1018:, 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.
1044:(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.
1197:(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,
1269:(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.
1301:, 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.
995:. 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 "
976:
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.
1759:
1242:(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.
678:
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
840:. 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.
54:
2600:
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.
1441:, 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.
616:
1849:
550:
2242:
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674:", 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.
1979:
857:
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.
2306:, 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
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871:
2210:, 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,
683:
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.
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1293:(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 "
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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.
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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.
792:
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.
1570:. "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
1587:
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."
2003:. 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
1826:
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."
1741:
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.
1789:, 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: "
1740:
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
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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
944:
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
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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
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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
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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
1886:
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
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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,
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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
856:
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
765:
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",
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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
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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
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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,
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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
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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
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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.
844:
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
791:
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
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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
2599:
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
1825:
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
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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
1424:
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
1047:
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
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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
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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
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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
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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
2038:
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
1429:
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
782:
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
760:
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
669:
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
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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
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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
1732:
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
861:
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
2627:
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
1216:
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.
979:
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
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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,
1479:
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,
2474:, 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,
1869:", 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.
1169:
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
1100:
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,
2604:
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
2526:
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
1237:
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
1860:
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
1542:", 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
949:
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
911:
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.
2401:
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.
1496:
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
2731:", 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
2396:
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
1448:, 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,
1229:
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.
2722:
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
1075:
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
2628:
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
1995:. 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
1744:
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
2559:." 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
1505:
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
2657:
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
2514:
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
1007:(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.
4776:
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
761:
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,
2619:(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
1897:
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.
2191:
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.
1990:
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
2739:
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
2735:, "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
1212:' 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
2518:
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.
980:
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.
2653:, 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
2123:
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
3069:. 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.
2510:
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.
2641:
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 "
967:
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
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.
2282:. 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.
1261:
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.
757:"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)".
1658:. 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."
945:
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
3544:
3317:
1942:
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
1922:
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"
1578:
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.
1221:
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.
797:
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,
2486:, 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.
1032:(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.
2846:(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"
2022:", 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 "
1970:, 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.
2581:(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
1966:
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
1313:
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 ...
931:. 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
2633:
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
2670:
2214:
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
1048:
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.
1953:
1726:. "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.
2217:
Annual maritime festivals in coastal towns provide a gathering point for both amateurs and professionals, and the site for the introduction of new interpretations.
2019:
1257:
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:
2225:
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
2200:
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
915:
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
2854:(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."
1201:
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.
862:
fundamental origins, by the late 19th century shanties constituted the heritage of international seamen, with little or no necessary national associations.
3233:
828:
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,
6161:
contains sea shanties and forebitters sing in an authentic way in English, Polish, Welsh, Norwegian, German, French, Swedish and other foreign languages.
2433:
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
1926:
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
1253:
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
774:
called Mobile Bayâone of the main cotton outportsâa "shanty mart", at which sailors and laborers of different cultural backgrounds traded their songs.
730:
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.
2229:
performances. They are frequently identified with a specific port town to which they belong. Many annual maritime festivals in Britain and across the
1646:
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
919:, 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
1250:
2530:
Less commonlyâthough it was the case with their earliest commercial recordingsâshanties are performed in a "classical" choir style. Choirs like the
5857:
1476:(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.)
1354:, 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.
1289:
and Doerflinger, however it is often unclear when and whether his versions were based in field experience or his private invention. Lloyd's album
1204:
With respect to chronological position, while Hugill is affectionately known as "The Last Shantyman," he was also one of the last original shanty
5861:
2925:
2043:
Preexisting non-English-language songs from the popular or folk song traditions of a linguistic group, which were adapted to the shanty paradigm;
940:
not to have seen shanties in their prime. In 1882, due to the proliferation of steamships, Alden was already lamenting the passing of shanties.
748:
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
626:
2502:'s "Three Shanties" for woodwind quintet (1943) develops motifs from "Drunken Sailor," "Boney Was a Warrior," and "Johnny Come Down to Hilo."
6098:
4475:"What shall we do with a drunken sailor - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
1562:
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
805:"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:
3535:
991:, seized upon shanties as a nostalgic literary device, and included them along with much older, non-shanty sea songs in his 1906 collection
6189:, based mainly in Germany and the Netherlands, promotes sailor songs through festivals, publications, and sponsorship of performing groups.
5765:
2547:
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
1339:" 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
6195:
online/podcast radio show devoted to pirate-themed music including both traditional-style shanty performers and "pirate rock" performers.
4732:"Stanley Slade, Bristol (Kennedy 1950 and BBC 1943) - Peter Kennedy Collection - World and traditional music | British Library - Sounds"
6253:
6173:
has lyrics popular among and culled from North American shanty revival performers, and links to albums on which the songs may be heard.
1350:
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
4594:
4570:
4546:
4522:
4498:
4474:
4731:
1425:
shanties warned his readers that their lyrics, to landsmen, would "probably appear as the veriest doggerel." He went on to explain,
1327:
perhaps, the psychological burden of hard work. Shanties may also be said to have served a social purpose, as to build camaraderie.
3056:
the character Simon Pearson, a former sailor, will sing the sea shanty "Homeward Bound" at the campsite while playing a concertina.
