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SHALLOW BROWN
6. \c aie me only treasuic, 1 love ye to full measure.
7. The packet sails tcrmorrer, I'll leave ye with much sorrer.
8. In the cradle is me baby, I want no other lady.
(). My wife an' baby grieves me, 'Tis pain for me ter leave yc.
10. Be on the pier ter meet nie, With kisses I will greet thee.
Both versions can wind up with a similar last verse:
Goin' away termorrer, Bound away termorrer.
A slightly different tune used by some shantymen I had from Harding.
rt riot too ^t f
SHALLOW BROWN {b) >k i t
£ 'L/J-JTJ' (OWi on, ^^jil low Brown ] Davis & Tozer present another tune: SHALLOW BROWN {c) >i.(t.|r Slew W^^ Cor^ g<l rr,v cl<^j ip oc-iti* . , SUilptv - SÏ;>aïWw- ^yowp/ p ^ ^i)} i iU^^^^È
iot - oltr, SJïriW» SKollow , Biowp ,' (From Sailor Son^s and C/tartties, by permission of Booscy & Co., Ltd., London.)
And Sharp's other version has a different tunc still. His repeated solos show true Negro influence.
189 m I'm offa-CïffK the i^^^ 01), Sl)Jlow ip ^y ipxjjt;)^, SW low.ojj.jbaUowBtowp/Oh.S^alW^) ^C [jorp.ijj , SJ^iaJ-

Shanties From The Seven Seas,

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Shanties From The Seven Seas

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SHALLOW BROWN
SHALLOW BROWN {d) {OH, PM GOING TO LEAVE HER)
l{.'ljJJJiJ,l.|lNlJ.lj|JJJ.Jl 1 ^ l|'^J-ljl.Mjl l
Ö ^S joijj t> iea«]|tr, S^Xm, Q gj^llow Stowp.O lip Joiij^ ib leave ^ r ,
2. Ship on board a whaler, CA. Shallow, O Shallow Brown,
Ship on board a whaler, Ch. Shallow, O Shallow Brown.
3. Bound away to St. George's. 4. Love you well, Juliana. 5. Massa going to sell me. 6. Sell mc to a Yankee. 7. Sell mc for the dollar. 8. Great big Spanish dollar.
This version tells a story reminiscent of Captain Frank Shaw's paragraphs, quoted in my Introduction, which describe the life of a slave sold to a Yankee shipowner. At some time or other this Negro song passed through the shanty mart and was used by the cotton- hoosiers of Mobile as a cotton-screwing chant. Sometimes the wording would be that of Sally Brown, and 'Oh, Sally Brown' would be substituted for 'Oh, Shallow Brown' in the refrains. An interesting verse is given by Piggott in the Journal of the Folk Song Society:
I'll cross the Chili mountains, To pump the silver fountains, . . .
which means that a sailor deserted his ship in some West Coast port and went working in the silver mines of Chile. And now we have a 'link' which will bring us back to our Hilo
series; this is a fragment given by Bill Adams in one of his books. Unfortunately, we have no tune. It is a version of what appears at 190

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TOM'S GONE TO HILO
first glance to be Shallow Brown but which in actual fact is a variant of Tom's Gone to Hilo:
SHILOH BROWN
Oh, Johnny's gone, what shall I do? Ch. Shiloh, Shiloh Brown,
Oh, Johnny's gone, what shall I do? Ch. Johnny's gone to Rio!
Hilo.
It is fairly certain that the tune of this would be TorrCs Goru to Tom's (or John's) Gone to Hilo was a tops'1 halyard song, and one
which never found favour with the afterguard, as it took too long to hoist a yard to it on account of the slow and lethargic way in which it was sung by a good shantyman. It was rather difficult to sing correctly, but even so it was popular with the crowd, particularly for heavy lifts.
TOM'S GONE TO HILO Alternative title, Johnnys Gone to Hilo (Ilo) if'Vj"iiUi^|iir^iri.i^ii^i.iriiji IN rii ^ tio, Ifi^'j goyti» j4i-}o,'
2. Tommy's gone to Hilo town, Ch. Away you hilo-o-o\
Where all them gals they do come down. Ch. Tom's gone to Hi\o\
3. Hilo town is in Peru, It's just the place for me an' you.
4. Tommy's gone to Liverpool, To Liverpool, that packet school.
5. Yankee shellbacks ye'11 see there, Wid red-topped boots an' short cut hair.
6. He signed for two pound ten a month. No more than two pound ten a month.
7. Tommy's gone to Baltimore, To dance upon a sandy floor. 191

