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ENGLISH

FOLK-CHANTEYS

WITH PIANOFORTE ACCOMPANIMENT

INTRODUCTION AND

NOTES

COLLECTED BY

CECIL J. SHARP

-J

lonDon:

SIMPKIN, MARSHALL, HAMILTON, KENT &> CO., LTD. SCHOTT y CO., LTD.

Caunton: barnicott &' pearce, the wessex press

MCMXIV

THE NE\\' ' '

PUBLIC Li:

ASTOR LENOX AND TILOEN FOUNDATIONS

O 1

-3

TO

GEORGE BUTTERWORTH,

PREFACE

WISH to express my gratitude to those who have so kindly and readily sung Wm^' to me the songs recorded in the following pages ; and to ojfer my thankj to the T{ev. A. A. ^rocki?tgton and SMr. Fleetwood Stileman for the valuable help which they have given ?ne in the course of my investigatio?is.

C. J. S.

CONTENTS.

Introduction

Capstan Chanteys :

1. Santy Anna

2. Leave her Johnny {First

Version)

. 3. Leave her Johnny (.S^C6»«c/ Version)

He-back, She-back

The Hog-eyed Man

Clear the Track

Drunken Sailor

PAGE

ix

4.

5. 6. 7. 8. 9. 10.

Do let me go

Whip Jamboree Roll and go

n. Shanadar {First Version

12. Roller, Bowler .

13. Let the Bullgine Run

14. Huckleberry Hunting

15. One more Day

16. O Johnny come to Hilo

17. Good Morning, Ladies All

18. Lowlands Away .

19. The Bully Boat .

20. Stormalong John .

21. Rio Grand

22. Lucy Long

23. The Black Ball Line

24. Fire ! • Fire !

25. A-Roving

26. Heave away, my Johnny

Pulling Chanteys :

27. Haul Away, Joe .

28. Sally Brown

29. Lowlands Low

4

4

6

7

8

9

10

12

13

14

16

17

18

19

20

21

22

23

24

25

26

27

28

30

32 33 34

Pulling Chanteys — contd.

30. Shallow Brown (/ Version)

31. Sing, Sally O

32. Poor Old Reuben Ranzo

33. General Taylor Old Stormey Bully in the Alley Liza Lee .

Haul on the Bow-line Paddy Doyle Knock a Man Down Johnny Bowker . Tiddy I O

Round the Corner, Sally So Handy A Long Time Ago Cheerly Man The Sailor likes his Bottle The Dead Horse . Whisky for my Johnny Bonny was a Warrior Blow, Boys, come Blow

together

Hanging Johnny .

A Hundred Years on the Eastern Shore .

Shanadar (&co;/(/ Version

In Frisco Bay

34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

51.

52.

53. 54.

55. 56. 57. 58. 59. 60.

O

Shallow Brown (//F^r«b;/) 60

Won't you go my way

Wo, Stormalong .

O Billy Riley

Tom is gone to Hilo

Tommy's gone Away

Notes

PAGE 35

36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54

55 56

57 58 59

61 62 63 64 04

65

vu

Alphabetical Index of Chanteys.

A Hundred Years on the Eastern

Shore A Long Time Ago A-Koving

Black Ball Line, The

Blow, Boys, come Blow together

Bonny was a Warrior

Bully Boat, The

Bully in the Alley

Cheerly Man Clear the Track .

Dead Horse, The Do let me go Drunken Sailor, The

Fire ! Fire !

General Taylor .

Good Morning, Ladies All

Hanging Johnny Haul Away, Joe Haul on the Bow-line Heave away, my Johnny He-back, She-back Hog-eyed Man, The Huckleberry Hunting

In Frisco Bay

Johnny Bowker .

Knock a Man Down

Leave her Johnny {First J^ci

SlO)l)

Leave her Johnny {Sccont/ J^ci sion)

PAGE

57 49 28

26 55 54 22 40

50

7

52 9 8

27

38 20

56 32 42 30 4 6 17

59

45

44

3 4

Let the Bulgine Run Liza Lee Lowlands Away . Lowlands Low . Lucy Long

O Billy Riley .

O Johnny come to Hilo

Old Stormey

One more Day .

Paddy Doyle

Poor Old Reuben Ranzo

Rio Grand

Roll and go

Roller, Bowler

Round the Corner, Sally

Sailor likes his Bottle O, The

Sally Brown

Santy Anna

Shallow Brown {First J^crsioii)

Shallow 'Brown{Second Version)

Shanadar {First Version)

Shanadar {Second Version)

Sing, Sally O

So Handy

Stormalong John

Tiddy I O

Tom is gone to Hilo

Tommy's gone Away

Whip Jamboree Whisky for my Johnny Won't you go my way Wo, Stormalong

PAGE

16 41 21 34

25

vni

INTRODUCTION.

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HE sailors' chantey is, I imagine, the last of the labour- songs to survive in this country. In bygone days there must have been an enormous number of songs of this kind associated with every rhythmical form of manual labour ; but the machine killed the landsman's work- song too long ago for it now to be recoverable. The substitution, too, of the steam-engine for the sail in deep-sea craft has given the death-blow to the chantey ; but in this case there are, happily, many old sailors still living who can recall and are ready to sing the songs that they used to chant tramping round the capstan, or when yards were raised and sails hoisted or furled.

How old the chantey may be it is impossible to say, but that the custom amongst sailors of singing in rh^'thm with their work was in vogue as far back at least as the fifteenth century, the vivid description of the voyage in " The Complaynt of Scotland " (c. 1450) places beyond question.

Notwithstanding the antiquity of the chantey the word itself is quite modern ; indeed, the compilers of the Oxford Dictionary are unable to cite its use in literature earlier than 1869. Moreover, although the authorities are more or less in agreement regarding the derivation of the word (Fr. chante), its spelling is still in dispute. The Oxford Dictionary (1913) gives the pre- ference to " shanty " ; Webster's New International Dictionary (1911) to " chantey " ; while the Century Dictionary (1889) prints both forms " chantey " and " shanty." Clark Russell and Kipling write it " chantey," and Henley " chanty." As the balance of expert opinion appears to favour " chantey " that spelling is adopted here.

Considering the interest which this subject must have for antiquaries, musicians, folk-lorists and others, its bibliography is remarkabl}^ slender. Of

IX

the Collections, containing both words and music, that have so far been pub- lished, the following must, I think, be regarded as the most important : —

Sailors' Songs or Chanties ; Davis and Tozer (ist ed., 1887).

Music of the Waters; Laura Alexandrine Smith (1888).

Ships, Sea Songs and Shanties ; W. B. Whall (ist ed., 1910 ; 2nd ed., 1912).

Songs of Sea Labour {Chanties) ; Bullen and Arnold (1914).

Of these, the last two are at once the most recent and, in my opinion, the most autlioritati\'e. Each is the compilation of a professional sailor and avowedly a one-man collection, containing those chanteys only whicli its author had himself heard and learned at sea.

Here, of course, Mr. Whall and Mr. Bullen have the advantage of me. I have no technical or practical knowledge whatever of nautical matters ; I have never even heard a chantey sung on board ship. But then I approach the subject from its aesthetic side — my concern is solely with the music of the chantey and with its value as an art-product — and this I contend is quite possible even for one who is as ignorant as I am of the technical details of the subject.

Counting variants, I have collected upwards of 150 chanteys, all of which have been taken down from the lips of old sailors now living in retirement at St. Ives, Padstow, Watchet, Bridgwater, Clevedon, Bristol, Newcastle and London. In making my selection for the purposes of this book I have been guided by the following considerations. I have limited my choice to those chanteys which I had definite evidence were actually used within living memory as working-songs on board ship ; I have excluded every example of the sea-song or ballad, which is, of course, not a labour-song at all ; I have omitted certain popular and undoul:»tedly genuine chanteys, such as " The Banks of the Sacramento," "Poor Paddy works on the Railwaj'," "Can't 3'ou dance the Polka," " Good-bye, Fare you Well," etc., — all of which are in- cluded, I believe, in one or other of the Collections above enumerated — on the ground that the tunes are not of folk-origin, but rather the latter-da}' adaptations of popular, " composed " songs of small musical value ; and finally, to save space, I have excluded several well-known chanteys, e.g. " Farewell and Adieu to you. Ladies of Spain," " Cawsand Bay," " The Coasts of High Barbar}-," etc., all of which have been repeatedly published.

A reference to the Notes will show that thirty-nine of the chanteys in this Collection have already seen the light in some form or other. The remaining twenty-one are, I believe, now ]:)ublished for the first time.

Fifty-seven of the chanteys in my Collection, and forty-six of those in this volume, were sung to me by Mr. John Short of Watchet, Somerset, x^lthough seventy-six years of age he is apparently, so far as physical activity and mental alertness go, still in the prime of life. Lie has, too, the folk-singer's tenacious memory and, although I am sure he does not know it, very great

musical ability of the uncultivated, unconscious order. He now holds the office of Town Crier in his native town, presumably on account of his voice, wliich is rich, resonant and powerful, and yet so flexible that he can execute trills, turns and graces with a delicacy and finish that would excite the envy of many a professed vocalist. Mr. Short has spent more than fifty years in saihng-ships and throughout the greater part of his career was a recognised chanteyman, i.e. the solo-singer who led the chanteys. It would be difficult, I imagine, to find a more experienced exponent of the art of chantey-singing, and I account myself peculiarly fortunate in having made his acquaintance in the course of my investigations and won his generous assistance. Of the other singers who have been good enough to sing to me, Mr. Perkins of St. Ives and the late Mr. Robbins of London deserve especial mention. The former gave me " Lowlands Low " (No. 29) ; while Mr. Robbins contributed twenty or more to my CoUection including a i-emarkable variant of " Sally Brown " (No. 28).

The chantey may be defined as a song used by sailors during their work and devised, not only to keep them amused, but also, by assuring unanimity of action, to aid them in the efficient execution of their collective task. To understand the function of the chantey let us imagine a squad of men engaged in shifting a heavy weight. We shall then understand how greatly their task would be facilitated if by some means or other, e.g. a song, they were enabled to exert their united strength at precisely the same moment. A simple way of securing this end was explained to me by a practical seaman, who told me that on such occasions he would recite, slowly and impressively and to the following rhythm, this sentence,

I sell brooms, squ ee-gecs and swabs.

instructing the men to make their effort on the word " swabs."

In this example we have the germ of the chantey ; it may be said indeed that the most elaborate puUing-chantey is no more than a highly developed extension of this simple verbal formula.

Now all formal and public utterances, if constantly repeated, tend in course of time to take on some measure of artistic embellishment. The street- vendor, for instance, perpetually reiterating in a loud voice the same cry, will sooner or later instinctively call music to his aid and sing or chant his words. Many of the Street Cries, e.g. " London Lavender," are quite beautiful {see Folk-Song Society's Journal, IV, p. 97). and most of them have been handed down by tradition for many generations. Again, the short musical phrase with which sailors announce the reading of the lead-line is another instance

xi

in point. Mr. Henry Bailey, a Bridgwater sailor, sang nie the following phrases : —

A quar - ter less five Hand and a half six

Mr. Perkins of St. Ives gave me more elaborate versions, as follows : —

By the deep nine- I wish that girl was mine Six no bot • lorn- There she is pass-ing a • long.

r Mr. Perkins explained that the second phrase of each of the above cries was sung sotio voce to the crew and was not intended to be overheard by the captain or pilot.

I have been told, too, that the bargees on the Severn use a pole to take soundings, and that when the depth of the water is greater than the length of the pole the fact is recorded in the following words : —

No ground,

No sound,

No bottom to be found

With a long, pitch-pine pole, daddy O.

These lines are not, it is true, chanted — except perhaps in a monotone — yet here again in the rhyming, alliteration and the rhythmical cadence of the syllables we have another example of the same tendency.

The chantey, however, differs in many respects from the examples just quoted. It is essentially a collective, not an individual, performance, and it must therefore be differentiated from the song which the solitary worker (the painter, cobl^ler or stone-breaker) will whistle or sing to while away the time — a song which has nothing whate\'er to do with the character or the efficient execution of his w^ork.

There are two kinds of chanteys, the Capstan-chantey, and the Pulling- chantey.

The first of these, the capstan-chantey, is used to accompany work of a regular rhythmical character, e.g. marching round the capstan, working the pumps, etc. Soldiers' marching songs, rowing-songs and the waulking-songs of the Scottish weavers are labour-songs of a similar type. Occupations of this kind give rise to regular, rhythmical movements and these can advan- tageously be accompanied, and the movements emphasised, by any song in which the metrical accents follow one another at the required pace. A large number of chanteys belong to this class. In form, the capstan-chantey con- sists of a solo and chorus, the precentor, or chanteyman, singing the verse and the workers the refrain. Occasionally, solo and refrain are sung to alter-

xii

nate lines of the text, as in " Heave away my Johnny " (No. 26) ; but more often the chorus follows the completion of each stanza as in " Whip Jam- boree " (No. 9), " Farewell and Adieu to you, Ladies of Spain," etc. No specialised form of song is needed for this purpose. Any ballad will serve so long as the tune can be sung at the required tempo and the words are cal- culated to hold the attention of the sailors.

