10. STORMALONG JOHN

This is one of the many shanties with 'Stormy' as their hero. Whatever other verses were extemporized, those relating to digging his grave with a silver spade, and lowering him down with a golden chain, were rarely omitted. Other favourite verses were:

(a) I wish I was old Stormy's son.(b) I'd build a ship a thousand ton.

Who 'Stormy' was is undiscoverable, but more than a dozen shanties mourn him.

Of the numberless versions of this shanty I have chosen that of Capt. Robertson as being the most representative. Of the infinite number of verses to this fine tune hardly one is printable. There has been much speculation as to the origin of the title. As a boy my curiosity was piqued by reticence, evasion, or declarations of ignorance, whenever I asked the meaning of the term. It was only in later life that I learnt it from Mr. Morley Roberts. His explanation made it clear why everysailorcalled it either 'hog-eye' or 'hog's-eye,' and why onlylandsmeneditors ever get the word wrong. One collector labels the shanty 'The hog-eyed man,' and another goes still further wide of the mark by calling it 'The ox-eyed man.' The remarks on this shanty in thePrefacewill show the absurdity of both titles. That is all the explanation I am at liberty to give in print. Whall gives the shanty on page 118, his version differing but slightly from Capt. Robertson's.

This I learnt from Capt. John Runciman. Allusions to 'The Wild Goose Nation' occur in many shanties, but I never obtained any clue to the meaning (if any) of the term. The verse about 'huckleberry hunting' was rarely omitted, but I never heard that particular theme further developed. Whall gives another version (in six-eight time) on page 131.

I used to hear this tune constantly on the Tyne. It is one of the few shanties which preserved a definite narrative, but each port seems to have offered variants on the names of the ships that were 'bound for Amerikee.' 'Mr. Tapscott' was the head of a famous line of emigrant ships. The last word in verse 5 was always pronouncedmale. This has led to many shantymen treating it not asmeal, but as themailwhich the ship carried. As the shanty is full of Irish allusions, the probabilities are that the word wasmeal, to which the sailor gave what he considered to be the Irish pronunciation. Whenever I heard the shanty it was given with an attempt at Irish pronunciation throughout. Capt. Whall (page 79) gives additional colour to the supposition that this was a general practice, for his version of verse 6 runs:

This fine tune—in the first Mode—was always a great favourite. Although mostly used for windlass or capstan, Sir Walter Runciman tells me that he frequently sang to it for 'hand-over-hand' hauling. Whall gives it on page 107 under the title 'Early in the morning.' It is one of the few shanties that were sung in quick time.

This shanty has been included in every collection that I know of. (See Whall, page 91.)Most of my sailor relatives sang the last line thus:

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[Listen]

Spotless decks, and 'masts and yards that shone like silver,' were the distinguishing marks of a Yankee Packet, and this immaculate condition was the result of a terrible discipline, in which the belaying pin was a gruesome factor.

This is the shanty which is perhaps the best known among landsmen. 'Winchester Street' is in South Shields, and in the old days was the aristocratic quarter where only persons of high distinction—such as shipowners, and 'Southspainer' skippers—lived. Whall gives the shanty on page 92.

This is a very well-known shanty, and the variants of it are endless. This particular version was sung to me by Capt. R.W. Robertson. It differs but slightly from the version which I originally learnt from Sir Walter Runciman. Very few of the words were printable, and old sailors who read my version will no doubt chuckle over the somewhat pointless continuation of the verses concerning Kitty Carson and Polly Riddle. They will, of course, see the point of my having supplied a Chopinesque accompaniment to such a shanty.

The title belongs to other shanties as well; but, so far as I know, this tune has never been printed until now. I learnt it from Northumbrian sailors when a very small boy, and have never heard of its use in any other than Blyth and Tyne ships. It may be a Northumbrian air, but from such knowledge as I have gleaned of Northumbrian folk-tunes, I incline to the conjecture that it may have been picked up in more southern latitudes by some Northumbrian seaman.