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TOM'S GONE TO HILO 8.
1 ommy's gone to Mobile Bay, A-screwin' cotton all the day.
<j. Tommy's gone to fai Quebec, A-stowin' timber on the deck.
10. Tommy's gone to Cally-o, He won't come back from theie, 1 know.
11. 1'ommy'b gone to Vallipo, He'll dance them Spanish gals, y'know.
1^. '1 ommy's gone to 'Frisco Bay In a Cape Horner the other day.
ij . Tommy's gone to Pernambuck, He's gone to get a nip an' tuck,
14. 'Tommy's gone to Montreal, In a packet ship wid skys'ls tall.
15. 'Tommy's gone to Rye-o Grand, He's lollin' in the yellar sand.
lb. 'Tommy'b. gone to Singapore, Oh, Tommy's gone for evermoie.
17. Oh, haul away, me bully boys. Oh, haul away, kick up some noise.
18. Now hoist 'er up an' show 'er clew, Oh, we're the barstards to kick 'er though!
19. One moie pull, lads, then belay, Ooh! One more pull an' then bela).
The game played by the shantyman was to take Tom (or John)
to as many ports of three syllables as he could think of. Harlow gives a couplet:
To Hilo Town we'll see hei through. For Tom has gone with a ruling crew. . . .
in which the phrase 'ruling crew' smacks of South Australia. Terry has an unusual pair of stanzas:
Tommy fought at Trafalgar [Repeal), Brave old Victory led the way. {Repeat)
Another common theme was the following, from the singing of Bill Dowling of Rootle:
I. Tommy's gone on a whalin'-ship. Oh, Tommy's gone on a damn long tup. 192

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TOMMY'S GONE AWAY
u. He never kis!>ed hi!> gal goodbye, He left her an' he told hei why.
3. She'd robbed him blind an' left him broke, He'd had enough, gave her the poke.
4. His half-pay went, it went like chaff, She hung around for the other half.
5. She drank an' boozed his pay away, With her weather-eye on his next pay-day.
6. He shipped away around Cape Houi, His clothes an' boots wuz in the pawn.
7. This tart will get another flame, Aye, she will git him just the i>ame [slie will treat him just the same].
8. Steer clear, me boys, of flash chowlalis. They'll make ye wiser than ye are!
9. Oh, Tommy's gone an' left her flat. Oh, Tommy's gone an' he won't come back.
The place name 'Hilo'—whether in Hawaii or Peru—is pro-
nounced with a soft 'i' , but seamen always pronounced these soft 'i's'—in songs—as 'eye', e.g. Rio—'Rye-O', California—'Califor- nye-O', etc. Therefore 'Hilo' was sung 'High-low', that is in the second refrain and in the solos, but in the first refrain I feel that I am right in saying that the soft sound was used—'hee-lo-0-0', in this case it being a sort of yodel aimed at by good singers of shanties. ^Vhall spells this first refrain 'Hilo' as 'Hce-lo', in the same way as I do. The tune has an oriental touch to it. Bone, a good authority, states that Sailor John often sang 'Tom's gone to Hcll-O'—par- ticularly fitting if he had shipped in a vessel bound to the Chinchas, or some other unsavoury place, to load guano! A variant of this shanty is the halyard song Tommy's Gone Away.
Apart from myself Terry is the only collector who gives it. I learnt my version of the tune from a South Wales seaman who had served in the Bristol Channel copper ore trade. The words are the same as those of the preceding shanty.
TOM Mrs GONE AWAY :'MjiJiijj-'^irr i rirr^irrr^ I
'tfmt S- vcay/ 193

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CAN' T YE HILO ? If the shantyman managed to reach the last verse it was usually:
Tommy's gone for evermore, Ch. My Tommy's gone away\
Oh! Tommy's gone for evermore, Ch. My Tommy's gone away\
But the strangest variant of this Hilo shanty is one given by
F. W. Wallace. I t appears to be a capstan song, but no music is given. I t runs:
Hilo town is far away, Ch. Tom's gone to Hilo!
Hilo town is in Haway. [Hawaii] 'Way down, you Mobile hoosier, 'Way down, 'way down I tell you, Ch. Tom's gone to Hilo.
A fine hauling song in this series is Cant Ye Hilo? This is West
Indian in origin, and it was from my West Indian friend Harding that I learnt it. Captain Robinson (in The Bellman) gives a version. I don't know Captain Robinson's background, but judging from his shanties I should say that he spent most of his time in the West Indian, Gulf Ports, and West Coast of South America Trades, since all his shanties are those common to the crews of ships in such trades. Sharp too had many of his shanties from an old shellback of Bristol who had spent many years in the West Indian sugar and rum trade. Robinson's tune and words are similar to mine.
CAN'T YE HILO?
Fr-^'fJlDi.njil3jjiJii.[:jj:QP I^'IJINMI I
2. Young gals, good gals, bad gals, O! Ch. Young gals can't ye //ilo?
I will take 'em all in tow, Ch. Young gals can't ye //ilo?
3. Love 'em all both old an' young. Thin gals, fat gals, let 'em all come. 194

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JOHNNY, COME DOWN TO HILO
4. When I wuz a young man in me prime, I chased them coloured gals all the time.
5. Dance, gals, dance, till the break o' day. Let's all dance our cares [woes] away.
6. High brown, dark brown, yeller gals, O! Let's all go on a big Hilo!
7. Young gals, young gals, young gals, O, Rouse 'er up an' let's Hilo!
Here the word 'Hilo' seems to indicate some sort of dance, or else
a 'jamboree'. Now we come to the last of our Hilo series, one well known nowadays, thanks to Terry's making it popular in schools, and so on. This is Johnny, Come Down to Hilo. Sharp gives it as Johnny, Come to Hilo, and Doerflinger has Johnny, Walk Along to Hilo. And I once knew an old sailor who sang it as Johnny, Come Down the Backstay. The tune is Irish in origin and the wording is a mixture of Negro catch-phrases, of lines from Negro and nigger minstrel ditties, and odd bits from other shanties, e.g. Poor Old Man and The Gal With the Blue Dress. The reference to the 'big buck nigger with his seaboots on' has its counterpart in nigger ditties such as:
Walk, Jawbone, Jenny come along. In comes Sally wid de bootees on . . .
and similar couplets arc to be found in English Iblk-songs. In Bullcn's Ten Stone there is a starting solo reminiscent of the first verse of this shanty:
I ncbbcr seen de like since I've been born, Nigger on de ice an' a-hoein' up corn.
A piece of music, frequently heard over the air, called The Man
from the Sea, vividly shows how this shanty is very akin, in tune, to the children's rhyme 'Three Blind Mice'! The normal use of Johnny, Come Down to Hilo was at the capstan
when a steady march round was needed. Pieces from Hand Me Down Me Walkin^-cane, Poor Old Ned, and Camptown Races arc included in it, and the bawdy version of Hog-eye Man was also made use of.
195