2462:
Borrowings into Rock music have often resulted from the fluid borders between Folk and Rock performers and audiences. For example,
808:
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
816:-type "floating verses" of those songs were heavily borrowed. In an influential early article about shanties, New York journalist
879:
252:. Contemporary performances of these songs range from the "traditional" style of maritime music to various modern music genres.
5739:
3812:, paper presented at the Society for Ethnomusicology Southern California and Hawai'i Chapter conference (February, 2011), p. 2.
2933:
2756:
in Seafaring style, with lyrics by Frederick Weatherly concerning an archetypal sailors wife. The song evoked an 1882 response
602:, suggesting there were other formative influences that gave birth to an appreciably new and distinctly recognized phenomenon.
6003:
2945:(2011): "Lowlands Away," "Blow You Winds Southerly," "Blood Red Roses," "The Hog-Eye Man," "Leave Her Johnny," "Haul Away Joe"
2147:"Knurrhahn": Sammlung deutscher und englischer Seemannslieder und Shanties wie sie auf deutschen Segelschiffen gesungen wurden
2098:, "sailor song," as a broad category, but tends to use the borrowed "shanty" to denote a work song. Similarly, Norwegian uses
5884:
5519:
3065:, if the player's ship crew have a high morale score, sea shanties will be played while the player travels around the game's
1882:
Shanties might come into play for miscellaneous additional shipboard tasks. For example, songs used to accompany the work of
1281:
1179:. Hugill's old-time sailor image helped bolster the perceived authoritative nature of his work, in contrast to the academic,
1149:, England, thought to be 'The Last Shantyman', singing several shanties including 'Haul Away, Joe', 'Leave Her, Johnny' and '
2937:(film series): "Yo Ho, A Pirate's Life for Me," "Fifteen Men on a Dead Man's Chest," "Hoist the Colors," "Jolly Sailor Bold"
2949:
525:
The decks were all life and commotion; the sailors on the forecastle singing, "Ho, cheerly men!" as they catted the anchor;
1815:
sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.
1683:
sung by unnamed sailor in San Francisco Bay area, early 1920s. From the U.S. Library of Congress, R. W. Gordon Collection.
1416:
shanty (see below), hands on the line would synchronize their pulls with the last syllable of each response (in italics).
5509:
3018:
2046:
Preexisting, original shipboard worksongs from non-English-speaking peoples, retrofitted to the definition of "shanty";
1701:
or when simply hauling in the slack of a rope. The action is that of tugging alternately with each hand, on each beat.
1265:
An on-shore revival in shanty singing for leisure was facilitated by song collections of the 1920s, especially Terry's
6142:
5459:
1088:, and the north-eastern U.S. in the late 1920s, allowing him to make observation from an extensive set of field data.
5901:
4523:"Blow boys blow - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
3136:
2367:
1069:
656:
4547:"Whisky Johnny - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
2349:
6029:
4595:"All away Joe - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
3141:
3061:
3043:â sea shanties are available when on the player character, Assassin turned Templar Shay Patrick Cormac's ship, the
2786:
2778:
2429:
1519:
832:", 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
6121:
4003:
4571:"Rio Grande - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
4499:"Shenandoah - Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds"
2850:
2794:
2494:
Classical composers have used shanties and sea songs (or their melodies) in their works. The Australian composer
2479:
1957:
1527:
783:
early article to offer an opinion on the origin of shanties (though not calling them by that name), appearing in
711:
4617:
Walser, Robert Young, "'Here We Come Home in a Leaky Ship!': The Shanty Collection of James Madison Carpenter,"
744:
An example of a work song that was shared between several contexts, including, eventually, sailors working, is "
3390:, Simpkin, Marshall, Hamilton, Kent & Co. (1914); Robinson, Captain John, "Songs of the Chanty-Man: I-IV",
2818:
2575:
literature, most of it of scarcely notable popularity, but some of it reaching a wide audience, such as Dana's
2334:
1986:
Shanties are work songs and were originally sung only for work. However, sailors also sang for pleasure in the
1676:
not gone under any well-known name, along with the better known "Johnny Bowker" and other short-drag shanties.
694:
5616:
1335:
All shanties had a chorus of some sort, in order to allow the crew to sing all together. Many shanties had a "
1305:
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
3516:
e.g.: "Sea Chanteys Kept Alive. Sailors' Club in London is Collecting and Preserving the Old Songs of Sail",
3074:
2991:
2885:
2679:
2088:. The terms for shanties in these languages do not always precisely correlate with English usage. In French,
1310:
1254:
1154:
1093:
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
317:
5793:
2905:(1998): "New York Girls," "Cape Cod Girls" ("Bound Away to Australia"), "Donkey Riding," and "Haul Away Joe"
1906:, Georgia. They used such shanties as "Knock a Man Down" (a variation of "Blow the Man Down") to load heavy
1665:, sung by A. Wilkins, Eastern U.S., ca. 1930â32. From the U.S. Library of Congress, R. W. Gordon Collection.
1109:
and Southern U.S., makes a significant contribution to the information on extant shanty-related traditions.
5843:
Susie Bell [music] : a Man O'Wars song in answer to Nancy Lee / words and music by F.A. Packer
4756:
Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail
3191:
Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail
2975:
1217:
old-time sailor, and he was actually able to perform the songs from his collection at sea music festivals.
