The Boston Burglar lyrics and chords
Trad. The sheet music is included. This song has been around since the 1940s Its origins are American but is more popular in Ireland thanks to Johnny McEvoy [ song lyrics ] who made it famous in Ireland in the 1960s, Also recorded by the late Dermot O'Reilly. It's also called ''Boston City''.
I[D] was born and[G] raised in[D] Bos[A]ton,a[D] place you all know well,
Brought[G] up by[A] honest[D] parents,the truth to you I'll [A]tell,
Brought[D] up by[G] honest[D] par[A]ents,and[D] raised most tenderly,
Till[G] I be[A]came a[D] sporting lad at the[A] age of twenty[D] three,
[2]
My character was taken and I was sent to jail,
My friends they came and tried in vain to get me out on bail,
The jury found me guilty,and the clerk he wrote it down,
The judge he passed the sentence,I was bound for Charlestown.
[3]
They placed me on an east bound train on a cold December's day,
And every station we passed by you could hear the people saw,
There goes the Boston burguler,in cold chains he is bound,
For one crime or anothr he is bound for Charlestown.
[4]
All you who have your freedom,take warning if you can,
And dont go round the syreets at night,breaking laws of God or man,
For if you do you'll surly loose and find yourself like me,
Serving up full twenty years in a penatentury
Brought[G] up by[A] honest[D] parents,the truth to you I'll [A]tell,
Brought[D] up by[G] honest[D] par[A]ents,and[D] raised most tenderly,
Till[G] I be[A]came a[D] sporting lad at the[A] age of twenty[D] three,
[2]
My character was taken and I was sent to jail,
My friends they came and tried in vain to get me out on bail,
The jury found me guilty,and the clerk he wrote it down,
The judge he passed the sentence,I was bound for Charlestown.
[3]
They placed me on an east bound train on a cold December's day,
And every station we passed by you could hear the people saw,
There goes the Boston burguler,in cold chains he is bound,
For one crime or anothr he is bound for Charlestown.
[4]
All you who have your freedom,take warning if you can,
And dont go round the syreets at night,breaking laws of God or man,
For if you do you'll surly loose and find yourself like me,
Serving up full twenty years in a penatentury
Boston Burglar Sheet Music In G
Alternative guitar chords for the key of G Major.
I[G] was born and[C] raised in[G] Bos[D]ton,a[G] place you all know well,
Brought[C] up by[D] honest[G] parents,the truth to you I'll [D]tell,
Brought[G] up by[C] honest[G] par[D]ents,and[G] raised most tenderly,
Till[C] I be[D]came a[G] sporting lad at the[D] age of twenty[G] three,
I[G] was born and[C] raised in[G] Bos[D]ton,a[G] place you all know well,
Brought[C] up by[D] honest[G] parents,the truth to you I'll [D]tell,
Brought[G] up by[C] honest[G] par[D]ents,and[G] raised most tenderly,
Till[C] I be[D]came a[G] sporting lad at the[D] age of twenty[G] three,
The Boston Burglar song is an iconic traditional folk song that has been sung and passed down through generations for over a century. Its origins can be traced back to the late 19th century and it continues to be a popular song, with numerous recordings by various artists. The song tells the story of a notorious thief who robs a wealthy merchant in Boston, only to be caught and sent to prison. It is a captivating tale that has captured the imagination of many and has become a significant part of American folk music history.
The roots of the Boston Burglar song can be traced back to Ireland, where it originated as a traditional Irish ballad called 'The Wexford Girl'. The song tells the story of a young woman who falls in love with a highwayman and eventually joins him in his life of crime. The ballad was first published in a collection of Irish songs in 1885, but it wasn't until the late 19th century that it made its way to America and was transformed into the Boston Burglar song.
The song has undergone several variations and adaptations over the years, with different versions being sung in different regions of America. The most popular version of the song is the one that originated in the Appalachian region of the United States. This version has a more upbeat and lively melody, which makes it a perfect song for dancing and singing along.
One of the reasons for the enduring popularity of the Boston Burglar song is its catchy and memorable melody. The song is typically sung in a call-and-response format, with one person singing the verses and the rest of the group joining in for the chorus. This makes it an ideal song for group singing and creates a sense of camaraderie and community. The simple and repetitive chorus also makes it easy for people to learn and sing along, adding to its appeal.