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JOHNNY , COME DOWN l o HILO JOHNNY, COME DOWN TO HILO
Alternative titles, Johnny, Come to Hilo, Johnny, Walkalong lo Hilo, Johnny, Come Down the Backstay
r«i y f-.t •y» K su l Vht K)<«,su)tt I Ixr) hotr)fijh,o. )KA l«cJ< J'M*' *"'i j)*» * * ^»<*»- <*>.
rNJJJJ|J^-'iJjij.?i-^J|:|J^ri^.JJ^ i
^•'iJjJjJJjJI-^^ ^ittnoiM/t^ 3^~ a«fnittwi)\a Mt - lo, (ol)) R>ot ol' n>aj> /
2. I love a httle gal acrosst the sea, She's a big buck nigger an' she sez to me [She's a 'Badian beauty, etc.], Ch. Oh, Johnny come down to Hilo, (Oh) poor old man! Oooh! wake her! Oh, shake her! Ooooh! wake that gal wid the blue dress on! When Johnny comes down to Hilo, (Oh) Poor old man!
3. Wuz ye never down in Mobile Bay, A-screwin' cotton for a dollar a day? Ch. Oh, Johnny come down, etc.
4. Ooh, there once wuz a nigger an' his name wuz Uncle Ned, An' he had no yarns on the top o' his head.
5. Did )e ever see the ol' plantation boss. An' his long-tailed filly, an' his big, black boss:'
b. Oh, go fetch me down me riding cane. For I'm off to see me sweetheart Jane.
7. Ooh, Sally [Jinny] in the garden, pickin' peas, An' the hair of her head hangin' down to her knees.
Cecil Sharp gives a slightly different air to his verse:
p^z£S\ ] lU U\^^Jl^U^ pi
0 a. f)oor o U rr)<xrj cart)», a - t i - O ,
JbXi) 9y , con?* to Hi- ïo » *tt . ^
p 196 i.p a Jiy , Sayi I üU ipo9.¥o«tb«'»»»"'l<l«.
i'^V^ coiytiom)^ Ht-)o,(OI)) ftotol' n,ar,, Ooo>,!»v»K.^rfW,.lJ^I^/(XWw*tt„i^«l^«L

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f THE UAL WITH THE BLUE DRESS The lollowing hauling song, The Gal With the Blue Dress, is tlie
one from which a similar line in Johnny, Come Down to Hilo was probably taken. I had it from Harding, who considered it one of the best in his repertoire for halyards. It is essentially a Negro song, probably one used by cotton hoosiers. I feel that L. A. Smith's Slapandergosheka is a similar or related song. Davis & Tozer give a version, calling it 'pumps', which of course it could have been, but this appears to be a rather too poetical effort for hairy shellbacks or Negroes to have sung. There does exist a nigger minstrel song called The Girl With the Blue Dress On.
THE GAL WITH THE BLUE DRESS Alternative title, Shake Her, Johnny, Shake Her!
^M^^^^Ê^mêm^^^ SboV'tr ojwt'll ',ya)s^•trƒ
2. This gal she did look good to me, Ch. Shake her, Johnny, shake her!
'Cos I had bin ten months at sea, Ch. Shake her an' we'll wake her!
J. Slie'b a Dov\n East qal wid a Down East style, Foi a dollar a time it's all ^vorth while.
4. Roust an' shake her is the cry, The bloody topmast sheave is dry!
5. A big wind comes from the Wcs'-nor'-wcst, This gal ain't gonner git no rest.
6. Shake 'er, bullies, oh, helm's a-lec, She'll git washed out wid a big green sea.
7. Her oilskins they arc all in pawn. It's wet an' draughty round Cape Horn.
8. So roust 'er up from down below. An' haul away for ycr Uncle Joe.
9. This gal she is a high-brown lass, High-brown lass in a flash blue dress.
ID. So roust 'er up be quick I say. An' make yer port an' take yer pay.
11. Soon we'll be down Mobile Bay, Screwin' cotton for to git our pay. 197