It is otherwise with the pulling-chantey which must be sharply distin- guished from the type just described. The capstan-chantey is sung, as we have seen, when the work is continuous and sustained ; but the pulling- chantey is used to accompany work that is irregular or spasmodic, as, for instance, when a succession of hard pulls is required to raise the yards, hoist the sails, etc.

Now if work of this kind is to be effectively executed, and with due economy of effort — (i) the pulls must be made in perfect accord ; (2) regular intervals for rest must be allowed between the pulls to enable the workers to take a fresh grip of the rope, to recover their breath and conserve their strength ; and (3) the song must interest the sailors and occupy their attention. A reference to " Reuben Ranzo " (No. 32) will show how the pulling-chantey satisfies these requirements. The soloist, i.e. the chanteyman, first of all sings, by way of introduction, the refrain, or a shortened form of it ; this is to announce the chantey he has chosen and to remind his hearers of the tune. This was not an invariable practice though it was very commonly observed. The soloist then chants the first line, " O poor old Reuben Ranzo," to which the sailors reply " Ranzo, boys, Ranzo," pulling as they sing the italicised syllables. These two lines are then repeated to the second phrase of the tune, so that the sailors get in two double-pulls in the course of the stanza. Pulling-chanteys are not all constructed in this way. Sometimes, as for in- stance in " Haul away, Joe," a single- is substituted for the double-pull and a regular and lengthened refrain is interpolated between the stanzas. But whatever form it may take, the pulling-chante}^ wth one exception, always consists of a periodic series of single or dual-pulls. The exception is in those special operations in which one pull only is needed, as, for instance, when a sail is " bunted." In this case, as I vmderstand it, the work is prepared beforehand, after which the single strong pull that is required to complete the job is executed with the aid of the chante}^ I have been told, too, that in raising a yard the first part of the work is not " chanteyed " because, being easy, it can be effected by one continuous effort.* It is only when the yard has very nearly reached its haven and a few very powerful pulls (technically known as " sweating up " or " punishment ") are all that are needed to finish the operation, that the aid of the chantey is invoked. Again, if the job is a

* Occasionally, even this part of the work was accompanied by a song of the capstan type, usually known jis a " walk-away " chantey (See Note to No. ).

xiii

peculiarly tough one, a single pull is substituted for a double one. Sometimes this second pull is omitted for no other reason than that the men are interested in the cliantey — perhaps the clianteyman is in a specially happy and amusing vein — and they want to make the work last as long as possible.

To the sailor tlie chief attraction of the chantey was that it infected his work with tlie spirit of play — as a chanteyman once said to me, " It was only just a few words we had, but it made the thing come lighter." Although the words of the refrains were often mere jingles, a succession of more or less meaningless syllables, they served their purpose none the less on that account. It was in the tune that the interest lay, and the words were Httle more than pegs upon which to hang the notes. With the words of the soloist it was otherwise, for these were improvised and it was the excitement which this aroused that riveted the attention of the workers. It was for this reason, no doubt, that a clever chanteyman was accounted a valuable asset in a ship's crew — it used to be said in the Merchant Service* that a capable chanteyman was worth a couple of extra hands. He was a " privileged " person, at any rate on some ships, and was given light and easy jobs and released from duty whenever possible. In most chanteys, e.g. " Ranzo," it is one line only in each stanza that has to be improvised, so that the demands made upon the singer's powers of invention are not overwhelming. Every chanteyman, too, has a number of stock lines, or " tags," stored up in his memory, such as — " Up aloft this yard must go," " I think I heard the old man {i.e. the captain) say " — upon which he can always draw when inspiration fails him. The paucity of singable words vitiates to some extent the practical value of a Collection such as this ; on the other hand it should not be difficult for the amateur to emulate the chanteyman and invent words of his own.

It should, perhaps, be added that the words in the text are those that were actually sung to me. I have not " edited" them in any way beyond excising a few lines and softening two or three expressions.

Traditionally, the chantey is sung very slowly and deliberately and the tune embellished — especially by the chante^^man himself — with numberless trills and graces, with every now and again a curious catch in the voice (a kind of hiccough), and numerous falsetto notes. These embellishments are highky characteristic, but they are very difficult, and the amateur would be well advised not to attempt to imitate them. He must remember, however, to sing the chanteys slowly and impressively and, the majority of them at any rate, without accompaniment. Accompaniments, it is true, are given in the text, but this is only that the melodies may, if required, be played as instrumental airs.

The origin of the chantey-tune is a question beset with difficulty. A great many of the airs — I should be inclined to say a majority of them — must

* The singing of chanteys was not permitted in the Navy.

xiv

originally have been drawn from the stock of peasant-tunes with which the memory of every countrj'-bred sailor would naturally be stored. In most cases these have, in the process of adaptation, undergone many changes, although there are instances where the folk-ballad has been " hfted " bodily into the service of the chantey without any alteration whatever, as for example " Blow away the Morning Dew " (WhaU, p. 35) and " Sweet Nightingale " {Songs of the West, No. 15). The latter was given me as a capstan-chantey by Mr. Short who told me that he had himself converted it into a chantey, and that it had always become a favourite with the crews he had sailed with.

Very often too — for the sailors' taste is comprehensive rather than par- ticular— popular street-songs were added to the sailors' repertory of chanteys, e.g. " Champagne Charlie," " Doo-dah-day," etc.

Another source, too, from which the chantey seems to have been re- plenished is the hymn-book ; at any rate there are many chanteys that have hymn-tune characteristics, e.g. " Leave her Johnny " (No. 3), etc. The resemblance may be ad^'entitious, i.e. the short, concise phrases peculiar to the chantey may have led naturally to the construction of tunes of this character ; or, on the other hand, as the sailor is a great singer of hymn- tunes of the more emotional type, it may be that he has consciously or un- consciously introduced some of the phrases of his favourite tunes into the chantey.

Lastly, there is the vexed question of negro influence. Mr. Arnold, the musical editor of Mr. Bullen's Collection, holds that " the majority of the chanteys are negroid in origin." I cannot subscribe to this opinion, although I admit that the negro has undoubtedly left his impress upon a certain number of chantey-tunes. The technical peculiarities of negroid music are not easy to define with precision. Mr. A. H. Fox Strangways has, however, drawn my attention to the prevalence in negro music of the " melodic-third," i.e. of a shape of melody which implies a preference for harmonising in thirds, in- stead of the fourth, which is, of course, the basic interval of European folk- song {see the opening phrase of 'Mudder Dinah ' in Mr. Bullen's Collection). Then there is that characteristic form of syncopated rhythm, popularly known as " rag-time," which, however, although undoubtedly negro in origin, is found very rarely, if at all, in the chantey. And, finally, there is the fondness of the negro for musical " patter," i.e. for passages consisting of a number of short, quick notes, each with its separate syllable.

That the chantey should have been affected by the negro is not surprising when we remember that sailing-ships, engaged in the Anglo-American trade, commonly carried " chequered " crews, i.e. one watch of coloured men and one of white. It is necessary, however, to distinguish between music of negroid origin and European music that has been modified by the negro. " Sing, Sally O " (No. 31) is an instance in point. Mr. BuUen prints a variant

XV

of this, "Mnddcr Dinah" (No. i), and dubs it, without hesitation, a " negro chanty." This, no doubt, is true of the words, but surely not of the tune, wliich is a close variant of "Haul away, Joe" (No. 27), an air which is singularly devoid of negro characteristics, and one, moreover, which, it has been said, is " one of our oldest chantey-tunes " {see Folk-Song Society's Journal, V, p. 32). Again, " Santy Anna," " Whip Jamboree," " He-Back, She-Back " and " Clear the Track " (Nos. i, 9, 4 and 6) are all variations of the Irish folk-tune " Shule x\gra," yet the last three of these all display characteristics for which the American negro must obviously be held responsible.

However, I do not wish to be dogmatic. Sufficient material has not yet been amassed upon which to found a sound theory of the origin of the chantey- tune ; and it may be that when further evidence is available the somewhat speculative opinions above expressed will need material modification.

C. J. S.

Dragonfield, Uxhridge.

XVI

CAPSTAN CHANTEYS

I. SANTY ANNA.

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San - ty An - na run a - way ; Ho - roo, San - ty An - na ;

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San - ta An - na run a - way All on the plains of Mex - i - ro.

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SANTY ANNA.

2. General Taylor gained the day,

3. Mexico you all do know,

4. The Americans '11 make Ureta* fly.

* i.e. Huerta.

II. LEAVE HER JOFINNY.

FIRST VERSION.

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O the times are hard and the wa-ges low; Leave her John - ny leave her ; O the

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times are hard and the \va - ges low, It's time for us to leave her.

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LEAVE HER JOHNNY.

2. The bread is hard and the beef is salt,

3. O, a leaking ship and a harping crew,

4. Our mate he is a bully man. He gives us all the best he can.

5. I've got no money, I've got no clothes,

6. O, my old mother she wrote to me :

7. I will send you money, I will send you clothes.

III. LEAVE HER JOHNNY.

SECOND VERSION.

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The times are liarcl and the \va - ges low, Leave her John - ny leave her, O the

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times are hard and the \va - gas low, It's time for vis to leave her.

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LEAVE HER JOHNNY.

The bread is hard and the beef is salt, 5. I've got no money, I've got no clothes,

O, a leaking ship and a liarping crew, 6. O, my old mother she wrote to me :

2. 3- 4-

Our mate he is a bully man, He gives us all the best he can.

7. I will send 3'ou money, I will send you clothes.

IV. HE - BACK, SHE - BACK.

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^sa^^^?^;

Hoo

roo ! What's the mat - ter now ? I'l

5Ei

^-

=1=

E^z

/

--I— -4=

j

>E3=

:SE

-*^it-

just from the rail - road

too

rer - loo, I'm

-=1=

-1!!=1=

iifcirj-

=q=^

33=5

^ -s^^Tl ^^ ^

:q^!^=

T fl*" ^

=1=

rz^=*=

tb; I

-9—*r

■» — «' just from the rail - road,

m

~-M- —

J— q — I

:=P

^f^

:^

:=5;

loo,

O the old moke pick - ing cm the ban

W "ir-w— :i. 1 ==^— *—• f * ■£: '

l^ ' I 1

Id

il

:=1T

jo.

m

i^u

V. THE HOG-EYED MAN.

Soi.o.

O who's been here since I've been gone ? Some big- black nig-ger with his

i

^,^

p

J I

~±^

i^im

r

IQZ

]

^:|

Chorus.

iM=SiiE|liprjEfeES=lE3Ep^^^^

sea - boots on, And a hog - eye,

?i«5^

r?::ii-_

-i — r

Stead-y up a jig and a hog - eye,

-» 0 4—S-

^1

I I r

I

;n^3;:^^s — N-

-m-

-5=^» — 0 — »

Stead- y up a jig, And a

r3]-=]z

::^-

I

--izz

f^^i

she wants

SiE

d=EEE3^3^il

her hog - eyed man.

-yb

mmm^m

Zt2Z

I

4=3z

r

THE HOG-EYED MAN.

2. The hog-eyed man is the man for me,

He brought me down from Tennessee.

VI. CLEAR THE TRACK.

t-.-

Solo.

Chorus.

Solo.

■---r-^±

-.p=^

*^i=*=i=

-^ 10-

I wish I was in Lon - don town ; Ha - hee, ha- oo, are you most done ; I

:tq=:1=

:F— -ti

Chorus.

= I f-^-fs:^~'-M-^-mz=:^~

:=l=

iHiy^gi

Chorus.

wish I was in Lon - don town ; So clearawaythetrackandletthe biill-gine run. With my

s . j^ s

--i -U^^-1

ii

»^l-*'-

-r

F^^igi^

r-

/

m^

-e^-

E^EBE-:?EE^E

:#pi

=P^

^^

=^-^^-

=1:

zM:=i^^rsm=rs^zztzi=zziKiz=Mz=zi<tzz^d

hi - rig -a -jig and a low- back car, Ha - hee, ha - oo, are you most done, To

-!»■ • ■ — • — M ^ — a-j — ^ • ^ i —

T^

' — ~±r--m:r:~~t-i.

^7=F==1— =1-

itz

=8=

-1—

Is!

"fi-^^

iSzn»i=»i

■^=t^

^^iHiii^^^ii^li^iiill

:t3=t

pret-ty Ht-tleyaller girl fare thee well, So clearawaythetrackandletthe bull- gine run.

i^E

--1-

■=ii=i<:

-A-

m^

lA--

r

-^.

I

I --I-

-t— I-

2. 'Twas there I saw the girls aiound. 7

_i — s,._-

VII. DRUNKEN SAILOR.

Soi.o.

What shall we do with a drunk ■ en sai - lor? What shall we do with a drunk -en sai - lor?

