Still missing S and X.

Here are some of my notes ...

Captain Kidd
Captain William Kidd, a respected Scottish sea captain, was enlisted as a commissioned privateer for the Crown in 1696, with the usual instructions to operate against pirates as well as craft of "unfriendly" nations. Kidd was, himself, publicly proclaimed a "pirate" and arrested in 1700. Specifically, he was charged with murdering a seaman by the name of William Moore, although Kidd later claimed that the killing took place as a suppression of mutiny.

Kidd's trial commenced on May 8, 1701, and he was hanged at Wapping on May 23, 1701. Within hours of Kidd's execution, the stall-ballad writers were turning out songs on the notorious captain. The most famous of these, written to a variant of the tune best known today as Sam Hall, had a repentant Kidd telling his long and gory story in the first person. The remorseful last verses are in striking contradiction to all reports of the time which have Captain Kidd protesting his innocence up until the very moment of death.

Daisy Bell
(From "American Popular Songs" by David Ewen)
"When [Henry] Dacre, an English popular composer, first came to the United States, he brought with him a bicycle, for which he was charged duty. His friend (the songwriter William Jerome) remarked lightly: 'It's lucky you didn't bring a bicycle built for two, otherwise you'd have to pay double duty.' Dacre was so taken with the phrase 'bicycle built for two' that he decided to use it in a song. That song, Daisy Bell, first became successful in a London music hall, in a performance by Kate Lawrence. Tony Pastor was the first one to sing it in the United States. Its success in America began when Jennie Lindsay brought down the house with it at the Atlantic Gardens on the Bowery early in 1892."

Eve of Destruction
Written by P. F. Sloan. First recorded by Barry McGuire.
From Eve of Destruction
LOU ADLER:
I'd heard the first Dylan album with electrified instruments. This is strange, but it's really true: I gave Phil Sloan a pair of boots and a hat and a copy of the Dylan album, and a week later he came back with ten songs, including "Eve of Destruction." It was a natural feel for him - he's a great mimic.
Anyway I was afraid of the song. I didn't know if we could get it played (on the radio). But the next night I went to Ciro's, where the Byrds were playing. It was the beginning of the freak period.... there was this subculture that no one in L.A. knew about, not even me, and it was growing. The Byrds were the leaders of the cult, and the place was jam-packed, spilling out on to the street.
ln the middle of it was this guy in furs, with long hair, and dancing; I thought he looked like a leader of a movement. Terry Melcher told me that he was Barry McGuire, and that he'd sung with the New Christy Minstrels. A week later we cut the record and it sold six million.
I didn't think it was a copy of anything. It was the first rock'n'roll protest song and Sloan laid it down in very simple terms, not like the folk people were doing. If you listen to the song today, it holds up all the way - it's the same problems. It's certainly an honest feeling, from a 16 year old.
Melody Maker, Feb 5, 1972, p. 43; reprinted in Dave Laing, "Troubadours and Stars," in Dave Laing, et. al., The Electric Muse: The Story of Folk into Rock, London, 1975, pp. 58-59.

Fathom The Bowl
The recipe in this song is hardly different from that given by Bully Dawson, mentioned in Charles Lamb's "Popular Fallacies"
" Sugar, twelve tolerable lumps; hot water, one pint; lemons, two, the juice and peel; old Jamaica rum, two gills; brandy, one gill; porter or stout, half a gill; arrack, a slight dash. I allow myself five minutes to make a bowl in the foregoing proportions, carefully stirring the mixture as I furnish the ingredients until it actually foams; and then Kangaroos! how beautiful it is!"

:-)
Ian