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TEN STONE Next we have a windlass song given only by Bullen & Arnold.
This is Ten Stone, a shanty of pure Negro origin, heard by Bullen himself being sung by Negroes working a dolly-winch on his ship in Georgetown, Demerara. Its opening lines are very similar to those of Johnny, Come Down to Hilo.
TEN Sc.iKly
f^ffrrir^'rii^rri^'r^iJJ-fJi-^-^ f^UJ^jjrhtfftijjijjirr-^JJii
Ï t^ W (ctr) lit )iKt Sci^c I IM^W) ! Woy.ayiy av oy.' 1)! ^ op Jt iw. <^' Ooein'iJi com, Woy,ay, oy ay oy, 7«r) sim/i«^>ta^'tu^ ttn^cdt wuj'am O-^V < pH-nu\inni\i;^j\is m
J»9-9y git a- lopg , Jtp5yy„„a«))ort),as wt go n)arc)).ij)' o-W / {Sonis of Sta Labour, by permiision of Swan & Co., Ltd., London)
And now we come to a shanty usually spoken of in hushed tones
by collectors—I don't know why; many other shanties were just as obscene, and even worse! This is the 'notorious' Hog-eye Man which is supposed to rank with Abel Brown the Sailor in infamy. Terry devotes several paragraphs trying to explain why it wasn't decent, and what the hidden meaning of the term 'Hog-eye' was in the minds of dirty old sailors, but with all his verbosity and hinting he doesn't explain a thing. As a matter of fact Whall, 'Seaman of the Old School', gives an explanation of the word 'Hog-eye' without any obscene entanglements. He plainly states that it was a type of barge invented for the newly formed overland trade which used the canals and rivers of America at the time of the Gold Rush (1850 onwards). A 'Ditch-Hog' was a sarcastic phrase used by American deep- watermen to denote sailors of inland waterways such as the Missis- sippi and Missouri as opposed to foreign-going Johns. I rather think Terry got his words mixed—he was thinking of 'Dead-eye' and not 'Hog-eye', the former having both a nautical and an obscene significance. Nevertheless the solo parts were indecent, and a large amount of camouflaging was necessary before this song could be made public. Davis & Tozer give it as a pumping song with a shortened chorus:
Heigh ho for the ox-eyed man!
Normally however it was used at the capstan. 198
^ STONE

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THE HOG-EYE MAN THE HOG-EYE MAN
Alternative Titles, The Hogs-eye Man, The Ox-eye Man, The Hawks Eye Man
tc/i[£c:ic^EricrMDr-'^|fr 3 ^ J)Og-«(«,ya)U Ö)». ir)<aj ƒ« n)4, Ij» tnit)» a-sail - ly'Jrwp oct (Usta,aj)'a )>oj-iyt.'
>!• n 1^ M •FJ.i;gj3J.HI^FTlrJJJlJ » toll toJj^wJj^ j)ojt;«/flowö^l)0<ia-4o«WMjl,«^.j|.-<J,.(3).«<»,tiÜ^)^-«« »^ /
2. He came to a shack where his Sally [Jinny] she did dwell, And he knocked on the door and he rang her bell. Ch. An' a hog-eye [Oh, hog-eye O]! Railroad nigger wid his Hogeye [Row the boat ashore for her hogeye]!
Row the boat ashore wid her hogeye O! She wants the hog-eye man!
3. Oh, Jinny's [Sally's] in the garden, pickin' peas, An' the hair of her head hangin' down to her knees.
4. Oh, who's bin here since I've bin gone? Some big buck nigger wid his sea-boots on.
5. If I cotch him here wid me Jinny [Sally] any more, I'll sling me hook an' I'll go to sea some more.
6. Oh, Jinny [Sally] in the parlour a-sittin' on his knee, A-kissin' of the sailor who'd come o'er the seas.
7. Sally [Jinny] in the garden siftin' sand. An' the hog-eye man sittin' hand-in-hand.
8. Oh, Sally [Jinny] in the garden shellin' peas, With her young hog-eye all a-sittin' on her knee.
9. Oh, I won't wed a nigger, no, I'm damned if I do, He's got jiggers in his feet an' he can't wear a shoe.
10. Oh, the hog-eye man is the man for me. He wuz raised way down in Tennessee [For he is blind an' he cannot see].
11. Oh, go fetch me down me ridin'-cane, For I'm off to see me darlin' Jane.
12. Oh, a hog-eye ship an' a hog-eye crew, A hog-eye mate an' a skipper too. 199

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THE HOG-EYE MAN Sometimes stanzas from A-rovin would be used. The tune and the
theme of this shanty varies but little, but there are several forms of the chorus:
Chorus variants-
1. An' a hog-eye O! Blow, me bully boys, wid a hog-eye, Blow, me bully boys, blow the boat ashore, For she wants her hog-eye man.
2. An' a hog-eye O! Row the boat ashore for a hog-eye, Steady on a jig wid her hog-eye O! All she wants is the hog-eye man.
3. Hog-eye! Pig-eye! Oh, I once knew a nigger wid a hog-eye. Steady on a jig wid a hog-eye OI Bully for de hog-eye man.
4. (C. Sharp) i''ijj\.i^i\jim0n'\nMp^^^& 5. {Bullen & Arnold) !>>•?• jjHj^pijji/jjj^jijiJ-^iJiJjjijjj f'>ongi of Sfo Labour, hv permission of Swan & Co., Lid., I.^ndon)
In the Journal of the Folk Song Society there are two choruses sung by Mr. Bolton of South port to Miss Gilchrist (1906):
1. With his hawk's eye. And when he comes ashore, Roll the boat ashore and the hawk's eye, Roll the boat ashore and the hawk's eye oh! She wants the hawk's-eye man.
2. With his hawk eye— And when he comes ashore, He rattles at the door, Oh, Johnnie is my hawk's-eye man.
Both Johntty, Come Down to Hilo and this shanty were more popular
when there was a Negro shantyman aboard, since both contained, when sung properly, many 'hitches' and wild yelps. This shanty 200