.-^-*= ^=^

-^=x-_

p\

r

ii^Pi^sipMiippp

'-d-

s^^

-^

^-

i^;

1

What shall we do with a drunk - en sai - lor Ear - ly in the morn - ing i

^■"^^-

'f=>'

T

H 1 1 1-

zQ r — z

i3i

--■:^.

^

T I

— <s>-

d-

a--

Chorus.

Way

^^^^3:

/

o

:fe=Q:

:i^.

I^^=^^=ii

E35a3^:

:j=;:

ay and up she ri - ses, Way

ay

and up she ri - ses,

=Bip3^

=1:^

=|^^3=^^^==i^^|

_J-

-Sl-

Y

3^^

^^

Way

i

-o-

at

-r-

iH=q:

It:

ay and up she ri - ses Ear - ly in

i^.

— 1-

d:

~-?~-

-Pi=

4_ A.

=&=

=p::

--=^-

the morn

-SI-

:iii

2. Put him in the long-boat tiU he gets sober.

3. Keep him there and make him bail her.

VIII. DO LET ME GO.

Soi.o.

Chorus.

Chorus.

^v.

^

M^S

-J>-

S'

ip^^=;

-- (^

my yal

J.

^^

ler girls,

-1^

do.

-■X-

let me

^^=5=

It

^

--^-

IX. WHIP JAMBOREE,

Solo.

'-^

^Ss^^i^:i=

=d^^^-

Now Cape Clear it

in ...sight, We'll be off Ho -ly- head by to -

-J— --^—-4-

;-i,^4E?==

--'=p--^

m a( — -■ — m 1 • - F-* * • — -H

■«=r-"=P-'

N3=i

5^^

nior - row night, And we'll shape our course for the Rock Lif,dit ; O ...

g^^

mf

s

? 1= 1 ! F « a -^ ^-.-

Jen - ny get your oat • cake done.

^=N

Chorus.

m\

Whip jam - bo - ree, whip

^^—-j-

/

l^fe^

^ -•- .^ -X q: :«; q: "i

.t--^v

-^-^— —

=i=p=

E^^

--;j=

pr=]tiqs=:zfs:

SEE^=

jam - bo ■ ree, O you long- tailed black man poke it up be -hind me, Whip

m^^

-H 1 ( W—

J 1-

-X-

--■=^--

I

I

e3H|H3:

:^:

z^^^^E

lO

it2—

i^^.

:^v:

— I-

^-

^ES^^^E^

E^^^

jam - bo - tee, Whip jam - bo - ree, O . . Jen-ny get your oat - cake done.

-H=-«, L

— i — \-. — 1^=^ — I

:-'i;-'l

-^--S— ^ — \

It

i^i

^y

coUa voce.

S3=!5S^5E';

:s^=3f5^feE^3^=g-

I- -^ ^^_^_C.s_^ ZU

WHIP JAMBOREE.

2. Now my lads, we're round the Rock,

All hammocks lashed and chests all locked. We'll haul her into the Waterloo Dock, O, Jenny, get your oat-cake done.

3. Now, my lads, we're all m dock

We'll be off to Dan Lowrie's on the spot ; And now we'll have a good roundabout, O, Jenny, get your oat-cake done.

II

X. ROLL AND GO.

Soi.o (Inikoduction).

f^r^E^fe^^i;

;., K Solo.

l=:±

Way

ay ....

-M i~i

=E^=

Chorus.

roll .nnd go. O Sal ■ ly 15rown she promised me, A

./

^E

i^

.__g_

^^P

^F

EE^E

J

*^ — *^

,SOLO.

Chorus.

-cr- TT T^

long time a - go. She pro-misedfor to mar - ry me; Way • ay

-r'' — '1^

^Efe

I -P2 1-

:=I^

-I-

;:=!"

i-iM=^l

-m- -i^-o- "

^

r^

=z=i--i

-^=^-i-i

:*=!«:?-

-ei-

^EEB

=Ui:

-^

iii=E

Solo.

■^ f F — "-

:| F— Ei£

:q^:]^=

*^

^=i:

Chorus.

23z

Z?. C. dal Se^iio.

-^

roll ami go ; O she pro-niised for to mar ■ ry me, A long time a - go. . ^ ^^ ^ . D. C. dal Sc'siio.

»^=i=^=

mm^

^--p=q^

i»z::

=1-

I

I

iiJirti

-.• • — ^-

iizr=pi

1 — r

/'

=?=h=t

-C2_ -S>-

I I -&-

rjz

eIIJ

ROLL AND GO.

2. O, Sally Brown's the girl for mc, O, Sally Brown, she slighted me.

3. As I walked out one morning fair. It's then I met her, I do declare.

12

XI. SHANADAR.

FIRST VERSION.

Solo.

i

ma

^

a=^Hg^3=

Chorus.

11=3 :

=P=F-=J

O Shan - a - dar

.1 .b_.Q

I love your daugh - ter, Hoc - ray you rol - ling

^ "■ ■'" _— ^_.

I

I

r

, — ^-

-^ — ^-

V .d.

^•^r

tglEeEa=p=^EBE

:t=t

^fc:^

-in'

Solo.

Chorus.

]

a^E

BiE^:

m^

m^

jsz

Shan - a

dar

zsii

I love your daugh - ter

E^=r=

i^^=^=i=

;t=^

^^^^■^=fg

i:

Ha

gi^

^=§E

=^=Ei

2i3z

Ha .... I'm bound a - way

to the wild

S^S

^^EE&

Lir=t

-j^-

It3=

^3=3=

Mis

T r

=» * — \±-f — I =

ICZZ'

SHANADAR.

2. O seven years I courted Sally.

3. And seven more I couldn't gain her.

4. She said I was a tarry sailor.

5. Farewell my dear I'm bound to leave you ; I'm bound away but will ne'er deceive you.

13

XII. ROLLER, BOWLER.

Chorus.

Hoo

Sip

'¥^

ii^-i=5^|§=l^=r^^

you rol - ler, bow - ler ; To my hi - rig - a - jig and a

d^=d—

:=c

=S^^^-

"^H-

-I

4=]^f;

H^

_-•: d__

iE£

t=d.

-ISl-

T-

1-

^^1 °-

bOLO.

nr^

;^^t=s^3

ha ha. Good morn - ing la - dies all. (i.) O the first time that I

(2.) As I walked out one

r-

|^ilEEE^:^^EEE3:

-Sl-^

J-

-1-

7^

#- -m-

;^

saw her, morn - ing,

Chorus.

^*=:[3;

-t=r

^IF-

BZE.

;=^-

:t=-

Hoo Hoo

ray. ray.

you you

rol rol

li^d.

I

A^

:t:

:nr

if*-*;

ler, ler,

bow - ler ; bow - ler ;

I

Soi.o.

— >« N

m

O the

As

-=±:

[stp

l^ilj

j — r-

• — a — J a— ^ -

Chorus.

:S-J=

litli

I

-• m-

ac^z

^_J-

first time that I saw her 'Twas down in Play ■ house Square, To my

I walked out one morn - ing, Down by the ri • ver side,

m

14

F#:M	==I^	— ,>.-_j—		—	q-	1	m ■	— »-.=--	~^ '■ .1	D.C. 1
		-• ^ —	— • *— '	— 0 —	■ e	1	— t-	-'^U- 0	e>-s. ^
hi -	rig-	a - jig	and a ha	ha.	Good morn	- ing la - dies all.
				=1 =	1		. DC.
^1 q		'^" ^	1""--*--	~	0		^ i- tl	-—-11
		-• P—	1 i —	— m — -0-	& 1	i#	0 1	m r 1 o •
^|-^—		J	.^~L	-^=	— B—	1	• H	-»- -0- -»- iT! . -t — ^ — t:— -^.- in
1		&— t				— 1	pi 1		1- r	^P -w

Chorus.

Hoo - ray .

M^^E^^^^E^

^--x-

-•— *-

1=Z?=[*=?

M-

you rol - ler, bow - ler ;

To my hi - rig - a - jig and a

■j=^r

:^5^

i

... -.J. J. i

;|=

Solo.

:3E

It

nj^

-C^

— I-

Chokus,

-— 1 — t--

ha ha Good morn ing la - dies all. (3.) O la - dies short and la - dies tall, Hoo -

m

-m SI-

-•— 3" I

-I ^-

I* — 0-' .

• — •-

EEi^=»ii

Is

-I — r

1

:fa

-55^

^

f4=^

Solo.

-^

W3l

ray you rol - ler, bow-ler; O la - dies short and la-dies tall I

love them

-0 -■■ 0 0-

±-'ZZJL

^E^

i^;

-1 =i=rf5-:[g=g -1— [5

-1 — JP-

@lg^

rcia:

_ci_

EE^

&!

-J- -^2.

^i=c

21^:

»5

Chorus.

^^

/T^

^^

=ps=r

idi

all, To my hi - rig - a - jig and a ha ha. Good morn - ing la - dies all.

j

Az

w

=q^=4

-*PT

^:

3=d^E^

f"

-Sr-*-

r-J-

cS-

=F=^

ES^isi

r=F=r=

S

rffe

33=

=*=L^

:|=^EEE£En

^=t

-f-

=^-

it=

XIII. LET THE BULLGINE RUN.

Solo,

Chorus.

i

fa.

;e3d

=m

^-» — ( — • ■ 1— I W I F-l — ■-(-• •— ^-J 1

ia=

i^^:

Way ■ yah,

oo - 00 oo-oo-oo, O . . run, let the bull - gine ;

B^

— K f^ /^ 1

-S-

lE^EE^g

=3^

r

-• ■• al-

^r^=f^

a^^E

:g2=

-*- r^: -•■.i: .^

-T=t

LET THE BULLGINE RUN.

We'll run from Dover to Calais.

We sailed away from Mobile Bay.

We gave three cheers and away we went.

Now up aloft this yard must go.

We're homeward bound for Liverpool Docks.

]6

XIV. HUCKLEBERRY HUNTING.

Solo.

J

^=^

hunt

:$E5^

v~

-: — o-

Chorus.

E3Z ■<9-

ing;

To my way

-Gl— -

Cs;

ay

ay

-=P

lic^i

ay

ay

ay

— I-

t=-

.SEEE^^

^=

Solo.

:fct=P^^=

isii

E3^

yah;

All the

boys. .

and the

girls

went

hue - kle - ber

ly

eEej:

Chorus.

-r^-

ZiZfZ

=3=

-s>-

hunt

ing :

To my Hi

lo,

my

Ran

ray.

—f7

f"

-IB>-^

ig:

;p=^

ig±:

17

^-h^

Chorus.

IS

^

One

mm

XV. ONE MORE DAY.

Sll

— 1=

more

=t=

day, my John

ny.

day;

-J-

J=A

-r

^

r J-

=^¥Pr

-4=-

O

=?25±=S=.-*=I

f^?^

T-T

^ti*-^

rock

»^

and roll

HI

For one

--=\-

=t=-

^-

-jcii

day.

i=ii:

N-,

==d?q=^-

:d;

^D

^jtj;

3^

T?"

red:

SOLO.

l-ii«^=

Chorus.

(i.) There is one thing more that (2.) I'm bound a - way to

^-

;^t

-^--

:t:

::lii

'#— ;

i#^

|^=£z

J-

E^=

n. -^ J. J 1^ J ^1

=^

Solo.

..^=^q

grieves me For one more day There is

leave you For one more day Don't

»*— •-

'-:^L

ni^:

'-=X--

my poor let my

^m

sfe

--1-

wife and part - ing

--I 1— — H— -

^--

Chorus.

3E

:3E

&i3E^=f:

ba grieve

==^

r— ^

by For you For

one

one

r

-di

more more

day. day.

-tzsi:

z>.c.

XVI. O JOHNNY COME TO HILO.

Solo.

]

3^35^S

lE^'z

1=1:

:?^=i5;-

iSls

4=;

O a poor old., man came a - ri

ding by, Says I : old man your

ii!

^m!^^^^^^SM

:^i

frzz

..f:^_j.

=i5=3

^EEfE:sp=E£3=

Chorus.

ifciE

IZ|Z

U^^eS^^^e

=n

horse will die. O John-ny come to Hi - lo,

$^^^00^^m^^

-J — ^-

- rcj: 3ii

^^

-0-—

-r

O poor old

32t

1^

iii

p-^

-^--

i

Chorus.

-p:

O wake her,

f:d.=d=

?li^=t

--gj-

O shake her,

^^^

O shake that girl with the

J-

^^

?^E

itz^

-J- -T^- J

T

m^m

-r

^1^

iEfe^i

-* — ir

-> — fc

:r:l=

blue dress on, O John-ny come to Hi

^ — I-

f

m=^

'-r-

r--d:

Poor old

^

lEE

I i

:g:

ict

=];

r r

^T

trpi

:z2z

:s=i«:

»^ -I

^=

-<s>- -»-

m

19

XVII. GOOD MORNING, LADIES ALL.

Sni.n. (iNTRoiiiKTinN

g Soi-o.

iim^l^^^i^^l^^gll^iS

Aye yo.

yo.

iKpE^

ill

m

^mm

Sift

r£aO

3|a^s3j

yi^BIlii

as

Chorus.

