959:, differed from the work of writers such as Masefield in having a more practical, rather than romantic, tone. Bullen, an Englishman, was an experienced shantyman, who sailed during the heyday of shanties to ports in the Southern U.S. and the Caribbean. He took a firm stance that only true work songs should be included in his collection, thus resisting the temptation to let shanties slide into the genres of ballads or other off-duty songs. (Pressure of his publisher forced him to include two sea songs, clearly demarcated, at the end of the book.) And rather than shape the shanties to appear as narrative pieces, he noted that, since most shanties would usually be improvised, it would be disingenuous to present more than one or two sample verses. As for his framing of the genre's origins, Bullen stated his belief that, "he great majority of these tunes undoubtably emanated from the negroes of the Antilles and the Southern states, a most tuneful race if ever there was one, men moreover who seemed unable to pick up a ropeyarn without a song ..." And Bullen's musicologist editor, Arnold, claimed, "he majority of the Chanties are Negroid in origin ..." Bullen's insistence on including only true work songs in the collection meant that he likely omitted songsâgenerally those for heaving tasks, like capstan workâwhich had been easily borrowed from the land-based traditions of various nations. The effect of including only the most exclusively work-oriented songs meant that a higher percentage of African-American songs were represented.
985:(1914) was published in the same year, and was based on shanties he collected from aged English sailors in Britain. Sharp responds to Bullen's claims of African-American origins by ceding that many shanties were influenced through the singing of Black shantymenâa position that assumes English folk song was the core of the tradition by default. The title of Sharp's work reflects his project of collecting and grouping shanties as part of what he conceived to be a rather continuous English folk song tradition. Sharp states in the introduction that he deliberately excluded shanties which were obviously (i.e. to him) born of popular songs. This idea is problematic when one considers that the popular songs that were feeding shanties were largely American and based in real or imagined African-American musical traits. However, Sharp believed that by eliminating such shanties based on popular songs, he could concentrate those that were "folk" songs. Of his own admission, Sharp lacked any shantying or sea experience to intuitively judge shanties like someone such as Bullen, however he offers his objectivity, recording precisely what was sung to him, as consolation. While Sharp's manner of documenting shanties was more or less objective, the field of his research and his biases in what to collect certainly influenced the outcome of this study. And whereas Bullen's work was fairly inaccessible, Sharp was influential as the leader of a cohort of scholars who were actively creating the young field of folk song research.
1138:(1961). It is the largest of its kind, owing to Hugill's methodology and chronological position. With respect to methodology, Hugill aimed to be as inclusive as possibleâto account for and to present, if sometimes only in fragments, any and all items of shanty repertoire that he was currently able to find. Any song that he had heard or read being attested as having been ever "used as shanty" was includedâregardless of whether that song was not generally known as a shanty or if its use as a shanty was rare and incidental. The result is a varied portrait of the genre, highlighting its maximum diversity without, however, giving a focused sense of what songs were most common during the heyday of shanties or in latter eras. Hugill readily included more recently popular songsâthose that evidently were not sung until after the shanty genre was experiencing decline, but which were extant when Hugill sailed (1920sâ40s). He also culled from the major collections of non-English-language sailor work songs. Hugill's practice of liberally culling from all major prior works,
1210:(in two volumes, 1921 and 1926). What set apart this and following collections was full musical score along with an adequate stock of lyrics. Collections prior to Terry's (except for Davis and Tozer's much earlier and contrived-sounding settings) had not provided enough verses to create "full" songs, and it is unlikely that performers would venture to improvise new verses in the manner of traditional shantymen. By 1926, it had become a custom at the Seven Seas Club in London to hold a shanty sing-along after the club's monthly dinners. By 1928, commercial recordings of shanties, performed in the manner of classical concert singing, had been released on HMV, Vocalion, Parlophone, Edison, Aco, and Columbia labels; many were realizations of scores from Terry's collection. Shanties like "Johnny Come Down to Hilo" were more or less standardized through popular dissemination.
1242:, from which this version spread to countless folk performers to become established as the "standard" form of what is usually presented as a "traditional" shanty. The Canadian, Alan Mills (1913-1977), recorded numerous songs for Folkways Records including "Songs of the Sea" (1959). Through the mass distribution of particular shanty forms through recordings and clubs, the folk revival has had the effect of creating an impression of rather consistent forms of texts and tunesâa sharp contrast to the highly variable and often improvised nature of work-based shanty singing. Another effect, due to the fact that most folk performers sang shanties along with other genres, is that shanty repertoire was ever more incorporated within the generic fold of "folk song," and their distinctive use, manner of performance, and identity were co-opted.
936:. Although Masefield had sea experience (1891â95), he was not an expert on shanties and the versions he gave of songs cannot be assumed entirely authentic. For example, he admits to never having heard a pumping shanty, and yet he goes on to present one without citing its source. In one of his earlier articles, his shanties are set to melodies taken verbatim from Davis and Tozer's earlier work, and he mentions having utilized that and the other widely available collection (L.A. Smith, 1888) as resources. Masefield desired to connect shanties with much older English traditions and literature, and his characterization of individual items as such would prove attractive to later enthusiasts. So for example, Masefield implied that the shanty "A-roving" (which he titled "
917:
body of literature on shanties had grown quite large, yet it was of variable quality. Most editors presented "ideal" versions of songsânot reflecting any one way the shanty may have been sung, but rather a composite picture, edited for print. Bowdlerization and omission of lyrics were typical. Moreover, few authors were trained folklorists and even fewer maintained a critical historical methodology. Editors customarily published fanciful, often nostalgic introductions to the material that included unsubstantiated statements. As a result, though much of the vanishing shanty repertoire was preserved in skeletal form, aspects of the genre were re-envisioned according to contemporary perceptions.
1183:(which circulated in the early 1890s), included such accompaniment, along with safe, "drawing room" style lyrics. It is unknown whether any actual performances were based on this otherwise influential work, however, the proceedings from a meeting of the Manchester Literary Club, 4 February 1895, record an instance of laypersons attempting to recreate shanty performance at that early date. In general, shanty performance by laypersons, up through the first two decades of the 20th century, would have been hindered by the lack of suitable resources, if not lack of interest.
1700:
619:
working. According to Gibb
Schreffler, an Associate Professor of Music at Pomona College, European observers found African work-singers remarkable (as Schreffler infers from tone of their descriptions). Schreffler further infers that work songs may have had far less currency among European culture, based on the scant evidence of work-singing aboard European ships in the century prior. Such references begin to appear in the late 18th century, whence one can see the cliché develop that Black Africans "could not" work without singing. For example, an observer in
781:. These and the sailor songs could never have been the songs of civilized men ... Undoubtedly many sailor songs have a negro origin. They are the reminiscences of melodies sung by negroes stowing cotton in the holds of ships in Southern ports. The "shanty-men," those hards of the forecastle, have preserved to some extent the meaningless words of negro choruses, and have modified the melodies so as to fit them for salt-water purposes. Certain other songs were unmistakably the work of English sailors of an uncertain but very remote period.
443:(1549) is a popularly cited example. Liberal use of the word "shanty" by folklorists of the 20th century expanded the term's conceptual scope to include "sea-related work songs" in general. However, the shanty genre is distinct among various global work song phenomena. Its formal characteristics, specific manner of use, and repertoire cohere to form a picture of a work song genre that emerged in the Atlantic merchant trade of the early 19th century. As original work songs, shanties flourished during a period of about fifty years.
2541:
dead." And then some one of them would begin, and if every man's arms were as much relieved as mine by the song, and he could pull as much better as I did, with such a cheering accompaniment, I am sure the song was well worth the breath expended on it. It is a great thing in a sailor to know how to sing well, for he gets a great name by it from the officers, and a good deal of popularity among his shipmates. Some sea-captains, before shipping a man, always ask him whether he can sing out at a rope.
1382:, shanties often exhibited a string of such verses without much explicit or continuous theme. While on one hand this may simply reflect the aesthetic of the music-culture from which the form originated, this, too, was a feature suited to practical restrictions. Work tasks might be of any length and often unpredictable. Songs with a fixed set of verses, or ballads, which tell a story, were not so well suited to tasks that could end abruptly at any time or that might require extending.
54:
615:", some of which may have developed out of the earlier capstan songs discussed above, are quite variable in their form and origins. On the other hand, the repertoire of the so-called "halyard shanties" coheres into a consistent form. The distinctive "double-pull" format that typifies most of these songsâalso at times used, with slight changes, for pumps, windlass, and capstan, tooâwas a later development that appears to owe much to African-American work songs.
798:
their efforts by choruses when at work. In the navy, of course, this sort of song was never permitted. Work proceeded to the strains of a fiddle, to the piping of the boatswain and his mates, or in earlier times yet, to the trumpet. The working song then is peculiar to the
Merchant Service, but one may hunt through the old chronicles without encountering a suggestion of its existence prior to American independence and to the establishment of a Yankee marine.
2247:, Western Australia. They performed at the City of Albany Maritime Festival in 2021. Anker said regarding Mental Health "We've had guys in the group say this is the only place where they feel comfortable in that no one judges them. We often face and perform to each other instead of the audience. It's a brotherhood. When you start singing sea shanties, it just grabs you and draws you in. You can't stop listening to and singing them." A favourite song is
2151:, Massachusetts, At these sessions, any participant is free to start up and lead a shanty, which the rest of those presentâsometimes over one hundred or more participantsâjoin on the choruses. The gatherings aim for an inclusive atmosphere that welcomes people of all ages, genders, ethnicities, and singing abilities. North American professionals often perform solo or in very small groups, frequently using instruments. One of America's oldest inns,
624:
stood in stark contrast to the paucity of such traditions among
European-Americans. Thus while European sailors had learned to put short chants to use for certain kinds of labor, the paradigm of a comprehensive system of developed work songs for most tasks may have been contributed by the direct involvement of or through the imitation of African-Americans. The work contexts in which African-Americans sang songs comparable to shanties included:
419:. Terry and Colcord's works were followed by numerous shanty collections and scores that also chose to use the "Sh" spelling, whereas others remained insistent that "ch" be retained to preserve what they believed to be the etymological origins of the term. By the late 20th century, the "Sh" spelling had become the more or less standard one in Commonwealth English, whereas "ch" spellings remained in common use mostly in the United States.
1790:
1234:(1955) with Ewan MacColl was an early milestone, which made an impression on Stan Hugill when he was preparing his 1961 collection, particularly as the performance style it embodied was considered more appropriate than that of earlier commercial recordings. Many other performers followed, creating influential versions and interpretations of shanties that persist today. For example, Lloyd's personal interpretation of "
550:
2183:
1920:
963:
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and interest than traditional shanties offer. Stylistic characteristics include lighter vocals with a "folk" timbre, livelier tempos, and instrumental interludes between verses. Invariably these performers choose to accompany themselves on instruments such as guitar and banjo. Their rhythms may be syncopated and quite different from work song rhythms, relying on the instruments to keep time rather than the voice.
675:
2124:
songs are performed both informally by amateurs and as commercial entertainment by professionals, with many performers straddling both contexts. Some performers focus on shanties, sea songs, and related material, as part of the genre of maritime music, whereas in other cases performers of popular music (including the Folk genre) and classical music bring songs from the shanty repertoire into their own.
812:
2265:
733:
seems like the dirge of national degradation, the wail of a race, stricken and crushed, familiar with tyranny, submission and unrequited labor ... And here I cannot help noticing the similarity existing between the working chorus of the sailors and the dirge-like negro melody, to which my attention was specially directed by an incident I witnessed or rather heard.
1511:. "Hauling" (pulling) actions were intermittent in nature. They required a coordinated show of focused exertion, not sustained, but rather at specific moments. Shanties for hauling tasks thus coordinated the timing of those exertions, the "pulls." "Heaving" (pushing) actions were of a continuous nature. In these, coordination was of minor importance as compared to
570:, no person except the officers is allowed to speak during the performance of the various evolutions. When a great many men are employed together, a fifer or a fiddler usually plays some of their favourite tunes; and it is quite delightful to see the glee with which Jack will "stamp and go," keeping exact time to "Jack's the lad," or the "College Hornpipe."
1944:. Although those terms were not in great evidence in the 19th century, some literary references to "fore-bitter" and, less so, "fo'c'sle song," attest to their use even prior to the appearance of "shanty." Unlike shanties, during the singing of which one's hands were occupied, sea songs might be sung to the accompaniment of handy instruments like
1767:
halyard shanties. And yet, the continuous nature of the task also meant grand choruses were possible. So while halyard shanties and capstan shanties tended to be exclusive of one another, windlass shanties sometimes shared repertoire with each of those other types. Examples: "Sally Brown", "Heave Away, My
Johnnies", and "Mister Stormalong."
1682:
walk away with it like firemen marching with their engine. When the headmost pair bring up at the stern or bow, they part, and the two streams flow back to the starting-point, outside the following files. Thus in this perpetual "follow-my-leader" way the work is done, with more precision and steadiness than in the merchant-service.
1528:
1730:, turned by sailors heaving wooden bars while walking around it. Other heavy tasks might also be assisted by using a capstan. Being a continuous action, shanties sung to accompany these tasks might have longer solo verses and, frequently, a "grand chorus", in addition to the call-and-response form. Examples: "
1681:
On vessels of war, the drum and fife or boatswain's whistle furnish the necessary movement regulator. There, where the strength of one or two hundred men can be applied to one and the same effort, the labor is not intermittent, but continuous. The men form on either side of the rope to be hauled, and
1245:
With one foot firmly planted in the world of traditional shanties, the veteran sailor and author Stan Hugill also became a leader (and follower) of trends in the folk music revival. His presence as an exclusive performer of sailor songs did much to establish sea music as a revival genre apart from or
885:
The "shanty-man"âthe chorister of the old packet shipâhas left no successors. In the place of a rousing "pulling song," we now hear the rattle of the steam-winch; and the modern windlass worked by steam, or the modern steam-pump, gives us the clatter of cogwheels and the hiss of steam in place of the
737:
The author went on to relate an incident in which he once heard "a well known strain of music", finding to his surprise that it was being sung by Black men rowing canoes. He claimed they were singing, "Heigh Jim along, Jim along Josey, Heigh Jim along, Jim along Jo!" The implication is that this song
460:
It requires, however, some dexterity and address to manage the handspec to the greatest advantage; and to perform this the sailors must all rise at once upon the windlass, and, fixing their bars therein, give a sudden jerk at the same instant, in which movement they are regulated by a sort of song or
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without any cohesive or preconceived composition. For these reasons, sea songs that were never or only exceptionally adapted as shantiesâbut which have engaging melodies and textsâhave proved popular to 20th century audiences under the rubric of "shanties." Both these non-shanty sailor songs and the
2123:
Historically, shanties were usually not sung outside of work contexts, and singing sea songs was generally the purview of sailors. However, since their revival as leisure songs among laypersons they have been performed in a variety of contexts. Similarly to Euro-American folk music, shanties and sea
1827:
the deck have been attested. "Poor Old Man" (also known as "Poor Old Horse" or "The Dead Horse") was sung in a ritual fashion once the sailors had worked off their advance pay (the so-called "dead horse") a month into the voyage. The ceremony involved hauling a stuffed facsimile of a horse up to the
1267:
In the days when human muscles were the only power source available aboard ship, shanties served practical functions. The rhythm of the song served to synchronize the movements of the sailors or to pace the labor as they toiled at repetitive tasks. Singing helped to alleviate boredom and to lighten,
855:
Recent research has considered a wider range of 19th century sources than had been possible by 20th-century writers. The evidence from these sources suggests that even in the mid-1830s the genre was still developing, which shifts the period of the rise and flourishing of shanties to a bit later than
797:
I think it may be taken that we owe the sailors' working song as we now possess it to the
Americans. How far do these songs date back? I doubt if the most ancient amongst them is much older than the century. It is noteworthy that the old voyagers do not hint at the sailors singing out or encouraging
706:
The day after our arrival the crew formed themselves into two gangs and obtained employment at screwing cotton by the day ... With the aid of a set of jack-screws and a ditty, we would stow away huge bales of cotton, singing all the while. The song enlivened the gang and seemed to make the work
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in 1841; and a
European-American crew hauling halyards on a clipper-brig out of New York ca.1840s. Other such multi-job songs were: "Round the Corn(er), Sally", "Fire Down Below", "Johnny Come Down to Hilo", "Hilo, Boys, Hilo", "Tommy's Gone Away", "The Sailor Likes His Bottle-O", "Highland Laddie",
2713:
Songs from the shanty repertoire have appeared in motion pictures. These most often are not portrayed in an appropriate work context and sometimes not even a shipboard context, and many times they can be classed as anachronisms that serve to bring color and interest to the drama. The following is a
2463:
A great many of the performers of shanties do so in what might be distinguished as a "folk music" style. They tend to be more interested in the songs themselves and less in the "shanty style" of performance, in favor of music that may be considered more pleasant, less rough, and with more variation
1229:
starting in the 1950s. An amateur folklorist, Lloyd discarded the earlier classical style of presentations in favor of a more "authentic" performance style. He was generally mysterious about the sources of his shanty arrangements; he obviously referred to collections by editors like Sharp, Colcord,
916:
were among the first to take down the lyrics and tunes of shanties directly from the lips of veteran sailors and to publish them more or less faithfully. Their efforts were matched by a number of less-rigorous articles and published collections issued by former sailors themselves. By the 1920s, the
880:
By the time of the
American Civil War, the shanty form was fully developed, after which its repertoire grew and its implementation was widespread and rather standardized. The decade of the 1870s represents the zenith of the genre; those sailors who first went to sea after that decade are considered
851:
carried cargo and passengers on fixed schedules across the globe. Packet ships were larger and yet sailed with fewer crew than vessels of earlier eras, in addition to the fact that they were expected on strict schedules. These requirements called for an efficient and disciplined use of human labor.
