Charlotte the Harlot I

For reasons of space, a fuller list of the appearances of the "Villikins"/"Sweet Betsy" tune was cut from the second edition.  Readers instead were referred to the first.  That omission is corrected here.
Sets of this most commonly found of the "come-all-ye" melodies carry the following songs:
Ireland -- "The Kerry Recruit" in O Lochlainn, Irish, p. 2; "The Old Orange Flute," Ibid., p. 100; "Von Shilly, Von Shilly" in Daiken, p. 18; "Master McGrath" on Patrick Galvin's Irish Drinking Songs (Riverside 12-604), the notes to which mention "Nottingham Fair" as being sung to "Villikins"; "The Mountjoy Hotel," written by Phil O'Neill in 1918, and sung by Galvin on Irish Humor Songs (Riverside 12-616); and see also the second part of "Buachaill an Chuil Dualaigh" in O'Sullivan, p. 54.
England -- "Still I Love Him" sung by Isla Cameron on English and Scottish Love Songs (Riverside 12-656) and the same in Sedley, Seeds, p. 242; "The Dover Sailor" in Kidson, Garland, p. 20; "The Bold Princess Royal" in Seeger-MacColl, p. 57, and Purslow, Marrow Bones, p. 5; "The Liverpool Packet" in Hugill, pp. 466-69, where "The Jolly Herring," "The Jolly Ploughboy," "Still I Love Him," "The Old Orange Flute," "Ratcliffe Highway" and "The Towrope Girls" ("The Liverpool Judies") are mentioned as using the tune; "The Ballad of Wadi Maktilla" in Henderson; "The Drunkard's Song " in Stubbs, p. 31; "The Cruel Ship's Carpenter" in Purslow, Wanton Seed, p. 30; "A German Clockwinder" in McCarthy, p. 41; "Keepers and Poachers" in Palmer, Vaughan Williams, p. 39 and "The Foggy Dew," English Dance and Song XXXVI, No. 2 (Summer, 1974), p. 59.  It is said to carry "The Jolly Ploughboys" in Berkshire and Surrey, according to Broadwood and Maitland, p. 65.
Australia -- "Bluey Brink" as sung by A.L. Lloyd on Australian Bush Songs (Riverside 12-606), and printed in Long and Jenkin, pp. 83-84; "Bold Tommy Payne," Ibid., pp. 89-90; "A Nautical Yarn," ibid., pp. 143-44; "Botany Bay," in Anderson, pp. 8-9, but lacking the signature first bars, though still "Villikins"; "Weston and His Clerk" Ibid., pp. 51-52; "Sold," Ibid., pp. 89-90; "Caledonia" in Meredith and Anderson, p. 85; and the first melodic phrase of "The Little Fish," Ibid., p. 133. 
Canada and the United States -- "Lord Lovel" in Flanders, Ancient Ballads, II, p. 150, the "A" version; "One Morning in May," Brown, V, pp. 11 ff., versions "A," "A1" and "C"; "Bonnie Annie" (Child 24) in BFSSNE, X (1935), p. 11, and reprinted in Bronson, I, p. 304' "Henry Green and Mary Wyatt" in that journal, XII (1937), p. 16; "Pretty Polly" ("The Cruel Ship's Carpenter") in Leach, Folk Ballads, p. 20; "The Crowd of Bold Sharemen" in Greenleaf and Mansfield, p. 240, citing also "The Dreadnought" melody as "Villikins" in Colcord, p. 90; "Burns' Log Camp" in Doerflinger, pp. 217-18, and Manny and Wilson, pp. 66-67 ; "Clay Morgan" in Sharp-Karpeles, II, p. 274; "Lakes of Col Fin," in Flanders et al, New Green Mountain, p. 32; and the last two phrases of "Johnny Doyle," p. 248, which is close to the textually unrelated "William Taylor" in Hamer, Garner's Gay, p. 34.  Other Canadian sources are "Kelly the Pirate" Creighton, p. 151; "Squarin' up Time" in Fowke-Johnston, p. 88; "H'Emmer Jane" in Fowke-Johnston, More, pp. 156-7; "The Wild Cart Back on the Pipe Line," in Manny and Wilson, p. 185, is "Villikins" in the first and last phrases, and "Brennan on the Moor," in the middle two.  Peacock, I, has "Hard Times," p. 57, "Squarin'-Up Time," p. 98; "A Crowd of Bold Sharemen," p. 113; and "Fish and Brewis," p. 123, all to sets of "Villikins."  The second half of "Villikins" turns up as "Leather Britchers," p. 71.  Hopkins has two songs, "The Battle of Halifax" and "A-25" to the melody. 