^:n^^=i,=r:=^z

=^^q-I^— -^==1:

zM^Mz

p_^i[giiis^ji=igij

thought I heard our cap -tain say

Aye

yo.

o,

aye

; m »— J— • F • — a — Lii 1 — IL±—^

_ — 0

^tE

S:!i'

ig^-ii:

I L L_

^.t^?

;i^

^:3-

yo.

i^

zfzzz^-

i3

==|:

1e^£

Solo.

-X-

iq^:

i?sz=ij«^il^

:=^-

1*=:

1^

o. O go on board your pi - lot boat And roll her down the

B3EiZE3^l=F^-^'— g^^c|

• • 0Zizmzz\z:m -:-_^=irt=^

■i ; 1 — F--! — 0 ^ 1 m-

333=^1

r

li

i3=:

r.=t=;

-^ — •

=.=,r5=iS-

iii^

Chorus.

f

bay. Ha, ha,

i?=zzs-

id^=r-

::§=*.-z=*-

Da/ Segn»

=^->

my yal-ler girls, Good morning, la-dies aU.

^zzzzTzzz^r^zzz^zx'"^ ~ '^^

Dal Segno.

f

I

li^i^^

T — r

^^ — ^, — ,-^-j — I -

2. Our Captain on the quarter-deck {bis) Was looking very sad.

2o

XVIII. LOWLANDS AWAY.

Chorus.

It

4- L

aE

^

i

Low -lands, low - lands a - w.,y, my John ; I'm bound a-way, I heard him say, My

EEi=T-

4- • — — ei-

-K ^j

-r

-o-

?^^

=i=3z

¥^EgE

^^

.-:t-

• — =«;

I

J

'S Solo.

Chorus.

^E3£E^E1E

3i

qN=:S;^5=

:i2=/i

-=C

dol-lai- and a half a day. A dol-lar and a half won't pay my way ; Low-lands, ^ -8. „ --

--=i

\

^^

S^

^^

-J-

nqi

-ei-

1

^

5q:

V^^=i=^

Soi.o.

Chorus.

:i-^=i=

=i^P=a;

=^t^=!n?=

^ «_! 1 m-1 — »_

/'a'K

low-lands a - way, my John; .'^ dol-lar and a half is a oozer'spay, A dollar and a half a day.

F=#

=^

~f=>~

-I-

^ ?" r P

t=t=i

■-• — r* 1

■»- I

HI

-fSl-

^Hil

LOWLANDS AWAY.

2. A duUar and a half won't pay my way ; A dollar and a half is a white-man's pay.

3. We're bound away to Mobile Bay ; {bis)

4. What shall we poor matelors do ? {bis)

21

XIX. THE BULLY BOAT.

m

Ml

Solo.

4==s

3^^

T-

=]=

:]=

!^£

?;

Ah the bul - ly boat is com • ing, Don't you hear the pad - dies

kk¥_

in-

:4:

im

^^

:^-

7 r

-4'-

I

--f=r

-J 1 n

*»)

rol

Chorus.

ling?

Ran

:< -H * 7^ p P F-| * 1

do,

do, hoo - ray,

m

i^=

^-

=3' -9-

^1

/

^^=F

izzzzzli

-42-

1^

r-

3^^

r

hoo -

liA

'&^,

ray;

(P

*Si

Solo.

iji:

-h-

-* * m^—>^ * *-

The bul - ly boat is com - ing, Don't you hear the pad - dies

?=f

-4-

, 1 <Q ■ m-

I

sm'^m^m

Gl

EEE

:E=

-A-S---

ESE

r

;tt:

rol

:«li

mi

Chorus.

ling ?

Ran

m

/•

&

zciz

do,

do,

ray.

^3"

^-

:^s

2. Ah ! the bully boat is coming, 3. As I walked out one May morning Down the Mississippi floating. To hear the steam-boat rolling.

22

XX. STORMALONG JOHN.

Solo.

^^m

Chorus.

Ufcr^

^as

g

i».i

:t^

i

^

I wish I was old Stor - niy's son ; To my way.

ay.

--1-

— ^-

^=&i; -*-»-•--

zati

I

/

32Z

=^

-ei

BE

1

-r=

1

Solo.

^3E

Chorus.

:qi

^E^£

]

Ei::

^

Storm - a - long John.

wish I was old Stor - niy's son, Ha,

-J-

ifz:

ne=r-

^

^

I /•

^t=H^

=^=^

±

==j=

i J

.^3^

IE

=a;

izt

ha.

long,

get a - long.

Stor

my a - long John.

4^«-

ES^^

H

^q==

^=a=zz

ff=!fc=F^

EE

^

-v=

J^

cS-

^

STORMALONG JOHN.

2. I'd give those sailors lots of rum.

3. O was you ever in Quebec ?

4. A-stowing timber on the deck.

5. I wish I was in Baltimore.

6. On the grand old American shore,

23

XXI. RIO GRAND.

i

Soi.o.

r#

it

--=i >-

Chorus.

Solo.

^ m

»-T |V~

^

I think I heard the old man say :

0 ...	you Ri - 0, ....	I
1 ..^	1 y 1 ^- 'i	^ —

^/.

i^EE

-.^J.

jsrizt

Chorus.

I

-& ^m-					j^^^	1
i^¥—r	zt=	—*—'--	— i:5j — ^ — .	■V""* •	~1~^ — M	J	I?t_ J	^-	~*- ]	1 N II
¥ }- bs- ' 1 ! •—	—a — 7-	^^ *			— •	i-	— ^--	— *— U
think	I	heard	the	old. . man	say : We're bound	for	Ri -	0	Grand.
^t-— -	-•'—	-r^
■^-1		'" ^ ^	-^^	:z:z!s=	— 1 1
— 3 — m — d—	— \ 1-*-^ 1	^=^^1^"
Ft- 7^. *-=		# • 1 — 9	-•-	-f— r 1	* * J J r, r 1 ;	^	— m		-•-•	— m-^
— m-^	^
fe-u		— •--;			— •-=			— 1	- — -^		-^^ II
^-^^--P	t-	H		— 1 m —	#	^^-fL .		— W •		— i ^Ml
1				>		1		1			•

i

Chorus.

^zziisz

^

^

~» » * — I

And a - way for Ri - o,

O you Ri - o,

So

/

^

r=3=

::::^

^^S

P

1/ ; 'j^

:^

;t:

1=1:

^

fare you well, my bon-ny young girl, We're bound for Ri - o

;;^ ,. — ; ^ ;

Grand.

^

-J-

H 1 1-

^

It

:^

;^i

-*— air

-* g-

^:

I

M

^fe^^

-4-

;=!=:

::]:-

2. 0 Rio Grand is my native land.

3. It's there that I would take my stand.

4. She's a buxom young maid with a rolhng

black eye.

* i.e. swell and rowdy.

5. She came from her dwelling a long way

from here.

6. I wish I was in Rio to-day.

7. Buckle* sailors you'll see there,

With long sea-boats and close cropped hair.

24

XXII. LUCY LONG.

Solo.

]

Was

/ ^

mmi

==^

you

—IV-

=t=t

dt

ver on.

-Js J^

the Brum

low, Where the

-I 1-

I

i»z

M

rf^-i—	m —	m	m	— •	^	==^*	Chorus		^-?	^^r^H
■¥) " — Van	'/^ — kee	r boys 4 •	> are	all	^= the	go?	'y^ To	my	way -	- ay - -
'^=^	» —	*l 1	1 1 0	s	1 —	1	— 1	^-^	:— ^^^q
		r m-^		• •		1 1			— 1 « ■	# •
— « —		W	f' ,.J
k^ r^~.	^		— 1		1.E	r -^

- ay	=^i=m	— > \ 'r- — « »-^ • — ha, ha ; ps -. 1	h-1— » » My John	— s. 4 ~m * - ny, boys,	• -1— •-^ ha ha..	'^^M
Tf^'-	-^-=^-
V 1	^v 1	s \-^	. j
	1 •-; —		-^ -m-	^— J .... — 5-— 5—	^-^	-•-
^~ ^-	^
I	}-~ — 1- —	-1- 0—			-J-	_:4--J ^

i

i

w

m

Why . . .

i:

don't you try

> ■*-

for

to wring Miss Lu

=1^

1^

cy

LouK?

2. O ! as I walked out one morning fair, To view the views and take the air.

3. 'Twas there I met Miss Lucy fair, 'Twas there we met I do declare.

25

XXIII. THE BLACK BALL LINE.

Solo.

:£#=

=:1=

:t

Chorus,

-3

^mn

Soi.o,

m

ss

In Tap-scott's line we're bound to shine ; A

way .

Hoo - ray, Yah ; In

53E

32:

i:*^-

zS.

it"

I

^

^

I

:^=S=

I I

^^=fe^

g

F^^

Chorus.

=]i

1

lid.-

/ I i

-1 1?— ^:

Tap - scott's hne we're bound for to shine, Hoo - ray for the Black Ball Line.

-• ZiT

:?2-

z^—wr

m

*

THE BLACK BALL LINE.

2. In the Black Ball Line I served my time.

3. We sailed away from Liverpool Bay.

4. We sailed away for Mobile Bay.

5. It was there we discharged our cargo, boys.

6. We loaded cotton for the homeward bound.

7. And when we arrived at Liverpool Dock.

8. We ran our lines on to the pier.

9. We made her fast all snug and taut.

10. The skipper said : That will do, my boys.

26

XXIV. FIRE ! FIRE

Soi.o.

^^^

:3:=^=fe:

!=?£:

4;

J

There is fire in the gal - ley, There is fire down be - low,

^:^=

'«» ,

ISe

-ziT- *—p^

i

=ft==ft=^v:

Fetch a buck-et of wa - ter, girls, There's fire down be-low.

^

iz±;

:=3=

Chorus.

(3-

==1: :«^i

Fire ! Fire !

"^-"-

i

m^

f'-

-ri'

-J 1=^

It

\

-m — *■ Fire down be-low

It's fetch a buck-et of wa - ter, girls, There's fire down be-low.

m

^

1-^- I

^^l4. *— -

I I

-• — r — ■=?= — * — ^=^ — T — —4-—"

FIRE ! FIRE !

2. There is fire in the fore-top, There's fire in the main ; Fetch a bucket of water, girls, And put it out again.

3. As I walked out one morning fair All in the month of June.

I overheard an Irish girl A-singing this old tune.

27

XXV. A - ROVING.

	Soi.o. ^ ,-4=		3^i	— j	— ^—			— 1~	—3-	1-=^ =1- 1"
	In	_• # Ply - mouth	town iheie	lived	a	maid ;	h Bless	— '- you,	young	--.—.— J- wo - men	-•- In
(	^^■^^=\	-1 "1	^ t:\ -	"^		1	=1 =	1_.	--J ' \—
	p	f 1 g	* • * , •	1		*l— (	1 — — • — 1	— 4 m J— — o- ^	-•-
I	^2^4—^=^			F-^ — ^		.#	-r —	1	— »	'

r-f>:

..:j^=^ ^-J.

Hv

-]^-

^^^fe

-t-

Ply - mouth town there lived a maid ; O mind what 1 do say ;

In

"-^=3=

4-

:^=

— I 1 1 -

=^^

N J

'"/

mf

r-^

:t^

1 "-

zee

iE=:

I

1^-=?;

ri==

It:;

^-=T-

^^i^

:=I=-=T= -* zir

Ply -mouth town there lived a maid, And she was mis - tress of her trade ; I'll

— ^ ^ ^ ^ ^

__|_ J ■ .J_^l J.

I

-C^^

/ 1

m

:=l-=^:

=:1-

--^z=-=-.

I

^^ — .*-^-

I.

I I

I

^S~r

I

,_*

=t

iJ

z=t

11

=fc

E

==!=

go

» •

no more

3^=1-

ving with you.

ii

Sri

■S>- I

i-ll=f==

fair

:=!=

maid.

--1

m

28

Chorus.

vuig,

ving, Since ro - ving's been my

Z 0-

-r^ — -

D—^ M— H d ^ '-^^^-

JE^

f

^^-=^.

-1-

i^i^^fe^i^

* -m-

m

ru - i - in I'll go no more a

ving with you, fair

maid.

J_J_J-

^k — o-T-

i^

— j — "I-

■^ — =3:

— ^-

-^

A -ROVING.

2. I took this fair maid for a walk, And we had such a loving talk.

3. I took her hand within my own,

And said : I'm bound to my old home.

The lines " Bless you, young ivomen " and " 0 mind what I do say " are sonielinies sung in cliorus.

29

XXVI. HEAVE AWAY, MY JOHNNY.

Soi.o.

Chorus.

1=^

Solo.

\

:t^

^^^

way my John - ny, heave a - way.

