Here's an outline of the [chanty-focused] contents of Whall's 3rd edition.

1913        Whall, W.B. _Ships, Sea Songs and Shanties._ Third edition, enlarged. Glasgow: James Brown & Sons.

Intro:
Sea Songs are gone. Doesn't say that the ships are necessarily, gone, but that they are now manned by "Dutchmen and Dagos" and that the packet ships (and packet rats) are gone, and tha the current crop can't sing shanties that have no meaning for them.

Complaynt of Scotland, etc.

Mentions popularity of shanties (untimely) and books by Masefield, Christopher Stone, Navy Records Society

Obscenity and chanties:
//
xii) Now, seamen who spent their time in cargo-carrying sailing ships never heard a decent Shanty ; the words which sailor John put to them when unrestrained were the veriest filth. But another state of things obtained in passenger and troop ships; here sailor John was given to understand very forcibly that his words were to be decent or that he was not to shanty at all. (As a rule, when the passengers were landed and this prohibition was removed, the notorious "Hog-Eye Man" at once made its appearance.)
//

This passage suggests that all his chanties were learned in the 1860s-early 70s.
//
Going to sea then, in 1861, in the old passenger-carrying East Indiamen, these sailor Songs and Shanties struck me as worthy of preservation.
During my eleven years in those ships I took down the words and music of these songs as they were actually sung by sailors, so that what I present here may be relied upon as the real thing. Since 1872 I have not heard a Shanty or Song worth the name. Steam spoilt them. A younger generation of seamen took the place of the old sea dog. (In my
first year or two at sea I was shipmates with old men-of-war's men who had served at sea before 1815, the year of peace, and who were of the old school.) With the new generation true sea Songs and Shanties practically disappeared. Echoes of them, it is true, still exist, but that is all. The real thing has gone for ever.
//

Whall has strong biases that come through in the assumptions he makes about repertoire. Despite his vague claim that he did not consult chanty collections, his conclusions on a number of pieces (where, for example, he downgrades the role of America in the origination of chanties) seem to reflect the influence of reading. As a matter of fact, he might be the first author/collector (besides the English folklorists of a few years earlier) to try to explain origins and dating before presenting the song.

[SHENANDOAH] Whall claims to have heard sung in the late 1850s/early60s *on land*, and that it appeared in "old public school collections." It was originally a "song" before a chanty.
//
Shenandoah. [w/ score]
Missouri she's a mighty river.
Away you rolling river.
The redskins' camp lie on its borders.
Ah-ha I'm bound away 'cross the wide Missouri.
[etc]
//

After this, he notes that Dana supposedly quoted "Cheer up, Sam" as being used as a chanty—Though we have yet to locate this in Dana.

Next is supposedly in the same "class" as "Shenandoah," so I guess a capstan chanty?
//
ANOTHER of the same class as the preceding, which, down to quite a recent date, was a
favourite in American ships, was "Adieu to Maimuna," sung to an old German air,
" The Mill Wheel " :—

Adieu to Maimuna.

The boatmen shout, 'tis time to part,
No Longer can we stay;
'Twas then Maimuna taught my heart
How much a glance can say.
'Twas then Maimuna taught my heart
How much a glance can say.
[etc]
//

Discussion of [OUTWARD AND HOMEWARD BOUND] includes reference to "Pensacola town" (which appears elsewhere, some copying going on somewhere or other)
//
Homeward Bound.

At the Blackwall docks we bid adieu
To lovely Kate and pretty Sue;
Our anchor's weigh'd and our sails unfurl'd,
And we're bound to plow the wat'ry world,
And say we're outward bound,
Hurrah, we're outward bound.
//

[ROLLING HOME]
//
There are numerous versions both of words and music :
I have one such in an American book of sea songs dated 1876 ; Mr. Masefield gives another version in his "Garland"; two other versions appeared some time back in the Shipping Gazette; and I have still another. I have therefore—legitimately, I think—chosen from all these the lines common to all, and for the rest have taken those that seemed to me the best. The tune I give—out of several variants—is the one familiar to me, though, as I have said, there are others.

Rolling Home.