17:
3094:
2941:
2913:(1999): "Blow The Man Down" also borrowed into the theme, "Drunken Sailor", "Spanish Ladies" among others
2901:
2826:
2810:
2302:. A group called The Anchormen formed by Matthew Wearne and Colin Anker in 2018, perform regular gigs in
1809:
1445:
836:", caught the true spirit of the African melodiesâthe lawless, half-mournful, half-exulting songs of the
31:
4998:
This couplet is documented in many sources; here it is drawn from: Whitmarsh, "The Chantey-man," p. 321.
1361:), shows the call and response form and the interplay between the voices of the shantyman and the crew.
312:
This reference to singing stevedores as "chanty men" connects the genre to a still earlier reference to
4851:"Sea Chanteys Kept Alive. Sailors' Club in London is Collecting and Preserving the Old Songs of Sail,"
2983:
2303:
1899:
1142:
2380:
Items from the shanty and sea song repertoire have been brought into the repertoires of performers of
2270:
groups â often with many members â that perform only sailor songs. They are especially popular in the
1722:âthe tightly bunched bundle of a sail that would need to be gathered up and fastened to the yard when
1522:
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
6268:
6248:
6243:
3490:
3035:
2761:
2577:
2416:
2299:
2207:
1336:
439:
388:
211:
5602:
2664:
2027:
1865:, was turned by handles attached to large wheels. Examples: "Strike the Bell", "Fire Down Below", "
1535:
1127:
895:
6050:
5305:
1538:." A few shanties have ballad forms, such as "The Dreadnaught," "The Banks of Newfoundland," and "
6278:
6263:
6258:
6228:
6094:
6076:
5974:
3265:
2995:(2019): "Island Records released the Fisherman's Friends original soundtrack titled Keep Hauling"
2874:
2728:
2683:
2345:
1120:
seamen, such as 'Blow the Man Down', 'Whiskey Johnny', 'The Sailor's Alphabet', 'Shenandoah' and
1081:
509:
1284:. In Britain, the incorporation of shanties into the folk revival repertoire was largely led by
6273:
4670:
3809:
3520:(7 Nov. 1926); Thomas, J.E., Lucy E. Broadwood, Frank Howes, and Frank Kidson, "Sea Shanties",
3070:
2610:
2451:
2381:
2094:
or "sailor's song" is a broad category that includes both work and leisure songs. Swedish uses
2052:
Translations of English shanties into other languages, often preserving their English choruses.
1866:
1758:
1294:
1097:
723:
486:
392:
183:. Shanty repertoire borrowed from the contemporary popular music enjoyed by sailors, including
180:
5947:
2710:
and popularly mistaken to be a shanty, inspired users to seek and perform songs in the genre.
6238:
6206:
5427:
3437:
3052:
2909:
2842:
2736:
2707:
2582:
1306:
1193:
One of the most celebrated volumes on shanties produced in the 20th century is Stan Hugill's
1089:
996:
849:
787:'s student paper in 1858, drew a comparison between Africans' singing and sailor work songs.
397:
206:
The shanty genre was typified by flexible lyrical forms, which in practice provided for much
4707:
6283:
6167:
This is the place where you can meet sea shanties and forebitters sing in an authentic way.
6158:
6148:
6104:""Goodbye Fare Ye Well"- Full Song by Mr. Pearson / Accordian Song / Red Dead Redemption 2"
3023:
2741:
2548:
2467:
2023:
1802:
1531:
408:
210:
and the ability to lengthen or shorten a song to match the circumstances. Its hallmark was
5447:
2049:
Newly created non-English-language songs, designed to fit the established shanty paradigm;
906:. This was a time when there was relative peace on the seas and shipping was flourishing.
355:
tunes of sailors, but resounding over the still waters of the Bay, they had a fine effect.
8:
6233:
3557:
e.g., Broadwood, Lucy E. and A.H. Fox-Strangways, "Early Chanty-Singing and Ship-Music",
3504:
3040:
2999:
2957:
2535:
2531:
1794:
1662:
1298:
1277:
1246:
1122:
1065:
1011:
704:
or "firemen," who cast wood into the furnaces of steamboats plying great American rivers;
701:
316:
as the foreman of a work gang and the lead singer of their songs. Around the late 1840s,
5299:
2649:. Perhaps under the influence of Irish folk revival groups like The Clancy Brothers and
1733:"fall" (where the line reaches the deck from aloft) and marching away with it along the
5876:
5851:
5431:
3079:
3030:, can collect a number of sea shanties which his crew will then sing while on a voyage.
2089:
2061:
1782:
1763:
1655:
1273:
903:
738:
586:
578:
554:
539:
352:
165:
146:
5547:
e.g.: Grainger, Percy, "Sea-chantey setting nr. 3: Shallow Brown," G. Schirmer (1927).
5880:
5801:
5515:
2917:
2858:
2834:
2782:(1935): "Whiskey Johnny," "New York Girls," "Johnny Come Down to Hilo," "Sally Brown"
2676:
2572:
2463:
2443:
1903:
1622:
1621:
the man down!" Examples: "Hanging Johnny," "Whiskey Johnny," "A Long Time Ago," and "
1539:
1209:
972:
687:
145:
most accurately refers to a specific style of work song belonging to this historical
5556:
Arnold, Malcolm, "Three Shanties: for Wind Quintet," Paterson's Publications (1952).
