hoeing
Down on the farm, peaceful and calm
See the beasties who create all the meat,
Walking talking T-bone steaks
Nothing canned and nothing fake
And smashing farmer's daughter, teach you things you oughta
Know about life, all about life
And in the evening when the lights are down low
Hang up your smock and lay down your hoe
Go sink a pint and let yourself go
Down on the farm with me
Down on the farm with me



Side 1, Track 4 - Folk Song

Upon the Monday morning-o, the rain it was a-raining
My love she came to me and said, oh when shall you and I be wed
For I have bought a double bed and Mother is complaining
And all the while the rain it was a-raining

Upon the Tuesday morning-o, the snow it was a-glistening
My love still hadn't gone away, so I did ask her mistress pray
What was that you said yesterday, I really wasn't listening
And all the while the snow it was a-glistening

Upon the Wednesday morning-o, the hail it was a-hailing
My love she made a quick retort and said to cut a story short
I've bought a bed, the double sort, your hearing must be failing
And all the while the hail it was a-hailing

Upon the Thursday morning-o, the day was not a hot one
I said you've bought a double bed, well that was what I thought you said
You must be going off your head, for I've already got one
And all the while the day was not a hot one

On Friday nobody spoke

On the Saturday morning-o, the thunder it was frightening
I shouted so that I'd be heard, oh let us marry on the third
But did she answer, not a word for she'd been struck be lightning
And after that the weather started brightening



Side 1, Track 5 - Aloha, Severn Beach

Aloha Aloha Aloha Severn Beach

There's a little corner of heaven
Down there by the River Severn
And I wanna be, I wanna see them all down by that Severn shore
For weeks, I've been scraping and saving
To get back where palm trees are waving
Where everybody's a-shouting and a-raving
Waiting for the Severn bore
There beneath the western moon
Life would be so sweet, dangling your feet in the blue lagoon
Wanna see, roe salmon come leaping
Wanna see, that dawn come a-creeping
Where every night is Saturday night
Down in Severn Beach

Oooh, yakky woo yakky doo, wicky wicky wacky woo

I'm just waiting and riding
Till I reach that Chittening siding
Just to stamp my feet on the old concrete down there with those pretty queens
I'll meet my sweet in her finery
By that old oil refinery
We'll dance and play the days away
Down by the slot machines
There, along the golden sand
We'll dine on chips, I'll touch her lips and I will hold her hand
And I'll take her to the Saturday function
Not far from Pilning junction
Where every night is Saturday night
Down in Severn Beach

Aloha aloha aloha, Severn Beach

Oh-ah, Severn Beach



Side 1, Track 6 - Oom Pah Pah

Oom pah pah, oom pah pah, that's how it goes
Oom pah pah, oom pah pah, everyone knows
They all suppose what they wanna suppose
When they hear oom pah pah

There's a little ditty they're singing in the city
Whenever they've been on the gin or the beer
Use your imagination and if you've got the patience
Then you'll hear exactly what you want to hear

Oom pah pah, oom pah pah, that's how it goes
Oom pah pah, oom pah pah, everyone knows
They all suppose what they wanna suppose
When they hear oom pah pah

Little Percy Snodgrass, he often takes the odd glass
But never when he thought anybody could see
Secretly he'd buy it and drink it on the quiet
And dream he was an Earl with a girl on each knee

Oom pah pah, oom pah pah, that's how it goes
Oom pah pah, oom pah pah, everyone knows
What is the cause of his bright shiny nose?
Can it be oom pah pah?

[Instrumental]

Pretty little Sally goes walking down the alley
Displays her pretty ankles to all of the men
They could see her garters but not for free and gratis
An inch or two and then she knew when to say when

Oom pah pah, oom pah pah, that's how it goes
Oom pah pah, oom pah pah, everyone knows
Whether it's hidden or whether it shows
It’s the same oom pah pah



Side 1, Track 7 - Harvest Of Love

Now I rise at six and I feed the chicks and I'm feeling lonesome and blue
And when I milk the cow it seems somehow me thoughts keep straying to you
And when the horse and I plough the field nearby, your memory I can't erase
For when I walk in the rear of the horse me dear, I seem to see your face

I'm gonna sow, the seeds of deep devotion
Fertilize it with emotion
Water it with warm desire
And then I'll reap the harvest of love

[Spoken]
Now I was happy as a pig, in spite of the way you looked at me the night I met you in the village dance, now you was in the Ladies, excuse me at the time, and I never thought I should have a chance but you let me walk you home across Platt's meadow and I knew that with you I should be a hit, for I made an old cow get up and walk away so that you'd have somewhere nice and dry to sit

