For centuries the border areas around Scotland and England were places of tension, rivalry, crime, and organised military conflict. They were also the scenes of dramatic romantic stories, poems and songs. The first album I heard by Dick Gaughan, No More Forever, originally released in 1972, included powerful versions of two such songs.
“The Fair Flower of Northumberland” is a traditional song where the daughter of an English nobleman helps his Scottish prisoner to escape from captivity. Each verse repeats a line that the young woman’s love has been “easy won” and, indeed, the Scotsman turns treacherous after they safely cross the border. He is already married and he sends her back home to Northumberland with the ugly epithet that she is a “brazen-faced whore”. Her parents are surprisingly sympathetic: she has been “beguiled” by the romantic foreign prisoner and the correct solution is that they now provide a dowry to find her a more suitable husband.
In “Jock o’ Hazeldean”, written by Walter Scott although based on an earlier traditional ballad, the dowry and engagement have already been set. Three of the stanzas are spoken by the future father-in-law of the young English woman and Scott includes some great images of medieval wealth and status. The young woman has already been promised a “coat o’ gowd” and the ostentatious outdoor pleasures of “hound…hawk (and) palfrey”; for her wedding the (presumably pre-Reformation) church is “deckt at mornintide (and) the tapers glimmert fair”. We are given no information about whether this Scotsman is more deserving of devotion than the last; regardless, “she’s owre the border and awa’ wi’ Jock o’ Hazeldean”.
A later song of border romance from a different musical style is “Moonlighting” , co-written and recorded by Leo Sayer in 1975. Here both lovers are English, living perhaps somewhere in the north of England.
In apparent homage to earlier border traditions, the song has a relatively spare instrumentation in which a xylophone or glockenspiel seems to play a part. The rhythm, gentle but still urgent, evokes surreptitious plans and nervous excitement.
The narrative is set in happier times when young adults who were not university graduates might have stable secure employment. He works in a printers, she in “the water department” of the local council, presumably in a secretarial or clerical role; he owns a blue Morris van. We know her surname and that he has a friend called Eddie, but neither Christian name.
There does not appear to be any serious tensions between their two families; only desire and adventure fuel the elopement to the border to be married in Scotland. The place name identification in the final lines, “We’re only ten miles to Gretna, they’re three hundred behind” has always struck me as having as much poignancy as in many a more famous song.