The Mudcat Café TM
Thread #126347 Message #2871400
Posted By: John Minear
25-Mar-10 - 06:55 AM
Thread Name: From SF to Sydney - 1853 Shanties Sung?
Subject: RE: From SF to Sydney - 1853 Shanties Sung?
A while back we put up a pretty good list of "hauling chanties", mainly from Hugill, but with a few additions, which Gibb had categorized according to his analysis of call/response worksongs. Later we made several additions from earlier sources, like "Grog Time of Day". But here is the link to that list:
I went on to develop a category of "multiple attestations", which simply has to do with how often, when and where something shows up. Here is my original link on that (keep scrolling down for additional parts):
I have applied the concept of multiple attestations with regard to publication in collections to the original list mentioned here. Here is the first part of those results:
Single Source Attestation:
"Across the Rockies" "Do Let Me Lone, Susan" "Essequibo River" "Heave Away Boys, Heave Away" (a) "Heave Away Boys, Heave Away" (b) "Hilo Boys Hilo" "Haul Away, Boys, Haul Away" "Haul 'er Away" (a) "John Kanaka" "Leave Her, Johnny" "Lower The Boat Down" (Colcord) "Miss Lucy Loo" "Ranzo Ray" (c) "Roll, Boys, Roll" {"Serafina"} [Southern Ladies (fr. Sharp)] ("Stormy Along, John") cotton-screwing/capstan "Walkalong You Sally Brown" "'Way Stormalong John" "Where Am I to Go, M'Johnnies" "Yankee John, Stormalong"
Two Source Attestation:
"Bully In The Alley" 2: Sharp & Henry Lauder "Can't Ye Hilo?" 2: Captain Robinson & Harding "Coal Black Rosie" 2: Bullen & Harding "Dixie Land" / "Sing A Song, Blow-Along O!" 2: Patterson & Tobago Smith ("Good Morning Ladies All" (a)) cotton-screwing/capstan 2: Sharp & Tobago Smith "Good Morning Ladies All" (b) 2: Terry & West Indies seaman "Heave Away, Cheerily O!" [sort of] (mock chorus) 2: Davis & Tozer, and Harlow "High O, Come Roll Me Over" 2: Masefield & Harding "Hilo Come Down Below" (Bullen) 2: Bullen & Harding "John Cherokee" (Colcord) 2: Captain Robinson & Harding "John, Come Tell Us As We Haul Away"/ "Mobile Bay" 2 (?): Hugill & Stanley Slade "Knock A Man Down" 2: Sharp & Briggs, + "Blow the Man Down" "Poor Lucy Anna" 2: Bullen & Sharp "Roll The Woodpile Down" 2: Taylor Harris, Hugill "Round the Bay of Mexico" 2: Hugill & Bahamas "Sister Susan"/"Shinbone Al" 2: Bullen & Henry Lauder "Stormalong, Lads, Stormy" 2: Sharp & Harding "The Codfish Shanty" mock chorus 2: from Hugill "Tiddy High O" 2: Sharp & Tobago Smith "Tommy's Gone Away" (Sharp) 2: Terry & Hugill "Tommy's on the Tops'l yard" 2: Masefield & Hugill "The Gal With the Blue Dress On" 2: Davis/Tozer & Harding (L. Smith's "Slapandergosheka" ?) "Walkalong, Miss Susiana Brown" 2: Colcord & Hugill "Walk Along My Rosie" 2: Harding & Bullen "Way, Me Susiana" 2: Doerflinger & Harding
Three Source Attestation:
"Across The Western Ocean" 3: CF Smith, Whall, C. Russell "A Hundred Years Ago" (a) (b)/ "'Tis Time For Us To Go" 3: Terry, R.C. Leslie(L.Smith), Hugill "Billy Riley" 3: CF Smith, Colcord, Hugill "Bunch O Roses" 3: Doerflinger/Silsbee, Harding, Bahamas "Doodle, Let Me Go" 3: Terry, Sharp & Harding "Fire Maringo" 3: Gosse, Erskine, Nordhoff "Gimme My Banjo" 3: Doerflinger/ William Laurie & Silsbee, & Harding "Goodbye, My Love, Goodbye" 3:CF Smith, Tozer, Colcord "Hello, Somebody" 3: Captain Barker, Doerflinger, & Harding "Hilo, Johnny Brown" 3: Hugill, Terry & Whall "Hurrah, Sing Fare Ye Well" 3: Whall, Sampson, Hugill "Sing Sally O" (b) 3: Sharp, Colcord, & Harding "The Bully Boat"/"Ranzo Ray" (a) 3: Sharp, Terry, & Hugill "Won't Ye Go My Way?" (one pull) 3: Sharp, Terry, & Hugill
Four Source Attestation:
"Hilonday" L. Smith (one pull) 4: Alden, L. Smith, Terry & Harding "Pay Me the Money Down" 4: L. Smith, Henry Lauder, Harding, Georgia Sea Islanders "Round The Corner Sally" 4: Dana, Terry, Sharp, & Harding "So Early In The Morning" (a) 4+: / "Bottle O" CF Smith, Terry, Sharp, Hugill "Walk Me Along, Johnny" / "General Taylor" (mock chorus) 4: Nordhoff, Sharp, Terry & Hugill
This is not an exhaustive analysis, but a beginning. It gives some sense of the frequency with which these chanties show up in the second half of the 19th century in publication.