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A personal narrative is presented which explores the author's experience of making a successful comeback as a ballad performer after a two-year absence due to the death of her husband.

The article features four popular and traditional ballad songs in Great Britain including the "Reynardine," "Polly Vaughan," and "Rosemary Lane." It presents the musical notation and lyrics of the songs such as the "Rosie Anderson," which is about a lady named Rosie Anderson who was courted by a man named Hay Marshall. According to the author, she loved the song "Polly Vaughan" because it has a good melody.

The article offers information about some versions of child ballads. One is called "The Dowie Dens of Yarrow," which is featured in a presentation on 19th century Yorkshire collector Frank Kidson's collaborations with English scholar and singer Lucy Broadwood. Another is a southern England version of "Geordie," also collected by Broadwood, titled "Banstead Downs." The author notes that the Christmas carol sung to Broadwood by gypsies from the Goby family features certain elements of the songs "St. Stephen and Herod" and "The Carnal and the Crane."

A personal narrative is presented which explores the author's experiences regarding the Child ballads, and includes the notes and lyrics of other ballads.

The article presents information on the three variants of the ballads by Francis James Child as well as musical notations and lyrics of the Child ballads including "Fennario," "Scarborough Fair," and " False Sir John."

This section presents lyrics and musical notation for ballads and folk songs. "Our Goodman." First Line: Hame came our goodman; Last Line: I never did see nane". "The Golden Vanity." First Line: There was a ship that sailed all on the Lowland sea, Last Line: And he sank in the Lowland, Lowland, Low, and he sank in the Lowland sea. "Johnny of Hazelgreen." First Line: One night as I rode o'er the vale, the moon was shining clear, Last Line: I hope she enjoys her married life with young Johnny of Hazelgreen.

The article discusses the author's background in music and influences in her singing of folk songs and ballads. Her father Donald J. Hughes, a musical director and the singers of the folk music of her time, influenced her childhood. Though growing up with music, she was not proficient in any instrument so she concentrated on a cappella singing and guitar-accompanied songs. She believes that a singer's success is when the audience praises the song more than the singer.

The article presents information on ballads collected by ballad editor Francis J. Child and sung by Rosaleen Gregory. "The Wife of Usher's Well," an American version from the "Joan Baez Songbook," was published by Ryerson Music Publishers Inc. in 1964. "The Unquiet Grave" is a very famous love lament. The version of "Little Musgrave and Lady Barnard," by Joan Baez is adapted from that collected by John Jacob Niles.

The article presents lyrics and notes of the songs "Clerk Saunders" and "Lord Thomas and Fair Annet." The version of Clerk Saunders was derived from "The Seeds of Love" and the tune from "Minstrelsy Ancient and Modern." Version of Lord Thomas and Fair Annet can be found in "The Old Country" and in "The Ballad Book of John Jacob Niles."

This article presents several Child ballads sung in a repertoire. The tune of "Sheath and Knife" was made by James Johnson. Two versions of the ballad "The Cruel Mother" were collected in 1907. Other ballads presented include "Hind Horn" and "The Maid and the Palmer."

The article explores the origin and meaning of the motiveless brutality in the ballad "Lamkin." The ballad reportedly relates the vengeance of an unpaid mason after building a castle for a nobleman, which is told in numerous versions, mostly from Scotland. It is stated that "Lamkin" is sung by a woman to a child to emphasize the vulnerability of women and children and the child's worst fear of being abandoned by his caregivers, and that both singer and listener will revel on the two villains' deaths at the end of the ballad.

An interview with Canadian traditional ballad singer Moira Cameron is presented. When asked about her family background, she replies that she was born in 1968, was exposed early to traditional ballads and learned to play the Appalachian Dulcimer, her favorite instrument, from her father. Cameron states that she was given a grant to make her first album "One Evening as I Rambled," which included tunes like "Morgan Megan." She notes that income from album sales comes in over an extended period of time.

An interview with Canadian folk singer, radio broadcaster, and teacher, Anita Best is presented. Best talks about the need to remember and perform the classical ballads of Pius Power. She describes Power's ballads as entertainment for adults, and recalls him as a very animated storyteller who would spend most of his time knitting and talking rather than reading. Best also shares her insights about several ballads including "Jack Meets the Cat," "Peg Bearskin," and "Johnson and the Fellow Traveller."

