“Factory Girl” – Who did it best?

The legendary Margaret Barry (1955)
Sinead with the Chieftains (1999)
Lisa O’Neill and Lankum’s Radie Peet (from “This Ain’t No Disco” 2017)
Rhiannon Giddens
The Roches (1980)

TRADITIONAL LYRICS

As I went out walking one fine summer’s morning
The birds in the bushes did whistle and sing
The lads and the lassies in couples was courting
Going back to the factory their work to begin

I spied one among them, she was fairer than any
Her cheeks like the red rose that blooms in the spring
Her hair like the lily that grows in yon valley
And besides she’s a hardworking factory girl

I stepped up to her, more closely to view her
When on at me she cast her bright look of disdain
“Young man, have manners, and do not insult me
For although I’m a poor girl, I think it no shame”

It’s not for to scorn you, fair maid I adore you
Come grant me one favour, love, where do you dwell?
“Young man excuse me for now I must leave you
For yon there’s the sound of my factory bell”

Though I have fine houses adorned with ivory
I’ve gold in my pocket, and silver as well
And if you come with me, a lady, I’ll make you
And no more will you heed yon factory bell

“Oh, love and temptation, are our ruination
Go find you a lady, and may you do well
For I am a poor girl, with ne’er a relation
And content, I’m a hardworking factory girl”

Cambridge Folk Festival 2018

Ain’t gonna let nobody turn me around / I’m gonna keep on walking, talking, singing, hoping, praying, saying, voting, voting, voting / marching to the freedom land”, sang Rhiannon Giddens in the closing minutes of the 54th Cambridge Folk Festival, accompanied by a stage filled with her curated acts and an audience which heaved at the seams of the Club Tent. This chorale was not only conclusive testament to the sparkling success of Giddens’ role as Guest Curator for this year’s Festival, but also to the sure-footed stride forward this weekend was; for the Festival and for the future of folk music. Setting the pace for other festivals to follow suit, the line-up offered a 60:40 split of female:male acts, the Festival already excelling their pledge alongside the PRS Foundation’s goal of a 50:50 ratio in festival line-ups by 2022. Giddens’ own main stage set on the Saturday night, and the acts she curated – the legendary Peggy Seeger, Amythyst Kiah, Bristol’s own Yola Carter, Kaia Kater and Birds of Chicago – raised up to a whole new level the values of diversity and commonality between audience and artist; values which have been beating steadily at the heart of the Festival for years.

Friday

On stage 2, home of the up-and-comers and a safe bet for stumbling across your new favourite band, Norwich-based Morganway delivered an energetic and promising alt-country opener with stunning vocals. Over on the main stage New Zealander Marlon Williams, a contemporary hybrid of Roy Orbison and Jeff Buckley, crooned through a set of songs from his latest album Make Way For Love with such ease and distinction that even the moody layers of electric guitar couldn’t stop the audience from swooning[ . . . ]

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