Call all hands to man the capstan,
See the cable run down clear,
Heave away, and with a will, boys
For old England we will steer;
And we'll sing in joyful chorus
In the watches of the night
And we'll sight the shores of England
When the grey dawn brings the light.
Rolling home, rolling home, rolling home across the sea;
Rolling home to dear old England, rolling home, dear land to thee.
//

[DREADNAUGHT] is given, but not indicated as a chanty. First Whall gives a "Dreadnaught" version, text only,
//
There's a saucy wild packet—a packet of fame—
She belongs to New York and the Dreadnought'''s her name,
She is bound to the westward where the strong winds do blow,
Bound away in the Dreadnought to the westward we'll go.
[etc]
//

Then comes "La Pique", with score.
//
O, 'tis of a fine frigate, La Pique was her name,
All in the West Indies she bore a great name;
For cruel bad usage of ev'ry degree,
Like slaves in the galley we ploughed the salt sea.
[etc]
//

"Doo Me Ama". Non-chanty.
//
Doo me Ama.
As Jack was walking thro' the square,
He met a lady and a squire.
Now Jack he heard the squire say,
Tonight with you I mean to stay.
Doo-me ama, Dinghy ama, Doo-me ama day.
[etc]
//

"Spanish Ladies", not presented as a chanty.
//
Farewell and Adieu.
Farewell and adieu unto you, Spanish ladies,…
…thirty-five leagues.
[etc]
//

//
Sling the Flowing Bowl.

Come, come, my jolly lads, the wind's abaft,
Brisk gales our sails shall crowd…
[etc]
//

[BLOW YE WINDS] as a "song of the midshipman's berth."
//
Blow Ye Winds, in the Morning.

As I walked out one sunny morn to view the meadows round,
I spied a pretty primrose lass come tripping o'er the ground,
Singing, Blow, ye winds, in the morning,
Blow, ye winds, Hi! Ho!
Brush away the morning dew.
Blow, ye winds, Hi! Ho!
[etc]
//

Supposedly this is a chanty (?) but no description is given.
//
THIS is an example of the purely professional song, dear to the old-time sailor, and full of
seamanship. It was a favourite with the prime old shellback, and was all the more
successful in that it had a good chorus about the girls.
Unmooring.
"All hands on board!" our boatswain cries…
…And we'll think on those girls when we're far, far away.
[etc]
//

"Boston" – "very popular between the years of 1860 and 1870":
//
Boston.

From Boston harbour we set sail,
When it was blowing a devil of a gale,
With our ringtail set all abaft the mizzen peak,
And our Rule Britannia ploughing up the deep.
With a big Bow-wow! Tow-row-row!
Fal de ral de ri do day!
[etc]
//

"The Female Smuggler"
//
O come, list awhile, and you soon shall hear,
By the rolling sea lived a maiden fair…
…Like a warlike hero that never was afraid.
[etc]
//

"The Voice of Her I Love."
"Come, Loose every Sail to the Breeze."
"Will Watch"
"Shannon" and "Chesapeake."

[SALLY BROWN]
//
THIS song is referred to by Marryat in his account of a visit to America in the '30's where he went as a passenger in a packet-ship. It was a great favourite when heaving up the anchor, but is not a hauling song. It has no regular story like some of the better shanties, and its musical range is rather large, so that the top notes were always yelled out fortissimo, while the second chorus was low down in the register. It is evidently of negro origin. The verses given are a fair specimen of those generally sung. What the "wild-goose nation" is I do not know ; the phrase occurs in other shanties. It is of a somewhat debased type, but that is to be
expected in a collection of songs used by rough uneducated men, as sailors were in the old days.

Sally Brown.

O Sally Brown she's a bright mullatta,
Way-ay, roll and go!
O she drinks rum and chews tobacca,
Bet my money on Sally Brown.
[etc]
//

[NEW YORK GIRLS] without description.
//
Can't you Dance the Polka?

As I walk'd down the Broadway, one ev'ning in July,
I met a maid who axed my trade, "A sailor John," says I;
And away you santee, my dear Annie.
O you New York girls, can't you dance the polka?
[etc]
//

[ACROSS THE WESTERN OCEAN] as a hauling song.
//
Across the Western Ocean.

O the times are hard, And the wages low,
Amelia, whar' you bound to?
The Rocky mountains is my home,
Across the Western Ocean.
[etc]
//

[LEAVE HER JOHNNY' is also acknowledged, with a few verses.
//
O, the times are hard and the wages low,
Leave her bullies, leave her;
I guess it's time for us to go,
It's time for us to leave her.
//

[GOODBYE FARE YOU WELL] for heaving anchor.
//
Good-bye, Fare You Well.