Me^^^

^^

m

eSS

mt

t=t

>^

Her

'S

	rt*--=	=4-*—		^=^^		=1= ^	^r^-f-	—	Chorus. -—■=1 ^-^
	%)~^ \ fa ■	— — 1 — ther died	and	' ■" 1 : left her	— f — ' five	hun	* '^' m dred pound in	gold ;	« , _ Heave a -
r	#li*=^	-^^^	1	-^ 1^-	J>^ 4	1 hS j 1 1 —	^	ffe~-
	¥r~f-	0 .	0 1	i i i-	•! ■ — !	-Id—	^ ' * ^	■J .	i=^.
	t/ 1	r i		1	^ N -- —	-/"
)	'1 nj~n ^
i	^^*y--	^ —	*	^-^^-'-^	f	^—	r — ^ — *-■ ■	—1 — 3t--i —	_? — ,Li
\	^=iii — 1 —	-A	IlZi^J	I ^-^—		H-	1	h"	*-i

-•— -

3^3

* M

Se

vvav my bon

ny boys, We're all

bound a - way.

^

1^1

W

\ r

^^

J-

=lz

r«=pi

2. Her uncle and the squire rode out one summer's day. [his]

3. Young William is in favour, her uncle he did say. [bis)

30

PULLING CHANTEYS

XXVII. HAUL AWAY, JOE.

S3E

ClIORl'S.

aa^^g^^^^

i

35Sg>3^=3:

=j^=^^'l«

Haul a - way, haul a - way,

^!^-

^E63:

.jd.

3=:

-^

haul a - way, my Rd - sie,

-'T-

^=^^EI^

-p-

3i

Soi.o.

:t==

_^_! « 1_

Way, haul a - way,

^^:

i->-

P^^^^^^e*.

haul a-way, Joe. O you talk a-bout your A ■ ver*girls,And

\l^.

r=3=

^@=

~0~

i

i^!lE

:t=-p;

I?Z^=«^=I

r-^:t=:

E^E3^

Chorus.

SH3;

I

round the cor - ner Sal - Ij- ; Way, haul a - way,

:i?fc

^.

-==f*--

I*::

I

#jili^

J , /

I I

i

haul a - way, Joe.

-q-d:

-I—

-•-^-

=F-

^y

i e. Havre.

2. But they cannot come to tea With the girls in Booble Alley.

3. O ! once I loved a nigger girl, And I loved her for her money.

4. O ! once I had a nice young girl, And she was all a posy.

5. And now I've got an English girl, I treat her hke a lady.

7. We J discharge;? our cargo there, my

boys. ^i

And we took it light and easy.

8. We loaded for our homeward bound, With the winds so free and easy.

9. We squared our yards and away we

ran. With the music playing freely.

6. We sailed away for the East Indies, 10. Now, up aloft this yard must go, With spirits light and gay. We'll pull her free and easy.

II. Another pull and then belay, We'll make it all so easy.

N.B. — /;; this and the follounng chanteys arrow-heads are placed immediately over the notes upon which the pulls are made.

32

XXVIII. SALLY BROWN.

=t-4:

Solo.

Chorus. A

E^rl^

t*

=t=

i:

i^A-E

:*z=*5:

a

t^»-

=K==

^S

r-

I

-p-

/

Si^

=t

1

I shipped on board of a Li - ver - pool li - ner ; Way, ho,

^^li

=fc^^^^^F^-=

Solo.

IS33PT

:«=?--

t-^=fr^=l2=r^

a#-^

.S_^!-__,.^

^

^-^^

^

rol

ing go; And I shipped on board of a Li - ver - pool h - ner,

-1^

^ r-

-J-

:?■"

izii

— ^.

^^J-

:?=::

^^=3=^

Chorus.

a^

i^

For I

4E£

5^^i^

r*

^^-

spent my mo - ney 'long with Sal - ly

Brown.

SALLY BROWN.

2. 0 Sally Brown was a Creole lady.

3. O Sally Brown was a bright mulatto.

4. O seven years I courted Sally.

5. And now we're married and we're living nice and comfor'ble.

33

XXIX. LOWLANDS LOW,

Chorus.

i

Solo.

Chorus.

^

zpi~

T-

Our

Cap - tain

bul - ly

'^

^^

■IS-

Low

1-^

lands

1

Solo.

<lL

low - lands, low - lands

low ;

He ..

gave

us bread

*-

=j=

J=3.

r

-< — ,

m^-

zz^—z^z

-^-

t

Chorus.

:?2=

hard as brass ;

Lov

lands,

low - lands, low - lands

g-

^^

zar-

^l

low.

^fefc

J- ^ J-

^

-8-:

=1: "cr-

34

XXX. SHALLOW BROWN.

FIRST VERSION.

1^

Solo. (iNXRonfCTioN.) I ;t ft— )>^^^^

-» — ^~- — *-

~^-.±

S^?=d^

>=!V:

«^«L-

»-^'

'^=^

^i^=i-

Shal-low O, Shal-low Brown, Shal-low O, Shallow Brown.

fc

=ft=j^5^:=P

iaz=3t.

r

-m- -^ -i-^- -?- -m- -5-

r

fl^

4-i-

~^^^-V

P

*^

S; Solo.

Chorus.

::^=^=ft=jE:

i«=r*.:

H=^^^

3 A

Solo.

as

Yan - kee ship came down the ri - ver ; Shal-low O, Shal-low Brown. A

r^Mi

s;

ifE*E±E^^

-» — m-

^^ — ,=3 —

ms.

^latz:

%-^-^

r1^=j=csi

t 3=-4-A

SBg"^^^

Chorus.

:*z=i=zq^i-

;?^35^?S?^

:.=i

^ai^*

:3^;

, Dal Sezno.

:l^

^a^

Yan ■ kee ship came down the ri-ver;

:4l2EE

Shal-low O, Shal-low Brown.

^ __.., . Dal Ses^no.

1^="

Wl#

53E5^^^^^E^

■qz^s^

«£;

-^=

\^

r

-C^

^

SHALLOW BROWN.

2. And who do you think was master of her ?

3. A Yankee mate and a Hme- juice skipper.

4. And what do you think tliey had for dinner ?

5. A parrot's tail and a monkey's liver.

35

XXXI. SING, SALLY O.

Soi.o.

tEg3gg^a^^g^!;;Eig^

-^^

O I say my Mam- my Di - nah,What is

the. . . . mat

ter?

SE^B^-

r

=?5

5 — ■=^-^^-

S^s^i

]

m^s^

---^-r

.^-.

]

Chorus. A

tEii

Sing

Sal - ly O ;

Chorus.

Fol lol de day.

O hur - rah 1

hur - rah !

i

My

m

* ^^ -i

l^^^^^fel

m

aei

Mam - my..

Di • nah. Sing Sal - ly O ;

Fol lol de day.

'-^' ^^i-^i^s *

t|B-

m

imi

"^~

-3: -c-

SING, SALLY O.

2. O have you heard the news to-day ? For we are homeward bound.

36

XXXII. POOR OLD REUBEN RANZO.

Solo. (Introduction.)

K Solo.

i

Chorus.

A

Solo.

f

jctz

Ran

zo,

Ran

zo,

boys,

Ran

^1

icSz

mi^

:^

/

V&>-

-J-

Chorus.

■=t-

Dal sento.

\

t

F

poor old Reu - ben

l=t

Ran

Ran - zo, boys.

r-p

2r-»-

=*=^

TS"

^

Ran • zo.

Dal segno.

^-

-o-

POOR OLD REUBEN RANZO.

0 ! Ranzo was no sailor. 7.

He shipped on board a whaler. 8.

He shipped with Captain Taylor. 9.

The man that shot the sailor. 10.

He could not do his duty. 11.

He couldn't boil the coffee. The Captain being a good man. He taught him navigation. Wc took him to the gratings. And gave him nine and thirty.

12 O ! that was the end of Ranzo.

37

XXXIII. GENERAL TAYLOR.

Solo.

f

^ fi J--

-J J m—

^=*?

Chorus A

i!5-::iv=js=z^«5zzz!

.^—^ ^ ^

(l.) Gen - e ■ ral Tay - lor gained the day; Walk him a - long, John -ny,

{2.} Dan

O' Con - n=ll died long a - go; Walk him a - long, John -ny,

— r

-m ^-

^^H

dil

iSEEEJfe

/

"J"T

i^^i

^^^i^

Solo.

Chorus. A

3^^^5=

car -ry him a -long. Gen - e - ral Tay - lor gained the day ; ) Car - ry him to the car -ry him a -long. Dan O Con-nell died long a - go ; ) '

-m — M—d m-

^=4-

P5k

^ 1

--T^

^3^3^

-■^^

-p-.-

1^^

p

?^

4=

I^Ie3s-=	— ^ — 1^-	— 1	Chorus.	^ — •	—F-f—'^	• —	.^'-	-^^J— ..^—	q
6 — J- bu -	— « — « — ry - ing g 1 1	— • ound.	Oo..	00	OO, . . . 00 — r'-J-i—	you	^3-^ stor	-• 'r—\ my,
-^	-y-;^^	^ 7-^-
	— • m	— • 1	/	1	>	• tr-	*—r ' — r	• — ? — »-^ — i
		0 '
i^^* — p —	V-	t-	-1	—J ■ ^ >^	— U	-- — =S--

i

l=^^=ft.

ifczrac

Walk him a - long, John - ny, car - ry him a - long ;

1=:^ i—1 — j — ^=~j~r ^^-^— ?

— T»^ » * * -*- * — * a

m^s

m

00. . . . 00.. 00 you. . .

zmzrzijzmz^j:

^

38

» =-■ * — I » — • » m n

i

Solo.

l^^

XXXIV. OLD STORMEY.

Chorus. ,

si=s

^

Solo.

:*=^

I wish I was old Stor - mey's son ; To my way, yah, storm - a - long,

ij

^=— »

4t

^=

"73"

-^gri

\

^1^

r

^s

P

3t

^

?=

1^1 , ,	-1—		— l^-j-	=?e=] q	Chorus. -^ \-	— i--	— ^— ^:	A	-^—
m~ r P- give those	sal -	— « — 1 lors	lots	of rum ; — T' — \	4 0 Aye, aye.	4 aye.	Mis-ter	— »_-'* ^ — Storm - a -	— • — long.
,.=g_fc^^^=:^=,	N; h-	-rr-^--]	— 1"^^^-	1 —
(to- 5 S	-•-	•	T r r =^r — p — --	• * T F^s	• »	1	i	— « — 1 ■■ -jr =1
^i=^^_^	^-	-^	=^^ — r	: V. — r—	y^=:	»	-F —	=f=r-	1

J- 4- 5-

OLD STORMEY.

I'd build a ship botli neat and strong To sail the world around all ri)und.

Old Stormey's dead, I saw him die.

We dug his grave with a silver spade.

We lowered him down with a golden chain.

6. And now we'll sing his funeral song.

39

XXXV. BULLY IN THE ALLEY.

^

Solo.

Chorus.

i

S^=!5=^

So help my bob I'm bul - ly in the al ■ ley ;

Way.

ay

^^^^

3=

P^^^^4=-

73"

'l

T

f-

Solo.

^ ^ > N

i 3ri 3rt 1

Chorus.

0 a -J-

m

s s a

:|s

-N— iV-

3^=^

bul - ly in the al - ley, So help my bob I'm bul-ly in the a! - ley; Way.... ay

^EESE?E^

:1=C

I I

r

T «r ^

^^E^

:^d===r^;

I 1

-jziz.

I ' 1,

E?^E

1 — •

i

-$ V N N s;

Solo.

Chorus.

S m S-

ia^i

3r=Sr=F

T:

bul -ly in the al - ley.

— — • — 1 ~

Bul-ly down in our al - ley ; So help my bob I'm

Iz

*=i»i

:^=iz

T~^

:4=i

i=^^^

i

-4 V -J- 4- A^

=i?P2=

I

35=

I^ q==1^=.'S=jV=^S=

bul - ly in the al - ley,

5==

TZ7-

Way.

/-

-I —

ay.

— ^V-

bul - ly in the al • ley ;

» # J-

*Hi^^2=-

"-^

*2=

-f2-

32=

=^

40

Solo.

Chorus. A

:t?=ii:

-rr

itt

Ifczf^n^zqv:

-.^=jKL

m\

Bui - ly in Tin - pot al

bul -ly in the al - ley.

BULLY IN THE ALLEY.

2. Have you seen our Sally ?

3. She's the girl m the alley.

XXXVI. LIZA LEE.

i^.

Solo.

Chorus.

s:

5:

-• — ^

Li - za Lee she pro - niised me ; Yan - kee John,

;4

=4^

-=\-

-— — ^-1-

=*=^-

r

IPT

A Solo.

mm

-4=-

-^'^ « —

/

J I

Storm - a - long ; She ^~% ^ —

~m^ ^-^

^^i

EE^EE?f;

Chorus.

41

XXXVII. HAUL ON THE ROW-LINE.

Solo. (Introduction.)