This cheery riot of gore is wedded to the most plaintive of tunes, and is immortalized by Masefield in his 'Sailor's Garland.' Nowadays one occasionally meets unhumorous longshore sailormen who endeavour to temper its fury to the shorn landsman by palming off a final verse, which gives one to understand that the previous stanzas have been only 'Johnny's' little fun, and which makes him bleat:

I also possess a shanty collection where the words have so clearly shocked the editor that he has composed an entirely fresh set. These exhibit 'Johnny' as a spotless moralist, who would neverreallyhang his parents, but would only operate (in a Pickwickian sense of course) on naughty and unworthy people:

Imagine a shantyman (farceuras he ever was) making for edification in that style!

This is another of the shanties I learnt as a boy from Blyth sailors, and which has never been printed before. I fancy that 'blackbird' and 'crew' must be a perversion of 'blackbird andcrow,' as the latter figure of speech occurs in other shanties.

The reference to the 'Bullgine' seems to suggest Transatlantic origin. There were endless verses, but no attempt at narrative beyond a recital of the names of places from which and to which they were 'running.' This version was sung to me by Mr. F.B. Mayoss, a seaman who sailed in the old China Clippers.

Alden gives this version, and I fancy it may have once been fairly general, as several of my relatives used to sing it. The version I mostly heard from other sailors, however, began:

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[Listen]

But from Mr. Morley Roberts I had the following:

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Capt. Robertson's version ran thus:

Reuben Ranzo

[Listen]

Whall gives another version on page 84.

Who Ranzo was must ever remain a mystery. Capt. Whall suggests that the word might be a corruption of Lorenzo, since Yankee Whalers took many Portuguese men from the Azores, where Lorenzo would have been a common enough name. He adds that in his time the shanty was always sung to the regulation words, and that 'when the story was finished there was no attempt at improvization; the text was, I suppose, considered sacred.' He further says that he never heard any variation from the words which he gives.

I think he is right about the absence of improvization on extraneous topics, but I used to hear a good deal of improvization on the subject of Ranzo himself. I knew at least three endings of the story: (1) where the captain took him into the cabin, 'larned him navigation,' and eventually married him to his daughter; (2) where Ranzo's hatred of ablutions caused the indignant crew to throw him overboard; (3) where the story ended with the lashes received, not for his dirty habits, but for a theft:

I have also heard many extemporaneous verses relating his adventures among the denizens of the deep after he was thrown overboard.

This shanty was used both for hauling and for pumping ship. It seems to have had its origin in a rite which took place after the crew had 'worked off the dead horse.' The circumstances were these: Before any voyage, the crew received a month's pay in advance, which, needless to say, was spent ashore before the vessel sailed. Jack's first month on sea was therefore spent in clearing off his advance, which he called working off the dead horse. The end of that payless period was celebrated with a solemn ceremony: a mass of straw, or whatever other combustibles were to hand, was made up into a big bundle, which sometimes did, and more often did not, resemble a horse. This was dragged round the deck by all hands, the shanty being sung meanwhile. The perambulation completed, the dead horse was lighted and hauled up, usually to the main-yardarm, and when the flames had got a good hold, the rope was cut and the blazing mass fell into the sea, amid shouts of jubilation.

This beautiful tune was very popular. I have chosen the version sung to me by Mr. George Vickers, although in the first chorus it differs somewhat from the version I learnt as a boy:

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[Listen]

It will be seen how closely the above resembles the version given by Whall on page 74. (It will be noted that he entitled it 'John'sgone to Hilo.') I give Mr. Vickers's verses about 'The Victory' and 'Trafalgar,' as I had never heard them sung by any other seaman. I have omitted the endless couplets containing the names of places to which Tommy is supposed to have travelled. As Capt. Whall says: 'A good shantyman would take Johnny all round the world to ports with three syllables, Montreal, Rio Grande Newfoundland, or any such as might occur to him.'

This Bacchanalian chant was a prime favourite. Every sailor knew it, and every collection includes some version of it.

I never met a seaman who has not hoisted topsails to this shanty. Why Jack should have made a hero of Boney (he frequently pronounced it 'Bonny') is a mystery, except perhaps that, as a sailor, he realized the true desolation of imprisonment on a sea-girt island, and his sympathies went out to the lonely exile accordingly. Or it may have been the natural liking of the Briton for any enemy who proved himself a 'bonny fechter.'