785:
Alden was not writing as a research historian, but rather as an observer of the then-current shanty-singing. His, then, was an impression of shanties based on their style and manner of performance, and he was writing at a time when shanties had yet to become framed by writers and media as belonging
732:
Along the
African coast you will hear that dirge-like strain in all their songs, as at work or paddling their canoes to and from shore, they keep time to the music. On the southern plantations you will hear it also, and in the negro melodies every where, plaintive and melodious, sad and earnest. It
589:
around. They were said to sing "old ditties", along with which a few verses to one or more songs is given. While this practice was analogous to the practice of what is later called singing "capstan shanties", the form of these verses is not particularly similar to later shanties. These songs do not
300:
Every man sprang to duty. The cheerful chanty was roared out, and heard above the howl of the gale. The cable held very hard, and when it surged over, the windlass sent the men flying about the deck, as if a galvanic battery had been applied to their hands. The vessel's head was often buried in the
2540:
I soon got used to this singing; for the sailors never touched a rope without it. Sometimes, when no one happened to strike up, and the pulling, whatever it might be, did not seem to be getting forward very well, the mate would always say, "Come, men, can't any of you sing? Sing now, and raise the
1766:
Modern shanties were used to accompany work at the patent windlass, which was designed to raise anchor and was operated by the see-saw like action of pumping hand brakes. The up and down motion of the brake levers lent the action a binary form that was well-suited by many of the same songs used as
1616:
Also called a "swaying off chant. Sung for very brief hauling tasks, as for a few sharp pulls or "swigs" on a halyard to gain maximum tautness of a sail. These short chants are often classed as "sing-outs," but their form differs little from sheet shanties. Examples include mostly chants that have
1365:
The practical function of shanties as work songs was given priority over their lyrics or the musicality of a performance. Due to this, shanty texts might have been poor from an aesthetic standpointâeven at times random nonsenseâso long as the singing fit the form of the work song. One writer about
988:
By the 1920s, the proliferation of shanty collections had begun to facilitate a revival in shanty singing as entertainment for laypersons (see below), which in turn created a market for more shanty collections that were geared towards a general audience. Writers of the 1920s, 30s, and 40s, through
623:
in 1806 wrote, "The negroes have a different air and words for every kind of labour; sometimes they sing, and their motions, even while cultivating the ground, keep time to the music." So while the depth of the
African-American work song traditions is now recognized, in the early 19th century they
618:
In the first few decades of the 19th century, European-American culture, especially the
Anglophoneâthe sailors' "Cheer'ly Man" and some capstan songs notwithstandingâwas not known for its work songs. By contrast, African workers, both in Africa and in the New World, were widely noted to sing while
498:
Later writers distinguished such chants and "sing-outs" from shanties proper, but in the case of relatively "simple" shantiesâsuch as those for hauling sheets and tacks (see below)âthere is a grey area. This has led some to believe that the more sophisticated shanties of later years developed from
422:
During the 1920s, the phrase came into regular use by lay commentators, though it was not documented in use by sailors themselves, nor has it been used by knowledgeable authors on the subject such as Stan Hugill. The term "sea shanty/chantey" has become a staple of popular usage, where it helps to
383:
The spelling of the term appeared quite inconsistently until after the 1920s. While the above noted, American sources used a "ch" spelling, the next published appearances of the term, coming in two very similar articles from British publications from 1868 and 1869, used "shanty". Early writers who
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was also inspired by shanty structure and style. An example of a more tenuous link between a new composition labeled as "shanty" and the salient characteristics of the genre, The Pogues recorded a song called "Sea Shanty." The only characteristic it appears to share with the shanty genre is a 6/8
1979:
While the crews of merchant ships in which shanties were sung might have come from a wide variety of national and ethnic backgrounds and might have spoken various mother-tongues, the shanty genre was by and large an English-language phenomenon. However, non-English-language sailor work songs were
1370:
As a rule, the chantey in its entirety possesses neither rhyme nor reason; nevertheless, it is admirably fitted for sailors' work. Each of these sea-songs has a few stock verses or phrases to begin with, but after these are sung, the soloist must improvise, and it is principally his skill in this
723:
Commenters on the ethnic or national origins of shanties, writing in the 19th century when shanties were still in wide use, generally supposed the genre to originate in the United States and recognized parallels to African-American singingâas opposed to earlier English traditions from Britain. An
701:
While the non-sailor occupations noted above were mainly within the purview of Black laborers, the last of them, cotton-screwing, was one in which non-Blacks also began to engage by the 1840s. These workers often came from the ranks of sailors of the trans-Atlantic cotton trade, including sailors
610:
Use of the term "shanty", once this paradigm for singing had become a comprehensive practice for most tasks, incorporated all manner of shipboard work songs under its definition, regardless of style and origin. Yet, shanties were of several types, and not all had necessarily developed at the same
507:
A step up in sophistication from the sing-outs was represented by the first widely established sailors' work song of the 19th century, "Cheer'ly Man". Although other work-chants were evidently too variable, non-descript, or incidental to receive titles, "Cheer'ly Man" appears referred to by name
451:
There is a notable lack of historical references to anything like shanties, as they would come to be known, in the entirety of the 18th century. In the second half of the 18th century, English and French sailors were using simple chants to coordinate a few shipboard tasks that required unanimous
2487:
Appearances of shanties, or songs and melodies labeled as "shanties," in popular media can be anachronistic and fanciful. In accord with popular perception of shanties as a genre many hundreds of years old, songs with documented existence to only the mid-19th century, at the earliest, have been
2454:
Performers who favor a "traditional" style do not necessarily believe they are replicating the exact style of shanty singing of the 19th century. However, within the constraints of modern contexts, they tend to adhere to certain stylistic traits that are believed to have characterized the genre
1673:
Also called a "runaway" or "walk away" shanty. Although technically a hauling action, the work accompanied by this type of shanty was continuous in nature. Thus the songs had longer choruses, similar to heaving shanties. The work entailed many hands taking hold of a line with their backs to the
802:
As time wore on and shanties were established as an indispensable tool aboard the ships of many nations carrying heterogeneous crew, inspiration from several national and cultural traditions fed into the repertoire and their style was subsequently shaped by countless individuals. Whatever their
2568:
While shanties were historically understood as work songs, the word "shanty" has often been used in popular culture since the mid-20th century as a catch-all term that also includes songs supposed to have been sung during leisure time at sea, and even other songs about the sea or which vaguely
1157:
is considered the "last word" on shanties and the first stop as a reference. The book's "authoritative" position is bolstered by the personal image of its author. In contrast to many of the academic folklorists who had collected shanties before him, Hugill possessed the look and pedigree of an
529:
Although "Cheer'ly Man" could be considered more "developed" than the average sing-out, in its form it is yet different from the majority of shanties that are known to us today, suggesting that it belonged to an earlier stage of sailors' songs that preceded the emergence of "modern" shanties.
920:
These early 20th century collectors' choices of what to include, what to exclude, and how to frame the repertoire all had an effect on how following generations have viewed the genre. Because sailors who had sung shanties were by this time very old or dead, and the general public had little
480:
Such simple or brief chants survived into the 19th century. First-hand observers such as Frederick Pease Harlow, a sailor of the 1870s, attested to their ubiquity, saying that they were brought into use whenever a brief task required one. In historical hindsight these items have come to be
340:
as it is called, is an invariable accompaniment to working in cotton, and many of the screw-gangs have an endless collection of songs, rough and uncouth, both in words and melody, but answering well the purposes of making all pull together, and enlivening the heavy toil. The foreman is the
2355:
movement is one in which shanties themselves were often revived, especially as they have been viewed as a branch of heritage traditional songs of Anglophone culture. Several of the early performers in the Folk genre performed and recorded a significant number of sailor songs. For example,
1420:
Many stock verses used phrases that "floated" between both minstrel and authentic African-American traditional songs. For example, the phrase "girl with the blue dress on" is documented in a Black muledriver's song and in a popular minstrel song, as well as in a few shanties, for example,
2415:, who in turn found it among the collected shanties once traditionally performed by residents of the Georgia Sea Islands. Some Rock performers, too, have been inspired to adopt shanties as part of what they perceive to be a connection to their regional or national heritage. For example,
1810:", and "One More Day." An example of special note is "Leave Her, Johnny, Leave Her" (also known as "Time for Us to Leave Her"), which was generally sung during the last round of pumping the ship dry once it was tied up in port, prior to the crew leaving the ship at the end of the voyage.
168:. Shanty songs functioned to synchronize and thereby optimize labor, in what had then become larger vessels having smaller crews and operating on stricter schedules. The practice of singing shanties eventually became ubiquitous internationally and throughout the era of wind-driven
1041:
in the early 1920s, and later made recordings of African-American work songs in Georgia and elsewhere, seeking to demonstrate correspondences between these and the shanty genre. Neither of these scholars had the opportunity, however, to publish major works on shanties. Similarly,
2545:
The shanty genre was unfamiliar to much of the lay public until it was publicized in the 1880s, however, so most of the popular references in fiction do not begin until that decade. A well-known early example, though not strictly speaking a reference to a shanty, is the song
2467:
Still other performers come to shanties from backgrounds in pop, rock, or theatrical music, and perform in what may be called a "contemporary" style. Some of the preferred characteristics are smooth, pop-style vocal timbre, carefully worked out harmony, and engaging rhythms.
234:
and the use of machines for shipboard tasks by the end of the 19th century meant that shanties gradually ceased to serve a practical function. Their use as work songs became negligible in the first half of the 20th century. Information about shanties was preserved by veteran
1178:
accompaniment with their shanties. While this may have simply been a customary way of presenting songs or attempting to frame their tonality, it may also suggest they hoped their examples could be performed, as well. One of the earliest shanty collections, Davis and Tozer's
1801:
Because of leakage of water into the holds of wooden ships, they had to be regularly pumped out. The frequency and monotony of this task inspired the singing of many shanties. One design of pump worked very similarly to the brake windlass, while another, the
1483:", but these were relatively uncommon and required the addition of a chorus section. However, shantymen more often adapted lyrics and themes from ballads and "spliced" them to existing shanty melodies and choruses. Other shanties were adapted from land-based
274:
The phenomenon of using songs or chants, in some form, to accompany sea labor preceded the emergence of the term "shanty" in the historical record of the mid-19th century. One of the earliest published uses of this term for such a song came in G. E. Clark's
890:
Other writers echoed Alden's lament through and after the 1880s; the first collections of shanties appeared in that decade, in one sense as a response to what the authors believed was a vanishing art. Shanties continued to be used to some extent so long as
852:
American vessels, especially, gained reputations for cruelty as officers demanded high results from their crew. The shanties of the 19th century could be characterized as a sort of new "technology" adopted by sailors to adapt to this way of shipboard life.
2342:
does. This can be contrasted with the method of performers focusing on maritime music, who tend to think of themselves as operating within that genre or a tradition, and who develop their repertoire from multiple sources and through various experiences.
1437:
As evident from the last lyric, above, shanty lyrics were not limited to seafaring or work topics. Drawing lyrics (and sometimes entire songs) from the popular and traditional repertoires of the time meant that a wide range of themes were represented.
247:
work provided resources that would later support a revival in singing shanties as a land-based leisure activity. Commercial musical recordings, popular literature, and other media, especially since the 1920s, have inspired interest in shanties among
2672:", being sung in a traditional style and having lyrics that relate an anecdote of maritime history, makes a convincing sea ballad and has been adopted into the repertoire of maritime music performers. Another newly composed song by folk singer
395:
put forward his belief that the genre should be spelled with "sh" on the grounds that the spelling should correspond obviously to pronunciation. In his subsequent shanty collections he used this spelling consistently. American shanty-collector
2337:
music. Sources for these renditions include books by folklorists and commercial recordings by shanty revival performers. The forms these performers produce tend to be quite standardized and relate to their source material similar to the way a
1389:, as Euro-American observers of Black work-singing consistently remarked on its extempore nature. Stock verses helped the shantyman fill space when his creative faculties came up short. These might take the form of multipurpose clichés, like,
1170:
Even as shanty singing to accompany work aboard ships was "dying," interest was being taken in "reviving" itâas a type of leisure pastime. Most shanty singing since the mid-20th century or earlier is considered to be in such a "revival" vein.
2663:
of shanties has also inspired new musical compositions, ranging from those designed to imitate 19th century song-style to those merely intended to evoke seafaring culture through evocative phrases and token musical features. For example, the
1110:
1016:
In the 1920s, while the proliferation of soft-scholarly books was reifying the shanty repertoire, a few American scholars were audio-recording some of the last surviving sailors that had sung shanties as part of their daily work: in short,
195:, which were then adapted to suit musical forms matching the various labor tasks required to operate a sailing ship. Such tasks, which usually required a coordinated group effort in either a pulling or pushing action, included weighing
2569:
inspire thoughts of the sea. Much of the historical shanty repertoire, being by definition designed to suit work, is less attractive as entertainment listening. The musical forms were highly repetitive, and the lyrics were quite often
1936:. The leisure songs associated with sailors are labeled simply as "sea songs," but they have no consistent formal characteristics. They are also popularly known among enthusiasts, especially when distinguishing them from shanties, as
1685:
As this maneuver could only be used on ships with large crews, such as vessels of warâin which few shanties were sungâshanties to accompany it were few in number and were not often noted in context. The most commonly cited example is
2500:." Evidence for all these uses and associations can be found in the examples that follow in this section. Shanties, and short videos of them being sung, saw a spike in popularity in late 2020 into early 2021 mainly due to a trend on
1446:
Shanties reflect a variety of source material. As discussed above, there is a notable correspondence between shanties and African-American songs of both work and leisure. Popular music of the time was readily adapted, especially the
2598:
interpreted traditional shanties and sea songs like "South Australia" and "The Greenland Whale Fisheries." A notable instance where many non-maritime music performers tackled the traditional maritime repertoire stems from the actor
2455:
historically. These may include a loud or full voice, an emphatic, stridentâeven harshâtone (as if to carry over the noise of wind and waves), and tempos and rhythms that are reasonably conducive to working. They often perform
948:(1608). Lyrics and ideas from Masefield's collection became among the most quoted or plagiarized in later shanty collections, and by their sheer ubiquity these contributed to 20th century audiences' perceptions of the genre.
4717:
Schreffler, Gibb, "Confronting the Legacy of 'The Last Shantyman': New Media in an Auto-ethnography of Sea Shanty Performance," paper delivered at British Forum for Ethnomusicology Annual Conference, Liverpool, U.K. (April
702:
from Britain and Ireland who, wanting to avoid the cold winter seasons on the Atlantic, went ashore to engage in the well-paid labor of cotton-screwing. A European-American who did just that in 1845 in New Orleans wrote,
2560:(1883). Quotes of "Blow the Man Down" were particularly plentiful. Rudyard Kipling romanticized the idea of the sailor's sea song within the poetic genre with his works "The First Chantey" and "The Last Chantey" (1893).
493:
The wind was whistling through the rigging, loose ropes flying about; loud and, to me, unintelligible orders constantly given and rapidly executed, and the sailors "singing out" at the ropes in their hoarse and peculiar
1838:
Shanties have also been well-documented in use for tasks other than those of the deep-water sailor. The working of cargo was performed by stevedores to the accompaniment of shanties, for example in the tradition of the
456:, noted the use of such a chant. This particular old-fashioned style of windlass was one that required workers to continually remove and re-insert "handspikes" (wooden leverage bars) into the device to turn its gears.
226:
and, historically speaking, they were only sung in work-based rather than entertainment-oriented contexts. Although most prominent in English, shanties have been created in or translated into other European languages.
2132:
Devoted performances of shanties display certain customs and general trends in different areas. However, the genre is an international one; practices vary freely and are not limited to the following generalizations.
1931:
where they slept or, in fine weather, gathered near the fore bitts (large posts on the foredeck). While songs with maritime themes were sung, all manner of popular songs and ballads on any subject might be sung off
533:
Detailed reference to shipboard practices that correspond to shanty-singing was extremely rare before the 1830s. In the first place, singing while working was generally limited to merchant ships, not war ships. The
590:
appear to correspond to any shanty known from later eras. It is possible that the long, monotonous task of heaving the capstan had long inspired the singing of time-passing songs of various sorts, such as those in
2680:
has a shanty-like call and response structure and begins with a melodic phrase that matches the traditional "Blow the Man Down," presumably because the character "lives in a pineapple under the sea." The theme to
2676:, "Lincoln Park Pirates," uses the phrase, "Way, hey, tow 'em away," imitating shanty choruses while at the same time anachronistically evoking the "piracy" in its subject. The theme song for the television show
1153:' and Horace Beck's works on contemporary shantying in the Caribbean, yet most publications in the "song collection" genre are general anthologies based in Hugill and his predecessors' works. To a great extent,
476:, an exclamation, or song, used by seamen when hauling the bowlines, the greatest effort being made at the last word. English sailors, in the same manner, call out on this occasion,âhaul-inâhaul-twoâhaul-belay!
291:
in the early 1860s, Clark wrote, "The anchor came to the bow with the chanty of 'Oh, Riley, Oh,' and 'Carry me Long,' and the tug walked us toward the wharf at Brooklyn." While telling of another voyage out of
2459:
or only with light instrumentation typical of sailors (e.g. concertina). In general, performances may be more "rough around the edges" and be of variable length to accommodate impromptu changes in verses.
921:
opportunity to experience performances of shanties, the representations by these authors were all the more influential in mediating information and creating the impression of "standard" versions of songs.
2594:, who included some shanties in their repertoires, some association has also been formed between shanties and Irish music. And so, looking back to these performers, later Irish-oriented rock groups like
2064:
Substantial collections of non-English shanties include the following, which have been instrumental in forming the modern day sailor song repertoires of revival performers in their respective languages:
436:
Singing or chanting has been done to accompany labor on seagoing vessels among various cultural groups at various times and in various places. A reference to what seems to be a sailor's hauling chant in
3010:. These sea shanties are all based on real-world sea shanties, with the lyrics altered to add references to characters, locations and events within the game's fictional universe (the game's developers,
301:
solid seas, and the men, soaked and sweating, yelled out hoarsely, "Paddy on the Railway," and "We're Homeward Bound," while they tugged at the brakes, and wound the long, hard cable in, inch by inch.
2451:
Shanty performances today reflect a range of musical approaches and tastes. The purpose and parameters of shanty singing in the present era have had an influence on which shanties are sung and how.
2582:
Music performers with no strong links to maritime music have interpreted traditional shanty and sea song compositions, of which widely scattered instances abound. For example, the bawdy sea song "
908:
Folklorists of the first decade of the 20th century, especially those from Britain, included shanties among their interests in collecting folk songs connected with the idea of national heritage.
149:. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general.
403:
Terry's works were the source for those among the earliest of commercial recordings (see below) and popular performances of shantiesâespecially because, unlike many earlier works, they provided
2611:
400:
made great use of Terry's first book (corresponding with the author, and reprinting some of his material), and she, too, deemed it sensible to adopt the "sh" spelling for her 1924 collection.