The lyrics of the Boston Burglar song are also a significant factor in its popularity. The story of a cunning and daring thief who robs a wealthy merchant in the bustling city of Boston is a captivating and intriguing one. It is a tale of adventure, romance, and betrayal that has all the elements of a classic folk song. The lyrics paint a vivid picture of the life of a criminal, with references to the luxuries and dangers of being a highwayman. The mention of Boston, a prominent and prosperous city in America, adds to the allure of the song.
Moreover, the Boston Burglar song also has a historical significance. It provides a glimpse into the criminal underbelly of the late 19th and early 20th centuries in America. The song reflects the struggles and hardships faced by the working class, who often turned to a life of crime to make ends meet. It also sheds light on the justice system of the time, where harsh punishments were meted out to criminals. This adds a layer of depth to the song and makes it more than just a simple folk tale.
The Boston Burglar song has also been adapted and recorded by numerous artists over the years, solidifying its place in American folk music history. Some notable recordings include those by Woody Guthrie, Johnny McEvoy Joan Baez, and Bob Dylan. Each artist has put their own spin on the song, adding to its timeless appeal. The song has also been featured in popular media, such as films, television shows, and even video games, reaching a wider audience and keeping the song relevant in modern times.
In conclusion, the Boston Burglar song is more than just a traditional folk song. It is a piece of American history, a reflection of the struggles and triumphs of the working class, and a testament to the enduring power of music. Its catchy melody, captivating lyrics, and historical significance have ensured its place in the hearts of many and have cemented it as an iconic song in American folk music. The Boston Burglar song continues to be sung and enjoyed by people of all ages and will undoubtedly be passed down for generations to come.
The roots of the Boston Burglar song can be traced back to Ireland, where it originated as a traditional Irish ballad called 'The Wexford Girl'. The song tells the story of a young woman who falls in love with a highwayman and eventually joins him in his life of crime. The ballad was first published in a collection of Irish songs in 1885, but it wasn't until the late 19th century that it made its way to America and was transformed into the Boston Burglar song.
The song has undergone several variations and adaptations over the years, with different versions being sung in different regions of America. The most popular version of the song is the one that originated in the Appalachian region of the United States. This version has a more upbeat and lively melody, which makes it a perfect song for dancing and singing along.
One of the reasons for the enduring popularity of the Boston Burglar song is its catchy and memorable melody. The song is typically sung in a call-and-response format, with one person singing the verses and the rest of the group joining in for the chorus. This makes it an ideal song for group singing and creates a sense of camaraderie and community. The simple and repetitive chorus also makes it easy for people to learn and sing along, adding to its appeal.
The lyrics of the Boston Burglar song are also a significant factor in its popularity. The story of a cunning and daring thief who robs a wealthy merchant in the bustling city of Boston is a captivating and intriguing one. It is a tale of adventure, romance, and betrayal that has all the elements of a classic folk song. The lyrics paint a vivid picture of the life of a criminal, with references to the luxuries and dangers of being a highwayman. The mention of Boston, a prominent and prosperous city in America, adds to the allure of the song.
Moreover, the Boston Burglar song also has a historical significance. It provides a glimpse into the criminal underbelly of the late 19th and early 20th centuries in America. The song reflects the struggles and hardships faced by the working class, who often turned to a life of crime to make ends meet. It also sheds light on the justice system of the time, where harsh punishments were meted out to criminals. This adds a layer of depth to the song and makes it more than just a simple folk tale.
The Boston Burglar song has also been adapted and recorded by numerous artists over the years, solidifying its place in American folk music history. Some notable recordings include those by Woody Guthrie, Johnny McEvoy Joan Baez, and Bob Dylan. Each artist has put their own spin on the song, adding to its timeless appeal. The song has also been featured in popular media, such as films, television shows, and even video games, reaching a wider audience and keeping the song relevant in modern times.
In conclusion, the Boston Burglar song is more than just a traditional folk song. It is a piece of American history, a reflection of the struggles and triumphs of the working class, and a testament to the enduring power of music. Its catchy melody, captivating lyrics, and historical significance have ensured its place in the hearts of many and have cemented it as an iconic song in American folk music. The Boston Burglar song continues to be sung and enjoyed by people of all ages and will undoubtedly be passed down for generations to come.