O, fare you well, I wish you well!
Good-bye, fare you well; good-bye, fare you well!
O, fare you well, my bonny young girls!
Hoorah, my boys, we're homeward bound!
[etc]
//

[TOMMY'S GONE], hauling song
//
John's Gone to Hilo.

O Johnny's gone; what shall I do?
Away you, Hee-lo.
O Johnny's gone; what shall I do?
John's gone to Hilo.
[etc]
//

[RIO GRANDE]
//
Bound for the Rio Grande.

O, say, was you ever in Rio Grande?
O, you Rio!
It's there that the river runs down golden sand,
For I'm bound to the Rio Grande.
And away, you Rio! O, you Rio!
Sing fare you well, my bonny yound girls,
For I'm bound to the Rio Grande.

Now, you Bowery ladies, we'd have you to know,
We're bound to the Southward, O Lord, let us go !

So it's pack up your donkey and get under way,
The girls we are leaving can take our half-pay.

We'll sell our salt cod for molasses and rum,
And get back again 'fore Thanksgiving has come.

And good-bye, fare-you-well, all you ladies of town,
We've left you enough for to buy a silk gown.
//

[ONE MORE DAY], a homeward bound shanty.
//
It has a plaintive, somewhat mournful melody, and is a windlass,
not a hauling, song.

One More Day.

Only one more day, my Johnny,
One more day!
Oh come rock and roll me over
One more day!
[etc]
//

[HEAVE AWAY MY JOHNNIES] for windlass and pumps.
//
We're All Bound to Go.

O, as I walked down the Landing Stage all on a Summer's morn,
Heave away…my Johnnies, heave away…ay
It's there I spied an irish gal a looking all forlorn,
And away, my Johnny boys, we're all bound to go.
[etc]
//

[LOWLANDS AWAY]
//
It is of American origin and comes from the cotton ports of the old Southern States.
This is, I think, certainly the first time it has been set in the least degree correctly to music.
I am aware of two previous attempts, both hopelessly in error.
It is also, like the previous song, a windlass shanty : and it was a favourite for pumping ship.

Lowlands.

Lowlands, Lowlands, Away, my John,
O my old mother she wrote to me,
My dollar and a half a day.
She wrote to me to come home from sea,
Lowlands, Lowlands, Away, my John.
She wrote to me to come home from sea.
My dollar and a half a day.
[etc]
//

[A-ROVING]. Mentions the Heywood/"Lape of Lucrece" idea.
//
A-Roving.
In Amsterdam there liv'd a maid
Mark well what I do say,
In Amsterdam there liv'd a maid, And she was mistress of her trade.
I'll go no more a-roving with you fair maids.
[cho.] A-roving, a-roving, Since roving's been my ruin,
I'll go no more a-roving with you fair maids.
[etc]
//

[REUBEN RANZO]
//
In the days I speak of, the shanty was always sung to
the regulation words, and when the story was finished there was no attempt at improvisation ; the
text was, I suppose, considered sacred. I never heard any variation from the words here given.

Reuben Ranzo.

Oh, pity poor Reuben Ranzo!
Ranzo, boys, Ranzo!
Oh, poor old Reuben Ranzo!
Ranzo, boys, Ranzo!
[etc]
//

[STAND TO YOUR GROUND] without description
//
Stand to your Ground.

Sally am de gal dat I lub dearly.
Way, sing Sally;
O, Sally am de gal dat I lub dearly.
Hilo, John Brown, stand to your ground.
[etc]
//

[MR. STORMALONG] "…seldom was any attempt made at improvisation."
//
Stormalong.

O Stormy, he is dead and gone;
Tom my way you storm along.
O stormy was a good old man;
Ay, ay, ay, Mister Stormalong.
[etc]
//

[PADDY ON THE RAILWAY]
//
Poor Paddy Works on the Railway.

O in eighteen hundred and forty-one,
My corduroy breeches I put on….
[etc]
//

[SANTIANA]
//
The Plains of Mexico.

O Santy Anna gained the day,
Hooray, Santy Anna;
He gained the day at Monteray,
All on the plain of Mexico.
[etc]
//

[BLOW BOYS BLOW]
//
Blow, Boys, Blow.

Oh, blow, my boys, I long to hear you!
Blow, boys, blow!
Oh, blow, my boys, I long to hear you!
Blow, my bully boys, blow!
[etc]
//

[BLOW THE MAN DOWN]
//
THIS comes from the old Atlantic sailing packet ships. " Blow " in those days was equivalent to "knock." The third mate in those ships was endearingly termed the third "blower and striker," the second mate being the "greaser."

