Thank God I'm finally done logging in the chanties from L.A. Smith's MUSIC OF THE WATERS! Now to summarize its contents.

The following are the shanties named or described, and where I think they most probably came from. I am only noting songs offered as chanties (though sometimes it is ambiguous), so for example I am not including "Spanish Ladies," which Smith quotes from Chappell's old work and not as a shanty. I name the chanties according to their "tag" titles that I have been using fairly consistently.

1. 1858 Atlantic Monthly:

BOWLINE
"Highland day and off she goes"
PAY ME THE MONEY DOWN

The first two were also in the 1869 Chambers's article, however, because I don't locate "Pay Me the Money Down" anywhere else (?), I feel Smith must have read this article, too.

2. 1869 Chambers's Journal:

OUTWARD AND HOMEWARD BOUND
SACRAMENTO
PADDY LAY BACK
SANTIANA
"Oceanida"
"Johnny's Gone"
"The Black Ball Line"
SLAPANDERGOSHEKA
HANDY MY BOYS

This means Smith cannibalized essentially all the material in that article.

3. 1872 Bennett, William Cox. "Songs for Sailors" London: Henry S. King & Co. (??):

YEO HEAVE HO

Not sure about this one. I think Smith got it from a text, and this text does have it in the same lyrical version. However, Bennett did not give a tune though Smith supplied one. There may be another little source for this, as I honestly don't think Smith collected it in the field.

4. 1879 Parramatta Sun:

BOWLINE
WHISKEY JOHNNY
BLOW THE MAN DOWN
REUBEN RANZO
HAUL AWAY JOE
HANDY MY BOYS
BONEY
HEAVE AWAY MY JOHNNIES
GOODBYE FARE YOU WELL
DEAD HORSE

These are all of the Haswell chanties.

5. 1882 Alden:

LOWLANDS AWAY
ACROSS THE WESTERN OCEAN
STORMY ALONG
MR. STORMALONG
HUCKLEBERRY HUNTING
PADDY ON THE RAILWAY
BONEY
HILONDAY
CLEAR THE TRACK
SHENANDOAH
SHALLOW BROWN.
SHENANDOAH (2)
RIO GRANDE

So, most of what was in Alden.

6. 1886 Leslie (Sea Painter's Log):

STORMY
HUNDRED YEARS

7. Probably collected by Smith in the field:

RIO GRANDE
JOHNNY BOWKER
MR. STORMALONG
BLOW THE MAN DOWN
REUBEN RANZO
UP A HILL
CHEERLY
RUN LET THE BULGINE RUN
OUTWARD AND HOMEWARD BOUND
TOMMY'S GONE AWAY
BLOW BOYS BLOW
JOHN BROWN'S BODY
SALLY BROWN
SOUTH AUSTRALIA

8. Unknown:

RIO GRANDE
CHEERLY
GOLDEN VANITY
WHISKEY JOHNNY

One of my main reasons for doubting these were collected by Smith is that Smith's others consist of music notation (where applicable) without the words directly under the notes. I think these may have come from other sources like correspondence (perhaps with Clark Russell?) and minor articles.

I hope I haven't forgotten or confused anything, though it's likely I probably have.

Smith does not seem to have been influenced by either Adams' or Luce's notable prior works.

What I am seeing here in terms of historiography goes something like this: The Atlantic Monthly 1858 provided a model and some material, greatly expanded, for the 1868 ONCE A WEEK article. For whatever reason, that one was not reference so much afterwards, but the 1869 CHAMBERS'S article is mostly a copy, and it is the one to later feed Smith. Smith was also fed by Alden's 1882 article in HARPER'S. Another stream is represented by Adam's and his replicators, including Luce who cleaned up his notation. These streams are separate at the time of Smith's publication, though Luce's revised version does then reference Smith. I am not sure at this point how Davis/Tozer might fit in. Much of the early 20th century chanty references seem to rely on Smith (or a predecessor in her lineage). In any case, these are the foundational shanty sources. My guess is that Whall would be the next big contributor to how shanty repertoire is perceived, but before his 1910 publication, much in print would rehash the widely-read (attractively packaged and accessibly titled) Smith.

Thoughts?