2223:. Polish performers of shanties favor medium-sized groups, often singing in harmony, accompanying themselves on instruments, and presenting themselves similarly to the way a rock band would.
1202:
Recreation includes singing, for each ship is supplied with a piano. The musical program includes old-time chanties, in which the young men are instructed by a veteran deep-water chantie man.
698:"Mudder Dinah", "Bully in the Alley", "Hogeye Man", "Good Morning, Ladies, All", "Pay Me the Money Down", "Alabama, John Cherokee", "Yankee John, Stormalong", and "Heave Away (My Johnnies)".
1599:. These are characterized by one strong pull per chorus, typically on the last word, as in "Way, haul away, haul away "Joe"'!" Examples: "Boney," "Haul on the Bowline," and "Haul Away Joe."
886:
wild choruses of other days. Singing and steam are irreconcilable. The hoarse steam-whistle is the nearest approach to music that can exist in the hot, greasy atmosphere of the steam-engine.
164:
emerged in the mid-19th century in reference to an appreciably distinct genre of work song, developed especially on merchant vessels, that had come to prominence in the decades prior to the
3485:
3258:
265:
The origin of the word "shanty" is unknown, though several inconclusive theories have been put forth. One of the earliest and most consistently offered derivations is from the French
1863:
nets. The musical forms, and consequently the repertoire, of menhaden chanties differ significantly from the deep-water shanties, most noticeably in the fact that the workers "pull"
1519:
the labor, shanties for heaving were more intended to set an appropriate, manageable pace and to occupy or inspire workers throughout the duration of what could often be long tasks.
1162:
and Stan Hugill's performances have had a tremendous bearing on how shanties have been understood and performed by enthusiasts since the second half of the 20th century up to today.
738:
was similar to a sailor song, probably the well-known shanty, "Haul Away, Joe" or "Haul Away for Rosie", viz.: "Way, haul away; O, haul away, my Rosey; Way, haul away; O, haul away,
2427:, ostensibly because of the Irish connection. Others have been fascinated by "sea" themes, including "pirates" and the perceived freedom, wildness, or debauchery of sailor culture.
973:(1914) was one of the first large collections of shanties made by a non-sailor and according to the methods of folklore. Its title reflects the interests and biases of its author.
2787:(1956): "Come Down You Bunch of Roses" (as "Blood Red Roses"), "Heave Away, My Johnnies," "The Maid of Amsterdam (A-Roving)," "Paddy Doyle's Boots," "Sally Brown," "Reuben Ranzo"
1963:", a ballad about a U.S. war ship. Examples of sea songs that were poorly documented in the sailing era, but which gained great popularity among singers in the revival era, are "
1911:, or form, used it for a different task. This can be seen in the frequent lack of consensus, among different writers and informants, as to what job a given shanty was used for.
3174:
2522:(1840). However, some fiction writers up through the mid-19th century, who had sailing experience, also included scenes involving sailors' work songs. Among these authors were
1907:
The above categories, with respect to the repertoire they contain, are not absolute. Sailors often took a song from one category and, with necessary alterations to the rhythm,
179:
Shanties had antecedents in the working chants of British and other national maritime traditions, such as those sung while manually loading vessels with cotton in ports of the
1254:
established sea musicâinclusive of shanties, sea songs, and other maritime musicâas a genre with its own circuit of festivals, record labels, performance protocol, and so on.
520:
When we came to mast-head the top-sail yards, with all hands at the halyards, we struck up "Cheerily, men," with a chorus which might have been heard half way to Staten Land.
345:, who sings the song, the gang only joining in the chorus, which comes in at the end of every line, and at the end of which again comes the pull at the screw handles ...
872:. Popular shanties of the 1850s included "A Hundred Years Ago", "One More Day", "Santiana", "Haul on the Bowline", "Across the Western Ocean", and especially "Stormalong".
423:
disambiguate the work song genre from other meanings of the word "shanty". For example, the "ice fishing shanty," despite its reference to marine activity, is not related.
328:
to compress and force cotton bales into the holds of outbound ships. Work gangs consisted of four men, who timed their exertions in turning the jack-screw to songs called
2574:
historical repertoire of shanties are typically performed with instrumental accompanimentâsomething that was rare or unheard of at sea in the case of authentic shanties.
407:
with piano accompaniment and sufficiently long, performance-ready sets of lyrics. Colcord's work was also very handy in this regard and was used as a source by prominent
2155:
in Essex, Connecticut, has hosted Monday evening sea chantey sessions since 1972, originally led by Cliff Haslam and later joined by other musicians as The Jovial Crew.
598:
as early as 1838 implies that Scandinavians also used such songs. However, these older songs can be distinguished from the later type of songs that were given the label
5798:
989:
their derivative, popular works, established in effect a new body of "common knowledge" about shanties that overwrote some of the knowledge of 19th century observers.
1667:. "Paddy Doyle's Boots" is universally attested as one of the few, exclusive bunt shanties. However, "Saint Helena Soldier" and "Johnny Bowker" have also been noted.
5802:
2866:
2158:
Annual maritime festivals in coastal towns provide a gathering point for both amateurs and professionals, and the site for the introduction of new interpretations.
1198:
recruits, but it appears that they were used more for entertainment than work functions. A description of the daily training schedule included the following note:
2166:
In the UK, shanties find a venue in pubs that host "folk clubs." Professional performers tend to be in larger groups with a more substantial chorus, allowing for
2141:
In North America, as of 2011 enthusiasts could gather at regularly scheduled, open singing sessions, for example the "chantey sings" held monthly aboard the ship
856:
was previously accepted. The general silence of the historical record on modern shanties until as late as the 1840s, even as shipping shifted to the even faster
2795:(1956â1957): "Blow ye winds of morning," "The Maid of Amsterdam," "Oh Shenandoah," "Spanish Ladies," "Blow the Man Down," "Johnny Come Down to Hilo," and others
384:
gave substantial due to the genre (i.e. those who were not mentioning shanties only in passing) often used the "ch" spelling, regardless of their nationality.
375:(and its variant spellings) gaining currency only in the late nineteenth century; the same repertoire was earlier referred to as "song," "chant," or "chaunt."
1142:
original material from his own field experiences, makes it a handy sourcebook for performers, but a difficult work to assess in terms of historical accuracy.
803:
fundamental origins, by the late 19th century shanties constituted the heritage of international seamen, with little or no necessary national associations.
769:
The old sailor songs had a peculiar individuality. They were barbaric in their wild melody. The only songs that in any way resemble them in character are "
465:
Rather than the well-developed songs that characterize shanties, this "howl" and others were evidently structured as simple chants in the manner of "1, 2,
6194:
6102:
contains sea shanties and forebitters sing in an authentic way in English, Polish, Welsh, Norwegian, German, French, Swedish and other foreign languages.
2374:
came out in the same year. Since at least the 1950s, certain shanties have become staples of the Folk genre. This is evidenced in the popular Folk music
1867:
rather than concurrently with certain words of the songs. Common examples are "The Johnson Girls" and "Won't You Help Me to Raise 'Em Boys." Off-shore
1194:
of Boston, a merchant sailor of the 1880s, was appointed as "Official Chantey Man for the American Merchant Marine." King taught shanties to the young
715:
called Mobile Bayâone of the main cotton outportsâa "shanty mart", at which sailors and laborers of different cultural backgrounds traded their songs.
671:
During the first half of the 19th century, some of the songs African-Americans sang also began to appear in use for shipboard tasks, i.e. as shanties.
2170:
performances. They are frequently identified with a specific port town to which they belong. Many annual maritime festivals in Britain and across the
1587:
Also called a "sheet shanty". Sung for short hauling jobs requiring a few bursts of great force, such as changing direction of sails via lines called
860:, suggests that they may not have come into widespread use until the middle of the century. They received a boost from the heavy emigrant movement of
577:
One of the earliest references to shanty-like songs that has been discovered was made by an anonymous "steerage passenger" in a log of a voyage of an
2471:
Less commonlyâthough it was the case with their earliest commercial recordingsâshanties are performed in a "classical" choir style. Choirs like the
1417:(The refrain in these cases may be any; that is, the stock verses may be fitted to any of a number of shanties having a similar tune-chorus form.)
1295:, but took on the role in addition to their other tasks on the ship. Nevertheless, sailors reputed to be good shantymen were valued and respected.
1230:
and Doerflinger, however it is often unclear when and whether his versions were based in field experience or his private invention. Lloyd's album
1145:
With respect to chronological position, while Hugill is affectionately known as "The Last Shantyman," he was also one of the last original shanty
820:
1984:
Preexisting non-English-language songs from the popular or folk song traditions of a linguistic group, which were adapted to the shanty paradigm;
881:
not to have seen shanties in their prime. In 1882, due to the proliferation of steamships, Alden was already lamenting the passing of shanties.
689:
Time o' Day". This song, the tune of which is now lost, was sung by: Jamaican stevedores at a capstan in 1811; Afro-Caribbeans rowing a boat in
2874:
2443:'s "Three Shanties" for woodwind quintet (1943) develops motifs from "Drunken Sailor," "Boney Was a Warrior," and "Johnny Come Down to Hilo."
6039:
5825:
5460:
4416:"What shall we do with a drunken sailor - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
1503:
Broadly speaking, the categories for shanties can be understood in terms of whether the task(s) for which they were used was/were related to
1222:
746:"Jim Along Josey", a relationship to which is obvious, although it is unknown whether this was the inspiration for the shanty or vice versa.
508:
several times in the early part of the century, and it lived on alongside later-styled shanties to be remembered even by sailors recorded by
469:!" The same dictionary noted that French sailors said just that, and gave some indication what an English windlass chant may have been like:
3476:
932:, seized upon shanties as a nostalgic literary device, and included them along with much older, non-shanty sea songs in his 1906 collection
6130:, based mainly in Germany and the Netherlands, promotes sailor songs through festivals, publications, and sponsorship of performing groups.
2890:
5706:
2488:
freely used to portray scenes from the 18th century and earlier. By imagining modern shanties to have been in use during such eras as the
1280:" format, with one voice (the shantyman) singing the solo lines and the rest of the sailors bellowing short refrains in response (compare
371:, which, further, initially carried the connotation of a singing stevedore (as in Nordhoff's account, above). The historical record shows
6136:
online/podcast radio show devoted to pirate-themed music including both traditional-style shanty performers and "pirate rock" performers.
4673:"Stanley Slade, Bristol (Kennedy 1950 and BBC 1943) - Peter Kennedy Collection - World and traditional music | British Library - Sounds"
6114:
has lyrics popular among and culled from North American shanty revival performers, and links to albums on which the songs may be heard.
1291:
was a regular sailor who led the others in singing. He was usually self-appointed. A sailor would not generally sign on as a shantyman
4535:
4511:
4487:
4463:
4439:
4415:
2959:
4672:
3077:
2308:
1366:
shanties warned his readers that their lyrics, to landsmen, would "probably appear as the veriest doggerel." He went on to explain,
1268:
perhaps, the psychological burden of hard work. Shanties may also be said to have served a social purpose, as to build camaraderie.
1010:
5842:
2997:
the character Simon Pearson, a former sailor, will sing the sea shanty "Homeward Bound" at the campsite while playing a concertina.
2403:
Borrowings into Rock music have often resulted from the fluid borders between Folk and Rock performers and audiences. For example,
749:
In much of the shanty repertoire known today one finds parallels to the minstrel songs that came to popularity from the 1840s. The
351:, as may be supposed, have more of rhyme than reason in them. The tunes are generally plaintive and monotonous, as are most of the
757:-type "floating verses" of those songs were heavily borrowed. In an influential early article about shanties, New York journalist
3082:
3002:
2727:
2719:
2370:
1460:
252:. Contemporary performances of these songs range from the "traditional" style of maritime music to various modern music genres.
5680:
3753:, paper presented at the Society for Ethnomusicology Southern California and Hawai'i Chapter conference (February, 2011), p. 2.
2791:
2735:
2697:
in Seafaring style, with lyrics by Frederick Weatherly concerning an archetypal sailors wife. The song evoked an 1882 response
2420:
1898:
1468:
652:
602:, suggesting there were other formative influences that gave birth to an appreciably new and distinctly recognized phenomenon.
5944:
2886:(2011): "Lowlands Away," "Blow You Winds Southerly," "Blood Red Roses," "The Hog-Eye Man," "Leave Her Johnny," "Haul Away Joe"
2088:"Knurrhahn": Sammlung deutscher und englischer Seemannslieder und Shanties wie sie auf deutschen Segelschiffen gesungen wurden
2039:, "sailor song," as a broad category, but tends to use the borrowed "shanty" to denote a work song. Similarly, Norwegian uses
3006:, if the player's ship crew have a high morale score, sea shanties will be played while the player travels around the game's
2759:
2275:
1823:
Shanties might come into play for miscellaneous additional shipboard tasks. For example, songs used to accompany the work of
1120:. Hugill's old-time sailor image helped bolster the perceived authoritative nature of his work, in contrast to the academic,
1090:, England, thought to be 'The Last Shantyman', singing several shanties including 'Haul Away, Joe', 'Leave Her, Johnny' and '
2878:(film series): "Yo Ho, A Pirate's Life for Me," "Fifteen Men on a Dead Man's Chest," "Hoist the Colors," "Jolly Sailor Bold"
525:
The decks were all life and commotion; the sailors on the forecastle singing, "Ho, cheerly men!" as they catted the anchor;
3015:
2932:
2826:
2620:
1756:
sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.
1624:
sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.
1357:
shanty (see below), hands on the line would synchronize their pulls with the last syllable of each response (in italics).
1251:
1195:
1095:
1034:
317:
5450:
2916:
1987:
Preexisting, original shipboard worksongs from non-English-speaking peoples, retrofitted to the definition of "shanty";
1883:
1642:
or when simply hauling in the slack of a rope. The action is that of tugging alternately with each hand, on each beat.
1206:
An on-shore revival in shanty singing for leisure was facilitated by song collections of the 1920s, especially Terry's
6083:
5400:
2882:
2842:
2767:
2751:
1029:, and the north-eastern U.S. in the late 1920s, allowing him to make observation from an extensive set of field data.
31:
4464:"Blow boys blow - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
3035:
1750:
4488:"Whisky Johnny - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
1699:
5970:
4536:"All away Joe - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
2984:â sea shanties are available when on the player character, Assassin turned Templar Shay Patrick Cormac's ship, the
2924:
2244:
1840:
1083:
773:", and two or three other so-called negro songs by the same writer. This man, known in the minstrel profession as "
222:, was appreciated for his piquant language, lyrical wit, and strong voice. Shanties were sung without instrumental
6062:
3944:
6209:
6189:
6184:
4512:"Rio Grande - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
4440:"Shenandoah - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
3431:
2976:
2702:
2518:
2435:
Classical composers have used shanties and sea songs (or their melodies) in their works. The Australian composer
2357:
2240:
2148:
1277:
724:
early article to offer an opinion on the origin of shanties (though not calling them by that name), appearing in
439:
388:
211:
4558:
Walser, Robert Young, "'Here We Come Home in a Leaky Ship!': The Shanty Collection of James Madison Carpenter,"
685:
An example of a work song that was shared between several contexts, including, eventually, sailors working, is "
3331:, Simpkin, Marshall, Hamilton, Kent & Co. (1914); Robinson, Captain John, "Songs of the Chanty-Man: I-IV",
2605:
2516:
literature, most of it of scarcely notable popularity, but some of it reaching a wide audience, such as Dana's
2290:
1968:
1927:
Shanties are work songs and were originally sung only for work. However, sailors also sang for pleasure in the
1617:
not gone under any well-known name, along with the better known "Johnny Bowker" and other short-drag shanties.
1476:
1068:
836:
5557:
1276:
All shanties had a chorus of some sort, in order to allow the crew to sing all together. Many shanties had a "
1246:
within folk music. By the late 1970s, the activities of enthusiasts and scholar-performers at places like the
538:
banned singing during workâit was thought the noise would make it harder for the crew to hear commandsâthough
3457:
e.g.: "Sea Chanteys Kept Alive. Sailors' Club in London is Collecting and Preserving the Old Songs of Sail",
2029:. The terms for shanties in these languages do not always precisely correlate with English usage. In French,
1894:
512:
in the 1920s. "Cheer'ly Man" makes notable appearances in the work of both Dana (sea experience 1834â36) and
324:. Characterized by Nordhoff as one of the heaviest sorts of labor, cotton-screwing involved the use of large
6219:
6204:
6199:
6169:
5734:
3206:
2846:(1998): "New York Girls," "Cape Cod Girls" ("Bound Away to Australia"), "Donkey Riding," and "Haul Away Joe"
2815:
2669:
2624:
2286:
1960:
1847:, Georgia. They used such shanties as "Knock a Man Down" (a variation of "Blow the Man Down") to load heavy
1606:, sung by A. Wilkins, Eastern U.S., ca. 1930â32. From the U.S. Library of Congress, R. W. Gordon Collection.
1050:
and Southern U.S., makes a significant contribution to the information on extant shanty-related traditions.
1022:
509:
5784:
Susie Bell [music] : a Man O'Wars song in answer to Nancy Lee / words and music by F.A. Packer
4697:
Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail
3132:
Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail
1158:
old-time sailor, and he was actually able to perform the songs from his collection at sea music festivals.
6214:
3011:
2551:
2392:
1807:
1235:
1038:
664:
486:
392:
180:
2854:(1999): "Blow The Man Down" also borrowed into the theme, "Drunken Sailor", "Spanish Ladies" among others
2243:. A group called The Anchormen formed by Matthew Wearne and Colin Anker in 2018, perform regular gigs in
777:", caught the true spirit of the African melodiesâthe lawless, half-mournful, half-exulting songs of the
6179:
5368:
4939:
This couplet is documented in many sources; here it is drawn from: Whitmarsh, "The Chantey-man," p. 321.
3378:
2993:
2850:
2783:
2677:
2648:
2523:
1302:), shows the call and response form and the interplay between the voices of the shantyman and the crew.
1247:
1030:
937:
790:
397:
312:
This reference to singing stevedores as "chanty men" connects the genre to a still earlier reference to
4792:"Sea Chanteys Kept Alive. Sailors' Club in London is Collecting and Preserving the Old Songs of Sail,"
2321:
Items from the shanty and sea song repertoire have been brought into the repertoires of performers of
2211:
groups â often with many members â that perform only sailor songs. They are especially popular in the
1663:âthe tightly bunched bundle of a sail that would need to be gathered up and fastened to the yard when
1463:
in many shanties, like "A Long Time Ago," "Jamboree," "Johnny Come Down to Hilo," or "Johnny Bowker."