^

J5=j>s:

-N-AJJ

H^ — >-

i^S^^

> V — ^— : m

r#^

=1^^

x*jtr,

Haul on the bow - line, O Kit- ty you arc my dar - ling, Haul on the bow - line, the

j

Solo.

m^

-S^J-; ^ — m-

bow - line, haul. Be - cause shehad a fore - top, fore and main to bow - line; ^ ^ ^

lriiig^E=Bs

ESHc"

E^Hfll

Chorus.

I^pss^g^s^

Solo.

3^ z===:=z^=q!s=qN=zi-^— P

Haul on the bow - line, the bow - line haul.

I5e - cause she had a main - top

3^4^

f\

r r

m--

ZCfZ

:=t

• 3?=^—* •' — * J. .STx — ^

-•- • -m-

Chorus.

=^

:3^=ft=?

EBf

X

iiai^

main and mi-zen to bow - line ; Haul the bow - line, the bow - line haul.

I* ■!

--S: ^g:

/I

-* ^

— ^-

— I-

Il=«=

:t=:

^

42

Chorus.

^

S^^S

^^^^^^

Haul on thebo\v-line,0 Kit- ty you are my dar - ling, Haul on the bow-line, the bow- line haul.

M^?^^=

=^=

ztzzMz

:^:

-^^--

I

^:rz:c^z

r J j-

—.p--

=i±j*Z

s

I

— I-

-^ ^-

F^

=-4 — n

-=1.

XXXVIII. PADDY DOYLE.

Chorus.

PADDY DOYLE.

2. We'll order in brandy and gin.

3. We'll all throw dirt at the cook.

4. The dirty old man on the poop.

43

XXXIX. KNOCK A MAN DOWN.

	;i * ClMRl-S	— = ■"	1	A	« •		— ts — > — &— ! — ^-q
	Knock a man down,	cick a	man down ;	way	ay	knock a man down,
(	Ui|*i.R^-^^^3_ —	1 — 1 — ^-		1 — 1	-J-		:_q ^ , :
	- / ^	_s »_	— ?^* ^	m ;■ •		=^-	1
I	^2*|z| ^=^ .^_^^ ^	-H	' i- — ^	r^^^	— 1 — -L •	-fr.	L_, V__^_ ^_A

S^^^

gg^!^

--:^^^=5^

d?!t=J

J

fet

H

knock a man down right down to the ground, O give me some time to

W^

y

^q^

d M

i

t -M

^ 1-

=il=:a:

^E

^^

-^-

-A-

:^-^-^:

=^:

M

%lrA

pte^3-^=3=

knock a man down.

ite

=t=:3=

^i^

Solo.

=^

t^-

The watch • man's dog stood ten foot high ;

:^ W=¥-

%

*fc

Chorus.

Solo.

3^3^

=:^

Way

^^#1:

/

ay

-^T

knock a man do

The watch - man's dog

-If-

stood

mm

44

%fe

Chorus. ^

i]>s^z^=rqrrz=r

i

ik^.

ten foot hijjh ; O give me some time

i 1-

to knock a man dc

-)-

^^^^^^qE

^

m$$^

f

=^

=F=

KNOCK A MAN DOWN.

2. A lively ship and a lively crew.

3. O we are the boys to put her through

4. I wish I was in London Town.

5. It's there we'd make the girls fly round.

m

i

Solo.

^

XL. JOHNNY BOWKER.

:t

if

i

$

^

Do my John - ny Bow

^ . , sz

ker. Come rock and roll

=g::

^

P

=?2=

i

S;

Chorus.

i:

W

\m

Do my John - ny

!?£

/

Bow

ker,

do.

A

A

45

XLI. TIDDY 1 O.

#- Solo.

Chorus.

-A

-• « •-

Soi.o.

O now you for- bid us to bid you a- dieu ; Tid-dy I - o, I - o;.

■U

i— « — «-

-J±

^-^

J^^^:^JEg

1

=^^^^5=ife^^

o

fe-

?I=S

-N.^,

/

4:=;

3 g-l^g

3S

:g-:

now you for - bid us to bid you a - dieu ;

:-!**=

Ciioiius.

A

1?=t^-

±1

Tid - dy I - o,

:?r*

i=^^

— ■ — I ■ — t—

^

^^'^=

r

L_

"0' I

/i

^-^r

r

rz

..-..J-Aj_

TIDDY I O.

2. We're homeward bound to Bristol Town.

3. We're homeward bound with sugar and rum

4. And when we arrive in Bristol docks.

5. O then the people will come down in flocks.

46

XLIT. ROUND THE CORNER, SALLY.

Solo.

:fs=zt

Chorus.

(—A-

=i=:^^

i

fii

0 ^

5r — ^-

O a - round the cor - ner we will go; A -round the cor- ner, Sal - ly, O.

\

|Ib-

itJ=

zM — it-

P

r —

Ea^=5:

-^^

/

I.

giJigB^S^Jp^^Jg

Chorus.

-A-

=S=^=

A

Solo.

Mad - e - moi-selle we'll take her in tow ; A round the cor - ner, Sal - ly .... We will

4**^:

1=^

m^^

m

=ifc

^-

=s;=1:

-0 0

r.

-1

^^^

i:

Chorus. -A-

S3:

^m

take her in tow

^1

^l

to Cal

li • o ; A-round the cor - ner, Sal - ly.

=^

=^=

/

d3^

^

^

-j::

EdEai

ROUND THE CORNER, SALLY.

2. O ! I wish IJwasJat Madame Gashees. {bis)

3. O ! it's there, my boys, we'd take our ease.

47

XLIII. SO HANDY.

— if=js:

Solo. (Introduction.)

■g -Solo.

— *- Be

S^3E

— *—

han

ll

So han - dy, my girls, So han

:ii-i^d=if

— P

is

itt

^=i

dy.

dy in

the

K

lS:E*±^i^

___j-

E^

r

i^

^^£^[|t=^

N 1

^

Chorus. \

Solo.

-P^

_;,__-

So

han ■ dy, my girls,

so han

/

=fe

— I—

Be

~9 -^

i

-j^.-J-

I I

-t=:

p

Chorus.

A

^^35=^S

-■=i-

9

han - dy in the morn - ing ; So hand - dy, my girls, so han

dy.

*q-^-

m

/

3=t^

/la/ Seono.

SO HANDY.

Be handy at your washing, girls. My love she likes her brandy. My love she is a dandy. I thought I heard our Captain say : At daylight we are bound away. Bound away for Botany Bay.

48

XLIV. A LONG TIME AGO.

Solo,

Chorus. /^

53!

^^

^^=!:e=

g^

==1-

Solo.

A - way down south where I was bom ; To my way ■ ay ... . day, Ha ! A ■

^^

—IV

I

i:fi:

^-&z

f

^

:p=5r

Chorus. ^

way down south where I was born ; A long

A ^

tune

^

Chorus,

'Twas a long, long time and a ve - ry long time, A long tmie a - go

\

^^^m

^m

t~^

-?• r

colla voce.

^

Sg]

7^

-I— . !

=i-

A LONG TIME AGO.

2. O ! early on a summer's morn.

3. I made up my mind to go to sea.

49

XLV. CHEERLY MAN.

Solo.

m

Chorus A

^^

m

ly

o

H

4^=^

JK ^

ly

Clieer

1=1=

~^ai

m^

i=>-

ZJCt^

r

• ' — I —

SOLO.

^-

Chorus. A

Solo.

:t

Walk him up

O

i

ij=

Cheer - ly man,

^N ^^

ly

p .

zzrjz

^=^

^

:3=n

2*

E^

-IS-

Chorus.

A

I^B

i

-=l;f-

^

=P-

ly

:?z:

--^v-

r

Cheer - ly man.

-<s-=-

5°

I

XLVI. THE SAILOR LIKES HIS BOTTLE O.

^fe

Solo (Introduction.) 1=

ii=^=t=

=^^^

^i^i^sia

So ear - ly in the morn - ing The sai - lor likes his hot - tie O.

=t

T^^T

I I

:fi=^

1^?*:

E£EH

^

-J'-J-

■g; Solo.

SeB

-Js S N-

^^^^S^^"^^^^^

X

-n^^-

T-

-*— *-

I

I

"•- ^

^rt-^-

-I —

I

=F=

^dE

A bot - tie of rum and a bot - tie of gin, And a bot - tie of old Ja

-N

Chorus.

^^tE9^

i±=i:

\^=i=i

zf=Mz

Dal segno. A

mai - ca

Ho! So ear - Iv in the morn - ing The sai - lor likes his bot - tie O.

Dal segno.

^^

f

H^^p

51

XLVII. THE DEAD HORSE.

i

Solo.

^^=

Chorus. ^

=i-

rsr:

i^

i^=

izi:

A poor old man came a - rid - ing by, And they say so,

m

35

m

and I

-*P^

J_l

f

^SE

-ae;

=t:::;

-i ^

^

Solo.

Chorus.

w

A--

i==l^

=1=^

I

■B

^:

— *—

i=^#=^=3=

-:ir-^ci

^

=1: -*.

E^EEfe

i^s^

-f

s /

T"

^^

I£2Z

in

hope so, A poor old man came a - rid - ing.. by, O poor old man.

==1-

i^U

-&- -r^-.

THE DEAD HORSE.

2. Says I : Old man your horse will die.

3. And if he dies I'll tan his skin.

4. And if he don't I'll ride him again.

5. After very hard work and sore abuse. They salted me down for sailors' use.

6. And if you think my words not true,

Just look in the cask and you'll find my shoe.

7. But our old horse is dead and gone, And we know so, and we say so,

etc., etc.

XLVIII. WHISKY FOR MY JOHNNY.

Solo.

Chokus.

m^^^m

-Tjr

Whis - ky is the

life of man

Wilis - ky,

John - ny,

:fc*

4E

3^5

roi

=£2:

I I

^^

/

r

--^

--=X-

zt±^=t-

-c^

i

Solo.

t=E:

3^3

Chorus.

-A —

3^

Whis ■ ky

the

life

of man,

Whis - kv

for

my John - ny.

4^

-^ — io-

^--

f

-G>- I

^

WHISKY FOR MY JOHNNY.

2. I'll drink whisky while I can.

3. Whisky in an old tin can.

4. Whisky up and whisky down.

5. Pass the whisky all around.

6. Whisky polished my old nose.

7. Whisky made me go to sea.

8. My wife drinks whisky, I drink gin. g. Whisky kiUed my mam and dad.

10. Whisky killed our whole ship's crew.

11. Whisky made me pawn my shirt.

1

-§=--

53

XLIX. BONNY WAS A WARRIOR.

T

Solo.

fe=di

Chorus.

A

=^3v:=:s:

-^—

Bon - ny was

i

|Si|^^

^£fe=

n - or ;

Way

ay

-.^ —

-*-=-

E3^

3=^

-H

yah

1^

m

Solo.

Chorus.

A

_A^_

i"^

Bon

fei

^

ny was

Jean

Fran

QOIS.

r

m^.

m

m

BONNY WAS A WARRIOR.

2. Bonny went to Moscow.

3. Moscow was on fire.

4. It took the Duke of Wellington

5. O to defeat old Bonny.

6. Hurrah, hurrah, for Bonny.

7. A bully, fighting terrier.

54

L. BLOW, BOYS, COME BLOW TOGETHER.

Solo.

E^

-ts — \-

Chorus.

A

1=

ic£

~r}~

Blow,

P

\==±z.

boys, come blow to - ge-ther ; Blow,

boys,

jSE

-Jr^-TT

rpi^r

:^a=

-o-

/.

blow.

^^

J^iAiq=q^E

^

]

::|=i

Solo.

Blow

^ ci-

Chorus.

A

^

:=1=

=*ir^ti

iS^a^

-» — ^-

boys, come blow to - ge - ther ; Blow, my bul - ly boys, blow.

:^:

-r

E|=3F

—i-

r*z=«i

/I

:^

3i:

-| — Li""

EgE

BLOW, BOYS, COME BLOW TOGETHER.

2. A Yankee ship came down the river.

3. And who do you think was Master of lier ?

4. Why Bully Brag of New York City.

5. And what do you think we had for supper ?

6. Belaying-pin soup and a roll in the gutter.

55

LI. HANGING JOHNNY.

Solo.

m^

Chorus. '^^

i

:i=i-

And they calls me hang - ing John-ny;.

Hoc - ray,.

m-

-J--

hoo ■

±:

^

'^H

W^

-fe=

3^

~G>-

f

r r

rt:

^i

Solo,

Chorus. /^

HANGING JOHNNY.

2. They hanged my poor old father.

3. They hanged my poor old mother.

4. They say I hanged for money.

5. But I never hanged nobody.

56

LII. A HUNDRED YEARS ON THE EASTERN SHORE.

glii

Solo.

^

A35=

qN^r^e

-4-

Chorus.

