Excellent, sharyn! I will try those leads, thank you very much.

***
To continue this thread of lesser known West Indian type chanteys....
I have also just learned a version of another that I have not found discussed in Mudcat: "Sister Susan," a.k.a. "Shinbone Al." Here's a few note about it.

Hugill learned it from "Harry Lauder" of St. Lucia.

In its "hauling" format (as Hugill has it), it actually has the form of ~three~ solo verses (each followed by a short refrain). Earlier in the SFSS, when discussing "John Kanaka," Hugill remarked that that song had this "not so common form." However, I have noted this is not so rare. "Mobile Bay," "Kanaka," "Essequibo River," "John Cherokee," and this one all share that feature.

Now, Hugill mentions that the only other author to print a version of this chantey was Bullen (who also called it "Sister Susan"), 1914. Bullen's was a capstan version. As such, over the same span of measures, it had two solo phrases (each with a short choral response) followed by a chorus. It strikes me that this phenomenon -- a capstan song being interpreted a halyard song -- could be one of the reason why there appear to be such "three phrase" hauling chanteys.

Hugill for some reason seems to have missed that Harlow also printed a version of this song, though under the title "Gwine to Get a Home Bime By." He called it a "'Badian hand-over-Hand" chantey, and it follows the presumed format of Bullen's version. This explains much. If it was a hand-over-hand chantey, it would have a steady rhythm throughout, but also accented points for hauling; one can see how it might go either way in different hands/contexts. I could also see it as a song for working cargo.

...which brings me back to the "Sing Sally O" / "Mudder Dinah" variants. If that song was also primarilly for working cargo, I think it would have a similar tendency to "go either way" when being adopted for shipboard work.

Gibb