452:
effort. A dictionary of maritime terms, in describing the anchor-hauling mechanical device known as a
6224:
2964:
2682:
2489:
2408:
1964:
1743:
1472:
1191:
408:
6174:
5543:
3445:
2981:
2940:
2898:
2476:
2472:
1806:, was turned by handles attached to large wheels. Examples: "Strike the Bell", "Fire Down Below", "
1735:
1386:
1239:
1218:
1187:
1063:
1006:
952:
642:
5991:
5246:
1479:." A few shanties have ballad forms, such as "The Dreadnaught," "The Banks of Newfoundland," and "
6035:
6017:
5915:
5792:
5372:
3020:
2936:(2019): "Island Records released the Fisherman's Friends original soundtrack titled Keep Hauling"
2002:
1723:
1704:
1596:
1214:
1061:
seamen, such as 'Blow the Man Down', 'Whiskey Johnny', 'The Sailor's Alphabet', 'Shenandoah' and
844:
679:
586:
578:
554:
539:
352:
165:
146:
1225:. In Britain, the incorporation of shanties into the folk revival repertoire was largely led by
4611:
3750:
3461:(7 Nov. 1926); Thomas, J.E., Lucy E. Broadwood, Frank Howes, and Frank Kidson, "Sea Shanties",
2035:
or "sailor's song" is a broad category that includes both work and leisure songs. Swedish uses
1993:
Translations of English shanties into other languages, often preserving their English choruses.
183:. Shanty repertoire borrowed from the contemporary popular music enjoyed by sailors, including
5888:
5821:
5742:
5456:
2945:
2858:
2799:
2775:
2651:
and popularly mistaken to be a shanty, inspired users to seek and perform songs in the genre.
2617:
2513:
2404:
2384:
1844:
1563:
1480:
1150:
913:
628:
6147:
1134:
One of the most celebrated volumes on shanties produced in the 20th century is Stan Hugill's
728:'s student paper in 1858, drew a comparison between Africans' singing and sailor work songs.
206:
The shanty genre was typified by flexible lyrical forms, which in practice provided for much
5870:
5847:
5767:
4648:
3270:
3072:
2690:
2636:
2152:
2142:
1998:
1588:
1281:
758:
595:
100:
6108:
This is the place where you can meet sea shanties and forebitters sing in an authentic way.
6099:
6089:
6045:""Goodbye Fare Ye Well"- Full Song by Mr. Pearson / Accordian Song / Red Dead Redemption 2"
210:
and the ability to lengthen or shorten a song to match the circumstances. Its hallmark was
5975:
5388:
2583:
2556:
2493:
2379:
2334:
2171:
2026:
2022:
2014:
2010:
1990:
Newly created non-English-language songs, designed to fit the established shanty paradigm;
1592:
1548:
1054:
1018:
929:
847:. This was a time when there was relative peace on the seas and shipping was flourishing.
725:
513:
355:
tunes of sailors, but resounding over the still waters of the Bay, they had a fine effect.
244:
135:
38:
3498:
e.g., Broadwood, Lucy E. and A.H. Fox-Strangways, "Early Chanty-Singing and Ship-Music",
1603:
645:
or "firemen," who cast wood into the furnaces of steamboats plying great American rivers;
543:
316:
as the foreman of a work gang and the lead singer of their songs. Around the late 1840s,
5240:
2590:. Perhaps under the influence of Irish folk revival groups like The Clancy Brothers and
1674:"fall" (where the line reaches the deck from aloft) and marching away with it along the
5865:
5817:
5730:
2971:, can collect a number of sea shanties which his crew will then sing while on a voyage.
2834:
2743:
2628:
2527:
2440:
2436:
2388:
2248:
2030:
2018:
2006:
1956:
1687:
1664:
1551:
1002:
941:
925:
750:
5488:
e.g.: Grainger, Percy, "Sea-chantey setting nr. 3: Shallow Brown," G. Schirmer (1927).
2182:
1919:
53:
6163:
2968:
2909:
2723:(1935): "Whiskey Johnny," "New York Girls," "Johnny Come Down to Hilo," "Sally Brown"
2673:
2591:
2424:
2330:
1739:
1562:
the man down!" Examples: "Hanging Johnny," "Whiskey Johnny," "A Long Time Ago," and "
1492:
1448:
1375:
1091:
998:
857:
778:
743:
288:
223:
207:
188:
184:
145:
most accurately refers to a specific style of work song belonging to this historical
5497:
Arnold, Malcolm, "Three Shanties: for Wind Quintet," Paterson's Publications (1952).
1046:'s work starting in the 1930s, especially his field recordings of work songs in the
663:
to compress and force cotton bales into the holds of outbound ships at ports of the
574:
Fife and fiddle were also used, in earlier times, for work aboard merchant vessels.
305:
Additionally, Clark referred to a lead singer as a "chanty man", and he referred to
3062:
2352:
1933:
1832:, before letting it drop into the sea, all the while singing this customary shanty.
1803:
1794:
1456:
811:
770:
416:
293:
280:
215:
173:
138:
71:
67:
4649:"FTX-207-CAN'T YOU DANCE THE POLKA? - STANLEY SLADE - Bristol Shellback Shantyman"
3444:
This is attested by its use by institutions such as maritime museums and the U.S.
2479:, and The Seafarers Chorus have released entire albums of shanties and sea songs.
753:
of the couplets of many minstrel songs is identical to those in shanties, and the
6086:
contains song lyrics harvested from some of the well-known published collections.
594:. For example, the composition of capstan-style "sailor songs" by Norwegian poet
6093:
6092:
contains sample performances of the over 400 shanties and sea songs included in
4170:
2807:
2665:
2600:
2587:
2547:
2412:
2212:
1860:
1675:
1660:
1129:
1121:
1113:
1072:
1058:
978:
966:
909:
861:
848:
840:
816:
765:
authentic African-American songs and the quasi-African-American minstrel songs:
712:
694:
635:
412:
404:
249:
169:
17:
3725:
1109:
793:, expressed his belief in several works that shanties were American in origin.
546:, or else by fife and drum or fiddle. A writer from the 1830s made this clear:
6044:
3724:"The Advent and Development of Chanties," discussion dated 20 March 2010 ff.,
3087:
2698:
2595:
2416:
2339:
2326:
2322:
1949:
1928:
1890:
1879:
1872:
1771:
1646:
1570:
1484:
1464:
1226:
1175:
1043:
892:
865:
774:
620:
567:
535:
325:
321:
240:
192:
127:
6117:
5746:
5466:
3274:
2714:
sample list of notable films to have included traditional shanty repertoire.
481:
generically called "sing-outs"; yet even before the known advent of the term
5413:
5298:
Anderson, Harold, "Menhaden Chanteys: An African American Maritime Legacy,"
3067:
3028:
3007:
2640:
2375:
2365:
2236:
1824:
1731:
1690:", which is thought to be one of the few shanties allowed in the Royal Navy.
1635:
1488:
1403:
Or, the shantyman may use formulas, like "Were you ever in ?", for example,
1047:
1009:
in the early 1900s, and the recordings are available online courtesy of the
869:
660:
656:
648:
306:
231:
131:
37:"Chanty" redirects here. For the Filipino-Argentine singer and actress, see
6142:
French Internet radio show devoted to sailor songs from all over the world.
3323:, Kegan, Paul, Trench & Co. (1888); Bullen, Frank. T. and W.F. Arnold,
1789:
1753:
1621:
1221:
were recruited by Alan Lomax to record several shanties for the 1941 album
1174:
A few of the editors of early shanty collections provided arrangements for
962:
320:
observed work gangs engaged in a type of labor called "cotton-screwing" in
4857:
Frank, Stuart M., "Stan Hugill 1906â1992: A Remembrance," in Stan Hugill,
3847:"An Old Salt," "Quarter-deck yarns; or, Memorandums from My Log Book," in
1378:
and stock verses were the tools of the trade of shantymen. Similar to the
549:
3107:
2644:
2570:
1856:
1649:, from notation by Doerflinger (1951) of Capt. James P. Barker's singing.
1540:
1471:." Popular marches were borrowed especially for capstan work, including "
1452:
1299:
453:
5945:"Assassin's Creed Rogue both chastises and champions the series' quirks"
5874:
5851:
5653:, J.B. Lippincott (1899) p. 145; Rideout, Henry Milner, "Wild Justice,"
4586:"Folk-songs of America": The Robert Winslow Gordon Collection, 1922â1932
2686:
meter (displayed by some well known shanties like "Blow the Man Down").
6048:
5782:
3751:"Ethnic Choices in the Presentation of Chanties: A Study in Repertoire"
2532:
2216:
1868:
1829:
1544:
1087:
1071:
carefully recorded and collected shanties from singers in New York and
1026:
690:
674:
585:(1832). Crew and passengers alike were noted to join in at heaving the
236:
5377:
Minstrelsy of Maine: Folk-songs and Ballads of the Woods and the Coast
4805:
Lloyd, Llewelyn, "Folk-songs of the Sea: Shanties on the Gramophone,"
1298:
The following example, a verse of the shanty "Boney" (in reference to
309:
unloading cargo from the vessels as "chanty men" and a "chanty gang".
5893:
2693:(alias Stephen Adams) sold a hundred thousand copies of an 1876 song
2632:
2501:
2497:
2220:
2044:
1945:
1848:
1719:
1186:
Independent of this literature, a revival of sorts was staged by the
1037:
at the Library of Congress, recorded sailors singing shanties in the
997:
Shanty collection was seen as a facet of the early twentieth century
284:
196:
5818:"Makin' Toons: Inside the Most Popular Animated TV Shows and Movies"
5666:
Carr, James Revell, "New Sea Chantey Compilations On Compact Disc,"
2512:
Much of the available historical information on shanties comes from
2496:, anachronistic associations have been formed between shanties and "
2293:. Statements consisting only of original research should be removed.
1527:
6133:
6105:
1025:, made hundreds of recordings of shanties from singers in Britain,
2232:
2208:
2181:
1908:
1788:
1727:
1379:
1108:
961:
895:
were, yet these were comparatively few in the early 20th century.
673:
4214:
Kipling, Rudyard, "The First Chantey" and "The Last Chantey," in
2988:. Some are immediately available, while others must be collected.
678:
Leader of Mississippi steamboat hands singing a song from atop a
6121:
3108:"chanty | Etymology, origin and meaning of chanty by etymonline"
1539:
Also called a "halyard shanty". Sung with the job of hauling on
1213:
The next revival in shanties occurred as part of the Anglophone
831:
Writers have characterized the origin of shanties (or perhaps a
686:
200:
6111:
5920:
5735:"Everyone's Singing Sea Shanties (or Are They Whaling Songs?)"
3654:
The Command of the Ocean: A Naval History of Britain 1649â1815
2603:'s reported interest in shanties that developed while filming
2258:
1639:
218:
and the rest of the workers in chorus. The leader, called the
118:
2870:(2003): "Don't Forget Your Old Shipmate" and "Spanish Ladies"
2057:
and, again, shanty. Polish uses a word derived from English:
1250:(who initiated an annual Sea Music Festival in 1979) and the
5345:, Longman, Orme, Brown, Green, and Longmans, (1840) p. 116.
2705:
in the far flung British colony at Port Arthur (Australia)
1923:
Early 19th century Royal Navy sailors singing while off duty
1871:
in parts of the Caribbean sang shanties whilst rowing their
1385:
Improvising of lyrics in such a context could be seen as an
839:
theorized) as belonging to an era immediately following the
4636:
Shantymen and Shantyboys: Songs of the Sailor and Lumberman
4597:
Gordon, Robert W., "Folk Songs of America: Work Chanteys,"
6139:
4571:
Carpenter, James M., "Chanteys that 'Blow the Man Down,'"
3851:, ed. by Rev. Edward A. Rice, J. C. Burdick (1850) p. 11.
106:
6127:
3041:"The Faithful Sailor", based on "The Faithful Sailor Boy"
2819:(1977): "Haul the Bowline," "Haul Away, Joe"âon the brig
2578:
Popular musical interpretations of traditional repertoire
1217:
of the mid-20th century. The American folk revival group
109:
6120:
has lyrics gathered from songbooks, matched to embedded
5546:" Newsroom | TikTok, 16 Aug. 2019. Accessed 1 Feb. 2021.
5274:
Reminiscences of Travel in Australia, America, and Egypt
2612:
Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys
2231:
Sea Shanty Groups are active across Australia including
3477:"Occupied ice fishing shanty blown across Michigan bay"
3044:"Heave Away my Lendry", based on "Heave Away My Johnny"
2282:
742:." The writer did not make a further connection to the
5430:
Charlesworth David, South Western Times, 11 April 2018
5326:
Reminiscences of Twelve Month's Service in New Zealand
4279:
e.g.: Meloney, William Brown, "The Chanty-Man Sings,"
2830:(1989): "Rise Me Up from Down Below" (aka "Whiskey-O")
2731:(1935): "Drunken Sailor" (tune only), "Hanging Johnny"
2616:
A medley of sea songs performed by concert orchestra,
606:
Influence of African-American and Caribbean work songs
5889:"The Truth Behind Assassin's Creed IV's Sea Shanties"
5707:"Sea shanties are your soundtrack of 2021. Seriously"
4918:
For just a few examples, see: British Naval Officer,
4822:
Carr, "New Sea Chantey Compilations On Compact Disc."
4364:, Simpkin, Marshall, Hamilton, Kent & Co. (1914).
3708:, ed. by Hartvig Lassen, Chr. Tonsberg Forlag (1853).
3319:, Boosey & Co. (1887); Smith, Laura Alexandrine,
3299:
Payn, James, ed., "Sailors' Shanties and Sea Songs",
112:
5558:"Sea shanties are going viral on TikTok. Here's why"
4032:
California and Oregon; or, Sights in the Gold Region
3774:"Dances of the Negroes of the Island of Martinico."
2411:" derives from the interpretation by the Folk group
2362:
Whaling and Sailing Songs from the Days of Moby Dick
1075:
in the 1930s and 1940s, the result of which was his
115:
5455:. Quaker Song. Amherst, Ma: Sing Out Publications.
5155:, ed. by Archie Campbell, Brentano's (1899) p. 306.
4291:
4289:
3344:Terry, Richard Runciman, "Sea Songs and Shanties",
3248:, Moore, Wilstach, Keys & Co. (1855) pp. 40â1.
1980:also developed. They are generally of these types:
1094:', and the recordings are available online via the
103:
63:
46:
4779:Howard, Henry, "Manning the New Merchant Marine,"
3945:The Library of Congress American Memory Collection
3475:
2102:. Christiania: Norske Förlags Kompani Ltd. (1916).
631:on rivers of the south-eastern U.S. and Caribbean;
503:Early British and Anglo-American sailor work songs
6090:"Shanties from the Seven Seas" project on YouTube
5328:, Richard Bentley (1849) p. 130; Archer, Thomas,
4713:
4711:
4709:
4707:
4705:
3811:Landsman Hay: The Memoirs of Robert Hay 1789â1847
3628:Omoo: A Narrative of Adventures in the South Seas
3327:, Orpheus Music Publishing (1914); Sharp, Cecil,
1997:There are notable bodies of shanty repertoire in
1053:From the 1940s to the 1960s, Canadian folklorist
693:ca.1814; Black stevedores loading a steamboat in
5820:. Allworth Communications, Inc. pp. 50â51.
5125:
5123:
4861:, abridged edition, Mystic Seaport (1994) p. xx.
3639:Lowell, James Russell, ed., "Songs of the Sea,"
3159:For an overview of these theories, see: Hugill,
3050:"Deadfire Lines", based on "The Black Ball Line"
1634:Used for lighter hauling tasks, such as setting
1554:. Usually there are two pulls per chorus as in "
1371:direction that marks the successful chantey-man.
1005:collected various shanties and recorded them on
5781:Packer, F. A. (Frederick Augustus), 1839-1902.
5186:Williams, James H., "The Sailors' 'Chanties',"
4926:, H. Hooker (1853) p. 85; Gosse, Philip Henry,
4584:Rosenberg, Neil V. and Deborah G. Kodish, ed.,
2867:Master and Commander: The Far Side of the World
1238:" was taken up by the Irish folk revival group
1149:. A few original collections followed, notably
359:According to research published in the journal
5391:National Park Service. Retrieved 10 Nov. 2011.
5104:Robinson, "Songs of the Chanty-Man I," p. 123.
5087:For collected examples of these, see: Harlow,
4401:
4399:
4198:
4196:
3877:, George W. Jacobs & Co. (1896) pp. 296â7.
3849:The Evergreen; or Gems of Literature for MDCCL
3761:
3759:
3356:
3354:
3259:"The Execrable Term: A Contentious History of
2771:(1950): "Johnny Come Down to Hilo" (tune only)
2609:. As a result, in 2006 Depp helped facilitate
2053:for work songs. The equivalents in German are
1001:. The Australian-born composer and folklorist
6096:'s largest print collection of the same name.
4588:, LP liner notes, Library of Congress (1978).
3943:"Jim Along Josey," Firth and Hall (1840), at
3570:
3568:
3566:
3564:
3562:
3560:
3179:New edition, Chatto and Windus (1874) p. 284.
2739:(1937): "Blow the Man Down," "Drunken Sailor"
1891:A demonstration of whaleboat shanties (video)
1722:on a ship involved winding its rope around a
8:
6128:International Shanty and Seasong Association
6118:Contemplator.com, "Songs of the sea" section
6084:John Ward's "Shanties and Sea Songs" webpage
6063:"Pillars of Eternity 2 life at sea detailed"
5797:: CS1 maint: multiple names: authors list (
5414:"Cliff for 45 Years! | The Jovial Crew"
5367:e.g.: Williams, "The Sailors' 'Chanties'.";
5063:Sail Ho!: Windjammer Sketches Alow and Aloft
4924:The Planter; or, Thirteen Years in the South
4216:The Works of Rudyard Kipling: The Seven Seas
4083:
4081:
4079:
3047:"Haul Away and Go", based on "Haul Away Joe"
2196:
2043:as the broad category and the borrowed term
1738:", "Clear the Track, Let the Bulgine Run", "
1591:, or hauling taut the corners of sails with
659:âincluding "cotton-screwing" (using a large
553:A black fiddler accompanying heaving at the
266:
27:Rhythmical work song sung on sailing vessels
5276:, second edition, Sampson Low (1884) p. 21.