A

-G(-=-

hun - dred years on the east - ern shore ; O

yes

ife

=^^

H==^^

=li

^:

HI

r r f

-C3-

E3=

-c^-

O,

-A-

-s>— -

r

E^=t

iq:

=F

Solo.

— fs— N

And a

-©P-

-^-

%

^

l^q==l:

Chorus. /^

A

hun ■ dred years on the east - ern shore ; A hun - dred years a - go.

^4*=^

=^.

-• d

-N-,

r

sf^

-.j-

/

El!=E^E

=pa=

A HUNDRED YEARS ON THE EASTERN SHORE.

2. A hundred years have passed and gone.

3. And a hundred years will come once more.

57

LIII. SHANADAR.

SECOND VERSION.

Solo.

3^ N-

:^=i;

-0 4z

^

Chorus.

*

^

Shan

a - dar

ro!

ling

K^

^wfeg^i

1

f

rtfc^i:

— t.

58

LIV, IN FRISCO BAY.

tn

Solo.

H

&i=r=f

1— N-

Chorus. ^

SB

^

Solo.

it

-*— 1<-

In Fris - co bay there lay three ships To my way

ay

ay

o, In

^J**

ifi

^:

¥

^

-JS.

g

? -*■ /I

-r

:.^

;f^

^

fct

Chorus. ,\

^S-fe

=t

^

w

Fris - CO bay there lay three ships A

I-

long

time a - go.

:=*

m

-0-T-

f

~A?

=m

IN FRISCO BAY.

2. And one of those ships was Noah's old Ark, And covered all over with hickory bark.

3. They filled up the seams with oakum pitch.

4. And Noah of old commanded this Ark.

5. They took two animals of every kind.

6. The bull and the cow they started a row.

7. Then said old Noah with a flick of his whip : Come stop this row or I'll scuttle the ship.

8. But the bull put his horn through the side of the Ark ; And the little black dog he started to bark.

g. So Noah took the dog, put his nose in the hole ; And ever since then the dog's nose has been cold.

59

LV. SHALLOW BROWN.

SECOND VERSION.

	u Solo		1				Chorus. A,	1	A
	^TT-^—	1	— •-= —	=J^-	^-	-■-\	i —	1—		^ ^	1
	0	— m — I'm	going	to leave	her	Shal	low — 1—	0	— m 0 — Shal - low	— o ' Brown.
	W^=^^=^		-H—	-^q-=q	1
(	=^=1	— j ^	^ 1
	T	-*-	1	m -m- 1	— m 1 1	—cJ-- '	—4 — -•- / — 1 —	S-	?1— ^ — ' "^r — 1	^■-^	) — ^
	-•		Z.	— I . —
\	'<-^*^f7-p	1	-{=—	— 1 -• 1	-^ —	=P=3	#	^=t=	-^ r	— F -]	r- -

1

m

-^.

Chorus. A

±=^--

^=^

Shal - low

O Shal - low Crown.

m,

m — H

H_3 »-

=l:

-J^'

f

l^

SHALLOW BROWN.

2. Going away to-morrow, Bound away to-morrow.

3. Get my traps in order.

4. Ship on board a whaler.

5. Bomid away to St. George's.

6. Love you well, JuHanda.

7. Massa going to sell me.

8. Sell me to a Yankee.

9. Sell me for the dollar. Great big Spanish dollar.

60

LVI. WON'T YOU GO MY WAY.

1

Solo.

Chorus.

A

=1=

3i:

I met her in the morn - ing ; Won't you go

my

i^=P

-4-

:±

■P-

/

^

way '.

m

MP

^^

dz

=1:

Solo.

:3^e=E

i

w

met her

m

r

Chorus.

— •-

-1-

:q=

the

^ *—

morn - ing ; Won't you

~^=

go

my

-fa- way ?

--=t-

^:

^F

Y

mf

1221

.d=

Z=l-

m

WON'T YOU GO MY WAY.

2. In the morning bright and early.

3. O JuUa, Anna, Maria.

4. I asked that girl to mairy,

5. She said she'd rather tarry.

6. Oh marry, never tarry.

r

61

I.VIT. WO, STORMALONG.

Soi.o.

I

fe

EE^E3^

:=1-

CHOKlis. A

—n-

^

Wlien - e ■ ver you go to Li - ver - pool ; Wo, storm - a - long

EBE

-4-

^

When-

i^^

^'B=F

:^

=P3=

=r

p^^^

Chorus. -A

A-

-*—

i^-^^^P

^11

e - ver you go to Li - ver - pool ; Storm - a - long, lads stor - my.

1

i

3^^3E

^l=q=

rai

r=z^=|.

I

WO, STORMALONG.

2. And Liverpool that Yankee School.

3. And when you go to Playhouse Square,

4. My bonny girl she do live there.

5. We're bound away this very day.

6. We're bound away at the break of day.

62

LVITI. O BILLY RILEY.

^-1:;

Solo.

:*=t:

::S3^'^

:f5=5r

Ciioiius.

J^~

-•-*-*-

:1^^=^!5Z

^

A

S3:-;

4

O Bil-ly Ri - ley, lit- tie Bil-ly Ri - ley, O Bil-ly Ri - ley

O;

i4i

/^i

h^

--A--

--^-?

fJ^ri^Ii^l

Solo.

f-^zmz

P

=^

ChoRI':

:^

O Bil-ly Ri - ley, wake him up so cheer" - ly.

O

Bil-ly Ri - ley

O.

/'

r

r 1

i^-

O BILLY RILEY.

2. O Mister Riley, O Missus Riley.

3. O Miss Riley, O Billy Riley.

4. O Miss Riley, screw him up so cheer'ly.

63

LIX. TOM IS GONE TO HILO,

Solo.

ClIOKUS. ,

Solo.

■ — » I — •-

^Sz

=a=

i^Ee

^

-P2-

-:^

My Tom is gone, what shall 1 do? Oo - way,

you I - o - o - o, My

-F^-

^1=535^^^

-4^*-h-*-ra-*-

— I H

Fill -«, "•■ .*-

^t#=p=tE

1^1

-»-Tt-

-O ^ — J

?:dt

Chorus.

t^=mz

-^-

^

-I- 1--

Toni is gone, what shall I do? My Tom is gone to Hi - lo.

--1-

.EEi;:

-■=\=-^-

f

r

-3'

m^

r-

it=

:3=

-C2

LX. TOMMY'S GONE AWAY.

Solo.

b^^

ESEi^^:

Chorus.

A

;t=

It

Tom - niy's gone, what shall I do ?

Tom - my's gone a - way,

l'^-

^i^=i=^i

-- 1-

.d^.'.

-JS,

^HBE3^^;

!l^

E

.! mz

f=F

^

/

J. -#.

--t=-

-i^t-

SOLO.

Chorus.

A

32:

*

Tom - my's gone, what shall I do ?

Tom - my's gone a ■ way.

jl

±=t=J=.'=i

-P-

m

-^ — f\~

J-

/'

-sl-i

T=^

64

CENTR'^L CiPCULATlON

r_- . I I ■-■ „>( \l ; I J

NOTES

No. I. SANTY ANNA.

Sung by Mr. John Short, at Watchei.

NTONIO LOPEZ DE SANTA ANNA (1795-1876) was a Mexican general, politician and conspirator. He led an ad\-enturous life and was several times President of Mexico. He defeated the Spanish at Zampico and conducted a spirited defence of Vera Cruz against the French. On the outbreak of the war with the United States (1846) he took command of the Mexican troops, but was badly defeated by Generals Taylor and Scott and sent into exile. Recalled in 1853, he was again made President, this time for life, but was driven from power two years later. On the re-estab- lishment of the Republic he attempted to overturn it but was captured and sentenced to death (1867), being pardoned on condition that he proceeded to the United States. Here he remained until the amnesty of 1872 permitted his return to Mexico, where he lived until his death in 1876.

For other versions of this chantey see F.S.S. Journal, iii, p. 236 and v, P- 33 ', Whall's Sea Songs and Shanties, p. 8g ; Tozer's Sailors' Songs, p. 40 ; Miss Smith's Music of the Waters ; and Bullen's Songs of Labour, No. 35. I have taken down three versions, all modal, either dorian or, as in the present case, lacking the sixth note of the scale.

Nos. 2 & 3. LEAVE HER JOHNNY, LEAVE HER.

First version sung by Mr. John Short, at ]Vatchet. Second version sung by Mr. Richard Perkins, at St. Ives.

This chantey was usually sung when getting into port, the chantey- man seizing this opportunity to express the crew's dissatisfaction with the ship they were about to leave, which, Mr. BuUen says, was very often fully justified. Mr. Short's variant, which is the usual form of the air, is very similar to the versions printed by Bullen (No. 9) and Tozer (No. 5). The first phrase of Mr. Perkins's variant, which is in the dorian mode, recalls the opening phrase of " Lm Seventeen come Sunday " {Folk Songs from Somerset, No. 29).

65

No. 4. HE-BACK, SHE-BACK.

Sung by Mr. John Short, at Watchct.

The tune, which is in the dorian mode, is, as Miss Gilchrist has pointed out to me, a variant of Shule Agra. " Hoo-roo " may be a reminiscence of " Shule Agra," and the reference to " the railroad " a memory of " Poor Paddy works on the railway." Both words and tune show negro influence. The chantey is not included in an\' other collection.

No. 5. THE HOG-EYED MAN.

Sung by Mr. John Short, at Watclui.

For other versions see Whall (p. 118) ; Tozer (No. 44) ; BuUen (No. 20) ; and F.S.S. Journal (ii, p. 248, and iii, p. 43). The tune of this chantey shows negro influence, especially in the curious and characteristic rhythm of the chorus.

No. 6. CLEAR THE TRACK.

Sung bv Mr. George Conw'ay, ut London. The tune, the final cadence of which is very similar to that of Santy Anna, is clearly related to that of Shule Agra {Songs of the Four Nations, p. 210) and of " Geordie " {Folk Songs from Somerset, No. 2). A Northumberland variant, collected by Mr. R. R. Terry, is printed in A Book of British Song (No. 16). See also The Yachting Monthly (Oct., 1906) ; Miss Smith's Music of the Waters, p 46 ; and " Eliza Lee " in Tozer's Sailors' Songs or Chanties (No. 12).

No. 7 THE DRUNKEN SAILOR.

Sung by Mr. James Tucker, at Bristol. The tune in the text — obviously a bagpipe air — is in a six-note mode. The following variant, in the feohan mode, was sung to me by Mr. Conway, of London :

If the signature of this air be changed to one sharp, the tune becomes a mixolydian one and in this form (except for one unimportant note) it was sung to me in London by Mr. George Humphreys.

Tozer (No. 24) prints a major version of the air ; Whall (p. 107) a dorian, and Bullen (No. 17) a mixolydian variant identical with Mr. Humphreys's version, quoted above, which may, I think, be regarded as the normal form of the tune.

66

Mr. Fleetwood Stileman tells me that this chantey (chorus only) was very commonly sung as the sailors tramped along the deck in raising a yard, or rather during the first and easier stage of that operation (see also Masefield's Sailor's GarUnid, p. 301).

No. 8. DO LET ME GO. Sung hy Mr. John Short, at Watclict. I have not heard this chantey from any one but Mr. Short, nor, so far as I know, is it printed elsewhere. The tune is in the mixolydian mode. Mr. Short always sang " doodle let me go."

No. 9. WHIP JAMBOREE.

Sun!', fty Mr. John Short, at Watchet. 1 know of no other version of this chantey except one, in the major mode, given me by Mr. George Conway. The tune, which is in the aeolian mode, is a variant of Santy Anna (No i). In its construction, and to some extent in the character of its words, the chantey is akin to Spanish Ladies {Folk Songs from Somerset, No. 124). The words of the chorus show negro influence. The Rock Light is in Cheshire, at the mouth of the Mersey. " Old Dan Lowrie's," Mr. Short said, was a popular playhouse in Paradise Street, Liverpool, near the Waterloo Dock, much frequented by sailors.

No. 10. ROLL AND GO.

Sung by Air. John Short, at Watchet. I know nothing about this chantey, having noted it from no one else than Mr. Short. The tune shows mixolydian influence.

No. II. SHANADAR.

Stmg by Mr. John Short, at Watchet. For other versions see F.S.S. Journal (ii, 247 and v, 44) ; Music of the Waters (p. 51) ; Whall (p. i) ; Tozer (No. 4) ; BuUen (No. 10) ; and Brad- ford and Fagge's 0/d Sea Chanties. The chantey is a famous one and seems to be universally known to sailors. The tune is always irregular in its rhythm. Shenandoah was, I believe, a celebrated Indian Chief, after whom a Pennsylvanian town and one of the branches of the Potomac river are named.

No. 12. ROLLER BOWLER.

Sung by Mr. John Short, at Watchet. I have no variants of this chantey and I know of no other printed version

of it.

'I

No. 13. LET THE BULLGINE RUN.

Sling by Air. Jolui Short, at Watchet.