3004:
2341:
1105:'s work starting in the 1930s, especially his field recordings of work songs in the
722:
to compress and force cotton bales into the holds of outbound ships at ports of the
634:
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
5929:
5906:
5826:
3329:
3131:
2749:
2695:
2211:
2201:
2057:
1891:, before letting it drop into the sea, all the while singing this customary shanty.
1888:
1647:
1340:
817:
595:
100:
4708:"FTX-207-CAN'T YOU DANCE THE POLKA? - STANLEY SLADE - Bristol Shellback Shantyman"
3503:
This is attested by its use by institutions such as maritime museums and the U.S.
2538:, and The Seafarers Chorus have released entire albums of shanties and sea songs.
812:
of the couplets of many minstrel songs is identical to those in shanties, and the
6145:
contains song lyrics harvested from some of the well-known published collections.
6034:
2642:
2615:
2552:
2438:
2393:
2230:
2085:
2081:
2073:
2069:
1651:
1607:
1113:
1077:
988:
784:
638:
594:. For example, the composition of capstan-style "sailor songs" by Norwegian poet
543:
513:
244:
135:
38:
6151:
contains sample performances of the over 400 shanties and sea songs included in
1180:
824:
authentic African-American songs and the quasi-African-American minstrel songs:
249:
5924:
5789:
3784:
2893:
2802:
2687:
2586:
2499:
2495:
2447:
2307:
2077:
2065:
2015:
1746:
1723:
1610:
1061:
1000:
984:
852:, expressed his belief in several works that shanties were American in origin.
809:
546:, or else by fife and drum or fiddle. A writer from the 1830s made this clear:
6103:
5893:
3783:"The Advent and Development of Chanties," discussion dated 20 March 2010 ff.,
1949:
1938:
1830:
1705:
1629:
6222:
6176:
5805:
5525:
3333:
3027:
2968:
2773:
sample list of notable films to have included traditional shanty repertoire.
2732:
2650:
2483:
2389:
1798:
1551:
1507:
1434:
1150:
1057:
916:
837:
802:
481:
generically called "sing-outs"; yet even before the known advent of the term
288:
223:
207:
188:
184:
5472:
5357:
Anderson, Harold, "Menhaden Chanteys: An African American Maritime Legacy,"
2636:
1749:", which is thought to be one of the few shanties allowed in the Royal Navy.
1462:
Or, the shantyman may use formulas, like "Were you ever in ?", for example,
1068:
in the early 1900s, and the recordings are available online courtesy of the
37:"Chanty" redirects here. For the Filipino-Argentine singer and actress, see
6201:
French Internet radio show devoted to sailor songs from all over the world.
3382:, Kegan, Paul, Trench & Co. (1888); Bullen, Frank. T. and W.F. Arnold,
3121:
2411:
1992:
1862:
1853:
1812:
1680:
1515:
1280:
were recruited by Alan Lomax to record several shanties for the 1941 album
1233:
A few of the editors of early shanty collections provided arrangements for
829:
416:
320:
observed work gangs engaged in a type of labor called "cotton-screwing" in
293:
280:
215:
173:
138:
71:
67:
4916:
Frank, Stuart M., "Stan Hugill 1906â1992: A Remembrance," in Stan Hugill,
3906:"An Old Salt," "Quarter-deck yarns; or, Memorandums from My Log Book," in
1437:
and stock verses were the tools of the trade of shantymen. Similar to the
6152:
5839:
4229:
3166:
2866:
2724:
2659:
2646:
2606:
2471:
2271:
1919:
1734:
1719:
1708:, from notation by Doerflinger (1951) of Capt. James P. Barker's singing.
1530:." Popular marches were borrowed especially for capstan work, including "
1188:
1172:
1131:
1117:
1037:
1025:
968:
920:
907:
899:
875:
771:
753:
605:
412:
404:
169:
6004:"Assassin's Creed Rogue both chastises and champions the series' quirks"
5933:
5910:
5712:, J.B. Lippincott (1899) p. 145; Rideout, Henry Milner, "Wild Justice,"
4645:"Folk-songs of America": The Robert Winslow Gordon Collection, 1922â1932
2745:
meter (displayed by some well known shanties like "Blow the Man Down").
2241:
1978:
53:
5841:
3810:"Ethnic Choices in the Presentation of Chanties: A Study in Repertoire"
3146:
2757:
2654:
2475:
2398:
2385:
2008:
1987:
1931:
1543:
1523:
1285:
1234:
1130:
carefully recorded and collected shanties from singers in New York and
1102:
951:
924:
833:
679:
585:(1832). Crew and passengers alike were noted to join in at heaving the
567:
535:
325:
321:
240:
192:
127:
5436:
Minstrelsy of Maine: Folk-songs and Ballads of the Woods and the Coast
4864:
Lloyd, Llewelyn, "Folk-songs of the Sea: Shanties on the Gramophone,"
1357:
The following example, a verse of the shanty "Boney" (in reference to
870:
309:
unloading cargo from the vessels as "chanty men" and a "chanty gang".