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JOHNNY, COME DOWN THE BACKSTAY
probably started life as a railroad work-song (many railroad navvies were Negroes), then taken over by the 'river boys' and finally, by way of the cotton hoosiers of the Gulf Ports, passed into the hands of deep-water sailormen. The phrase 'Johnny, come down the backstay' which I have
stated was sometimes sung instead of 'Johnny, come down to Hilo' was a rather popular expression among seamen and is even used today by steamboatmcn. It has the suggestion of'Stand clear, here we come!', "Way for a sailor!', or 'Let 'er go!' A variant—'May the Lord come down the backstay!'—is a sort of epithet, related to 'May the Lord look sideways through the porthole at yiz!' This brings us to the shanty variously known as Johnny, Come Down the Backstay or John Damaray. It was a stamp-'n'-go chorus, and a favourite in Yankee ships according to my coloured shipmate Harding. Doerflinger gives a version from the MS. of a certain N. Silsbee where it bears the notation 'braces'. Here is Harding's version:
JOHNNY, COME DOWN THE BACKSTAY Alternative Title, John Damaray
f ^i^ i jiri_ juiJj.jij.iiU-
^^j]jj.jiJriJ^-^ir''ii^JJ'iiJiijJ t SSE
J.Mj^JJ.JNf ^ P ly-w, Jo^^.n^ cc^tdtwi)^ LocH-sfaw, JoljpDai) a(- ay-ay f
2. Hoist her from down below, CA. Johnny, come down the backstay!
Through wind an' rain an' sno-ow, Ch. Johnny, come down the backstay, John Damaray-ay, Johnny, come down the backstay, John Damaray-ay, Johnny, come down the backstay, John Damaray-ay!
3. Oh, shake her as she ro-olLs, For John's a bully so-oul.
4. 'Tis time now for our smoko. The o r Man he's gone loco. 201
JtA^ifm <ctjiirm^haè(iM\ 3cinDii)M- oy.oyl Jo^ym uii^ia<yii/t btuXiUyM^Dvp-i

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WHISKY JOHNNY
5. When I gits me feet ashore, To sea I won't go mo-ore.
6. From sea I will steer cle-ear. An' stick to drinkin' beer.
Now having come to a shanty singing of 'Johnny' it is opportune
to commence a 'Johnny' series. The name John was used from the time of the Packet Ships to
denote a merchant seaman, and even today it is sometimes used by older mariners, particularly if they hail from Liverpool. The name Jack was also used but mainly to denote a naval tar, except when it was coupled with a word not used in the best circles, and then it had a ring of being real Merchant Service! A ship's company in the old days would often be referred to as 'the Johns' and hence it is an ever- recurring name in the shanties. For the first of our 'John' scries we give that famous halyard
shanty Whisky Johnny- It was used at either t'gallant or tops'1 halyards, and at times it would even be sung while stamping round the caps'n. One cannot lay any hard-and-fast rules as to when or where a certain type of shanty was sung. A native of the Welsh village of Aberdovey once told me that when she was a girl the locals would man the capstan at the head of the lifeboat slip and heave the lifeboat up to the strains of Whisky Johnny and Haul the Bowline, which isn't a capstan shanty either. Clark in his book Seven Tears of a Sailor's Life (Boston, 1867) refers to the singing of Whisky Johnny at the windlass. But it was usually sung at t'gallant halyards, and often, in ship-rigged vessels, at the mizen tops'1 halyards—the hands in this case being strung out across the poop, the idea being to give the Old Man a gentle hint from the very nature of the words sung to issue a tot of rum. Some authorities seem to think that this shanty is of great antiquity, dating back to Elizabethan times. Patterson claims that the original words were 'Malmsey Johnny', but whether this was so is difficult to tell, as sufficient proof is lacking. Most of the verses of my first version I obtained from a certain
Mr. Butcher, while those of the other two versions are from Jimmy Sexton, Arthur Spencer, and other seamen. The versions may be grouped under:
(a) The advantages and disadvantages of whisky drinking, [h) Shanghaiing version, (c) The limejuice skipper, and [d) Crabfish, crayfish, or lobster version.
202

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WHISKY JOHNNY WHISKY JOHNNY (a)
2. Whisky here, whisky there, Ch. Whisky Johnny]
Oooh! whisky almost everywhere, Ch. Whisky for me Johnny \
3. Whisky up an' whisky down, Oooh! whisky all around the town.
4. I'll drink it hot, I'll drink it cold, I'll drink it new, I'll drink it old.
5. Whisky made me sell me coat, Whisky's what keeps me afloat.
6. Wiiisky fills a man with care, Whisky makes a man a bear.
7. Whisky gave me many a sigh, But I'll swig whisky till I die.
8. Whisky made me mammy cry, Whisky closed me stabbud eye.
9. Whisky killed me poor ol' Dad, Whisky druv me mother mad.
10. Whisky made me pawn me does. Whisky gave me this red nose [a broken nose].
11. Whisky made me shun the booze, Put me in the calaboozc.
12. Whisky gave me a big, fat head. But I'll drink whisky till I'm dead.
13. If I can't have whisky, then I'll have rum. That's the stuff to make good fun.
14. Whisky killed me Sister Sue, Whisky killed me brother too.
15. I had a sister an' her name wuz Lize, She puts whisky in her tea.
16. My wife an' I could never agree, She'd put whisky in her tea. 203