The Boston Burglar singer Johnny McEvoy
The Legendary Delia Murphy Album
Delia Murphy died in 1971: but for us she is not dead. Her proud, generous, indomitable spirit lives through her songs: and will never die. "Murphs" was born in 1903 at Mount Jennings, Claremorris, County Mayo. It was typical of her to despise affectation, and despite her exalted position as the wife of an Ambassador she retained to her death a rich Connemara brogue. Delia was an openhearted woman. She liked, and was liked by, people with the same openness as herself. She couldn't abide meanness, and she couldn't abide mean men. I remember there was one character in Irish Radio who was notorious for his meanness. "Musha," she said, "he wouldn't give you the itch for fear you'd have the comfort of scratching it."
Delia was the child of a wealthy farming family. Her father had been to the goldfields of Klondyke and Leadville, Colorado, and had returned to buy the local Big House. From her earliest days she became enamoured of the ballads she heard from wandering journeymen, minstrels and tinkers singing around their campfires. She liked, too, to visit the local blacksmith and tailor, who were renowned for their wealth of traditional lore. Their songs had spirit, truth and guts. Sometimes they might be a little bawdy, but they were never dull: so different from the sentimental songs that had been popular since the beginning of the century. She heard them sung both in English and in Gaelic.
A brilliant student, Delia was educated in Tuam convent and went on to take degrees in both Arts and Commerce in University College Galway. There, at a dance, she met Dr. Thomas Kiernan, economist and author of "British War Finances and Their Consequences". Shortly after her gradu- ation they were married, and when Dr. Kiernan was appointed Secretary to the Irish High Commissioner they went to live in London.
She was quick to make friends. John McCormack, the great Irish tenor, then at the height of his fame, had a particular affection for her. In the home of the musician, Herbert Hughes, McCormack expalained that he was finding difficulty with a Gaelic song, "Una Bhan". Unhappily he had little knowledge of Gaelic. At his request Delia sang the song in the traditional manner. McCormack was impressed and grateful: but even more impressed was a representative of HMV, who was also present. He suggested that Delia might like to make a recording of some Irish ballads. She was delighted. The records were duly made, including "Three Lovely Lassies", "The Spinning Wheel" and "If I Were a Blackbird". In no time at all Delia was top of the Top Twenty in Ireland.
In 1941, towards the end of the year, Dr. Kiernan was appointed Ambassador to the Vatican. Delia gave a farewell concert in the Father Matthew Hall. She wasn't a pietistic woman, but was genuinely religious and she had a particular affection for the Capuchins. That concert stands out in my mind. I don't think I ever saw her looking so beautiful, and I don't think she ever sang so well. Europe, at that time, was already embroiled in the horrors of war. Sitting in the audience I had a sense that great change was coming in her life, and in our lives in relation to her: that we would never see the same Delia again. However, it was wonderful that on the night she was so brilliant. It was amusing that in the Father Matthew Temperance Hall she sang "The Moonshiner", an American drinking song:
"Oh Moonshine, dear Moonshine how I love thee You killed my poor father but dare you try me."
Afterwards the Capuchins gave a little party for her, and we all had a very pleasant time. "You"ll have to treat me well tonight, Father," she told one old priest, "or I'll tell the Pope on you."
Against the terrible backdrop of those war-torn days in Rome, Irish balladry must have seemed a somewhat parochial affair. She didn't sing very much at that time, except for a few particular friends who came to visit her home. However, she did translate "Three Lovely Lassies" into Italian, and it became a popular request from her visitors. She was very surprised one evening to hear a small, grubby-faced boy singing this song on the street. She asked him where he had heard it. He said, "It's an old Neapolitan love song, Signora." Well, the song was still being sung when she left Rome, and still described as Neapolitan. They were proud of it, and this made her proud too.
After Rome Dr. Kiernan had a succession of postings as Ambassador to Australia, Canada and Washington. On his retirement they returned to Ireland. Delia survived her husband, and spent her last years in a cottage in the Liffey Valley. Even in those last days she could never find it in her heart to refuse a request to sing for charity-particularly for the old folk.
We'll never see her like again.