3126:
3087:
3066:
2752:(alias Stephen Adams) sold a hundred thousand copies of an 1876 song
2699:
2434:
2424:
2295:
2103:
1883:
1790:
1694:
1547:
1245:
Independent of this literature, a revival of sorts was staged by the
1106:
1096:
at the Library of Congress, recorded sailors singing shanties in the
1056:
Shanty collection was seen as a facet of the early twentieth century
928:
719:
715:
707:
502:
306:
231:
131:
5877:"Makin' Toons: Inside the Most Popular Animated TV Shows and Movies"
5725:
Carr, James Revell, "New Sea Chantey Compilations On Compact Disc,"
2571:
Much of the available historical information on shanties comes from
2555:, anachronistic associations have been formed between shanties and "
2352:. Statements consisting only of original research should be removed.
1973:
6192:
6164:
2703:
2629:
1915:
1599:
1511:
1358:
1168:
1084:, made hundreds of recordings of shanties from singers in Britain,
453:
954:
were, yet these were comparatively few in the early 20th century.
6107:
4273:
Kipling, Rudyard, "The First Chantey" and "The Last Chantey," in
3047:. Some are immediately available, while others must be collected.
2591:
2275:
1927:
1603:
1146:
1085:
749:
737:
Leader of Mississippi steamboat hands singing a song from atop a
236:
3167:"chanty | Etymology, origin and meaning of chanty by etymonline"
1848:
1598:
Also called a "halyard shanty". Sung with the job of hauling on
1272:
The next revival in shanties occurred as part of the Anglophone
1021:
890:
Writers have characterized the origin of shanties (or perhaps a
5952:
2713:
2691:
2560:
2556:
2279:
2004:
1907:
1778:
1160:
549:
284:
196:
6170:
5794:"Everyone's Singing Sea Shanties (or Are They Whaling Songs?)"
3713:
The Command of the Ocean: A Naval History of Britain 1649â1815
2662:'s reported interest in shanties that developed while filming
218:
and the rest of the workers in chorus. The leader, called the
118:
2929:(2003): "Don't Forget Your Old Shipmate" and "Spanish Ladies"
2291:
2267:
2116:
and, again, shanty. Polish uses a word derived from English:
1967:
1786:
1438:
1309:(who initiated an annual Sea Music Festival in 1979) and the
733:
625:
deal primarily with the United States and do not represent a
5404:, Longman, Orme, Brown, Green, and Longmans, (1840) p. 116.
2764:
in the far flung British colony at Port Arthur (Australia)
1982:
Early 19th century Royal Navy sailors singing while off duty
1930:
in parts of the Caribbean sang shanties whilst rowing their
1444:
Improvising of lyrics in such a context could be seen as an
898:
theorized) as belonging to an era immediately following the
6180:
4695:
Shantymen and Shantyboys: Songs of the Sailor and Lumberman
4656:
Gordon, Robert W., "Folk Songs of America: Work Chanteys,"
1586:
745:
200:
6198:
5916:
4630:
Carpenter, James M., "Chanteys that 'Blow the Man Down,'"
3910:, ed. by Rev. Edward A. Rice, J. C. Burdick (1850) p. 11.
106:
6186:
5979:
3100:"The Faithful Sailor", based on "The Faithful Sailor Boy"
2878:(1977): "Haul the Bowline," "Haul Away, Joe"âon the brig
2637:
Popular musical interpretations of traditional repertoire
1698:
1276:
of the mid-20th century. The American folk revival group
109:
6179:
has lyrics gathered from songbooks, matched to embedded
5605:" Newsroom | TikTok, 16 Aug. 2019. Accessed 1 Feb. 2021.
5333:
Reminiscences of Travel in Australia, America, and Egypt
2671:
Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys
2290:
Sea Shanty Groups are active across Australia including
777:
446:
3536:"Occupied ice fishing shanty blown across Michigan bay"
3103:"Heave Away my Lendry", based on "Heave Away My Johnny"
801:." The writer did not make a further connection to the
5489:
Charlesworth David, South Western Times, 11 April 2018
5385:
Reminiscences of Twelve Month's Service in New Zealand
4338:
e.g.: Meloney, William Brown, "The Chanty-Man Sings,"
2889:(1989): "Rise Me Up from Down Below" (aka "Whiskey-O")
2790:(1935): "Drunken Sailor" (tune only), "Hanging Johnny"
2675:
A medley of sea songs performed by concert orchestra,
606:
Influence of African-American and Caribbean work songs
5948:"The Truth Behind Assassin's Creed IV's Sea Shanties"
5766:"Sea shanties are your soundtrack of 2021. Seriously"
5507:
4977:
For just a few examples, see: British Naval Officer,
4881:
Carr, "New Sea Chantey Compilations On Compact Disc."
4423:, Simpkin, Marshall, Hamilton, Kent & Co. (1914).
3767:, ed. by Hartvig Lassen, Chr. Tonsberg Forlag (1853).
3378:, Boosey & Co. (1887); Smith, Laura Alexandrine,
3358:
Payn, James, ed., "Sailors' Shanties and Sea Songs",
112:
5617:"Sea shanties are going viral on TikTok. Here's why"
4091:
California and Oregon; or, Sights in the Gold Region
3833:"Dances of the Negroes of the Island of Martinico."
2470:" derives from the interpretation by the Folk group
2421:
Whaling and Sailing Songs from the Days of Moby Dick
2313:
1134:
in the 1930s and 1940s, the result of which was his
115:
5514:. Quaker Song. Amherst, Ma: Sing Out Publications.
5214:, ed. by Archie Campbell, Brentano's (1899) p. 306.