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WHISKY JOHNNY
17. Some likes whisky, some likes beer, I wisht I had a barrel here.
18. Oh, the mate likes whisky an' the skipper likes rum. The sailors like both but we can't git none.
19. Oh, a tot of whisky for each man. An' a bloody big bottle for the shantyman.
20. If whisky wuz a river an' I could swim, I'd say here goes an' I'd dive right in.
21. If whisky wuz a river an' I wuz a duck, I'd dive to the bottom an' never come up [suck it all up].
22. I wisht I knew where whisky grew, I'd eat the leaves an' the branches too.
23. The Divil came from the worl' below, That is where bad whisky do grow.
24. Oh, whisky straight an' whisky strong. Gimme some whisky an' I'll sing ye a song.
25. If whisky comes too near me nose, I tip it up an' down the hatch she goes.
26. Here comes the cook with the whisky-can, A glass o' grog for every man.
27. Whisky made me scratch me toes. Whisky makes me fight me foes.
28. I say o r Man it is a sin. To make us work widout any gin.
29. Whisky made the bosun call, Hang tergether one an' all!
30. Whisky stole me brains away. The bosun shouts, so I'll belay!
WHISKY JOHNNY (b)
1. Now if ye ever go to 'Frisco town, Ch. H'kisky Johnny \
Mind yc steer clear o' Shanghai Brown, Ch. Whisky for me Joh/inyl
2. He'll dope yer whisky night an' morn. An' then shanghai ye round Cape Horn.
3. Two months' wages they are dead, An' a donkey's breakfast for yer bed. 204

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WHISKY JOHNNY
4. o r Shanghai Brown an' Larry Marr, Their names are known both near an' far.
5. o r Larry Marr an' Shanghai Brown, They robbed me up an' robbed me down.
6. They fit ye out wid bumboat gear, That's got ter last yer 'alf-a-year.
7. Carpet slippers made o' felt. An' a nice, clean rope-yarn for a belt.
8. A suit o' oilskins made o' cotton, An' an ol' sea-chest wid bricks in the bottom.
9. Oh, the Barbary Coast is no place for me, Ye have one drink then wake up at sea.
10. Ol' Shanghai Brown he loves us sailors. Oh, yes he does like hell 'n' blazes.
11. All ye young sailors take a warnin' from me. Keep an eye [watch] on yer drink, lads, when ye come from sea.
12. Or else ye'll awake on a cold frosty morn. On a three-skys'l yarder bound round the Horn.
13. On a skys'l yardcr all bound roimd the Horn, Ye'll wish ter hell that yc'd niver bin bom.
14. Oh, I thought I heard the Ol' Man say, Just one more pull, lads, then belay!
WHISKY JOHNNY {c)
1. There wuz a Umcjuice skipper of the name of Hogg, Ch. Whisky, eU.
Once tried to stop his sailor's grog, Ch. Oh, whisky, etc.
2. Which made the crew so weak an' slack, That the helmsman caught her flat aback*.
3. An' ever after so they say, That crew got grog three times a day.
4. So we'll boost her up an' bowl along, An' drink that skipper's health in song.
5. We'll keep closehauled without a breach, With just a shiver in the weather leach.
6. Now if this ship wuz the ol' James Baitus, That yard would never be lowered again. 205

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WHISKY JOHNNY
7. The halyards they would racked be, We'll drive along through a big green sea.
8. Oh, hoist the yard from down below. To the sheave-hole she must go.
9. Up aloft with tautened leach. Hand over hand, lads, ye must reach.
10. Whisky made the Ol' Man say. One more pull, lads, then belay!
WHISKY JOHNNY (d)
1. 'Mornin', Mister Fisherman'; 'Good mornin',' sez he. Whisky, etc.
'Have ye got a crayfish [crabfish, lobster] ye can sell to me?' Whisky for my, etc.
2. 'Oh, yes,' sez he, 'I have got two, One for me an' the other for you.'
3. I took the crayfish home, but I couldn't find a plate. I put it in the place where me Missus always ate.
4. Early next mornin' as ye may guess. The Missus got up for an early breakfast.
5. The Missus gave a howl, a groan, and a shout, She danced around the room with the crayfish on her snout.
6. I grabbed a scrubber, the Missus grabbed a broom, We chased the bloomin' crayfish round an' round the room.
7. We hit it on the head, we hit it on the side, We hit the bloomin' crayfish, until the blighter died.
8. The end of my story—the moral is this, Always put yer specs on before ye eat yer fish.
A stamp-'n'-go song singing of whisky is Rise Me Up From Down
Below! This was very popular in Yankee ships with coloured crews, so my informant Harding told me. According to Harding the tune is a Jamaican work-song taken to sea by West Indian seamen and altered to suit their needs. Doerfiinger, who also gives it, says that it used to be sung by Captain J . P. Barker of the ship Tusitala, and he in turn had learnt it from an American Negro called 'Lemon' Curtis. Harding told me it was the usual type of stamp-'n'-go song, but Doerfiinger was informed by Captain Barker that two pulls would be taken on the rope (at ^Whisky O, Johnny O') prior to the crowd stamping away with it. At the end of the chorus the grip would be 206