"Blooming Wilderness," according to Samuel Bayard's note in Jackson, Another Sheaf, p. 164; and "Tourelay" in Lynn, p. 114.       
Norman Cazden cites four north woods songs using sets of "Villikins" in Fowke, Lumbering, pp. 64, 84, 168, 187; there is another on p. 203.
The extent of the tune family, and the relationship of "Villikins" to the melody for some versions of "Lord Randall," is explored in Barry, Eckstorm and Smyth, pp. 67-69, where the north woods ballad "The Prince Edward Island Boys" is mentioned as being sung to the tune.  See too Bronson, I, p. 378, citing "The Riddle Song" (Child 46), No. 4; and "Bonnie James Campbell" (Child 210), No. 3, in III, p. 291, as using the tune.  Schinhan has two versions of the melody and eight additional references in Brown, IV, pp. 263-64.
Bronson I, pp. 204-212, identifies 26 versions of "Lord Randall" (Child 12) said to be sung to "Villikins" sets.  No doubt there is some "Villikins" influence on these tunes, in particular on the second and third phrases, but this editor would not place them as central to the tune family.  First, the signature phrase is absent.  Second, the variants after number 39 are clearly sung to sets of "The Wagoner's Lad," as Bronson himself notes.  As great as "Villikins'" tune family is, it does not stretch to include "The Wagoner's Lad."  (For that song, see Brown IV, pp. 157-162, and Sharp-Karpeles II, pp. 3, 123; Larkin, Singing Cowboy, p. 11; "Farewell to Tarwathie," in MacColl and Seeger; "Navvy Boots," in Palmer, p. 6; and "Sally" ["A Rich Irish Lady"], the first song sung by Emma Dusenberry in the Seeger-Cowell manuscript.  
Members of the "Villikins" tune family are most easily spotted by the introductory tonic, then the outline of the major triad in the first bar(s) and the repeated fifth that follows immediately.  For an example of the use of that trademark motif, and little else, in a "Villikins"-derived melody, see "Sally Monroe" in Leach, Folk Ballads, p. 108; "The Sheepwasher's Lament" in Long and Jenkin, p. 103; or "The Bold Princess Royal" in Kidson, Garland, pp. 334-35. "High Germany," bid., pp. 82-83, embroiders that formula in his first and last phrases.  The signature phrase seems intrusive in "Colin's Ghost" as given in Purslow, Marrow Bones, p. 16; and in "Paddy Sheehan" in Matthews and Anderson, p. 88.  "The Red Light Saloon" in Brand, p. 50, on the other hand, is sung to "Villikins" with a slight modification of that trademark first phrase.
"Sweet Betsy" carries more than its share of other bawdy texts.  (See the index)  Randolph's "Unprintable, pp. 282-84, has rowdy stanzas added to the familiar Gold Rush text.  The melody is also borrowed for "An Inch Above Her Knee," pp. 541-42.  Fowke, "Bawdy Ballads from Ontario," pp. 53-54, reports the rare "Boring for Oil" to our melody.  See also "Dinky Di," below.
"Charlotte the Harlot," in this first version, has not seen print often.  It appears on Brand's Bawdy Western Songs (Audio Fidelity 1920).  Logue-Vicarion, No. XXXXIV, has an incomplete text.  Laycock, pp. 228-29, fuses lyric verses from "Charlotte I" to "Blinded by Turds."