This popular shanty was sometimes used for bunting-up a sail, but more usually for 'sweating-up.' Although I have allowed the last note its full musical value, it was not prolonged in this manner aboard ship. As it coincided with the pull, it usually sounded more like a staccato grunt.

The major version of this shanty (which appears in Part II) was more general in the last days of the sailing ship; but this minor version (certainly the most beautiful of them) is the one which I used to hear on the Tyne. The oldest of my sailor relatives never sang any other. This inclines me to the belief that it is the earlier version. The verses extemporized to this shanty were endless, but those concerning the Nigger Girl and King Louis never seem to have been omitted. As inNo. 27, I have allowed the lastnote its full musical value, but aboard ship it was sung in the same manner as No. 27.

This was the most popular shanty for 'sweating-up.' There are many variants of it. The present version I learnt from Capt. John Runciman. In this shanty no attempt was ever made to sing the last word. It was always shouted.

This shanty differs from all others, as (a) it was sungtuttithroughout; (b) it had only one verse, which was sung over and over again; and (c) it was used for one operation and one operation only, viz. bunting up the foresail or mainsail in furling. In this operation the canvas of the sail was folded intensively until it formed a smooth conical bundle. This was called a bunt, and a strong collective effort (at the word 'boots') was required to get it on to the yard.

Although the same verse was sung over and over again, very occasionally a different text would be substituted, which was treated in the same manner. Capt. Whall gives two alternatives, which were sometimes used:

'We'll all drink brandy and gin,'

and—

'We'll all shave under the chin.'

Mr. Morley Roberts also told me that a variant in his ship was—

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

Transcriber's Note:A vowel with an umlaut indicates that the word or syllable has two dots over it in the original text, presumably to indicate that it should be prolonged when sung. See theGlossarybelow.

[Listen]

Billy Boy

1. Where hev ye been äal the day,Billy Boy, Billy Boy?Where hev ye been äal the day, me Billy Boy?I've been walkin' äal the dayWith me charmin' Nancy Grey,And me Nancy kittl'd me fancyOh me charmin' Billy Boy.2. Is she fit to be yor wifeBilly Boy, Billy Boy?Is she fit to be yor wife, me Billy Boy?She's as fit to be me wifeAs the fork is to the knifeAnd me Nancy,etc.3. Can she cook a bit o' steakBilly Boy, Billy Boy?Can she cook a bit o' steak, me Billy Boy?She can cook a bit o' steak,Aye, and myek a gairdle cakeAnd me Nancy,etc.4. Can she myek an Irish StewBilly Boy, Billy Boy?Can she myek an Irish Stew, me Billy Boy?She can myek an Irish StewAye, and "Singin' Hinnies" too.And me Nancy,etc.

2. Is she fit to be yor wifeBilly Boy, Billy Boy?Is she fit to be yor wife, me Billy Boy?She's as fit to be me wifeAs the fork is to the knifeAnd me Nancy,etc.3. Can she cook a bit o' steakBilly Boy, Billy Boy?Can she cook a bit o' steak, me Billy Boy?She can cook a bit o' steak,Aye, and myek a gairdle cakeAnd me Nancy,etc.4. Can she myek an Irish StewBilly Boy, Billy Boy?Can she myek an Irish Stew, me Billy Boy?She can myek an Irish StewAye, and "Singin' Hinnies" too.And me Nancy,etc.

Glossary:—

äal = all. Pronounced to rhyme with "shall" only the vowel must be very much prolonged.kittled = tickled.myek = make.gairdle cake = girdle cake, i.e. a cake baked on a griddle.Singin' Hinnies—i.e. a species of Sally Lunn teacake only larger. Usually plentifully besprinkled with currants, in which case it is designated by pitmen as "Singin' Hinnies wi' smäa co fizzors" (small coal fizzers.)

äal = all. Pronounced to rhyme with "shall" only the vowel must be very much prolonged.

kittled = tickled.

myek = make.

gairdle cake = girdle cake, i.e. a cake baked on a griddle.