Versions of this chantey are pubhshed by Bullen (No. 36) and Tozer (No. 24). " BuUgine " is, I beheve, nigger slang for " engine."

No. 14. HUCKLEBERRY HUNTING.

Sung by Mr. John Short, at Watchet. Whall (p. 131) prints a version of this chante}^ with very much the same words, and Bullen (No. 19) and Tozer (No. 26) versions of the tune set to other words.

No. 15. ONE MORE DAY.

Sung by Mr. John Short, at Watchet.

Mr. Short told me he always used this as a capstan or windlass-chantey, but Bullen (No. 25) and Whall (p. yj) give it as a pulling-chantey and Tozer (No. 36) as one for pumping. Mr. Whall calls it a " homeward-bound shanty."

No. 16. O JOHNNY COME TO HILO.

Sutig by Mr. John Short, at Watchet. Versions of this chantey are given by Bullen (No. 10) and Tozer (No. 42). Presumably, Hilo is the seaport of that name on the east coast of Hawaii Island.

No. 17. GOOD MORNING LADIES ALL.

Sung by Mr. John Short, at Watchet. I know of no variant of this chantey. The tune has some affinity with ''Heave away my Johnny " (No. 26).

No. 18. LOWLANDS AWAY.

Sung by Mr. Henry Bailey, at Bridgwater.

This is a well known chantey, but usually a troublesome one to transcribe on account of its irregular rhythm ; Mr. Bailey's version, however, presented no difficulty of this kind. Other variants are printed in F.S.S. Journal (iii, 233) ; Whall (p. 81) : Tozer (No. 10) ; Bullen (No. 13) ; and Music of the Waters (p. 15).

The words of the fourth verse were given me by Mr. Short. " Matelors " means " sailors," as Mr. Short well knew ; and an " oozer," he said, was a cotton stevedore.

68

No. 19. THE BULLY BOAT.

Sung by Mr. John Short, at Watchct.

I collected a variant of this chantey at Newcastle which is printed in the F.S.S. Journal (v, 40) together with a Lancashire variant collected by Miss Gilchrist. Miss Gilchrist suggests that the tune is the air upon which " Off to Philadelphia " was founded.

Mr. Short always sang " rodeling " for " rolling."

■ No. 20. STORMALONG, JOHN.

Snng by Mr. John Short, at Watchct. This is apparently an entirely different chantey from " Old Storm ey " (No. 34) although the words of the first two verses are the same. I know of no variants except one given by Miss Smith (p. 16).

No. 21. RIO GRAND.

Sung by Mr. John Short, at Watchct. There is no better known or more popular chantey than Rio Grand which is included in nearly every Collection. The tune varies but little.

No. 22. LUCY LONG.

Sling by Mr. John Short, at Watchct. I know of no other printed version of this chantey. The chorus is curiously disjointed in its rhythm.

No. 23. THE BLACK BALL LINE.

Sung by Mr. John Short, at Watchet. Mr. Robbins sang me another version of this chantey which is printed in the F.S.S. Journal (v. 37). See also Tozer (No. 7).

No. 24. FIRE ! FIRE !

S«(«? by Mr. John Short, at Watchet. Tozer (No. 41) prints a variant of this as a pumping chantey, and I collected another very interesting form of it from Mr. Conway.

No. 25. A-ROVING. Sung by Mr. John Short, at Watchct. This, like Rio Grand, is well known to, and sung freely by sailors, and versions of it are to be found in all the best CoUections. See also the F.S.S. Journal (h, 245) and The Scottish Students' Song Book (p. 131)-

155^2) C^ .

69

No. 26. HEAVE AWAY, MY JOHNNY.

Siin<^ by Mr. John Short, at Watchet. See also Whall (p. 79) ; Music of the Waters (p. 54) ; and Folk Songs from Somerset (No. 123).

No. 27. HAUL AWAY, JOE.

Sung by Mr. John Short, at Watchet.

Mr. Robbins sang me a mixolydian variant of this chantey which is printed (together with a dorian version quoted from Harper's Magazine) in F.S.S. Journal, v, p. 31. Tozer (No. 31), BuUen (No. 39), and Whall (p. 117) publisli major versions of the tmie. The air here printed is in the dorian mode. Mr. Short described it as a " tacks and sheets " chantev.

No. 28. SALLY BROWN.

Sung by Mr. Charles Robbins, at London.

Major versions are printed in Music of the Waters (p. 48), Whall (p. 64), Tozer (No. i), Bradford and Fagge, and BuUen (No. 5). Tozer and BuUen give it as a capstan-chantey, but Mr. Robbins told me he always used it as a pulling-chantey.

The tune given here is a very curious one ; both the third and sixth notes of the scale oscillate between major and minor.

No. 29. LOWLANDS LOW.

Sung by Mr. Richard Perkins, at St. Ives. I do not know of any other variant of this beautiful chantey. The tune is in a six-note mode, the sixth degree of the scale being absent.

No. 30. SHALLOW BROWN.

Sung by Mr. John Short, at Watchet. See also Tozer (No. 43), Whall (p. 119) and Music of the Waters (p. 48). British ships, unlike American, always carried limejuice ; hence the British sailor was nicknamed " a limejuicer " by his American comrades.

No. 31. SING, SALLY O.

Sung by Mr. George Conway, at the Sailors' Home, London Dock. The words are negro ; but the air, which is in the dorian mode, is a variant of "Haul Away, Joe" (No. 27). Bullen prints another version under the heading of " Mudder Dinah " (see Introduction, p. xvi).

70

No. 32. POOR OLD REUBEN RANZO.

Sung by Mr. John Short, at Watchet.

This chantey is a very generally known one, and versions of it are to be found in all the chief Collections. Who Reuben Ranzo was no one seems to know ; Mr. Whall suggests that " Ranzo " may be a corruption of " Lorenzo." *

No. 33. CxENERAL TAYLOR.

Sung by Mr. John Short, at Watchet.

I know of no other printed versions of this chantey, nor have I heard it sung by anybody else.

" General Taylor gained the day " refers no doubt to the victory which he gained over Santa Anna (see Note to No. i).

The grace notes in the chorus are very remarkable and were beautifully sung by Mr. Short.

No. 34. OLD STORMEY.

Sung by Mr. John Short, at Watchet.

All the chief Collections print versions of this ; neither words nor tune vary very much.

No. 35. BULLY IN THE ALLEY.

Sii}ig by Mr. John Short, at Watchet. I have no variants of this nor do I know of any printed version of it.

No. 36. LIZA LEE.

Sung by Mr. John Short, at Watchet. The only variant of this that I know of is printed by BuUen (No. 27).

No. 37. HAUL ON THE BOWLINE.

Sung by Mr. John Short, at Watchet.

See also Tozer (No. 18), BuUen (No. 37), Bradford and Fagge (No. i), and Miss Smith (p. 13).

No. 38. PADDY DOYLE.

Stmg by Mr. John Short, at Watchet.

Versions of this are given by BuUen (No. 40), Tozer (No. 35) and Whall

(P- 115)-

This chantey seems always to have been used to accompany one particular operation, the bunting of a sail. This, if I understand it correctly, was

* It is possible that English chanteymen learned the name from Scandinavian sailors, for I am told that Danish sailors often sing about Daniel Rantzau (1529-69), who commanded the Danish forces in the seven-years (or three- crown) war with Sweden (1563-70).

71

the concluding and culminating act of the somewhat laborious process of furling, when the bunt, i.e. the middle folds of a half-furled sail, was raised on to the yard with one strong pull. The extra lines given in the text may be alternative versions used for the sake of variety ; although, according to one of my informants, it was sometimes necessary to sing more than one verse. On his ship the second verse was always " We'll all throw dirt at the cook " ; and when this was being chanted, the cook would come out of his galley, look up smilingly at the men on the yard, and on the con- clusion of the song, wave his hat, laugh and retire.

No. 39. KNOCK A MAN DOWN.

Sung by Mr. John Short, at Wntchet. Whall (p. 93), Tozer (No. 22), BuUen (No. 32) Bradford and Fagge (No. 2), and Miss Smith (p. 18) all give versions of this chantev, which is usually known as " Blow the man down." I have supplemented Mr. Short's words — he could only remember two stanzas — with lines from other versions.

No. 40. JOHNNY BOWKER.

Sung by My. John Short, at Watclid. This is included in all the well-known Collections. It is one of the single- pull chanteys, and is generally used for " bunting " a sail.

No. 41. TIDDY I O.

Siiiig by Mr. Rapsey, at Bridgwater.

In no other Collection that I know of is this chantey printed. I have noted no variants.

No. 42. ROUND THE CORNER, SALLY.

Sung by Mr. John Short, at Watchet. I do not know of any printed version of this chantey, nor have I myself collected any variants.

No. 43. SO HANDY.

Sung by Mr. John Short, at Watchet.

See also Tozer (No. 30) and Whall (p. 128).

No. 44. A LONG TIME AGO.

Sung by Mr. James Tucker, at Bristol.

This is not included in any of the chief Collections, nor have I noted any variants.

72

No. 45. CHEERLY MAN. Sung by Mr. John SlioH, at Watchct. Whall (p. Ill) and Miss Smith (p. 22) both give versions of this. Mr. Short told me this was the first chantey he learned and he thought it must have been the " first chantey ever invented."

No. 46. THE SAILOR LIKES HIS BOTTLE O.

Sung by Mr. Joint Short, at Watchet.

The only variant of this chantey, so far as I am aware, is one printed by Tozer (No. 29).

The tune is a close variant of " Gently Johnny my Jingalo " {Folk Songs fyoni Somerset, No. 89).

No. 47. THE DEAD HORSE.

Sung by Mr. Joltn Short, at Watchet.

See also BuUen (No. 29) and Tozer (No. 47).

This, although often used as a pulling-chantey, really forms part of a ceremony which was performed on board at the end of the first month at sea. It was customary for the first month's wages to be paid in advance before leaving port, the money being either spent by the men on shore or given to their wives and families. During the first month at sea, therefore, they were earning nothing, but merely paying off their indebtedness, i.e. working off the dead horse. The song was sung very slowly and solemnly round the ship, in procession, headed by a man carrying, or dragging at the end of a rope, an effigy of a horse made of canvas or the straw of an old bed. At the conclusion of the song the horse was triced to the foreyard, and then, in silence, cut away and dropped into the sea.

No. 48. WHISKY FOR MY JOHNNY.

Stmg by Air. James Tucker, at Bristol.

Versions of this chantey are printed in all the chief Collections. The words given in the text have been derived from different singers.

No. 49. BONNY WAS A WARRIOR.

Sung by Mr. John Short, at Watchct. See also BuUen (No. 31), Tozer (No. 25) and Miss Smith (pp. 36 and 53) Mr. Short sang " Bonny " not " Boney," which is the more usual pro- nunciation ; while his rendering of " John " was something between the French " Jean " and the English " John."

73

No. 50. BLOW, BOYS, COME BLOW TOGETHER.

Sung by Mr. John Short, at Watchet. This is a well known chantey and is included in all the chief Collections.

No. 51. HANGING JOHNNY.

Sung by Mr. John Short, at Watchet.

In character the tune recalls "The Wearing of the Green." It is printed by Tozer (No. 28), Bullen (No. 24) and Whall (p. 130).

No. 52. A HUNDRED YEARS ON THE EASTERN SHORE.

Sung by Mr. John Short, at Watchet.

Tozer prints a variant (No. 34). I know of no other.

No. 53. SHANADAR.

SECOND VERSION

Sung by Mr. James Thomas, at Camborne.

This, a shortened form of No. 11, was one that Mr. Thomas often heard on " The City of Washington," in which ship he sailed to America in 1870.

No. 54. IN FRISCO BAY.

Sung by Captain Hole, at Watchet. Captain Hole told me that this was often sung in the days when he was a midshipman in the Merchant Service. I do not know of any other printed version, nor have I collected any variants.

No. 55. SHALLOW BROWN.

SECOND VERSION. Sung by Mr. Robert Ellison, at Belvedere, Woolwich. This is not printed elsewhere. The words have a negro flavour.

No. 56. WON'T YOU GO MY WAY ?

Sutig by Mr. John Short, at Watchet.

This is not, I believe, published elsewhere, nor have I collected any variants.

74

No. 57. WO STORMALONG.

Sung by Mr. Robert Ellison, at Belvedere, Woolwich. I know of no other version of this chantev.

No. 58. O BILLY RILEY.

Sung by Mr. John Short, at Watchet.

I liave no variants of this and I know of no other published version.

No. 59. TOM IS GONE TO HILO.

Sung by Mr. John Short, at Watchet. This is printed by Tozer (No. 23), BuUen (No. 23), WhaU (p. 74) and Miss Smith (p. 33).

No. 60. TOMMY'S GONE AWAY.

Sling by Mr. John Short, at Watchet. Tliis may be a variant of the preceding number, thougli the same singer sang them both. I cannot trace it anywhere else. Mr. Short said that this was used not only as a pulling chantey but also when they were screwing cotton into the hold at New Orleans

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