The Wife of Usher's Well
Traditional · The English and Scottish Popular Ballads
And a wealthy wife was she;
She had three stout and stalwart sons,
And sent them oer the sea.
They hadna been a week from her,
A week but barely ane,
Whan word came to the carline wife
That her three sons were gane.
They hadna been a week from her,
A week but barely three,
Whan word came to the carlin wife
That her sons she'd never see.
"I wish the wind may never cease,
Nor fashes in the flood,
Till my three sons come hame to me,
In earthly flesh and blood."
It fell about the Martinmass,
When nights are lang and mirk,
The carlin wife's three sons came hame,
And their hats were o the birk.
It neither grew in syke nor ditch,
Nor yet in ony sheugh;
But at the gates o Paradise,
That birk grew fair eneugh.
"Blow up the fire, my maidens,
Bring water from the well;
For a' my house shall feast this night,
Since my three sons are well."
And she has made to them a bed,
She's made it large and wide,
And she's taen her mantle her about,
Sat down at the bed-side.
Up then crew the red, red cock,
And up and crew the gray;
The eldest to the youngest said,
"Tis time we were away."
The cock he hadna crawd but once,
And clappd his wings at a',
When the youngest to the eldest said,
"Brother, we must awa."
"The cock doth craw, the day doth daw,
The channerin worm doth chide;
Gin we be mist out o our place,
A sair pain we maun bide.
Fare ye weel, my mother dear!
Fareweel to barn and byre!
And fare ye weel, the bonny lass
That kindles my mother's fire!"
About The Wife of Usher's Well
"The Wife of Usher's Well" finds Traditional in a pop-minded frame, where a clear central idea and emotional directness carry the song. Its appeal comes from commitment to a single emotional temperature rather than from trying to impress through sheer scale. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. Small changes in intensity keep the song moving and stop its main idea from becoming static, giving the performance a natural sense of flow. For listeners returning to Traditional, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. The result is a focused piece of music that works in the moment but still has enough character to invite a return visit. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout.