Singin' Hinnies—i.e. a species of Sally Lunn teacake only larger. Usually plentifully besprinkled with currants, in which case it is designated by pitmen as "Singin' Hinnies wi' smäa co fizzors" (small coal fizzers.)

[Listen]

Bound for the Rio Grande

1. I'll sing you a song of the fish of the sea.Oh Rio.I'll sing you a song of the fish of the seaAnd we're bound for the Rio Grande.Then away love, away,'Way down Rio,So fare ye well my pretty young gel.For we're bound for the Rio Grande.2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio,etc.And you who are listening, good-bye to you. And we're bound,etc.3. Ourshipquarterwenteighthsailing out over the BarAndsixteenthwesixteenthpointed her nose for the South-er-en Star.4. Farewell and adieu to you ladies of SpainAndsixteenthwe'resixteenthall of us coming to see you again.5.IeighthsaidquarterfareeighthwellquartertoeighthKitty my dear,Andsixteenthshesixteenthwaved her white hand as we passed the South Pier.6. The oak, and the ash, and the bonny birk treeThey're all growing green in the North Countrie.

2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio,etc.And you who are listening, good-bye to you. And we're bound,etc.

3. Ourshipquarterwenteighthsailing out over the Bar

Andsixteenthwesixteenthpointed her nose for the South-er-en Star.

4. Farewell and adieu to you ladies of Spain

Andsixteenthwe'resixteenthall of us coming to see you again.

5.IeighthsaidquarterfareeighthwellquartertoeighthKitty my dear,

Andsixteenthshesixteenthwaved her white hand as we passed the South Pier.

6. The oak, and the ash, and the bonny birk treeThey're all growing green in the North Countrie.

[Listen]

Good-bye, fare ye well

1. I thought I heard the old man sayGood-bye, fare ye well,Good-bye, fare ye well.I thought I heard the old man say,Hooray my boys we're homeward bound.2. We're homeward bound, I hear the sound. (twice)3. We sailed away to Mobile Bay. (twice)4. But now we're bound for Portsmouth Town. (twice)5. And soon we'll be ashore again. (twice)6. I kissed my Kitty upon the pierAndsixteenthit'ssixteenthoh to see you again my dear.7. We're homeward bound, and I hear the sound. (twice)

1. I thought I heard the old man sayGood-bye, fare ye well,Good-bye, fare ye well.I thought I heard the old man say,Hooray my boys we're homeward bound.

2. We're homeward bound, I hear the sound. (twice)

3. We sailed away to Mobile Bay. (twice)

4. But now we're bound for Portsmouth Town. (twice)

5. And soon we'll be ashore again. (twice)

6. I kissed my Kitty upon the pier

Andsixteenthit'ssixteenthoh to see you again my dear.

7. We're homeward bound, and I hear the sound. (twice)

[Listen]

Johnny come down to Hilo

1. I nebber see de like since I bin born,When a big buck nigger wid de sea boots on,Says "Johnny come down to Hilo.Poor old man."Oh wake her, oh, shake her,Oh wake dat gel wid de blue dress on,When Johnny comes down to Hilo.Poor old man.2. I lub a little gel across de sea,She's a Badian[1]beauty and she sez to me,"Oh Johnny,"etc.3. Oh was you ebber down in Mobile BayWhere dey screws de cotton on a summer day?When Johnny,etc.4.Didsixteenthyousixteenthebber see de ole Plantation BossAnd de long-tailed filly and de big black hoss?When Johnny,etc.5. I nebber seen de like since I bin bornWhen a big buck nigger wid de sea boots on,Says "Johnny come down,"etc.

2. I lub a little gel across de sea,She's a Badian[1]beauty and she sez to me,"Oh Johnny,"etc.

3. Oh was you ebber down in Mobile BayWhere dey screws de cotton on a summer day?When Johnny,etc.

4.Didsixteenthyousixteenthebber see de ole Plantation BossAnd de long-tailed filly and de big black hoss?When Johnny,etc.