The article discusses information on the ballad, "The Golden Vanity." Known as one of the 305 traditional Child ballads, the earliest version of "The Golden Vanity" was originally called "The Sweet Trinity" based on a broadside ballad that was published in 1682 by Samuel Pepys. A feature of the ballad is its multiple endings, implied religious symbolism, and several versions from England, Scotland, North America, and Canada. The Canadian version of "The Golden Vanity" was sung by Ben Letto in June 1960.

The article presents the text of a speech by Jon Bartlett, former editor of "Canada Folk Bulletin," delivered at a gathering of the members of the Canadian Folk Song Society, held in Vancouver, British Columbia on October 14, 1998. He discussed his family history and singing background, his experiences at the Vancouver federally funded project called Canadian Music in the Schools, and his interest in various folk songs in Canada such as the "Grand Hotel."

The article offers news briefs on the music industry. A call for papers was issued for the 29th International Ballad Conference to be held at the University of Aberdeen in Scotland from August 9 to 15, 1999. A festival on women's music is scheduled at the Pioneer Village in London, Ontario on May 29, 1999. Dave Baker suffered strokes in January 1998 and April 1998.

The article reviews the Winnipeg Folk Festival held on July 10-13, 1986 where folk musicians play while attendees party with family and friends. It mentions evening workshops on a wide range of musical styles along with traditional music including ballad, reels and blues along with folk instruments sessions. It notes the small walled-in acoustic stage where demonstrations were held on how to play musical instruments while crafts and games for children were held in the afternoon and the main concert performers include Tom Paxton and Murray McLauchlan.

The article discusses the argument that there are two basic tunes involved in the Newfoundland folk-song "Lukey's Boat." It cites Greenleaf and Mansfield's "Ballads and Sea Songs of Newfoundland" as an example of the Newfoundland version. The second tune is described which was collected in Nova Scotia by Helen Creighton and published in "Songs and Ballads of Nova Scotia. A look at commercial versions of the song is provided, including "Voice of Newfoundland" by John White and "Sagebrush Sam," by Omar Blondahl.

The author traces the different versions of the ballad about John Reginald Birchall, who was tried and hanged for the murder of Englishman Frederick C. Benwell in Ontario on February 21, 1890. One version is titled "The Birchall Murder I," which appeared in the November 20, 1940 issue of the "Montreal Family Herald and Weekly Star." Other versions were from Wooley Burt's "American Ballads and Their Otories," Emerson Woodclock, Michael Cuddihey, and LaRena Clark. The author also recorded another version transcribed as "The Birchall Murder II."

The lyrics to several acadian ballad songs are presented. "Xavier Gallant ou Le meurtrier de sa femme," by Emerentienne Richardson. First Line: Ecoutez ma complainte; Last Line: L'ont fait mourir en chemin. "Le meurtre de McCarthy," by J. T. Leblanc. First Line: Venez, mes très chers frères, écouter chanter; Last Line: Votre vie qui est si chère, y passera. "René Goupil: missionaire," by M. Aucoin and M. Lefort. First Line: pour toi maman ce petit mot; Last Line: Heureuse mère.

The article reviews the music release "Sands of the Shore: Be Tricked or Betrayed," by Moira Cameron.

A personal narrative is presented which explores the author's experience of finding the traditional song "Oxford Girl."

The article discusses the ballad "The Terror of Countless Nurseries." The authors find the ballad unique in its often motiveless brutality and analyzes its meaning by reviewing theories drawn by several authors through the years. These authors include Annie G. Gilchrist, who made the first serious study of the ballad in 1932 and John DeWitt Niles in 1977. A bibliography of works cited is presented.

Several letters to the editor are presented in response to articles in previous issues including one on how the institutional nature of Canada could lead to a devaluing of folklore and music in the January 1983 issue, "Barbeau's Legacy," by Donald Deschenes in the Bulletin 17 issue, and review of Edith Fowke's "Sea Songs and Ballads from Nova Scotia" in the April 1983 issue.

The article reviews the music release "Taraba," by Michael Joseph and The Ridges.

The article reviews the music release "Songs of Witchcraft and Magic," featuring various artists including Peter Bellamy and Tom Brown.