4350:
4348:
3403:Terry, Richard Runciman, "Sea Songs and Shanties",
3307:, Moore, Wilstach, Keys & Co. (1855) pp. 40â1.
2039:also developed. They are generally of these types:
1753:
1581:
1153:', and the recordings are available online via the
103:
4838:Howard, Henry, "Manning the New Merchant Marine,"
4004:The Library of Congress American Memory Collection
3534:
2161:. Christiania: Norske Förlags Kompani Ltd. (1916).
2033:
690:on rivers of the south-eastern U.S. and Caribbean;
503:Early British and Anglo-American sailor work songs
6149:"Shanties from the Seven Seas" project on YouTube
5868:
5387:, Richard Bentley (1849) p. 130; Archer, Thomas,
4772:
4770:
4768:
4766:
4764:
3870:Landsman Hay: The Memoirs of Robert Hay 1789â1847
3687:Omoo: A Narrative of Adventures in the South Seas
3386:, Orpheus Music Publishing (1914); Sharp, Cecil,
2056:There are notable bodies of shanty repertoire in
1112:From the 1940s to the 1960s, Canadian folklorist
885:
752:ca.1814; Black stevedores loading a steamboat in
6220:
5879:. Allworth Communications, Inc. pp. 50â51.
5184:
5182:
4920:, abridged edition, Mystic Seaport (1994) p. xx.
4345:
3698:Lowell, James Russell, ed., "Songs of the Sea,"
3218:For an overview of these theories, see: Hugill,
3109:"Deadfire Lines", based on "The Black Ball Line"
1693:Used for lighter hauling tasks, such as setting
1613:. Usually there are two pulls per chorus as in "
1430:direction that marks the successful chantey-man.
1064:collected various shanties and recorded them on
5840:Packer, F. A. (Frederick Augustus), 1839-1902.
5245:Williams, James H., "The Sailors' 'Chanties',"
4985:, H. Hooker (1853) p. 85; Gosse, Philip Henry,
4643:Rosenberg, Neil V. and Deborah G. Kodish, ed.,
2926:Master and Commander: The Far Side of the World
1297:" was taken up by the Irish folk revival group
1208:. A few original collections followed, notably
359:According to research published in the journal
5450:National Park Service. Retrieved 10 Nov. 2011.
5163:Robinson, "Songs of the Chanty-Man I," p. 123.
5146:For collected examples of these, see: Harlow,
4761:
4460:
4458:
4257:
4255:
3936:, George W. Jacobs & Co. (1896) pp. 296â7.
3908:The Evergreen; or Gems of Literature for MDCCL
3820:
3818:
3415:
3413:
3318:"The Execrable Term: A Contentious History of
2830:(1950): "Johnny Come Down to Hilo" (tune only)
2668:. As a result, in 2006 Depp helped facilitate
2112:for work songs. The equivalents in German are
1060:. The Australian-born composer and folklorist
6155:'s largest print collection of the same name.
5763:
5179:
4647:, LP liner notes, Library of Congress (1978).
4002:"Jim Along Josey," Firth and Hall (1840), at
3629:
3627:
3625:
3623:
3621:
3619:
3238:New edition, Chatto and Windus (1874) p. 284.
2798:(1937): "Blow the Man Down," "Drunken Sailor"
1950:A demonstration of whaleboat shanties (video)
1781:on a ship involved winding its rope around a
623:The examples and perspective in this section
6187:International Shanty and Seasong Association
6177:Contemplator.com, "Songs of the sea" section
6143:John Ward's "Shanties and Sea Songs" webpage
6122:"Pillars of Eternity 2 life at sea detailed"
5856:: CS1 maint: multiple names: authors list (
5473:"Cliff for 45 Years! | The Jovial Crew"
5426:e.g.: Williams, "The Sailors' 'Chanties'.";
5291:
5122:Sail Ho!: Windjammer Sketches Alow and Aloft
4983:The Planter; or, Thirteen Years in the South
4275:The Works of Rudyard Kipling: The Seven Seas
4142:
4140:
4138:
3106:"Haul Away and Go", based on "Haul Away Joe"
2255:
2102:as the broad category and the borrowed term
1797:", "Clear the Track, Let the Bulgine Run", "
1650:, or hauling taut the corners of sails with
718:âincluding "cotton-screwing" (using a large
553:A black fiddler accompanying heaving at the
266:
27:Rhythmical work song sung on sailing vessels
5335:, second edition, Sampson Low (1884) p. 21.
5020:Scarborough, Dorothy and Ola Lee Gulledge,
4455:
4252:
4093:, Lippencott, Grambo, and Co. (1851) p. 88.
3815:
3410:
2261:
2173:. Stockholm: Albert Bonniers Förlag (1935).
1833:, led by Gibb Schreffler on the barkentine
987:, following in the footsteps of peers like
134:to accompany rhythmical labor aboard large
6204:
5860:) CS1 maint: numeric names: authors list (
4269:
4267:
4119:, Little, Brown, and Company (1909) p. 99.
3779:
3777:
3775:
3773:
3616:
1526:songs also had an influence, for example "
1520:minstrel songs of the late 1830s and 1840s
641:, or create a new section, as appropriate.
426:
52:
6159:Jerzy "Shogun" Brzezinski YouTube Channel
5740:"The tender masculinity of Shanty TikTok"
5024:, Harvard University Press (1925) p. 231.