Liam Redmond
Track list from the album-
1. The spinning wheel
2. If I were a blackbird
3. I was told by my aunt
4. I wish that I never was wed
5. Roving journeyman
6. Boston burglar
7. Thank you ma'am says Dan
SIDE TWO:
1. Three lovely lassies
2. Down by the glenside
3. The moonshiner
4. Coortin' in the kitchen
5. The croppy boy
6. Goodbye Mike and goodbye Pat
7. Nora Creina
Delia Murphy died in 1971: but for us she is not dead. Her proud, generous, indomitable spirit lives through her songs: and will never die. "Murphs" was born in 1903 at Mount Jennings, Claremorris, County Mayo. It was typical of her to despise affectation, and despite her exalted position as the wife of an Ambassador she retained to her death a rich Connemara brogue. Delia was an openhearted woman. She liked, and was liked by, people with the same openness as herself. She couldn't abide meanness, and she couldn't abide mean men. I remember there was one character in Irish Radio who was notorious for his meanness. "Musha," she said, "he wouldn't give you the itch for fear you'd have the comfort of scratching it."
Delia was the child of a wealthy farming family. Her father had been to the goldfields of Klondyke and Leadville, Colorado, and had returned to buy the local Big House. From her earliest days she became enamoured of the ballads she heard from wandering journeymen, minstrels and tinkers singing around their campfires. She liked, too, to visit the local blacksmith and tailor, who were renowned for their wealth of traditional lore. Their songs had spirit, truth and guts. Sometimes they might be a little bawdy, but they were never dull: so different from the sentimental songs that had been popular since the beginning of the century. She heard them sung both in English and in Gaelic.
A brilliant student, Delia was educated in Tuam convent and went on to take degrees in both Arts and Commerce in University College Galway. There, at a dance, she met Dr. Thomas Kiernan, economist and author of "British War Finances and Their Consequences". Shortly after her gradu- ation they were married, and when Dr. Kiernan was appointed Secretary to the Irish High Commissioner they went to live in London.
She was quick to make friends. John McCormack, the great Irish tenor, then at the height of his fame, had a particular affection for her. In the home of the musician, Herbert Hughes, McCormack expalained that he was finding difficulty with a Gaelic song, "Una Bhan". Unhappily he had little knowledge of Gaelic. At his request Delia sang the song in the traditional manner. McCormack was impressed and grateful: but even more impressed was a representative of HMV, who was also present. He suggested that Delia might like to make a recording of some Irish ballads. She was delighted. The records were duly made, including "Three Lovely Lassies", "The Spinning Wheel" and "If I Were a Blackbird". In no time at all Delia was top of the Top Twenty in Ireland.
In 1941, towards the end of the year, Dr. Kiernan was appointed Ambassador to the Vatican. Delia gave a farewell concert in the Father Matthew Hall. She wasn't a pietistic woman, but was genuinely religious and she had a particular affection for the Capuchins. That concert stands out in my mind. I don't think I ever saw her looking so beautiful, and I don't think she ever sang so well. Europe, at that time, was already embroiled in the horrors of war. Sitting in the audience I had a sense that great change was coming in her life, and in our lives in relation to her: that we would never see the same Delia again. However, it was wonderful that on the night she was so brilliant. It was amusing that in the Father Matthew Temperance Hall she sang "The Moonshiner", an American drinking song:
"Oh Moonshine, dear Moonshine how I love thee You killed my poor father but dare you try me."
Afterwards the Capuchins gave a little party for her, and we all had a very pleasant time. "You"ll have to treat me well tonight, Father," she told one old priest, "or I'll tell the Pope on you."
Against the terrible backdrop of those war-torn days in Rome, Irish balladry must have seemed a somewhat parochial affair. She didn't sing very much at that time, except for a few particular friends who came to visit her home. However, she did translate "Three Lovely Lassies" into Italian, and it became a popular request from her visitors. She was very surprised one evening to hear a small, grubby-faced boy singing this song on the street. She asked him where he had heard it. He said, "It's an old Neapolitan love song, Signora." Well, the song was still being sung when she left Rome, and still described as Neapolitan. They were proud of it, and this made her proud too.
After Rome Dr. Kiernan had a succession of postings as Ambassador to Australia, Canada and Washington. On his retirement they returned to Ireland. Delia survived her husband, and spent her last years in a cottage in the Liffey Valley. Even in those last days she could never find it in her heart to refuse a request to sing for charity-particularly for the old folk.
We'll never see her like again.
Liam Redmond
Track list from the album-
1. The spinning wheel
2. If I were a blackbird
3. I was told by my aunt
4. I wish that I never was wed
5. Roving journeyman
6. Boston burglar
7. Thank you ma'am says Dan
SIDE TWO:
1. Three lovely lassies
2. Down by the glenside
3. The moonshiner
4. Coortin' in the kitchen
5. The croppy boy
6. Goodbye Mike and goodbye Pat
7. Nora Creina