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RISE ME UP FROM DOWN BELOW
shifted and another two pulls given before stamping away again. If this was so then it was the only shanty ever used in this" fashion. The words Harding gave me have some connection with a certain Victorian ditty my father used to sing:
I'm the ghost of John, James, Christopher, Benjamin Binns. I was cut down right in the midst of mc sins.
RISE ME UP FROM DOWN BELOW
jAjrniJJiijjij:i|JJiflJJi.u,ij ^
w-w ¥^:jpnw^
2. I am the ghost of Bertie Binns, Cut down wuz I for me 'orrible sins. CA. Whisky O, Johnny O! Rise me up from down below, Down below, Oh, Oh, Oh, Oh! Rise me up from down below, boys, Rise me up from down belo\v!
3. Me only home is down below. They've let me out for an hour or so.
4. An' when the cocks begin to crow, 'Tis time for me to roll 'n' go.
5. Back in a hurry to the southern shore. That is where the fires do roar.
6. I'll tell yuh, boys, 'tis hot in hell, An' I should know the place damn well.
7. An' now the bleedin' sail is set. Back to me hole I'll have ter get.
Doerflinger gives for the fourth line of the chorus: 'Up aloft this
yard must go, John.' Carrying on with the 'Johnny' type of shanty, ne.xt we have one
of the most famous. Hanging Johnny. Was Hanging Johnny the noted 207
ryjujtuJ>ycori)tf(t»<orUL«Jow.T^avJ)atftt COtkioCXOW.WUiVu.O, W)orw 0 - o / m^^ u ^m !?*• **^5"*? aowrjl>«-W, .Dt>«iiT) trt-low,oh-on-o)j-oh / ^I M io<-i4>(Vo*)cUwnl>c-1oWjboys

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HANGING JOHNNY
eighteenth-century hangsman Jack Ketch, as some suggest? Who can say? In spite of its somewhat melancholy tune and macabre wording its rhythm lent itself to being one of the best of all the halyard shanties. The word 'hang' was often used when 'swigging'. In this manoeuvre—when a buntline or clewline or light halyard had to be given a few final strong pulls—one man took a part turn with the line around the portion of the belayin'-pin beneath the pin- rail, while two or three other seamen with their hands as high as they could place them gripped the line and fell backwards heavily, then 'giving in' the resultant slack to the chap at the pin. The sing- out at such times would be:
Hang, me bullies, heavy arses! Hang, ye sons o' whores, hang! Hang heavy!
Hanging Johnny was usually sung at t'gallant halyards and it had
one theme only. Stringing-out was common in a long hoist. Senti- mental verses like some collecton give were never sung—Sailor John hanged any person or thing he would think about without a qualm!
HANGING JOHNNT 0^,0^calls pyc Hapgip'jojjpw. Cl- «ay,i>ov» . o- vau! Ti/ty u^l y^i*^
ITjfx^y,
Soo
h^i-hoyi.
hapg/
2. They scz I hangs for money, Ch. Away, boys, aa;<y!
But hangin' is so funny, Ch. So hang, boy-oys, hang\
3. At first I hanged mc daddy. An' then I hanged me mammy.
4. Oh, yes, I hanged me mother. Me sister, an' mc brudder.
5. I hanged me sister Sally, I hanged the whole damn family. 208

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HANGING JOHNNY
6. An' then I hanged me granny, I hanged her up quite canny.
7. I'd hang the mate and skipper, I'd hang 'cm by their flippers.
8. I'd hang a ruddy copper, I'd give him the long dropper,
9. I'd hang a rotten liar, I'd hang a bloomin' friar.
10. I'd hang to make things jolly, I'd hang Jill, Jane, an' Polly.
11. A rope, a beam, a ladder, I'd hang yiz all tergcthcr.
12. We'll hang an' haul tergether. We'll hang for better weather.
For the second line of verse 6 Terry gives 'sae canny' since his is a Northumbrian version. The first refrain has several ways of singing it:
Hooraw, boys, hooraw! Hooray, boys, hooray! (Whall) Away—I—oh! {Sampson) Hooway—ay hay ay! {Doer/linger) .Hooway-ay hay ay! {Doerflinger)
A fine description of the singing of this shanty off Cape Horn is
given by Masefield in one of his works. Mr. Doerflinger sent me a letter in which he makes mention of a
certain Mr. Charles H. Wexler of Pittsburgh, Pa., who had written to him calling attention to the fact that the shanty Hanging Johnny appears in an old book on army life published in America. Un- fortunately, this information came just as my book was going to the press, so I have not had time to find a copy of the book myself. Mr. Wexler writes:
In a book entitled Army Life in a Black Regiment by Thomas W. Higgin-
son, the author, who commanded a regiment of Federal troops raised among the ex-slaves of the sea islands of the Carolina coast, devotes a full chapter to the songs sung by the men of this regiment. As one of the two songs he remembered which were not in the religious or spiritual class, 209