4961:Scarborough, Dorothy and Ola Lee Gulledge,
4034:, Lippencott, Grambo, and Co. (1851) p. 88.
2202:
2114:. Stockholm: Albert Bonniers Förlag (1935).
1774:, led by Gibb Schreffler on the barkentine
928:, following in the footsteps of peers like
134:to accompany rhythmical labor aboard large
5801:) CS1 maint: numeric names: authors list (
4210:
4208:
4060:, Little, Brown, and Company (1909) p. 99.
3720:
3718:
3716:
3714:
1467:songs also had an influence, for example "
1461:minstrel songs of the late 1830s and 1840s
52:
43:
6100:Jerzy "Shogun" Brzezinski YouTube Channel
5681:"The tender masculinity of Shanty TikTok"
4965:, Harvard University Press (1925) p. 231.
4896:Whitmarsh, H. Phelps, "The Chantey-man,"
4385:
4383:
3134:, Routledge & Kegan Paul (1961) p. 6.
3034:"Roll the Old Berath's Wheel", based on "
2309:Learn how and when to remove this message
2090:. Vol. 1, 2. Kiel: A. C. Ehlers (1935â6).
2021:, and shanties have been translated into
1959:", first popular in the Royal Navy, and "
1859:fishing boats, sung while pulling up the
1428:O shake that girl with the blue dress on,
977:Somewhere between these perspectives was
4976:Christy's and White's Ethiopian Melodies
3665:B., R., "A Cruise of a Revenue Cutter,"
3142:
3140:
1918:
1875:and when hauling their catch onto land.
1698:
1571:"Hurrah for the Black Ball Line" (video)
1526:
810:
548:
5449:Blood, Peter; Patterson, Annie (1992).
5052:Robinson, "Songs of the Chanty-Man: I."
4950:Ocean Life in the Old Sailing Ship Days
4151:, Kegan, Paul, Trench & Co. (1888).
4058:Ocean Life in the Old Sailing Ship Days
3099:
1880:"Won't You Help Me to Raise Um" (video)
1659:Used for "bousing up" (i.e. hauling) a
1577:at the Mystic Sea Music Festival, 2010.
1387:African-American musical characteristic
786:to any canon of national "folk music".
761:drew a comparison between shanties and
461:howl pronounced by one of their number.
243:song-collectors, and their written and
5790:
5597:, Houghton, Osgood and Company (1879).
5439:Waller Pip, Bunbury Mail, 1 June 2021.
5403:(Yahoo group). Retrieved 10 Nov. 2011.
5330:The Pauper, the Thief, and the Convict
5287:Slave Songs of the Georgia Sea Islands
4755:Papers of the Manchester Literary Club
4160:Schreffler, "Ethnic Choices," pp. 3â4.
3986:, D. Appleton & Co. (1889) p. 838.
3899:Schreffler, "Ethnic Choices," pp. 2â3.
3800:Schreffler, "Ethnic Choices," pp. 1â2.
3617:, Harper & Brothers (1840) p. 413.
3346:Journal of the Royal Music Association
2389:What Shall We Do with a Drunken Sailor
2049:(also spelled "shanty") or the native
6156:illustrated account of the sea shanty
5627:, Harper & Bros. (1850) pp. 63â4.
5479:Carr, "New Sea Chantey Compilations."
5129:Whitmarsh, "The Chantey-man," p. 323.
4909:Whitmarsh, "The Chantey-man," p. 319.
3908:Allen, Isaac. "Songs of the Sailor."
3776:Bell's Court and Fashionable Magazine
3678:B., O.P., "My Adventures (Part VI),"
3591:, Harper & Brothers (1840) p. 11.
3552:An Universal Dictionary of the Marine
3539:An Universal Dictionary of the Marine
1223:Deep Sea Chanteys and Whaling Ballads
1124:appearance of many previous scholars.
912:and his colleagues among the English
719:Perceptions of contemporary observers
367:may have been a back derivation from
7:
5612:A Strong Arm and a Mother's Blessing
4699:, Routledge & Kegan Paul (1961).
4087:Lowell, "Songs of the Sea," p. 154.
3921:Allen, "Songs of the Sailor," p. 49.
3484:. The Associated Press. 2022-03-08.
3403:, Boosey (1927); Fox Smith, Cicely,
3335:, 23(574â7) (14 July â 4 Aug. 1917).
3303:4(311) (11 December 1869) pp. 794â6.
1459:. It is common to find phrases from
5990:Kalista, Randy (28 November 2014).
5887:Plunkett, Luke (19 December 2013).
5670:122(484) (Spring 2009) pp. 197â210.
5389:"Chantey Sing at Hyde Street Pier,"
4974:Christy, Charles and George White,
4731:, University of Texas Press (1974).
4405:Schreffler, "Ethnic Choices," p. 4.
4295:Bullen, Frank. T. and W.F. Arnold,
4202:Schreffler, "Ethnic Choices," p. 5.
4021:Schreffler, "Ethnic Choices." p. 2.
3765:Schreffler, "Ethnic Choices," p. 1.
3656:, Penguin/Allen Lane (2004) p. 503.
3286:Dallas, E. S., ed., "On Shanties",
2967:â the player character, the pirate
2631:. In 2021, sea shanties trended on
2548:Fifteen men on the dead man's chest
2423:" in the arrangement of Folk group
2383:, which includes such shanties as "
1543:to hoist, over an extended period,
612:
6146:Winchester, Clarence, ed. (1937),
5544:Sea Shanty TikTok - @Nathanevanss.
4299:, Orpheus Music Publishing (1914).
3706:Henrik Wergelands Samlede Skrifter
3693:The Quid, or Tales of my Messmates
3312:e.g.: Davis, J. and Ferris Tozer,
2655:New compositions in "shanty" style
2639:rendition of the sea-themed song "
2174:provide contexts for performance.
946:The Tragedy of the Rape of Lucrece
651:on the U.S. eastern seaboard, the
58:Sailors performing shipboard labor
25:
6195:Internet memes introduced in 2021
5943:Lee, Patrick (24 November 2014).
5705:AJ Willingham (15 January 2021).
5313:Deep the Water, Shallow the Shore
4930:, Morgan and Chase (1859) p. 305.
4885:Songs of the Sailor and Lumberman
4729:Deep The Water, Shallow the Shore
4638:, Macmillan (1951; revised 1970).
4177:, Brown, Son and Ferguson (1910).
3826:, Edward C. Mielke (1833) p. 259.
3526:Songs of the Sailor and Lumberman
3488:from the original on Dec 4, 2023.
3148:Songs of the Sailor and Lumberman
3078:List of maritime music performers
2364:(Tradition Records) in 1956, and
2255:Shanties borrowed by other genres
1884:The Northern Neck Chantey Singers
1820:Miscellaneous deep-water shanties
1573:, led by Peter Kasin on the ship
1408:Were you ever down in Mobile Bay?
1077:Songs of the Sailor and Lumberman
1011:Vaughan Williams Memorial Library
789:An English author of the period,
130:that was once commonly sung as a
6106:Traditional Sea Shanties webpage
6018:"Assassin's Creed: Rogue Review"
5089:Chanteying Aboard American Ships
4963:On the Trail of Negro Folk-songs
4744:, Mystic Seaport Museum (1973).
4283:33(2) (August 1915) pp. 207â217.
4118:Luce, Admiral Stephen Bleecker,
4109:Alden, "Sailors' Songs," p. 281.
4098:Chanteying Aboard American Ships
3576:Chanteying Aboard American Ships
3541:, New Edition, T. Cadell (1784).
3500:Journal of the Folk-Song Society
3463:Journal of the Folk-Song Society
3399:, Boosey (1925); Sampson, John,
3083:List of maritime music festivals
3003:Pillars of Eternity II: Deadfire
2623:, is a popular component of the
2586:" was recorded by the punk band
2263:
1899:St. Vincent & the Grenadines
1835:Coastwise and longshore shanties
1695:Types related to heaving actions
1622:"Haul the Woodpile Down" (audio)
1523:Types related to hauling actions
279:, 1867. Narrating a voyage in a
99:
5971:"Assassin's Creed Rogue Review"
5584:, Harper & Brothers (1840).
5302:18(1) (Jan.âFeb. 2000) pp. 1â6.
4757:, Vol. 21, John Heywood (1895).
4218:, D. Appleton (1899) pp. 18â25.
4122:, Wm. A. Pond & Co. (1883).
3969:Alden, W.L., "Sailors' Songs,"
3368:, J. Curwen & Sons (1926).
3364:, J. Curwen & Sons (1921);
2960:Assassin's Creed IV: Black Flag
2944:(2021): "Sea Shanty" with host
2894:(2012): "Lowlands Away My John"
2536:, for example, Melville wrote:
1975:In languages other than English
1955:Examples of sea songs include "
6112:Shanties and Sea Songs webpage
5843:Don't Forget Your Old Shipmate
5356:Blackwood's Edinburgh Magazine
4978:, T. B. Peterson (1855) p. 65.
4831:Lloyd, A.L. and Ewan MacColl,
4253:Masefield, John, "Sea-Songs,"
3740:, D. Lothrop & Co. (1879).
3695:, W. Strange (1832) pp. 222â3.
3682:12(23) (16 April 1836) p. 180.
3578:, Barre Publishing Co. (1962).
3203:Seven Years of a Sailor's Life
2811:(1975) : "Spanish Ladies"
2086:Baltzer, R. and Klaus Prigge.
1647:a hand over hand chant (video)
827:New ships and new requirements
391:in 1915, English musicologist
277:Seven Years of a Sailor's Life
1:
6152:Shipping Wonders of the World
5166:Ships, Sea Songs and Shanties
5039:"El Tuerto," "Sea Shanties,"
4073:, F. J. Needham (1889) p. 24.
3971:Harper's New Monthly Magazine
3630:, John Murray (1847) p. 151.
3150:, Mayerbooks (1990) pp. 96â7.
3014:, did something similar with
2779:(1952): "Haul on the Bowline"
2621:Fantasia on British Sea Songs
2078:. Paris: Editions Eos (1927).
1915:"Shanties" versus "sea songs"
1855:refers to work songs used on
1411:A-screwing cotton by the day?
1336:: A reg'lar bull and tarrier,
1252:San Francisco Maritime Museum
1096:British Library Sound Archive
1035:Archive of American Folk Song
5668:Journal of American Folklore
5289:, Creative Age Press (1942).
5227:Shanties from the Seven Seas
5214:Shanties from the Seven Seas
5115:Shanties from the Seven Seas
5093:Shanties from the Seven Seas
5002:Shanties from the Seven Seas
4900:106(632) (Jan. 1903) p. 319.
4872:Shanties from the Seven Seas
4859:Shanties From the Seven Seas
4846:Shanties from the Seven Seas
4131:Davis, J. and Ferris Tozer,
4030:e.g.: Johnson, Theodore T.,
4010:Shanties from the Seven Seas
3997:Shanties from the Seven Seas
3984:The Romance of Jenny Harlowe
3958:Shanties from the Seven Seas
3888:Shanties from the Seven Seas
3875:Twenty Years Before the Mast
3513:Shanties from the Seven Seas
3420:, The Porpoise Press (1931).
3190:Shanties from the Seven Seas
3161:Shanties from the Seven Seas
2147:in San Francisco, weekly in
1878:Sample: A menhaden chantey,
1160:Shanties from the Seven Seas
1155:Shanties from the Seven Seas
1136:Shanties from the Seven Seas
1118:Shanties from the Seven Seas
1104:Shanties from the Seven Seas
566:On board a well-disciplined
542:work was accompanied by the
126:) is a genre of traditional
5771:, WEA International (1984).
5657:92(552) (Oct. 1903) p. 500.
5332:, Groombridge (1865) p. 87.
4766:"Official Chantey Singer,"
4634:Doerflinger, William Main,
4231:, Methuen & Co. (1906).
3736:e.g.: Adams, Captain R.C.,
3604:, Methuen & Co. (1927).
3524:Doerflinger, William Main,
3172:e.g.: Hotten, John Camden,
3146:Doerflinger, William Main,
2928:(2019): "Doodle Let Me Go "
2902:(2012): "Blow the Man Down"
2838:(1996): "Blow the Man Down"
2752:The Curse of the Cat People
2747:(1943): "Blow the Man Down"
2289:the claims made and adding
1515:. Rather than rhythmically
1394:Up aloft this yard must go.
499:the more primitive chants.
489:referred to "singing out".
447:Work chants and "sing-outs"
296:, Mass. in 1865, he wrote:
32:Sea shanty (disambiguation)
6241:
5640:, Roberts Brothers (1883).
5614:, Lee and Shepard, (1881).
5610:, Lee and Shepard (1869);
5379:, Houghton Mifflin (1927).
5341:Marryat, Capt. Frederick,
5242:A Century of Our Sea Story
4753:Manchester Literary Club,
4147:Smith, Laura Alexandrine,
4138:, Boosey & Co. (1887).
3704:Wergeland, Henrik Arnold,
3669:Part 1. (Jan. 1834) p. 68.
3667:The United Service Journal
3401:The Seven Seas Shanty Book
3348:11(41) (1915) pp. 135â140.
3290:31 (1 Aug. 1868) pp. 92â3.
3036:Roll the Old Chariot Along
3027:"Aim'Spirente", based on "
2530:, and Herman Melville. In
1841:Georgia Sea Island Singers
1751:Roll the Old Chariot Along
1181:Sailor Songs or 'Chanties'
1127:
1086:recorded Stanley Slade of
638:of the south-eastern U.S.;
516:(sea experience 1841â42).
36:
29:
5649:e.g.: Hains, T. Jenkins,
5636:Stevenson, Robert Louis,
5625:Redburn: His First Voyage
5582:Two Years Before the Mast
5580:Dana, Richard Henry Jr.,
5358:11(60) (Jan. 1822) p. 22.
5026:"Minstrelsy on the Sea,"
4898:Harper's Monthly Magazine
4133:Sailor Songs or 'Chanties
3910:Oberlin Student's Monthly
3813:, ed. by M.D. Hay (1953).
3615:Two Years Before the Mast
3613:Dana, Richard Henry Jr.,
3589:Two Years Before the Mast
3587:Dana, Richard Henry Jr.,
3574:Harlow, Frederick Pease,
3432:Oxford English Dictionary
3395:e.g.: Harris, S. Taylor,
3360:Terry, Richard Runciman,
3314:Sailor Songs or 'Chanties
2703:Frederick Augustus Packer
2701:from Australian composer
2550:", which was invented by
2533:Redburn: His First Voyage
2519:Two Years Before the Mast
2393:Bound for South Australia
2100:Opsang fra Seilskibstiden
1455:were often of a suitable
1397:Up aloft from down below.
634:Corn-shucking parties on
440:The Complaynt of Scotland
389:Royal Musical Association
363:, Schreffler argues that
51:
5992:"Assassin's Creed Rogue"
5816:Neuwirth, Allan (2003).
5593:Scudder, Horace Elisha,
5354:"The Man-of-War's Man,"
5239:Jeffery, Walter (1900).
5190:(8 July 1909) pp. 76â83.
4922:, p. 259; Brown, David,
4562:7(4) (1998) pp. 471â495.
3912:1(2) (Dec. 1858). p. 48.
3643:2(9) (July 1858) p. 153.
3600:e.g. Fox Smith, Cicely,
3465:8(32) (1928) pp. 96â100.
3435:, Second edition (1989).
3366:The Shanty Book, Part II
3275:10.1215/00031283-4395157
2920:(2016): "Haul Away, Joe"
2875:Pirates of the Caribbean
2862:(2002): "New York Girls"
2803:(1962): "Hanging Johnny"
2606:Pirates of the Caribbean
2371:Down to the Sea in Ships
1969:Rolling Down to Old Maui
1965:The Leaving of Liverpool
1645:Sample: A recreation of
1477:Marching Through Georgia
1426:O wake her, O shake her,
1069:William Main Doerflinger
1057:collected shanties from
837:William Main Doerflinger
5261:The Music of the Waters
5177:Masefield, "Sea-Songs."
5015:The Music of the Waters
4188:The Shanty Book, Part I
4149:The Music of the Waters
3836:Negro Singer's Own Book
3822:British Naval Officer,
3502:8(32) (1928) pp. 55â60.
3362:The Shanty Book, Part I
3321:The Music of the Waters
2625:Last Night of the Proms
2584:Frigging in the Rigging
1895:The Barrouallie Whalers
1604:"Haul Away Joe" (audio)
1353:When working this as a
1033:, founding head of the
1023:James Madison Carpenter
951:The 1914 collection by
510:James Madison Carpenter
427:History and development
5606:Kellogg, Rev. Elijah,
5509:, Living Stereo (1961)
5369:Eckstorm, Fannie Hardy
5324:e.g.: McKillop, H.F.,
5043:22(40) (23 June 1909).
5041:Coast Seamen's Journal
4257:(Jan. 1906) pp. 56â80.
4175:Sea Songs and Shanties
3691:"Steerage passenger,"
3269:92.4 (2017): 429-458.
3201:Clark, George Edward,
3012:Obsidian Entertainment
2977:Assassin's Creed Rogue
2755:(1944): "Reuben Ranzo"
2709:In film and television
2552:Robert Louis Stevenson
2543:
2203:
2197:
2187:
1961:The Stately Southerner
1924:
1797:
1734:", "Paddy Lay Back", "
1707:
1684:
1532:
1531:Sailors hauling a line
1451:genre, songs of whose
1435:
1430:O Johnny come to Hilo;
1415:
1401:
1373:
1351:
1314:: Boney was a warrior,
1282:military cadence calls
1204:
1125:
1039:San Francisco Bay Area
974:
888:
823:
800:
783:
735:
709:
682:
572:
562:
527:
522:
496:
478:
463:
393:Richard Runciman Terry
357:
303:
267:
214:, performed between a
181:southern United States
6016:Benn, Martin (2015).
5608:The Ark of Elm Island
5595:The Bodleys on Wheels
5245:. J. Murray. p.
5065:, W.F. Payson (1931).
5030:27 (Jan. 1884) p. 10.
4989:English Folk-Chanteys
4781:Pacific Marine Review
4770:(27 Jan. 1918) p. 46.