5. I nebber seen de like since I bin bornWhen a big buck nigger wid de sea boots on,Says "Johnny come down,"etc.

[Listen]

Clear the Track

1. Oh, the smartest clipper you can find.Ah ho Way-oh, are you most done.Is the Marget Evans of the Blue Cross Line.So clear the track, let the Bullgine run.Tibby Hey rig a jig in a jaunting car.Ah ho Way-oh, are you most done.With Lizer Lee all on my knee.So clear the track, let the Bullgine run.2. Oh the MargetEvsixteenthanssixteenthofsixteenththesixteenthBlue Cross LineShe'snevsixteenthersixteentha day behind her time.3. Oh the gels are walking on the pierAndsixteenthI'llsixteenthsoon be home to you, my dear.4. Oh when I come home across the sea,It's Lizer you will marry me.5. Öh shake her, wakeher,sixteenthbesixteenthforeeighthwe'reeighthgone;eighthOh fetch that gel with the blue dress on.6. Oh I thought I heard the skipper say"We'll keep the brig three points away."7. Oh the smartest clipper you can findIs the MargetEvsixteenthanssixteenthofsixteenththesixteenthBlue Cross Line.

2. Oh the MargetEvsixteenthanssixteenthofsixteenththesixteenthBlue Cross LineShe'snevsixteenthersixteentha day behind her time.

3. Oh the gels are walking on the pierAndsixteenthI'llsixteenthsoon be home to you, my dear.

4. Oh when I come home across the sea,It's Lizer you will marry me.

5. Öh shake her, wakeher,sixteenthbesixteenthforeeighthwe'reeighthgone;eighthOh fetch that gel with the blue dress on.

6. Oh I thought I heard the skipper say"We'll keep the brig three points away."

7. Oh the smartest clipper you can findIs the MargetEvsixteenthanssixteenthofsixteenththesixteenthBlue Cross Line.

[Listen]

Lowlands Away

(INTRODUCTION.)Lowlands, Lowlands,Away my John,Lowlands, away,I heard them say,My dollar and a half a day.1. A dollar and a half a day is a Hoosier's pay.Lowlands, Lowlands,Away my John.A dollar and a half a day is very good pay.My dollar and a half a day.2. Oh was you ever in Mobile Bay.Lowlands, Lowlands,Away my John.Screwing the cotton by the day.My dollar and a half a day.3. All in the night my true love came,Lowlands, Lowlands,Away my John.All in the night my true love came.My dollar and a half a day.4. She came to me all in my sleep. (twice)5. And hër eyes were white my love. (twice)6. And then I knew my love was dead. (twice)

4. She came to me all in my sleep. (twice)5. And hër eyes were white my love. (twice)6. And then I knew my love was dead. (twice)

[Listen]

Sally Brown

1. Sally Brown she's a bright Mulatter.Way Ay-y Roll and go.She drinks rum and chews terbacker.Spend my money on Sally Brown.2. Sally Brown shë has a daughterSent me sailin' 'cross the water.3. Seven long years Ï courted Sally. (twice)4. Sally Brown I'm bound to leave youSally Brown I'll not deceive you.5. Sally she's a 'Badian' beauty. (twice)6. Sally lives on the old plantationShe belongs the Wild Goose Nation.7. Sally Brown is a bright MulatterShe drinks rum and chews terbacker.

1. Sally Brown she's a bright Mulatter.Way Ay-y Roll and go.She drinks rum and chews terbacker.Spend my money on Sally Brown.

2. Sally Brown shë has a daughterSent me sailin' 'cross the water.3. Seven long years Ï courted Sally. (twice)4. Sally Brown I'm bound to leave youSally Brown I'll not deceive you.5. Sally she's a 'Badian' beauty. (twice)6. Sally lives on the old plantationShe belongs the Wild Goose Nation.7. Sally Brown is a bright MulatterShe drinks rum and chews terbacker.

[Listen]

Santy Anna

1. Oh Santy Anna won the day.Way-Ah, me Santy Anna.Oh Santy Anna won the day.All on the plains of Mexico.2. He beat the Prooshans fairly. Way-Ah,etc.And whacked the British nearly. All on,etc.3. He was a rorty gineral;A rorty snorty gineral.4. They took him out and shöt him.Oh when shall we forgët him.5. Oh Santy Anna won the dayAnd Gin'ral Taylor run away.