Sow, the seeds of deep devotion
Fertilize it with emotion
Water it with warm desire
Then I'll reap the harvest of love

Now side by side we will take a ride in my horse and buggy one day
And when the daylight ends and the night descends, my horse will run out of hay
And I will kiss your lips, those tempting lips, the only ones that can thrill me
And I will hold you tight, 'neath the stars so bright, if the wife ever finds out she'll kill me

I'm gonna sow, the seeds of deep devotion
Fertilize it with emotion
Water it with warm desire
And I'll reap the harvest of love

I'm gonna sow, the seeds of deep devotion
Fertilize it with emotion
Water it with warm desire
And I'll reap the harvest of love

Side 2

Side 2, Track 1 - I couldn't spell !!**&@&**!!

I drew a moustache on your picture, threw your ring away
I'd have wrote you a letter but I couldn't spell !!**&@&**!!
That's all I got to say, that's all I got to say

When I found that you had been untrue, not a minute did I delay
I'd have wrote you a letter but I couldn't spell !!**&@&**!!
That's all I got to say, that's all I got to say
Even went where we used to go, way out of town
Found the tree where we carved our name, chopped the darn thing down
Threw away the tie that you gave me, didn't like it much anyway
I'd have wrote you a letter but I couldn't spell !!**&@&**!!
That's all I got to say, that's all I got to say

Even went where we used to go, outside of town
Found the tree where you carved yer name, cut the darn thing down
Threw away the tie that you gave me, didn't like it much anyway
I'd have wrote you a letter but I couldn't spell !!**&@&**!!
That's all I want to say, that's all I want to say

You dirty rotten snerdling snardling burdling idling !!**&@&**!!



Side 2, Track 2 - The Chewton Mendip Love-In

Now down by old George Wiggins barn, there runs a leafy lane
Where kids from nine to ninety go to play old nature's game
So, if you want a little bit of fun and that's your aim
Then turn left at old George's barn, stroll down Lover's Lane

(Chorus)
Down in Lover's Lane, the hedgerows are a-moving
Every year come sun or rain, it's the Chewton Mendip Love-in
The Chewton Mendip Love-in

A city gent come down last year, to see how we did act
A love-in should be done he said, with dignity and tact
He was surprised at goings on he said ‘an made I scoff
It's not what's going on I said, it's more what's coming off

(Repeat Chorus)

Old Dan the cowman's daughter June, a-busting out all over
Went down the lane with Eli Downe, a fan of Bristol Rovers
Now June has got a forty chest, by george it's such a pity
Eli once thought Rovers best, now all he wants is City

(Repeat Chorus)

There's Jumping Jake and Ron Derham, to mention but a few
They come each year to Lover's Lane, to show what they can do
Old Grandad Dick at ninety-two still answers nature's call
Like dear old Widow Spank he said he's the daddy of 'em all

(Repeat Chorus)



Side 2, Track 3 - Saturday Night At The Crown

All the gang will be there, Saturday night at The Crown
Nothing else can compare, with homemade pork pies and a pint of brown
And we join in all the old favourite songs of yesteryear
With "Fingers" Smith on piano though none of the black notes work nobody hears,

And…

(Chorus)
You all know, where we'll be found
Saturday night at The Crown
Look in, I'll buy you a round, very next time you're in town
What a welcome awaits you on Saturday night at The Crown

Folks come, from near and far, Saturday night at The Crown
You'll meet, Ivy our barmaid, cor what a smasher to have around
They can hear her, forty miles away when she starts to sing
And after, time has been called brother, you'd be amazed how our Ivy can cling,

Now…

(Repeat Chorus)

Around the Joanna on Saturday night at The Crown



Side 2, Track 4 - Riley’s Cow-Shed

I met her, (who) Bandy Bertha, in the merry month of May
I teased her, (how) when I pleased her, in the duckpond Christmas Day
I hugged her, (who) cos I loved her, and I know she's mine all right
When I kissed her, (where) on her birthday, in Riley's cowshed, last night

A poet loves the springtime and the bumblebee the hive
A worm just lives to turn around to see that he's alive
But I've a girl that I love who will last me all my life
I think that I will marry her and make her my dear wife

I met her, (who) Bandy Bertha, (where) in the merry month of May
I teased her, (how) when I pleased her, in the duckpond Christmas Day
I hugged her, (why) cos I loved her, and I know she's mine all right
When I kissed her, (where) on her birthday, (what) in Riley's cowshed, last night

