"If I hadn't seen the recording date I'd have guessed it was a rewrite by someone on the current folk scene."
In his note to 'Tottenham Fair' (37b pp 163-168) in 'Roll Me Over' "Unprintable Folksongs and Folklore from the Vance Randolph collection, Gershon Legman gives an almost identical version with a different chorus from 'Choyce Drollery Songs and Sonnets' - never before printed (London 1656)
Maybe not a re-write!
This is the note to this particular version - will do the other pages if they are of interest.
Jim Carroll

But often times it troubled me as I lay in my bed.
To fall down, down, derry down, down, down,
Derry down, deny, derry dina.
This charming and forthright pastourelle of wayside seduction has been popular for over three centuries, and has a record number of variant titles: "Maid of Tottenham" (or "Totnam Fair"), "Tottingham Frolick, " "Jockey the Rover, " "The Lost Garter, " "To Market, to Market, " "Butter and Eggs, " "The Ups and Downs, " "Lily-White Thighs, " and others. Various localities vie for this unrepressed young woman, with her fine thighs and sad lack of business sense. Aside from her original Tottenham, just northwest of London (now fallen away to fame only for the Hotspur Football Ground), she is claimed as "The Aylesbury Girl, " "The Happisburgh Girl, " "The Salisbury Girl, " and especially the "Hazelbury Girl" in Somerset where Cecil Sharp collected two versions, there being a Hazelbury-Plucknett in the vicinity, though its full name fits rather poorly into the melodic line. The latest texts recovered in America are as "Roseberry" or "Osbury" (which are either town names or that of the hero's horse) and "Derby Town, " from Canada, not to be confused with "The Ram of Darby. " Note that the reference in stanza 7, to the girl coming to London "To sell off her commodity, she thought it for no shame, " alludes to seduced country girls becoming prostitutes in London, where the "commodity" they sell is their lost maidenhead, like Fanny Hill.
An early broadside (unidentified, but probably seventeenth century, as the girl comes from Tottenham) is mentioned by Kennedy, p. 428, who also notes the next known recoveries, all early twentieth century in England, in the Spar, Hammond, and Gardiner manuscripts. Reeves published one of Sharp's, in Idiom of the People, p. 123, and the other is now in Sharp's posthumous Collection, No. 179; while the Gardiner manuscript version is in Purslow's Marrowbones, p. 97. However, Kennedy's own version, No. 176, which he collected and recorded from a well-known old reprobate shepherd singer, Harry Cox, in Catfield, Norfolk, 1953, omits the crucial erotic stanza, though leading up to it obviously with the line: "Whilst tying up her garter, such a wonderful sight did I see, My hand did slip right up to her hip, " (now to chorus: ) "Sing, Fal-the-ral, etc. " and then going on with the girl saying reproachfully,
"Now since you've had your way to-day, pray tell to me your name... "
Wot!? just for a hand on her hip? —Come, come, come, Messrs. Cox and Kennedy!
American collectings include: Gordon manuscript 3918; Louis Chappell, p. 87—this being the very first erotic ballad openly published in America in 1939, without (too much) expurgation; Cazden, vol. II: p. 62; Larson manuscript 40 (collected, with a rather worn-down tune, from the collector's father, in Malad, Idaho, about 1900, as recollected 1932); and in Thomas R. Smith's anonymous Immortalia (New York, 1927) p. 123, as "The Lost Garter" reprinted in The Wrecks, p. 140; plus Randolph's present version, in a changed metre, collected from a retired woman physician in Missouri, whose informant learned it about 1897.