4391:English Folk-Chanteys
4375:English Folk-Chanteys
4362:English Folk-Chanteys
4045:California and Oregon
3838:(ca. 1843â45) p. 337.
3416:Bone, David William,
3329:English Folk-Chanteys
2994:Red Dead Redemption 2
2851:SpongeBob SquarePants
2763:(1946): "Sally Brown"
2678:SpongeBob SquarePants
2538:
2524:Horace Elisha Scudder
2186:A German shanty choir
2185:
2074:Hayet, Capt. Armand:
1922:
1792:
1772:"Sally Brown" (video)
1703:Sailors working at a
1702:
1679:
1631:Hand over hand shanty
1530:
1423:
1405:
1391:
1368:
1304:
1248:Mystic Seaport Museum
1200:
1112:
1031:Robert Winslow Gordon
983:English Folk-Chanteys
971:English Folk-Chanteys
965:
938:The Maid of Amsterdam
883:
814:
795:
791:William Clark Russell
767:
730:
704:
677:
564:
552:
523:
518:
491:
471:
458:
334:
298:
5655:The Atlantic Monthly
5199:"Songs of the Sea,"
4928:Letters from Alabama
4883:As in: Doerflinger,
4742:Folklore and the Sea
4727:Abrahams, Roger D.,
4653:folktrax-archive.org
4281:Everybody's Magazine
4071:Life by Land and Sea
3680:The Rural Repository
3528:, Mayerbooks (1990).
3175:The Slang Dictionary
2965:Golden Age of Piracy
2728:Mutiny on the Bounty
2670:Barrett's Privateers
2490:Golden Age of Piracy
2409:Pay Me My Money Down
1469:Paddy on the Railway
940:") was derived from
409:British folk revival
30:For other uses, see
5076:On Board the Rocket
5004:(abridged), p. 252.
4349:Songs of Sea Labour
4347:Bullen and Arnold,
4336:Songs of Sea Labour
4334:Bullen and Arnold,
4323:Songs of Sea Labour
4321:Bullen and Arnold,
4310:Songs of Sea Labour
4308:Bullen and Arnold,
4297:Songs of Sea Labour
4069:Mulford, Prentice,
3982:Russell, W. Clark,
3973:(July 1882) p. 281.
3932:On Board the Rocket
3862:The Merchant Vessel
3738:On Board the Rocket
3537:Falconer, William,
3446:Library of Congress
3325:Songs of Sea Labour
3246:The Merchant Vessel
3244:Nordhoff, Charles,
2941:Saturday Night Live
2933:Fisherman's Friends
2899:The Big Bang Theory
2736:Captains Courageous
2477:Norman Luboff Choir
2473:Robert Shaw Chorale
2439:is a notable case.
2360:recorded the album
2110:Sternvall, Sigurd.
1670:Stamp and go shanty
1258:Nature of the songs
1240:The Clancy Brothers
1219:The Almanac Singers
1188:U.S. Shipping Board
1140:in combination with
1082:English folklorist
957:Songs of Sea Labour
953:Frank Thomas Bullen
232:steam-powered ships
6154:, pp. 523â528
5969:Labella, Anthony.
5924:. 30 December 2013
5739:The New York Times
5623:Melville, Herman,
5531:We Sing of the Sea
5373:Mary Winslow Smyth
5028:The New York Times
4833:The Singing Sailor
4616:Helencreighton.org
4560:Folk Music Journal
4268:A Sailor's Garland
4242:A Sailor's Garland
4229:A Sailor's Garland
4056:Whidden, John D.,
3873:Erskine, Charles,
3787:e.g.: Giola, Ted,
3778:(May 1806): 202â3.
3749:Schreffler, Gibb,
3652:Rodger, Nicholas,
3626:Melville, Herman,
3602:A Book of Shanties
3405:A Book of Shanties
3379:Colcord, Joanna C.
3301:Chambers's Journal
3257:Schreffler, Gibb.
3021:Fallout: New Vegas
2760:Great Expectations
2508:Popular literature
2447:Performance styles
2274:possibly contains
2188:
2178:Continental Europe
1925:
1851:. The category of
1798:
1726:, a sort of giant
1708:
1533:
1481:The Golden Vanitee
1232:The Singing Sailor
1215:folk music revival
1126:
975:
934:A Sailor's Garland
876:Heyday and decline
845:American Civil War
824:
683:
579:East India Company
563:
487:Richard Henry Dana
166:American Civil War
5827:978-1-58115-269-2
5787:. Walch and Sons.
5687:. 15 January 2021
5521:, Columbia (1956)
5462:978-1-881322-13-9
5418:Thejovialcrew.com
5401:"NE ChanteySings"
5272:Tangye, Richard,
5203:2(9) (July 1858).
4811:The Musical Times
4783:15 (August 1918).
4227:Masefield, John,
3791:, Duke UP (2006).
3482:Bangor Daily News
3407:, Methuen (1927).
2980:â set during the
2963:â set during the
2910:Northwest Passage
2859:Gangs of New York
2776:Against All Flags
2689:English composer
2683:Gilligan's Island
2405:Bruce Springsteen
2385:Blow the Man Down
2319:
2318:
2311:
2276:original research
2119:Performance today
1853:menhaden chanties
1845:St. Simons Island
1744:John Brown's Body
1613:Sweating-up chant
1584:Short-drag shanty
1564:Blow the Man Down
1485:traditional songs
1473:John Brown's Body
1278:call and response
924:The English poet
914:Folk-Song Society
904:Formative writing
212:call and response
191:, and land-based
77:
76:
16:(Redirected from
6232:
6210:Australian songs
6190:Maritime history
6185:Maritime culture
6155:
6134:Bilgemunky Radio
6071:
6070:
6069:. March 2, 2018.
6067:Switchplayer.net
6059:
6053:
6052:
6032:
6026:
6025:
6013:
6007:
6006:
6004:
6002:
5987:
5981:
5980:
5966:
5960:
5959:
5957:
5955:
5940:
5934:
5933:
5931:
5929:
5912:
5906:
5905:
5903:
5901:
5884:
5878:
5877:
5861:
5855:
5854:
5838:
5832:
5831:
5813:
5807:
5806:
5796:
5788:
5778:
5772:
5768:Red Roses for Me
5763:
5757:
5756:
5754:
5753:
5727:
5721:
5720:
5718:
5717:
5702:
5696:
5695:
5693:
5692:
5677:
5671:
5664:
5658:
5651:The Wind-jammers
5647:
5641:
5634:
5628:
5621:
5615:
5604:
5598:
5591:
5585:
5578:
5572:
5571:
5569:
5568:
5553:
5547:
5540:
5534:
5533:, Elektra (1960)
5528:
5522:
5519:Songs of the Sea
5516:
5510:
5504:
5498:
5495:
5489:
5486:
5480:
5477:
5471:
5470:
5465:. Archived from
5446:
5440:
5437:
5431:
5428:
5422:
5421:
5410:
5404:
5398:
5392:
5386:
5380:
5365:
5359:
5352:
5346:
5339:
5333:
5322:
5316:
5309:
5303:
5296:
5290:
5285:Parrish, Lydia,
5283:
5277:
5270:
5264:
5257:
5251:
5250:
5236:
5230:
5223:
5217:
5210:
5204:
5201:Atlantic Monthly
5197:
5191:
5184:
5178:
5175:
5169:
5162:
5156:
5149:
5143:
5136:
5130:
5127:
5118:
5111:
5105:
5102:
5096:
5085:
5079:
5072:
5066:
5059:
5053:
5050:
5044:
5037:
5031:
5024:
5018:
5011:
5005:
4998:
4992:
4985:
4979:
4972:
4966:
4959:
4953:
4946:
4940:
4937:
4931:
4916:
4910:
4907:
4901:
4894:
4888:
4881:
4875:
4868:
4862:
4855:
4849:
4842:
4836:
4835:Topic LP (1955).
4829:
4823:
4820:
4814:
4803:
4797:
4790:
4784:
4777:
4771:
4764:
4758:
4751:
4745:
4738:
4732:
4725:
4719:
4715:
4700:
4693:
4687:
4686:
4684:
4683:
4669:
4663:
4662:
4660:
4659:
4645:
4639:
4632:
4626:
4625:
4623:
4622:
4612:"Sea Songs List"
4608:
4602:
4595:
4589:
4582:
4576:
4569:
4563:
4556:
4550:
4549:
4547:
4546:
4532:
4526:
4525:
4523:
4522:
4508:
4502:
4501:
4499:
4498:
4484:
4478:
4477:
4475:
4474:
4460:
4454:
4453:
4451:
4450:
4436:
4430:
4429:
4427:
4426:
4412:
4406:
4403:
4394:
4387:
4378:
4371:
4365:
4358:
4352:
4345:
4339:
4332:
4326:
4319:
4313:
4306:
4300:
4293:
4284:
4277:
4271:
4264:
4258:
4251:
4245:
4238:
4232:
4225:
4219:
4212:
4203:
4200:
4191:
4184:
4178:
4167:
4161:
4158:
4152:
4145:
4139:
4136:
4129:
4123:
4116:
4110:
4107:
4101:
4094:
4088:
4085:
4074:
4067:
4061:
4054:
4048:
4041:
4035:
4028:
4022:
4019:
4013:
4006:
4000:
3993:
3987:
3980:
3974:
3967:
3961:
3954:
3948:
3941:
3935:
3928:
3922:
3919:
3913:
3906:
3900:
3897:
3891:
3884:
3878:
3871:
3865:
3858:
3852:
3845:
3839:
3833:
3827:
3820:
3814:
3807:
3801:
3798:
3792:
3785:
3779:
3772:
3766:
3763:
3754:
3747:
3741:
3734:
3728:
3722:
3709:
3702:
3696:
3689:
3683:
3676:
3670:
3663:
3657:
3650:
3644:
3641:Atlantic Monthly
3637:
3631:
3624:
3618:
3611:
3605:
3598:
3592:
3585:
3579:
3572:
3555:
3548:
3542:
3535:
3529:
3522:
3516:
3509:
3503:
3496:
3490:
3489:
3479:
3472:
3466:
3455:
3449:
3442:
3436:
3427:
3421:
3414:
3408:
3397:Six Sea Shanties
3393:
3387:
3386:
3385:. Heath Cranton.
3375:
3369:
3358:
3349:
3342:
3336:
3317:
3310:
3304:
3297:
3291:
3284:
3278:
3255:
3249:
3242:
3236:
3229:
3223:
3216:
3210:
3199:
3193:
3186:
3180:
3170:
3164:
3157:
3151:
3144:
3135:
3128:
3122:
3121:
3119:
3118:
3104:
3073:Military cadence
2982:Seven Years' War
2917:The Finest Hours
2720:The Phantom Ship
2691:Michael Maybrick
2643:," performed by
2618:Sir Henry Wood's
2483:In popular media
2314:
2307:
2303:
2300:
2294:
2291:inline citations
2267:
2266:
2259:
2206:
2200:
2194:
2193:
2153:The Griswold Inn
2112:SĂ„ng under Segel
2076:Chansons de Bord
1715:
1714:
1536:Long-drag shanty
1102:Stan Hugill and
835:in shanties, as
759:William L. Alden
613:Capstan shanties
596:Henrik Wergeland
411:performers like
318:Charles Nordhoff
270:
125:
124:
121:
120:
117:
114:
111:
108:
105:
64:Derivative forms
56:
44:
21:
18:Sea song (genre)
6240:
6239:
6235:
6234:
6233:
6231:
6230:
6229:
6160:
6159:
6145:
6124:files of tunes.
6080:
6075:
6074:
6061:
6060:
6056:
6043:
6040:Wayback Machine
6033:
6029:
6015:
6014:
6010:
6000:
5998:
5989:
5988:
5984:
5976:Game Revolution
5968:
5967:
5963:
5953:
5951:
5942:
5941:
5937:
5927:
5925:
5914:
5913:
5909:
5899:
5897:
5886:
5885:
5881:
5863:
5862:
5858:
5840:
5839:
5835:
5828:
5815:
5814:
5810:
5789:
5780:
5779:
5775:
5764:
5760:
5751:
5749:
5731:Renner, Rebecca
5729:
5728:
5724:
5715:
5713:
5704:
5703:
5699:
5690:
5688:
5679:
5678:
5674:
5665:
5661:
5648:
5644:
5638:Treasure Island
5635:
5631:
5622:
5618:
5605:
5601:
5592:
5588:
5579:
5575:
5566:
5564:
5555:
5554:
5550:
5541:
5537:
5529:
5525:
5517:
5513:
5505:
5501:
5496:
5492:
5487:
5483:
5478:
5474:
5463:
5452:Rise Up Singing
5448:
5447:
5443:
5438:
5434:
5429:
5425:
5412:
5411:
5407:
5399:
5395:
5387:
5383:
5366:
5362:
5353:
5349:
5340:
5336:
5323:
5319:
5311:See: Abrahams,
5310:
5306:
5297:
5293:
5284:
5280:
5271:
5267:
5258:
5254:
5238:
5237:
5233:
5224:
5220:
5211:
5207:
5198:
5194:
5188:The Independent
5185:
5181:
5176:
5172:
5163:
5159:
5151:Boyd, Alex J.,
5150:
5146:
5137:
5133:
5128:
5121:
5112:
5108:
5103:
5099:
5086:
5082:
5073:
5069:
5061:Grant, Gordon,
5060:
5056:
5051:
5047:
5038:
5034:
5025:
5021:
5012:
5008:
4999:
4995:
4986:
4982:
4973:
4969:
4960:
4956:
4947:
4943:
4938:
4934:
4917:
4913:
4908:
4904:
4895:
4891:
4882:
4878:
4869:
4865:
4856:
4852:
4843:
4839:
4830:
4826:
4821:
4817:
4813:(1 April 1928).
4804:
4800:
4791:
4787:
4778:
4774:
4765:
4761:
4752:
4748:
4739:
4735:
4726:
4722:
4716:
4703:
4694:
4690:
4681:
4679:
4671:
4670:
4666:
4657:
4655:
4647:
4646:
4642:
4633:
4629:
4620:
4618:
4610:
4609:
4605:
4601:(16 Jan. 1927).
4596:
4592:
4583:
4579:
4575:(26 July 1931).
4570:
4566:
4557:
4553:
4544:
4542:
4534:
4533:
4529:
4520:
4518:
4510:
4509:
4505:
4496:
4494:
4486:
4485:
4481:
4472:
4470:
4462:
4461:
4457:
4448:
4446:
4438:
4437:
4433:
4424:
4422:
4414:
4413:
4409:
4404:
4397:
4388:
4381:
4372:
4368:
4359:
4355:
4346:
4342:
4333:
4329:
4320:
4316:
4307:
4303:
4294:
4287:
4278:
4274:
4265:
4261:
4252:
4248:
4239:
4235:
4226:
4222:
4213:
4206:
4201:
4194:
4185:
4181:
4168:
4164:
4159:
4155:
4146:
4142:
4134:
4130:
4126:
4117:
4113:
4108:
4104:
4095:
4091:
4086:
4077:
4068:
4064:
4055:
4051:
4042:
4038:
4029:
4025:
4020:
4016:
4007:
4003:
3994:
3990:
3981:
3977:
3968:
3964:
3955:
3951:
3942:
3938:
3929:
3925:
3920:
3916:
3907:
3903:
3898:
3894:
3885:
3881:
3872:
3868:
3859:
3855:
3846:
3842:
3834:
3830:
3821:
3817:
3808:
3804:
3799:
3795:
3786:
3782:
3773:
3769:
3764:
3757:
3748:
3744:
3735:
3731:
3726:The Mudcat Café
3723:
3712:
3703:
3699:
3690:
3686:
3677:
3673:
3664:
3660:
3651:
3647:
3638:
3634:
3625:
3621:
3612:
3608:
3599:
3595:
3586:
3582:
3573:
3558:
3549:
3545:
3536:
3532:
3523:
3519:
3510:
3506:
3497:
3493:
3474:
3473:
3469:
3456:
3452:
3443:
3439:
3428:
3424:
3415:
3411:
3394:
3390:
3377:
3376:
3372:
3359:
3352:
3343:
3339:
3315:
3311:
3307:
3298:
3294:
3285:
3281:
3267:American Speech
3256:
3252:
3243:
3239:
3230:
3226:
3217:
3213:
3207:Adams & Co.
3200:
3196:
3187:
3183:
3171:
3167:
3158:
3154:
3145:
3138:
3129:
3125:
3116:
3114:
3106:
3105:
3101:
3096:
3059:
2954:
2891:Treasure Island
2768:Treasure Island
2711:
2657:
2647:-based postman
2580:
2566:
2557:Treasure Island
2510:
2494:Napoleonic Wars
2485:
2449:
2433:
2401:
2380:Rise Up Singing
2349:
2315:
2304:
2298:
2295:
2280:
2268:
2264:
2257:
2229:
2191:
2190:
2180:
2164:
2139:
2130:
2128:Regional trends
2121:
1977:
1938:fo'c's'le songs
1917:
1882:, performed by
1817:
1808:South Australia
1763:Windlass shanty
1712:
1711:
1697:
1525:
1501:
1487:, for example "
1457:metrical length
1444:
1434:
1431:
1429:
1427:
1414:
1412:
1410:
1409:
1400:
1398:
1396:
1395:
1363:
1361:Lyrical content
1350:
1337:
1328:
1315:
1274:
1265:
1260:
1236:South Australia
1208:The Shanty Book
1196:Merchant Marine
1192:Stanton H. King
1168:
1132:
1107:
1055:Helen Creighton
1019:field recording
995:
993:Field-recording
930:Rudyard Kipling
906:
901:
878:
829:
821:Black Ball Line
809:
726:Oberlin College
721:
608:
581:ship, entitled
514:Herman Melville
505:
449:
434:
429:
387:Addressing the
381:
361:American Speech
346:
263:
258:
139:sailing vessels
102:
98:
59:
42:
39:Chanty (singer)
35:
28:
23:
22:
15:
12:
11:
5:
6238:
6236:
6228:
6227:
6222:
6220:Scottish songs
6217:
6212:
6207:
6205:Canadian songs
6202:
6200:American songs
6197:
6192:
6187:
6182:
6177:
6172:
6170:Maritime music
6162:
6161:
6158:
6157:
6148:"Sea shanties"
6143:
6137:
6131:
6125:
6115:
6109:
6103:
6097:
6087:
6079:
6078:External links
6076:
6073:
6072:
6054:
6027:
6008:
5982:
5961:
5935:
5907:
5879:
5866:Spanish Ladies
5856:
5833:
5826:
5808:
5773:
5758:
5733:(2021-01-13).