The article covers various issues related to folk music. Any music from an old Folkways recording can be downloaded from the Smithsonian Global Sound web site for 99 cents. A series of classic recordings, compilations to be released by Smithsonian Folkways (SFW) include Classic African-American Ballads and Bluegrass. Also presented is a review of the music release "Canadian Songs From Smithsonian Folkways," performed by various artists including Alan Mills and Karen James.

Several letters to the editor are presented in response to articles in previous issues, including one on the passing of Merrick Jarrett by Lorne Brown and "Singing the Child Ballads," by Rosaleen Gregory in the Winter 2005 to 2006 issue.

Several letters to the editor are presented, including one on the version of the song "Papa m'a donné un mari" according to the Vautour-Aucion collection, 1972 or 1973 and another on a review of "Lilies Among the Bushes."

Several letters to the editor are presented in response to articles in previous issues including an article about Ed McCurdy in an issue, the "Ballad of the Month" column in an issue and the "Back Page" column in an issue.

The author discusses how publication can have effects on how the Newfoundland folk-song "Lukey's Boat" is perpetuated. He points out the debate on which two versions of the song are representative of a particular area. He claims the problem occurred when a collected piece becomes embedded in print resulting to the song taking on a sense of permanence and immutability.

The article offers a summary of the Canadian railroad songs presented in the issue. It cites characteristics of the songs, such as the tendency to use familiar tunes, references to the work involved in building and running a railroad, and reference to the involvement of "non-anglos" in the railroad. The possibility of a strong ballad tradition is also suggested. It states that there may be a larger body of Canadian railroad songs than expected.

This section offers news briefs about Canadian folk music in 1995. An interview with Binky Braithwaite of the Committee to Abolish Morris Dance Absolutely (CAMDA) over CBC's "As It Happens" is discussed. An invitation to the 26th International Ballad Conference at the University of Wales, Swansea to be held on July 19-23, 1996 is announced by the Ballad Commission of the International Society for the Ethnology and Folklore (SIEF). Abd El Kader Kaci has made himself available to those interested in Algerian music.

A letter is presented from Judith Cohen to the CSMT/SCTM members talking about her experiences at the "Ballads and Boundaries" conference held at Los Angeles, California.

An introduction to the journal is presented in which the editor highlights this issue's featured theme on traditional ballads and folk songs.

An introduction to the journal is presented wherein the editors discuss the articles including "Singing the Child Ballads," "Treasure from Our Archives," and the transcription of seven folksongs of Canada.

The article discusses the history of the "broadside" ballad. Broadsides began in the 1500s and were usually sung at fairs and markets by ballad singers who would sell the text for a penny. The earliest broadside ballads were written on one big sheet of paper and featured a woodcut illustration. The appeal of broadside ballads is in its ability to reveal the life, attitudes, and interests of ordinary people. The article also cites examples of notable broadside ballads including "The Bold Northwestman," and "Drumdelgie."

The author discusses the goals and objectives of Toronto, Ontario-based group Ballad Project. The group continuously organizes events to encourage ballad singers to pursue their musical careers. She explains that the group is open to all individuals who love traditional ballad music. She also urges people to cooperate in spreading their passion for ballad music in order to connect with other individuals for a possible conference in the near future.

This section focuses on articles about folk music published in previous issues of "Canadian Folk Music Bulletin." It cites the featured articles of the July 1984 issue such as the Canadian murder ballads and a eulogy for musician Duck Donald. The featured articles in the September 1989 issue include one about the Victoria Folk Music Society and another on the eponymous recording of the Great Western Orchestra.

The author reveals five murder ballads that were found resulting from a search of Newfoundland publications and Memorial University of Newfoundland Folklore and Language Archive (MUNFLA) holdings. These ballads are "The Murder of Alfreda Pike," "The Murder of Dennis Sommers," "The Murder of Lilian Jewer, A Newfoundland Girl, in Boston," "McCanning's Hanging" and "Carl Anderson." Only two of the ballads appeared in the MUNFLA song index, which are "The Murder of Alfreda Pike" and versions of "Carl Anderson."

An introduction to a series of articles about Canadian murder ballads and folk songs and the study of the responses to crimes of violence is presented.