Now her neck is lovely as a swan's, I won't say it's as white
Her teeth are like the twinkling stars, they all come out at night
Her face is not good looking but it's neither very plain
It's like a blubbing cat that's been out all night in the rain

I met her, (who) Bandy Bertha, (where) in the merry month of May
I teased her, (how) when I pleased her, in the duckpond Christmas Day
I loved her, (why) cos I hugged her, and I know she's mine all right
When I kissed her, (where) on her birthday, in Riley's cowshed, last night
When I kissed her, on her birthday, in Riley's cowshed, last night



Side 2, Track 5 - Ferry To Glastonbury

(Chorus)
There ain’t no ferry to Glastonbury
Well that don't bother me
Though I'm tired and weary, there's a little dearie
Waiting there for me

Working all day in the meadow
Started with the morning dew
The day's been hot, and my old dog Spot
He's feeling weary too

(Repeat Chorus)

Bees in the hedgerow's buzzing
All of the world is in bloom
Sleepy cows just sit and drowse
Taking in the day's perfume

[Instrumental]

Golden haze on the river
Dust and heat all the way
And I can but think of that long cool drink
Before I hit the hay

(Repeat Chorus)

Afternoon shadows grow longer
Trees shade the evening sun
And I'm content, a day well spent
'Nother job well done

(Repeat Chorus)

There ain’t no ferry to Glastonbury
That don't bother me
That don't bother me



Side 2, Track 6 - Willie The Shake

Oh William Shakespeare, he used to take beer
And every night he got well canned
He said it helped his, poetical notion
And now by all the pubs he's banned

(Chorus)
Oh, Willie the shake, the shake, the shake,
Was a terrible rake, a rake, a rake
And by the taverns he was barred
Because he drank such powerful potions
That's why he's called, the immortal Bard

Lovable Falstaff, he had a loud laugh
And his belly shook every time he roared
He was known as, perpetual motion
With every tankard that he poured

(Repeat Chorus)

Francis Bacon, was very mistaken
When he tried to pinch our Willie's work
But for all his poetical notion
He was only Willie's clerk

(Repeat Chorus)

Annie Hathaway, ran up-a the path-a-way
And greeted Willie with a shoot
He set up a notion, to know what's going on
When I come in, his back goes oot

(Repeat Chorus)

The Merchant of Venice, was a terrible menace
And he gave his wife such an awful fright
When he staggered into her bedroom
I want me pound of flesh tonight

(Repeat Chorus)

Going home Will was creeping, while Stratford was sleeping
When he was frightened by a terrible scream
So he ran away to visit Anne Hathaway
Said it must've been, a Midsummer Night's Dream

(Repeat Chorus)

Willie the shake



Side 2, Track 7 - Drink Up Thy Zider

Drink up thee cider George, pass us round the mug
Drink up thee cider George, the garden's ver’ nigh dug
Thy cheeks been getting redder, from Charterhouse to Cheddar
And there's still more cider in the jug

Drink up thee cider, drink up thee cider
For tonight we'll merry be
We'em knocked the milk churns over, and rolled them in the clover
Oh, the corn's half cut and so be we

Drink up thee cider George, bissen’t going far
Drink up thee cider George, getting quite a star
Well there's dung all over those taters, and halfway up your gaiters
There's still more cider in the jar
Come on there…

Drink up thee cider, drink up thee cider
For tonight we'll merry be
We'em knocked the milk churns over, and rolled them in the clover
Oh, the corn's half cut and so be we!

Drink up thee cider George, get up off thit mat
Drink up thee cider George, put on thy gurt big hat
We'em off to Barrow Gurney, for to see my brother Ernie
There's still more cider in the vat
Come on…

Drink up thee cider, drink up thee cider
For tonight we'll merry be
We'em knocked the milk churns over, and rolled them in the clover
Oh, the corn's half cut and so be we

Drink up thee cider George, time we 'ad a rest
Drink up thee cider George, finest ever pressed
There's nothing like good cider to make your smile grow wider
There's still more cider in the West
Everybody…

Drink up thee cider, drink up thee cider
For tonight we'll merry be
We'em knocked the milk churns over, and rolled them in the clover
Oh, the corn's half cut and so be we
One more time…

Drink up thee cider, drink up thee cider
For tonight we'll merry be
We'em knocked the milk churns over, and rolled them in the clover
Oh, the corn's half cut and so be we

And so be we



Lyrics Kindly transcribed by M.Pelling & E.Bryant,
Verified by Professor Wurzel

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