4955:Whitmarsh, H. Phelps, "The Chantey-man,"
4444:
4442:
4135:
3193:, Routledge & Kegan Paul (1961) p. 6.
3093:"Roll the Old Berath's Wheel", based on "
2767:
2368:Learn how and when to remove this message
2149:. Vol. 1, 2. Kiel: A. C. Ehlers (1935â6).
2080:, and shanties have been translated into
2018:", first popular in the Royal Navy, and "
1918:fishing boats, sung while pulling up the
1487:O shake that girl with the blue dress on,
1036:Somewhere between these perspectives was
657:Learn how and when to remove this message
5945:
5874:
5035:Christy's and White's Ethiopian Melodies
3724:B., R., "A Cruise of a Revenue Cutter,"
3201:
3199:
2240:
1977:
1934:and when hauling their catch onto land.
1847:
1757:
1630:"Hurrah for the Black Ball Line" (video)
1585:
1167:
1020:
869:
732:
548:
6048:
5508:Blood, Peter; Patterson, Annie (1992).
5297:
5111:Robinson, "Songs of the Chanty-Man: I."
5009:Ocean Life in the Old Sailing Ship Days
4264:
4210:, Kegan, Paul, Trench & Co. (1888).
4117:Ocean Life in the Old Sailing Ship Days
3770:
3436:
1939:"Won't You Help Me to Raise Um" (video)
1718:Used for "bousing up" (i.e. hauling) a
1636:at the Mystic Sea Music Festival, 2010.
1446:African-American musical characteristic
845:to any canon of national "folk music".
820:drew a comparison between shanties and
461:howl pronounced by one of their number.
243:song-collectors, and their written and
14:
6221:
5788:
5656:, Houghton, Osgood and Company (1879).
5498:Waller Pip, Bunbury Mail, 1 June 2021.
5462:(Yahoo group). Retrieved 10 Nov. 2011.
5389:The Pauper, the Thief, and the Convict
5346:Slave Songs of the Georgia Sea Islands
4814:Papers of the Manchester Literary Club
4439:
4219:Schreffler, "Ethnic Choices," pp. 3â4.
4045:, D. Appleton & Co. (1889) p. 838.
3958:Schreffler, "Ethnic Choices," pp. 2â3.
3859:Schreffler, "Ethnic Choices," pp. 1â2.
3676:, Harper & Brothers (1840) p. 413.
3405:Journal of the Royal Music Association
2448:What Shall We Do with a Drunken Sailor
2108:(also spelled "shanty") or the native
1316:
6215:illustrated account of the sea shanty
5686:, Harper & Bros. (1850) pp. 63â4.
5538:Carr, "New Sea Chantey Compilations."
5188:Whitmarsh, "The Chantey-man," p. 323.
4968:Whitmarsh, "The Chantey-man," p. 319.
3967:Allen, Isaac. "Songs of the Sailor."
3835:Bell's Court and Fashionable Magazine
3737:B., O.P., "My Adventures (Part VI),"
3650:, Harper & Brothers (1840) p. 11.
3611:An Universal Dictionary of the Marine
3598:An Universal Dictionary of the Marine
3196:
2566:
2505:
2236:
1282:Deep Sea Chanteys and Whaling Ballads
1183:appearance of many previous scholars.
971:and his colleagues among the English
934:
778:Perceptions of contemporary observers
367:may have been a back derivation from
6074:
5671:A Strong Arm and a Mother's Blessing
4758:, Routledge & Kegan Paul (1961).
4146:Lowell, "Songs of the Sea," p. 154.
3980:Allen, "Songs of the Sailor," p. 49.
3543:. The Associated Press. 2022-03-08.
3462:, Boosey (1927); Fox Smith, Cicely,
3394:, 23(574â7) (14 July â 4 Aug. 1917).
3362:4(311) (11 December 1869) pp. 794â6.
2317:
2177:
1518:. It is common to find phrases from
962:
609:
6049:Kalista, Randy (28 November 2014).
6027:
6001:
5946:Plunkett, Luke (19 December 2013).
5729:122(484) (Spring 2009) pp. 197â210.
5448:"Chantey Sing at Hyde Street Pier,"
5033:Christy, Charles and George White,
4790:, University of Texas Press (1974).
4464:Schreffler, "Ethnic Choices," p. 4.
4354:Bullen, Frank. T. and W.F. Arnold,
4261:Schreffler, "Ethnic Choices," p. 5.
4080:Schreffler, "Ethnic Choices." p. 2.
3824:Schreffler, "Ethnic Choices," p. 1.
3715:, Penguin/Allen Lane (2004) p. 503.
3345:Dallas, E. S., ed., "On Shanties",
3026:â the player character, the pirate
2690:. In 2021, sea shanties trended on
2607:Fifteen men on the dead man's chest
2541:
2482:" in the arrangement of Folk group
2442:, which includes such shanties as "
1602:to hoist, over an extended period,
671:
24:
6205:Winchester, Clarence, ed. (1937),
5614:
5603:Sea Shanty TikTok - @Nathanevanss.
4358:, Orpheus Music Publishing (1914).
3765:Henrik Wergelands Samlede Skrifter
3752:The Quid, or Tales of my Messmates
3371:e.g.: Davis, J. and Ferris Tozer,
2714:New compositions in "shanty" style
2698:rendition of the sea-themed song "
2233:provide contexts for performance.