5722:
5697:
5672:
5659:
5642:
5629:
5616:
5599:
5586:
5573:
5556:Carson, Erin.
5548:
5535:
5523:
5511:
5499:
5490:
5481:
5472:
5469:on 2006-07-21.
5461:
5441:
5432:
5423:
5405:
5393:
5381:
5360:
5347:
5334:
5317:
5304:
5291:
5278:
5265:
5252:
5231:
5218:
5205:
5192:
5179:
5170:
5157:
5144:
5131:
5119:
5106:
5097:
5080:
5067:
5054:
5045:
5032:
5019:
5006:
4993:
4980:
4967:
4954:
4941:
4932:
4920:Service Afloat
4911:
4902:
4889:
4876:
4863:
4850:
4837:
4824:
4815:
4809:(March 1927);
4798:
4796:(7 Nov. 1926).
4794:New York Times
4785:
4772:
4768:New York Times
4759:
4746:
4740:Beck, Horace,
4733:
4720:
4701:
4695:Hugill, Stan,
4688:
4664:
4640:
4627:
4603:
4599:New York Times
4590:
4577:
4573:New York Times
4564:
4551:
4527:
4503:
4479:
4455:
4431:
4407:
4395:
4379:
4366:
4360:Sharp, Cecil,
4353:
4340:
4327:
4314:
4301:
4285:
4272:
4259:
4246:
4233:
4220:
4204:
4192:
4179:
4162:
4153:
4140:
4124:
4111:
4102:
4096:e.g.: Harlow,
4089:
4075:
4062:
4049:
4036:
4023:
4014:
4008:e.g.: Hugill,
4001:
3988:
3975:
3962:
3949:
3936:
3930:As in: Adams,
3923:
3914:
3901:
3892:
3879:
3866:
3853:
3840:
3828:
3824:Service Afloat
3815:
3802:
3793:
3780:
3767:
3755:
3742:
3729:
3710:
3697:
3684:
3671:
3658:
3645:
3632:
3619:
3606:
3593:
3580:
3556:
3543:
3530:
3517:
3504:
3491:
3467:
3459:New York Times
3450:
3437:
3422:
3409:
3388:
3370:
3350:
3337:
3305:
3292:
3279:
3250:
3237:
3224:
3211:
3209:(1867) p. 165.
3194:
3181:
3165:
3152:
3136:
3130:Hugill, Stan,
3123:
3112:Etymonline.com
3098:
3097:
3095:
3092:
3091:
3090:
3085:
3080:
3075:
3070:
3065:
3058:
3055:
3054:
3053:
3052:
3051:
3048:
3045:
3042:
3039:
3032:
2998:
2989:
2972:
2953:
2952:In video games
2950:
2949:
2948:
2946:Regé-Jean Page
2937:
2929:
2925:The Lighthouse
2921:
2913:
2903:
2895:
2887:
2879:
2871:
2863:
2855:
2847:
2839:
2835:Down Periscope
2831:
2823:
2812:
2804:
2796:
2792:The Buccaneers
2788:
2780:
2772:
2764:
2756:
2748:
2744:The Ghost Ship
2740:
2732:
2724:
2710:
2707:
2656:
2653:
2579:
2576:
2565:
2562:
2554:for his novel
2528:Elijah Kellogg
2509:
2506:
2484:
2481:
2448:
2445:
2441:Malcolm Arnold
2437:Percy Grainger
2432:
2429:
2400:
2397:
2348:
2345:
2333:, and Western
2317:
2316:
2271:
2269:
2262:
2256:
2253:
2249:Spanish Ladies
2228:
2225:
2179:
2176:
2163:
2162:United Kingdom
2160:
2138:
2135:
2129:
2126:
2120:
2117:
2116:
2115:
2108:
2106:
2103:
2098:Brochmann, H.
2096:
2094:
2091:
2084:
2082:
2079:
2072:
2070:
2032:chant de marin
1995:
1994:
1991:
1988:
1985:
1976:
1973:
1957:Spanish Ladies
1916:
1913:
1905:
1904:
1903:
1902:
1887:
1836:
1833:
1821:
1816:
1813:
1812:
1811:
1787:
1786:
1782:
1781:
1780:
1779:
1764:
1760:
1759:
1758:
1757:
1716:
1713:Capstan shanty
1696:
1693:
1692:
1691:
1688:Drunken Sailor
1671:
1668:
1657:
1653:
1652:
1651:
1650:
1632:
1628:
1627:
1626:
1625:
1614:
1610:
1609:
1608:
1607:
1585:
1581:
1580:
1579:
1578:
1537:
1524:
1521:
1500:
1497:
1449:minstrel music
1443:
1440:
1432:Poor old man.
1424:
1406:
1392:
1362:
1359:
1305:
1273:
1270:
1264:
1261:
1259:
1256:
1167:
1164:
1151:Roger Abrahams
1128:Main article:
1106:
1100:
1003:Percy Grainger
994:
991:
942:Thomas Heywood
926:John Masefield
905:
902:
900:
897:
877:
874:
843:and up to the
828:
825:
808:
805:
720:
717:
711:Shanty-writer
669:
668:
665:American South
646:
639:
632:
607:
604:
504:
501:
474:UN, deux, troi
448:
445:
433:
430:
428:
425:
398:Joanna Colcord
380:
377:
262:
259:
257:
254:
245:audio-recorded
230:The switch to
185:minstrel music
75:
74:
65:
61:
60:
57:
49:
48:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
6237:
6226:
6223:
6221:
6218:
6216:
6215:British songs
6213:
6211:
6208:
6206:
6203:
6201:
6198:
6196:
6193:
6191:
6188:
6186:
6183:
6181:
6178:
6176:
6173:
6171:
6168:
6167:
6165:
6153:
6149:
6144:
6141:
6140:Bordel de Mer
6138:
6135:
6132:
6129:
6126:
6123:
6119:
6116:
6113:
6110:
6107:
6104:
6101:
6098:
6095:
6091:
6088:
6085:
6082:
6081:
6077:
6068:
6064:
6058:
6055:
6050:
6046:
6041:
6037:
6031:
6028:
6023:
6019:
6012:
6009:
5997:
5993:
5986:
5983:
5978:
5977:
5972:
5965:
5962:
5950:
5946:
5939:
5936:
5923:
5922:
5917:
5911:
5908:
5896:
5895:
5890:
5883:
5880:
5876:
5872:
5868:
5867:
5860:
5857:
5853:
5849:
5845:
5844:
5837:
5834:
5829:
5823:
5819:
5812:
5809:
5804:
5800:
5794:
5786:
5785:
5777:
5774:
5770:
5769:
5762:
5759:
5748:
5744:
5740:
5736:
5732:
5726:
5723:
5712:
5708:
5701:
5698:
5686:
5682:
5676:
5673:
5669:
5663:
5660:
5656:
5652:
5646:
5643:
5639:
5633:
5630:
5626:
5620:
5617:
5613:
5609:
5603:
5600:
5596:
5590:
5587:
5583:
5577:
5574:
5563:
5559:
5552:
5549:
5545:
5539:
5536:
5532:
5527:
5524:
5520:
5515:
5512:
5508:
5503:
5500:
5494:
5491:
5485:
5482:
5476:
5473:
5468:
5464:
5458:
5454:
5453:
5445:
5442:
5436:
5433:
5427:
5424:
5419:
5415:
5409:
5406:
5402:
5397:
5394:
5390:
5385:
5382:
5378:
5374:
5370:
5364:
5361:
5357:
5351:
5348:
5344:
5338:
5335:
5331:
5327:
5321:
5318:
5314:
5308:
5305:
5301:
5295:
5292:
5288:
5282:
5279:
5275:
5269:
5266:
5262:
5256:
5253:
5248:
5244:
5243:
5235:
5232:
5228:
5222:
5219:
5215:
5209:
5206:
5202:
5196:
5193:
5189:
5183:
5180:
5174:
5171:
5167:
5161:
5158:
5154:
5153:The Shellback
5148:
5145:
5141:
5135:
5132:
5126:
5124:
5120:
5116:
5110:
5107:
5101:
5098:
5094:
5090:
5084:
5081:
5077:
5071:
5068:
5064:
5058:
5055:
5049:
5046:
5042:
5036:
5033:
5029:
5023:
5020:
5016:
5010:
5007:
5003:
4997:
4994:
4990:
4984:
4981:
4977:
4971:
4968:
4964:
4958:
4955:
4951:
4945:
4942:
4936:
4933:
4929:
4925:
4921:
4915:
4912:
4906:
4903:
4899:
4893:
4890:
4886:
4880:
4877:
4873:
4867:
4864:
4860:
4854:
4851:
4847:
4841:
4838:
4834:
4828:
4825:
4819:
4816:
4812:
4808:
4802:
4799:
4795:
4789:
4786:
4782:
4776:
4773:
4769:
4763:
4760:
4756:
4750:
4747:
4743:
4737:
4734:
4730:
4724:
4721:
4714:
4712:
4710:
4708:
4706:
4702:
4698:
4692:
4689:
4678:
4674:
4668:
4665:
4654:
4650:
4644:
4641:
4637:
4631:
4628:
4617:
4613:
4607:
4604:
4600:
4594:
4591:
4587:
4581:
4578:
4574:
4568:
4565:
4561:
4555:
4552:
4541:
4537:
4531:
4528:
4517:
4513:
4507:
4504:
4493:
4489:
4483:
4480:
4469:
4465:
4459:
4456:
4445:
4441:
4435:
4432:
4421:
4417:
4411:
4408:
4402:
4400:
4396:
4392:
4386:
4384:
4380:
4376:
4370:
4367:
4363:
4357:
4354:
4350:
4344:
4341:
4337:
4331:
4328:
4324:
4318:
4315:
4311:
4305:
4302:
4298:
4292:
4290:
4286:
4282:
4276:
4273:
4269:
4263:
4260:
4256:
4250:
4247:
4243:
4237:
4234:
4230:
4224:
4221:
4217:
4211:
4209:
4205:
4199:
4197:
4193:
4189:
4186:e.g.: Terry,
4183:
4180:
4176:
4172:
4166:
4163:
4157:
4154:
4150:
4144:
4141:
4137:
4128:
4125:
4121:
4115:
4112:
4106:
4103:
4099:
4093:
4090:
4084:
4082:
4080:
4076:
4072:
4066:
4063:
4059:
4053:
4050:
4046:
4040:
4037:
4033:
4027:
4024:
4018:
4015:
4011:
4005:
4002:
3998:
3992:
3989:
3985:
3979:
3976:
3972:
3966:
3963:
3959:
3953:
3950:
3946:
3940:
3937:
3933:
3927:
3924:
3918:
3915:
3911:
3905:
3902:
3896:
3893:
3889:
3883:
3880:
3876:
3870:
3867:
3863:
3857:
3854:
3850:
3844:
3841:
3837:
3832:
3829:
3825:
3819:
3816:
3812:
3809:Hay, Robert,
3806:
3803:
3797:
3794:
3790:
3784:
3781:
3777:
3771:
3768:
3762:
3760:
3756:
3752:
3746:
3743:
3739:
3733:
3730:
3727:
3721:
3719:
3717:
3715:
3711:
3707:
3701:
3698:
3694:
3688:
3685:
3681:
3675:
3672:
3668:
3662:
3659:
3655:
3649:
3646:
3642:
3636:
3633:
3629:
3623:
3620:
3616:
3610:
3607:
3603:
3597:
3594:
3590:
3584:
3581:
3577:
3571:
3569:
3567:
3565:
3563:
3561:
3557:
3553:
3547:
3544:
3540:
3534:
3531:
3527:
3521:
3518:
3514:
3508:
3505:
3501:
3495:
3492:
3487:
3483:
3478:
3471:
3468:
3464:
3460:
3454:
3451:
3447:
3441:
3438:
3434:
3433:
3426:
3423:
3419:
3413:
3410:
3406:
3402:
3398:
3392:
3389:
3384:
3380:
3374:
3371:
3367:
3363:
3357:
3355:
3351:
3347:
3341:
3338:
3334:
3330:
3326:
3322:
3318:
3309:
3306:
3302:
3296:
3293:
3289:
3283:
3280:
3276:
3272:
3268:
3264:
3262:
3254:
3251:
3247:
3241:
3238:
3234:
3228:
3225:
3221:
3215:
3212:
3208:
3204:
3198:
3195:
3191:
3185:
3182:
3178:
3176:
3169:
3166:
3162:
3156:
3153:
3149:
3143:
3141:
3137:
3133:
3127:
3124:
3113:
3109:
3103:
3100:
3093:
3089:
3086:
3084:
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3061:
3060:
3056:
3049:
3046:
3043:
3040:
3037:
3033:
3030:
3026:
3025:
3023:
3022:
3017:
3013:
3009:
3005:
3004:
2999:
2996:
2995:
2990:
2987:
2983:
2979:
2978:
2973:
2970:
2969:Edward Kenway
2966:
2962:
2961:
2956:
2955:
2951:
2947:
2943:
2942:
2938:
2935:
2934:
2930:
2927:
2926:
2922:
2919:
2918:
2914:
2911:
2907:
2906:The Polar Sea
2904:
2901:
2900:
2896:
2893:
2892:
2888:
2885:
2884:
2880:
2877:
2876:
2872:
2869:
2868:
2864:
2861:
2860:
2856:
2853:
2852:
2848:
2845:
2844:
2840:
2837:
2836:
2832:
2829:
2828:
2827:Lonesome Dove
2824:
2822:
2818:
2817:
2813:
2810:
2809:
2805:
2802:
2801:
2797:
2794:
2793:
2789:
2786:
2785:
2781:
2778:
2777:
2773:
2770:
2769:
2765:
2762:
2761:
2757:
2754:
2753:
2749:
2746:
2745:
2741:
2738:
2737:
2733:
2730:
2729:
2725:
2722:
2721:
2717:
2716:
2715:
2708:
2706:
2704:
2700:
2696:
2692:
2687:
2684:
2679:
2675:
2674:Steve Goodman
2671:
2667:
2662:
2654:
2652:
2650:
2646:
2642:
2638:
2634:
2630:
2626:
2622:
2619:
2615:
2613:
2608:
2607:
2602:
2597:
2593:
2592:The Dubliners
2589:
2585:
2577:
2575:
2572:
2564:Popular music
2563:
2561:
2559:
2558:
2553:
2549:
2542:
2537:
2535:
2534:
2529:
2525:
2521:
2520:
2515:
2507:
2505:
2503:
2499:
2495:
2491:
2482:
2480:
2478:
2474:
2469:
2465:
2461:
2458:
2452:
2446:
2444:
2442:
2438:
2430:
2428:
2426:
2425:The Dubliners
2422:
2418:
2414:
2410:
2406:
2398:
2396:
2394:
2390:
2386:
2382:
2381:
2377:
2373:
2372:
2367:
2363:
2359:
2354:
2346:
2344:
2341:
2336:
2332:
2328:
2324:
2313:
2310:
2302:
2292:
2288:
2284:
2278:
2277:
2272:This section
2270:
2261:
2260:
2254:
2252:
2250:
2246:
2242:
2238:
2234:
2226:
2224:
2222:
2218:
2214:
2210:
2205:
2199:
2184:
2177:
2175:
2173:
2169:
2161:
2159:
2156:
2154:
2150:
2146:
2145:
2137:North America
2136:
2134:
2127:
2125:
2118:
2113:
2109:
2107:
2104:
2101:
2097:
2095:
2092:
2089:
2085:
2083:
2080:
2077:
2073:
2071:
2068:
2067:
2066:
2062:
2060:
2056:
2052:
2048:
2047:
2042:
2038:
2034:
2033:
2028:
2024:
2020:
2016:
2012:
2008:
2004:
2000:
1992:
1989:
1986:
1983:
1982:
1981:
1974:
1972:
1970:
1966:
1962:
1958:
1953:
1951:
1947:
1943:
1939:
1935:
1930:
1921:
1914:
1912:
1910:
1900:
1896:
1892:
1888:
1885:
1881:
1877:
1876:
1874:
1870:
1866:
1862:
1858:
1854:
1850:
1846:
1842:
1837:
1834:
1831:
1826:
1822:
1819:
1818:
1814:
1809:
1805:
1800:
1799:
1796:
1793:Operation of
1791:
1784:
1783:
1777:
1773:
1769:
1768:
1765:
1762:
1761:
1755:
1752:
1748:
1747:
1745:
1741:
1737:
1733:
1729:
1725:
1721:
1717:
1710:
1709:
1706:
1701:
1694:
1689:
1683:
1677:
1672:
1669:
1666:
1662:
1658:
1655:
1654:
1648:
1644:
1643:
1641:
1637:
1633:
1630:
1629:
1623:
1619:
1618:
1615:
1612:
1611:
1605:
1601:
1600:
1598:
1594:
1590:
1586:
1583:
1582:
1576:
1575:Joseph Conrad
1572:
1568:
1567:
1565:
1561:
1557:
1553:
1550:
1546:
1542:
1538:
1535:
1534:
1529:
1522:
1520:
1518:
1514:
1510:
1506:
1498:
1496:
1494:
1493:The Derby Ram
1490:
1486:
1482:
1478:
1474:
1470:
1466:
1462:
1458:
1454:
1450:
1441:
1439:
1433:
1422:
1418:
1413:
1404:
1399:
1390:
1388:
1383:
1381:
1377:
1376:Improvisation
1372:
1367:
1360:
1358:
1356:
1349:
1348:
1344:
1342:
1335:
1333:
1326:
1322:
1320:
1313:
1311:
1303:
1301:
1296:
1294:
1290:
1285:
1283:
1279:
1271:
1269:
1262:
1257:
1255:
1253:
1249:
1243:
1241:
1237:
1233:
1228:
1224:
1220:
1216:
1211:
1209:
1203:
1199:
1197:
1193:
1190:in 1918 when
1189:
1184:
1182:
1177:
1172:
1165:
1163:
1161:
1156:
1152:
1148:
1143:
1141:
1137:
1131:
1123:
1119:
1115:
1111:
1105:
1101:
1099:
1097:
1093:
1089:
1085:
1084:Peter Kennedy
1080:
1078:
1074:
1070:
1066:
1065:
1060:
1056:
1051:
1049:
1045:
1040:
1036:
1032:
1028:
1024:
1020:
1014:
1012:
1008:
1007:wax cylinders
1004:
1000:
992:
990:
986:
984:
980:
972:
968:
964:
960:
958:
954:
949:
947:
943:
939:
935:
931:
927:
922:
918:
915:
911:
903:
898:
896:
894:
887:
882:
875:
873:
871:
867:
863:
859:
858:clipper ships
853:
850:
846:
842:
838:
834:
826:
822:
818:
813:
806:
804:
799:
794:
792:
787:
782:
780:
776:
772:
766:
764:
760:
756:
752:
747:
745:
744:minstrel song
741:
734:
729:
727:
718:
716:
714:
708:
703:
699:
696:
692:
688:
681:
676:
672:
666:
662:
658:
654:
650:
647:
644:
640:
637:
633:
630:
627:
626:
625:
622:
616:
614:
605:
603:
601:
597:
593:
588:
584:
580:
575:
571:
569:
560:
556:
551:
547:
545:
541:
537:
531:
526:
521:
517:
515:
511:
502:
500:
495:
490:
488:
484:
477:
475:
470:
468:
462:
457:
455:
446:
444:
442:
441:
431:
426:
424:
420:
418:
414:
410:
406:
401:
399:
394:
390:
385:
378:
376:
374:
370:
366:
362:
356:
354:
350:
344:
339:
333:
331:
327:
323:
319:
315:
310:
308:
302:
297:
295:
290:
289:New York City
286:
282:
278:
272:
271:, "to sing."