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JOHN, COMt lELL US AS WL HAUL AWAY
he quotes two verses o{ Hanging Johnny, and speaks of a third verse whose words apparently had some relation to men's enlistment in the army during the Civil War. The quotation is on pp. 220-1 of my edition, which was published by Fields, Osgood & Co., in Boston in 1870.
Another popular 'Johnny' shanty was that known as John, Come
Tell Us As We Haul Away. It was often sung at pumps when the word 'pump' would be substituted for the word 'haul', although in the more modern flywheel type of pump where a bell-rope was used both words were equally appropriate.
It probably started life as a cotton
hoosiers' song down in the Gulf Ports. It was one of the very few shanties that had two singers for the solo lines. Billy Boy too was sung in this fashion.
It was also used at halyards by some shantymen. I
have given the line 'Aye, aye, haul away' as a solo and marked the hauling words in the refrains on account of this.
It was also used at
the windlass and capstan when the word 'heave' would be sub- stituted for 'pump' or 'haul'. Ex-shantyman Stanley Slade of Bristol, who has recorded this for H.M.V., puts the regular shantyman's 'yodel' into the line 'Hay-ey-ey haul-ey!' (third solo), his version of the shanty being a hauling one.
JOHN, COME TELL US AS WE HAUL AWAY Alternative title, Mobile Bay
É J;jwijrjirjnijiii/
maim
2. First Shanlyman: Wuz ye never down in Mobile Bay.'' Ch. John come tell us as we haul au ay! A-screwin' cotton all the day, Ch. John come tell us as we haul away!
Aye, aye, haul, aye, Ch. John come tell us as we haul away!
J. Second Hhantyman : Oh, yes, I've bin dov\n Mobile Bay, Ch. So he tells us as we haul away! A-screwin' cotton all the day, Ch. So he tells us as we haul away!
Aye, aye, etc. 210
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JOHN KANAKA
4. Firsl Shanlyman : What did yer see down in Mobile Bay? John, etc.
Were the gals all free an' gay:' John, etc.
5. Second Shantyman : Oh this I saw in Mobile Bay, So he. tells, etc.
A spankin' gal in a hammock lay [a-making hay], So he tells, etc.
6. Second Shantyman : An' this flash gal wuz Saucy May, She wuz tall an' fine an' had lots to say.
7. First Shantyman : An' what did yer do in Mobile Bay? Did yiz give that flash tart all yer pay?
8. Second Shantyman : Oh, this I did in Mobile Bay, I courted this gal whose name was May.
9. Second Shantyman : I married her in Mobile Bay, An' lived there happy many a day.
Like many other shanties this had several non-drawing-room verses. A very fine halyard shanty closely related to Mobile Bay is John
Kanaka. This is the first time it has been in print. I learnt it from that wonderful shantyman, Harding of Barbadoes. He sang it with many falsetto yelps and hitches almost impossible to imitate. The chorus is of Polynesian origin and I should say the words 'tulai ê' were Samoan. It has the not so common form of three solos and three refrains. Dana in his Two Tears Before the Mast often refefs to the singing
of work-songs by the Kanaka (Hawaiian) crews of ships loading hides on the Californian coast. In particular he mentions the singing-out of a certain Hawaiian called Mahana (page 120). It seems feasible that these Kanaka songs would be adapted for use by the white seamen, who would give them white men's solos and keep the Polynesian refrains. If this did occur, then, unfortunately, they have all been lost—unless our John Kanaka is the one survivor.
211

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JOHNNY BOVS^KER JOHN KANAKA
V'zi^i. ri"^f i^tff'^T É d!=4fizÊtdJJ J J — rr'J-BB^ ^ Ijjtui. I j>.u-i Ü)t Old ll)iu) say Jojip Ka ;;<> Ka-oo ko. tu-U, . è • To doy.to Jcyaa W-l-
• •• • j^7^['J^J|J3jJjlJ]
2. We'll work termorrer, but no work terday, Ch. John Kanaka-naka, tulai-è\
We'll work termorrer, but no work terday, Ch. John Kanaka-naka, /ulai-ê! Tulai ê! ooh! tulai-c!
Ch. John Kanaka-naka, tolai-ê!
3. We're bound away for 'Frisco Bay, We're bound away at the break o' day, Tulai ë, ek.
4. We're bound away around Cape Horn, We wisht ter Christ we'd niver bin born.
5. Oh, haul, oh haul, oh haul away. Oh, haul away an' make yer pay.
Our next 'Johnny' shanty is the fore-sheet song Johnny Bowker.
It was used for 'sweating up', i.e. to give a final drag on a halyard to gain the last inch, at tacks and sheets and sometimes for bunting a sail, although this latter job was considered the prerogative of Paddy Doyle. My friend Mr. T. E. Elwell told me that in ships in which he served it was usually sung when there was an 'all-hands' job at the fore, main, or crojik sheets. Instead of 'do' he always sang 'haul'. This final 'do' was grunted out staccato, or rather the word was sung to its correct note and then a rising, gasped-out 'ugh' would follow as the pull came. Docrflinger believes it to be related to Negro and minstrel ditties
since the name Johnny Bowker, Booker, or Boker often appears in such songs, and he refers to a minstrel song with a refrain which ran:
O, Jonny Boker, help dat nigger, do, Jenny Boker, do! Miss Colcord writes that the words of an American song Aunt
Jemima's Plaster were sometimes sung to this tune, but to my know- ledge these were more usually found in another fore-sheet shanty Haul Away, Joe! In the recent story of the 'Great Eastern'—The Iron 212

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