Adams, cont.

He next goes on to describe halyard chanties:

In the second set of working songs, I would place those that are used in long hoists, or where so large a number of pulls is required that more frequent exertion must be used, than is called for by the first set, lest too much time be occupied. The topsail halyards call most frequently for these songs. One of the most universal, and to my ear the most musical of the songs, is " Reuben Ranzo." A good shantyman, who with fitting pathos recounts the sorrows of " poor Reuben " never fails to send the topsail to the masthead at quick notice, nor to create a passing interest in the listener to the touching melody: —

Oh, poor Reuben Ranzo,
    Ranzo, boys, Ranzol
Oh, poor Reuben Ranzo,
    Ranzo, boys, Ranzol

Oh, Reuben was no sailor,
       Chorus, and repeat with chorus. 

He shipped on board of a whaler,
                   Chorus, &c.

He could not do his duty,
                   Chorus, &c. 

The captain was a bad man,
                   Chorus, &c. 

He put him in the rigging,
                   Chorus, &c.

He gave him six and thirty,
                   Chorus, &c.

Oh, poor Reuben Ranzo.
                   Chorus, &c.

In this song the pulls are given at the first word " Ranzo" in the chorus, sometimes at its next occurrence in addition.

It's nice that he adds in the pulls. Also, he adds the detail that this could be a sing- or double-pull.

Of all the heroines of deck song Sally Brown's name is most frequently uttered, and a lively pull always attends it. She figures in several of these songs; one has as its chorus "Shantyman and Sally Brown." But it is used more frequently, I think, in connection with the song: —

BLOW, MY BULLY BOYS, BLOW.

Oh, Sally Brown's a bright mulatto;
    Blow, boys, blow!
Oh, she drinks rum and chews tobacco,
    Blow, my bully boys, blow!

Oh, Sally Brown's a Creole lady,
             Chorus, and repeat with chorus. 

Oh, Sally Brown, I long to see you,
             Chorus, &c. 

Oh, Sally Brown, I'll ne'er deceive you.
             Chorus, &c.

It will be noticed that neither rhyme nor sentiment has much place in these songs. Each line is usually repeated twice, even if there be a rhyme impending, for the shantyman's stock must be carefully husbanded.

"Shantyman and Sally Brown" is a chorus I've not heard of elsewhere. Perhaps it is a natural variation of "spend my money on Sally Brown," in which case he is referring to the "usual" SALLY BROWN ("roll and go") to contrast it with BLOW BOYS BLOW.

Adams includes BONEY among the long-drag shanties. I would say that he is presenting it as a single-pull halyard shanty. (In contrast to a sheet shanty, the pull does not come at the very end.):

A favorite and frequently used song, in which Bonaparte's fortunes are portrayed in a manner startling to the historian, as well as to those who may have the fortune to hear it sung at any time, is: —

JOHN FRANCOIS (*"pronounced Frans-war").

Oh, Bo -ney was a war -rior,
    A-way, hey way!
Oh, Bo - ney was a war - rior,
    John Fran-cois.

Oh, Boney went to Roo-shy,
                  Chorus. 

Oh, Boney went to Proo-shy,
                  Chorus.

He crossed the Rocky Mountains,
                  Chorus.

He made a mistake at Waterloo,
                  Chorus. 

He died at Saint Helena.
                  Chorus.