1. Oh Santy Anna won the day.Way-Ah, me Santy Anna.Oh Santy Anna won the day.All on the plains of Mexico.

2. He beat the Prooshans fairly. Way-Ah,etc.And whacked the British nearly. All on,etc.3. He was a rorty gineral;A rorty snorty gineral.4. They took him out and shöt him.Oh when shall we forgët him.5. Oh Santy Anna won the dayAnd Gin'ral Taylor run away.

[Listen]

Shenandoah

1. Oh Shenandoah, I long to hear you.Away you rolling river.Oh Shenandoah, I long to hear you.Away, I'm bound to go'Cross the wide Missouri.2. Oh Shenandoah, I love your daughter. (twice)3. 'Tis seven long years since last I see thee. (twice)4. Oh Shenandoah, I took a notionTo sail across the stormy ocean.5. Oh Shenandoah, I'm bound to leave you.Oh Shenandoah, I'll not deceive you.6. Oh Shenandoah, I long to hear you. (twice)

1. Oh Shenandoah, I long to hear you.Away you rolling river.Oh Shenandoah, I long to hear you.Away, I'm bound to go'Cross the wide Missouri.

2. Oh Shenandoah, I love your daughter. (twice)3. 'Tis seven long years since last I see thee. (twice)4. Oh Shenandoah, I took a notionTo sail across the stormy ocean.5. Oh Shenandoah, I'm bound to leave you.Oh Shenandoah, I'll not deceive you.6. Oh Shenandoah, I long to hear you. (twice)

[Listen]

Stormalong John

1. Oh poor old Stormy's dead and gone.Storm along boys,Storm along.Oh poor old Stormy's dead and gone.Ah-ha, come along, get along,Stormy along John.2. I dug his gravewitheighthaeighthsilver spade. (twice)3. I lower'd him downwitheighthaeighthgolden chain. (twice)4. Icareighthriedeighthhimeighthaweighthay to Mobile Bay. (twice)5. Oh poor old Stormy's dead and gone. (twice)

1. Oh poor old Stormy's dead and gone.Storm along boys,Storm along.Oh poor old Stormy's dead and gone.Ah-ha, come along, get along,Stormy along John.

2. I dug his gravewitheighthaeighthsilver spade. (twice)

3. I lower'd him downwitheighthaeighthgolden chain. (twice)

4. Icareighthriedeighthhimeighthaweighthay to Mobile Bay. (twice)

5. Oh poor old Stormy's dead and gone. (twice)

[Listen]

The Hog's-eye Man

1. Oh the hog's-eye man is the man for me,He were raised way down in Tennessee.Oh hog's eye, oh.Row the boat ashore for the hog's-eye.Steady on a jig with a hog's-eye oh,She wants the hog's-eye man.2. Oh who's been here while I've been gone?Söme big bucknigsixteenthger,sixteenthwith his sea boots on?[3]3. Oh bring me down mÿ riding cane,For I'm off to see my darling Jane.4. OhJensixteenthny'ssixteenthinsixteenththesixteenthgareighthdensixteentha-picking peas,And hergolsixteenthdensixteenthhair'shangsixteenthingsixteenthdown to her knees.5. Oh a hog's-eye ship, and a hog's-eye crew,And a hog's-eye mate, and a skipper too.

1. Oh the hog's-eye man is the man for me,He were raised way down in Tennessee.Oh hog's eye, oh.Row the boat ashore for the hog's-eye.Steady on a jig with a hog's-eye oh,She wants the hog's-eye man.

2. Oh who's been here while I've been gone?

Söme big bucknigsixteenthger,sixteenthwith his sea boots on?[3]3. Oh bring me down mÿ riding cane,For I'm off to see my darling Jane.

4. OhJensixteenthny'ssixteenthinsixteenththesixteenthgareighthdensixteentha-picking peas,

And hergolsixteenthdensixteenthhair'shangsixteenthingsixteenthdown to her knees.

5. Oh a hog's-eye ship, and a hog's-eye crew,And a hog's-eye mate, and a skipper too.

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