Continuing my logging/break-down of Alden 1882...

We continue with a version of NEW YORK GIRLS.

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Another Santa Anna song is more unmistakably negro from the fact that the expression "my honey," so common among the negroes of the South, occurs in it. It is a cheerful song, in spite of the painfully mercenary spirit expressed in the second chorus:

As I was lumbering down the streets of bully London town,
I spied a Yankee clipper ship to New York she was bound.
(Cho.) And hurrah, you Santy, my dear honey; Hurrah, you Santy, I love you for your money.
//

Hmm, I really didn't know the phrase "my honey" would tip off an African-American influence. But while we haven't seen NEW YORK GIRLS for sure yet up to this point, we've seen a reference to a Black rowing song from Ohio with similar solo lyrics--though no full semblance of the chanty we know.

Alden goes on to give two different Stormy chanties.

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"Old Stormy" is a mythical character often mentioned in sailor songs. Who Stormy was, and why he received that evident nickname, even the most profound and learned shanty-men always confessed themselves unable to explain. The oldest of these songs is rather the best of them:

Old Stormy he is dead and gone.
To me way hay storm along, John.
Old Stormy he is dead and gone.
Ah, ha! come along, get along, stormy along, John.

Here is another "Stormy" song that contains a hint of negro origin in the word "massa," and suggests that perhaps the legend of "Stormy" is an African rather than a nautical myth:

Old Stormy he was a bully old man.
To me way you storm along.
Old Stormy he was a bully old man.
Fi-i-i, massa, storm along.
//

As far as I can tell, this is the first time that these *particular* Stormy chanties, what I have been tagging as STORMY ALONG and MR. STORMALONG, are mentioned in literature.