Blow the Man Down.

O blow the man down, bullies, blow the man down!
Way-ay, blow the man down,
O blow the man down in Liverpool town!
Give me some time to blow the man down.
[Paradise street, policeman, etc]
//
Also the "Black Ball" version is given.

[FISHES], but not as a shanty.
//
The Fishes.

Oh, a ship she was rigg'd, and ready for sea…
…Windy weather! Stormy weather!
When the wind blows we're all together.
[etc]
//

However, Whall says that the song was later used as a shanty to the chorus of "Blow the Man Down." In other words, not this song, but its couplets were utilized.

"The Whale" (= Greenland Whale Fishery)

"Admiral Benbow".

Of [DRUNKEN SAILOR], Whall states that it was, with "Cheer'ly" a shanty allowed sometimes in the Royal Navy.
//
…particularly in revenue cutters and similar craft, and sotto voce in larger vessels. Both songs were used in the old Indiamen of "John Company."

Early in the Morning.

Hoorah! And up she rises;…
What shall we do with a drunken sailor?...
Put him in the long-boat and make him bale her…
Put him in the guardroom till he gets sober.

These were the only two verses.

…It was the only song used for a "stamp and go," and when crews were reduced and it was no longer possible to " walk away" with anything, the song at once dropped out of use.
//

"High Barbaree", not as a shanty.

[CHEERLY], without notes.
//
Cheer'ly Man.

O Nancy Dawson, Hio!
Cheer'ly man;
She'd got a notion, Hio-o
Cheer'ly man;
For our old bo'sun, Hio!
Cheer'ly man,
O! Hauley, Hio-o!
Cheer'ly man.
[etc]
//

[JOHNNY BOWKER], for sweating up.
//
Johnny Boker.

O do my Johnny Boker, Come, rock or roll me over.
O do, my Johnny Boker, do!
[etc]
//

[PADDY DOYLE]
//
Paddy Doyle.

To my way-ay-ay ah!
We'll pay Paddy Doyle for his boots.
[gin, chin, etc]
//

[BONEY], for short pulls. 2 pulls indicated for each chorus.
//
Boney.
O Bony [sic] was a warrior,
Away-ay-ah
A warrior, a terr(i)or,
Jean Français.
[etc]
//

[HAUL AWAY JOE], "used as a last short pull for sweating up." Major mode melody.
//
Haul Away, Jo.

Away [/you], haul away, O haul away together.
[cho.] Away, haul away, O haul away, Jo!
[Irish gal/nigger one, King Louis, etc]
//

[HOGEYE]
//
The Hog-Eye Man.

Oh, go fetch me down my riding cane,
For I'm goin' to see my darlin' Jane!
And a hog-eye
Railroad nigger, with his hog-eye!
Row de boat ashore, and a hog-eye O!
She wants the hog-eye man.
[etc]

As nautical readers know, much of this shanty is unprintable ; but it was so very much in evidence in the days of shanties that a collection would be imperfect without it.
//

[SHALLOW BROWN]
//
Challo Brown.

O Challo, in the morning,
O Challo, O Challo Brown!
Just as the day was dawning,
O Challo, O Challo Brown!
She was a bright mulatta,
O Challo, O Challo Brown!
She hailed from Cincinatta,
O Challo, O Challo Brown!
[etc]
//

'The Saucy "Arethusa"' – "a shore manufactured sea song."

"The Buffalo"

[HANDY MY BOYS], without description.
//
So Handy, My Girls.

So handy, my girls, so handy!
Why can't you be so handy, O?
Handy, my girls, so handy!
For we are outward bound, you know,
Handy, my girls, so handy!
O up aloft that yard must go,
Handy, my girls, so handy!
[etc]
//

[HANGING JOHNNY] without description.
//
Hanging Johnny.

O! they call me Hanging Johnny,
Hooray!
Because I hang for money,
So hang, boys, hang!
[etc]
//

[WHISKEY JOHNNY] without description.
//
Whisky.

O, whisky is the life of man,
O whisky, Johnny!
I'll drink whisky when I can,
O, whisky for my Johnny!

Whisky is the life of man,
Whisky from an old tin can.
[etc]
//

[RANZO RAY] without description.
//
We'll Ranzo-Way.

O, the boys and the girls went a huckleberry hunting,
To my way,…Ah!
O, the girls began to cry, and the boys they stop'd hunting,
To my hilo, we'll ranzo-way.
[etc]
//