269:
260:
255:
253:
251:
246:
242:
238:
233:
228:
225:
224:accompaniment
221:
217:
213:
209:
208:improvisation
204:
202:
198:
194:
190:
186:
182:
177:
175:
174:clipper ships
171:
167:
163:
159:
155:
150:
148:
144:
140:
137:
133:
129:
123:
96:
92:
88:
84:
79:
73:
69:
66:
62:
55:
50:
45:
40:
33:
19:
6180:Sea shanties
6151:
6066:
6057:
6047:– via
6036:Ghostarchive
6034:Archived at
6030:
6021:
6011:
5999:. Retrieved
5996:Gaming Nexus
5995:
5985:
5974:
5964:
5952:. Retrieved
5948:
5938:
5926:. Retrieved
5919:
5910:
5898:. Retrieved
5892:
5882:
5864:
5859:
5841:
5836:
5811:
5783:
5776:
5766:
5761:
5750:. Retrieved
5738:
5725:
5714:. Retrieved
5710:
5700:
5689:. Retrieved
5684:
5675:
5667:
5662:
5654:
5650:
5645:
5637:
5632:
5624:
5619:
5611:
5607:
5602:
5594:
5589:
5581:
5576:
5565:. Retrieved
5561:
5551:
5538:
5530:
5526:
5518:
5514:
5507:Sea Shanties
5506:
5502:
5493:
5484:
5475:
5467:the original
5451:
5444:
5435:
5426:
5417:
5408:
5396:
5384:
5376:
5363:
5355:
5350:
5342:
5337:
5329:
5325:
5320:
5312:
5307:
5300:Marine Notes
5299:
5294:
5286:
5281:
5273:
5268:
5260:
5255:
5241:
5234:
5226:
5221:
5216:, pp. 134â5.
5213:
5208:
5200:
5195:
5187:
5182:
5173:
5165:
5160:
5152:
5147:
5139:
5138:e.g.: Luce,
5134:
5114:
5109:
5100:
5095:, pp. 575â9.
5092:
5088:
5083:
5075:
5070:
5062:
5057:
5048:
5040:
5035:
5027:
5022:
5014:
5009:
5001:
4996:
4988:
4983:
4975:
4970:
4962:
4957:
4949:
4944:
4935:
4927:
4923:
4919:
4914:
4905:
4897:
4892:
4884:
4879:
4874:, pp. 30â31.
4871:
4866:
4858:
4853:
4845:
4840:
4832:
4827:
4818:
4810:
4806:
4801:
4793:
4788:
4780:
4775:
4767:
4762:
4754:
4749:
4741:
4736:
4728:
4723:
4696:
4691:
4680:. Retrieved
4677:sounds.bl.uk
4676:
4667:
4656:. Retrieved
4652:
4643:
4635:
4630:
4619:. Retrieved
4615:
4606:
4598:
4593:
4585:
4580:
4572:
4567:
4559:
4554:
4543:. Retrieved
4540:sounds.bl.uk
4539:
4530:
4519:. Retrieved
4516:sounds.bl.uk
4515:
4506:
4495:. Retrieved
4492:sounds.bl.uk
4491:
4482:
4471:. Retrieved
4468:sounds.bl.uk
4467:
4458:
4447:. Retrieved
4444:sounds.bl.uk
4443:
4434:
4423:. Retrieved
4420:sounds.bl.uk
4419:
4410:
4390:
4374:
4369:
4361:
4356:
4348:
4343:
4335:
4330:
4322:
4317:
4309:
4304:
4296:
4280:
4275:
4267:
4262:
4254:
4249:
4241:
4236:
4228:
4223:
4215:
4187:
4182:
4174:
4171:Whall, W. B.
4165:
4156:
4148:
4143:
4132:
4127:
4119:
4114:
4105:
4097:
4092:
4070:
4065:
4057:
4052:
4044:
4039:
4031:
4026:
4017:
4009:
4004:
3999:, pp. 19â20.
3996:
3991:
3983:
3978:
3970:
3965:
3957:
3952:
3939:
3931:
3926:
3917:
3909:
3904:
3895:
3887:
3882:
3874:
3869:
3861:
3856:
3848:
3843:
3835:
3831:
3823:
3818:
3810:
3805:
3796:
3788:
3783:
3775:
3770:
3745:
3737:
3732:
3705:
3700:
3692:
3687:
3679:
3674:
3666:
3661:
3653:
3648:
3640:
3635:
3627:
3622:
3614:
3609:
3601:
3596:
3588:
3583:
3575:
3551:
3546:
3538:
3533:
3525:
3520:
3512:
3507:
3499:
3494:
3481:
3470:
3462:
3458:
3453:
3440:
3430:
3425:
3418:Capstan Bars
3417:
3412:
3404:
3400:
3396:
3391:
3382:
3373:
3365:
3361:
3345:
3340:
3332:
3328:
3324:
3320:
3313:
3308:
3300:
3295:
3287:
3282:
3266:
3260:
3253:
3245:
3240:
3235:, p. 41, 44.
3232:
3227:
3219:
3214:
3202:
3197:
3189:
3184:
3173:
3168:
3163:, pp. 22â23.
3160:
3155:
3147:
3131:
3126:
3115:. Retrieved
3111:
3102:
3063:Sailing ship
3019:
3016:cowboy songs
3001:
2992:
2985:
2975:
2958:
2939:
2931:
2923:
2915:
2905:
2897:
2889:
2881:
2873:
2865:
2857:
2849:
2841:
2833:
2825:
2820:
2814:
2806:
2798:
2790:
2782:
2774:
2766:
2758:
2750:
2742:
2734:
2726:
2718:
2712:
2694:
2688:
2660:
2659:The musical
2658:
2649:Nathan Evans
2610:
2604:
2581:
2567:
2555:
2544:
2539:
2531:
2517:
2511:
2486:
2470:
2466:
2462:
2456:
2453:
2450:
2434:
2402:
2378:
2369:
2361:
2358:Paul Clayton
2353:folk revival
2350:
2320:
2305:
2299:October 2014
2296:
2273:
2230:
2192:Shanty choir
2189:
2167:
2165:
2157:
2143:
2140:
2131:
2122:
2111:
2099:
2087:
2075:
2063:
2058:
2055:Seemannslied
2054:
2050:
2045:
2041:sjĂžmannsvise
2040:
2036:
2031:
1996:
1978:
1954:
1941:
1937:
1926:
1906:
1886:of Virginia.
1864:
1852:
1804:Downton pump
1795:Downton pump
1775:
1718:Raising the
1680:
1574:
1559:
1555:
1516:
1512:
1508:
1504:
1502:
1445:
1436:
1425:
1419:
1416:
1407:
1402:
1393:
1384:
1374:
1369:
1364:
1354:
1352:
1346:
1340:
1338:
1331:
1329:
1324:
1318:
1316:
1309:
1307:
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1297:
1292:
1288:
1286:
1275:
1266:
1244:
1231:
1212:
1207:
1205:
1201:
1185:
1180:
1173:
1169:
1159:
1154:
1146:
1144:
1139:
1135:
1133:
1117:
1116:, author of
1103:
1081:
1076:
1062:
1052:
1015:
999:folk revival
996:
987:
982:
976:
970:
956:
950:
945:
933:
923:
919:
907:
899:20th century
889:
884:
879:
854:
849:Packet ships
832:
830:
815:An American
807:19th century
801:
796:
788:
784:
768:
762:
755:non sequitur
754:
751:poetic meter
748:
739:
736:
731:
722:
710:
707:much easier.
705:
700:
684:
670:
641:The work of
617:
609:
599:
591:
582:
576:
573:
565:
558:
544:bosun's pipe
532:
528:
524:
519:
506:
497:
492:
482:
479:
473:
472:
466:
464:
459:
450:
438:
435:
421:
417:Ewan MacColl
402:
386:
382:
372:
368:
364:
360:
358:
348:
342:
337:
336:Singing, or
335:
329:
313:
311:
304:
299:
294:Provincetown
281:clipper ship
276:
273:
264:
229:
219:
205:
199:and setting
178:
161:
157:
153:
151:
142:
94:
90:
86:
82:
80:
78:
72:viking metal
68:Pirate metal
6225:Irish songs
6094:Stan Hugill
6022:Games Sided
5140:Naval Songs
5017:, pp. 40â1.
4266:Masefield,
4240:Masefield,
4120:Naval Songs
3383:Roll and Go
3333:The Bellman
3288:Once a Week
3233:Seven Years
3220:Seven Years
2666:Stan Rogers
2601:Johnny Depp
2588:Sex Pistols
2413:The Weavers
2213:Netherlands
2037:sjömansvisa
1942:forebitters
1861:purse-seine
1825:holystoning
1815:Other types
1785:Pump shanty
1656:Bunt shanty
1345:: John Fran
1330:Shantyman (
1308:Shantyman (
1130:Stan Hugill
1114:Stan Hugill
1073:Nova Scotia
1059:Nova Scotia
979:Cecil Sharp
967:Cecil Sharp
910:Cecil Sharp
893:windjammers
862:gold rushes
841:War of 1812
817:packet ship
713:Stan Hugill
695:New Orleans
649:Stevedoring
636:plantations
629:Boat-rowing
413:A. L. Lloyd
326:jack-screws
250:landlubbers
160:, the word
156:via French
152:From Latin
141:. The term
6175:Work music
6164:Categories
6001:7 December
5954:7 December
5928:7 December
5916:"Shanties"
5900:7 December
5752:2021-01-15
5716:2021-01-15
5691:2021-01-15
5567:2021-01-13
5091:; Hugill,
4807:Gramophone
4682:2020-10-03
4658:2020-10-03
4621:2020-10-03
4545:2020-10-03
4521:2020-10-03
4497:2020-10-03
4473:2020-10-03
4449:2020-10-03
4425:2020-10-03
4351:, p. viii.
4255:Temple Bar
3860:Nordhoff,
3789:Work Songs
3550:Falconer,
3117:2022-07-16
3094:References
3088:Shosholoza
2800:Billy Budd
2699:Susie Bell
2596:The Pogues
2514:travelogue
2421:Poor Paddy
2419:recorded "
2417:The Pogues
2340:cover song
2323:folk music
2283:improve it
2204:shantykoor
2198:Shantychor
2195:s (German
2149:Gloucester
1950:concertina
1929:forecastle
1873:whaleboats
1865:in between
1740:Shenandoah
1736:Rio Grande
1549:topgallant
1465:Music hall
1355:short-drag
1227:A.L. Lloyd
1176:pianoforte
1147:collectors
1122:landlubber
1092:Shenandoah
1067:. Lastly,
1064:Rio Grande
1044:Alan Lomax
981:'s, whose
866:California
775:Old Emmett
655:, and the
653:Gulf Coast
621:Martinique
568:man-of-war
536:Royal Navy
369:chanty-man
343:chanty-man
322:Mobile Bay
314:chanty-man
307:stevedores
241:folklorist
193:folk songs
187:, popular
147:repertoire
83:sea shanty
47:Sea shanty
5793:cite book
5747:0362-4331
5685:MSNBC.com
5343:Poor Jack
4948:Whidden,
4338:, p. xii.
4325:, p. vii.
4270:, p. 302.
4244:, p. 300.
4190:, p. xii.
4043:Johnson,
3934:, p. 312.
3222:, p. 312.
3068:Work song
3029:Santianna
3008:overworld
2908:(2014): "
2883:Moby Dick
2843:Moby Dick
2784:Moby Dick
2695:Nancy Lee
2641:Wellerman
2457:a capella
2431:Classical
2376:fake book
2366:Burl Ives
2335:classical
2287:verifying
2237:Fremantle
2227:Australia
2168:a capella
2144:Balclutha
2093:Norwegian
2003:Norwegian
1869:whalermen
1732:Santianna
1636:staysails
1489:Billy Boy
1323:: Way-ay-
1289:shantyman
1048:Caribbean
870:Australia
661:jackscrew
657:Caribbean
432:Emergence
261:Etymology
220:shantyman
132:work song
128:folk song
6038:and the
5875:Q3752929
5871:Wikidata
5852:Q5291602
5848:Wikidata
5229:, p. 26.
5225:Hugill,
5212:Hugill,
5117:, p. 24.
5113:Hugill,
5000:Hugill,
4991:, p. 19.
4952:, p. 99.
4870:Hugill,
4848:, p. 36.
4844:Hugill,
4377:, p. xv.
4312:, p. vi.
4047:, p. 88.
3995:Hugill,
3960:, p. 14.
3956:Hugill,
3890:, p. 17.
3886:Hugill,
3864:, p. 43.
3511:Hugill,
3486:Archived
3381:(1924).
3192:, p. 20.
3188:Hugill,
3057:See also
2986:Morrigan
2645:Scotland
2635:after a
2571:doggerel
2492:and the
2391:," and "
2201:, Dutch
1889:Sample:
1857:menhaden
1770:Sample:
1749:Sample:
1742:", and "
1620:Sample:
1602:Sample:
1569:Sample:
1541:halyards
1453:couplets
1300:Napoleon
1263:Function
592:The Quid
583:The Quid
559:The Quid
494:strains.
454:windlass
379:Spelling
338:chanting
136:merchant
6049:YouTube
5263:, p. 7.
5259:Smith,
5164:Whall,
5074:Adams,
5013:Smith,
4987:Sharp,
4887:, p. 6.
4393:, p. x.
4389:Sharp,
4373:Sharp,
4012:, p. 6.
3515:, p. 5.
3231:Clark,
3218:Clark,
2821:Unicorn
2668:song, "
2629:Britain
2498:pirates
2331:country
2281:Please
2245:Bunbury
2217:Germany
2172:Channel
2105:Swedish
2051:oppsang
1999:Swedish
1967:" and "
1830:yardarm
1778:, 2022.
1754:(audio)
1724:capstan
1705:capstan
1665:furling
1558:, hey,
1545:topsail
1509:heaving
1505:hauling
1491:" and "
1475:" and "
1442:Sources
1341:refrain
1319:refrain
1166:Revival
1088:Bristol
1027:Ireland
833:revival
819:of the
779:Kroomen
691:Antigua
680:capstan
643:stokers
611:time. "
587:capstan
557:, from
555:capstan
540:capstan
353:capstan
268:chanter
237:sailors
216:soloist
189:marches
158:chanter
154:cantare
91:chantey
5949:AVGame
5894:Kotaku
5873:
5850:
5824:
5745:
5459:
4718:2009).
4169:e.g.:
3429:e.g.:
3261:chanty
2633:TikTok
2502:TikTok
2475:, the
2241:Albany
2239:, and
2221:Norway
2219:, and
2209:choral
2207:) are
2081:German
2069:French
2059:szanta
2046:sjanti
2027:German
2023:Polish
2017:, and
2015:Breton
2011:French
1946:fiddle
1849:timber
1776:Gazela
1720:anchor
1593:sheets
1589:braces
1517:timing
1513:pacing
1293:per se
600:shanty
561:(1832)
483:shanty
405:scores
373:shanty
365:chanty
349:chants
330:chants
285:Bombay
197:anchor
170:packet
162:shanty
143:shanty
95:chanty
87:shanty
4135:'
3316:'
2816:Roots
2661:style
2637:viral
2233:Perth
2019:Welsh
2007:Dutch
1934:watch
1909:tempo
1893:, by
1728:winch
1597:tacks
1552:yards
1499:Types
1380:blues
1347:çois!
1339:All (
1317:All (
771:Dixie
283:from
93:, or
6122:MIDI
6003:2017
5956:2017
5930:2017
5902:2017
5822:ISBN
5803:link
5799:link
5743:ISSN
5562:CNET
5457:ISBN
5371:and
2808:Jaws
2407:'s "
2399:Rock
2387:," "
2351:The
2347:Folk
2327:rock
2025:and
1676:deck
1661:bunt
1640:jibs
1638:and
1560:Blow
1332:solo
1310:solo
1287:The
1272:Form
868:and
763:both
687:Grog
415:and
347:The
256:Word
239:and
201:sail
172:and
5921:IGN
5765:On
5711:CNN
5247:169
3271:doi
3024:):
3018:in
3000:In
2991:In
2974:In
2957:In
2627:in
2395:".
2285:by
1971:."
1948:or
1940:or
1897:of
1843:of
1746:."
1595:or
1566:."
1556:Way
1547:or
1507:or
1495:."
1284:).
969:'s
944:'s
864:in
740:Joe
287:to
6166::
6150:,
6065:.
6042::
6020:.
5994:.
5973:.
5947:.
5918:.
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5869:,
5846:,
5795:}}
5791:{{
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5122:^
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4398:^
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3480:.
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3265:.
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3139:^
3110:.
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2329:,
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2235:,
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2061:.
2013:,
2009:,
2005:,
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119:iË
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467:3
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116:t
113:n
110:ĂŠ
107:Ê
104:Ë
101:/
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