2186:
1419:
1051:
1005:The Tragedy of the Rape of Lucrece
710:on the U.S. eastern seaboard, the
58:Sailors performing shipboard labor
25:
6295:
6254:Internet memes introduced in 2021
6136:
6002:Lee, Patrick (24 November 2014).
5764:AJ Willingham (15 January 2021).
5372:Deep the Water, Shallow the Shore
4989:, Morgan and Chase (1859) p. 305.
4944:Songs of the Sailor and Lumberman
4788:Deep The Water, Shallow the Shore
4697:, Macmillan (1951; revised 1970).
4236:, Brown, Son and Ferguson (1910).
3885:, Edward C. Mielke (1833) p. 259.
3585:Songs of the Sailor and Lumberman
3547:from the original on Dec 4, 2023.
3207:Songs of the Sailor and Lumberman
3137:List of maritime music performers
3010:
2423:(Tradition Records) in 1956, and
2314:Shanties borrowed by other genres
2220:
1943:The Northern Neck Chantey Singers
1879:Miscellaneous deep-water shanties
1632:, led by Peter Kasin on the ship
1467:Were you ever down in Mobile Bay?
1136:Songs of the Sailor and Lumberman
1070:Vaughan Williams Memorial Library
848:An English author of the period,
130:that was once commonly sung as a
6165:Traditional Sea Shanties webpage
6114:
6087:
6077:"Assassin's Creed: Rogue Review"
6068:
6042:
6021:
5995:
5967:
5939:
5833:
5818:
5782:
5757:
5732:
5719:
5702:
5689:
5676:
5659:
5646:
5633:
5608:
5595:
5583:
5571:
5559:
5550:
5541:
5532:
5501:
5492:
5483:
5465:
5453:
5441:
5420:
5407:
5394:
5377:
5364:
5351:
5338:
5325:
5312:
5278:
5265:
5252:
5239:
5230:
5217:
5204:
5191:
5166:
5157:
5148:Chanteying Aboard American Ships
5140:
5127:
5114:
5105:
5092:
5079:
5066:
5053:
5040:
5027:
5022:On the Trail of Negro Folk-songs
5014:
5001:
4992:
4971:
4962:
4949:
4936:
4923:
4910:
4897:
4884:
4875:
4858:
4845:
4832:
4819:
4806:
4803:, Mystic Seaport Museum (1973).
4793:
4780:
4748:
4724:
4700:
4687:
4663:
4650:
4637:
4624:
4611:
4342:33(2) (August 1915) pp. 207â217.
4177:Luce, Admiral Stephen Bleecker,
4168:Alden, "Sailors' Songs," p. 281.
4157:Chanteying Aboard American Ships
3635:Chanteying Aboard American Ships
3600:, New Edition, T. Cadell (1784).
3559:Journal of the Folk-Song Society
3522:Journal of the Folk-Song Society
3458:, Boosey (1925); Sampson, John,
3142:List of maritime music festivals
3062:Pillars of Eternity II: Deadfire
2682:, is a popular component of the
2645:" was recorded by the punk band
2622:
2322:
2195:
1958:St. Vincent & the Grenadines
1894:Coastwise and longshore shanties
1754:Types related to heaving actions
1681:"Haul the Woodpile Down" (audio)
1582:Types related to hauling actions
614:
279:, 1867. Narrating a voyage in a
99:
6030:"Assassin's Creed Rogue Review"
5643:, Harper & Brothers (1840).
5361:18(1) (Jan.âFeb. 2000) pp. 1â6.
4816:, Vol. 21, John Heywood (1895).
4587:
4563:
4539:
4515:
4491:
4467:
4426:
4413:
4400:
4387:
4374:
4361:
4332:
4319:
4306:
4293:
4280:
4277:, D. Appleton (1899) pp. 18â25.
4239:
4222:
4213:
4200:
4184:
4181:, Wm. A. Pond & Co. (1883).
4171:
4162:
4149:
4122:
4109:
4096:
4083:
4074:
4061:
4048:
4035:
4028:Alden, W.L., "Sailors' Songs,"
4022:
4009:
3996:
3983:
3974:
3961:
3952:
3939:
3926:
3913:
3900:
3888:
3875:
3862:
3853:
3840:
3827:
3802:
3789:
3757:
3744:
3731:
3718:
3705:
3692:
3679:
3666:
3653:
3640:
3603:
3590:
3577:
3564:
3551:
3527:
3510:
3497:
3482:
3469:
3448:
3430:
3427:, J. Curwen & Sons (1926).
3423:, J. Curwen & Sons (1921);
3397:
3365:
3352:
3339:
3310:
3297:
3019:Assassin's Creed IV: Black Flag
3003:(2021): "Sea Shanty" with host
2953:(2012): "Lowlands Away My John"
2595:, for example, Melville wrote:
2034:In languages other than English
2014:Examples of sea songs include "
957:
865:
6171:Shanties and Sea Songs webpage
5902:Don't Forget Your Old Shipmate
5415:Blackwood's Edinburgh Magazine
5037:, T. B. Peterson (1855) p. 65.
4890:Lloyd, A.L. and Ewan MacColl,
4312:Masefield, John, "Sea-Songs,"
3799:, D. Lothrop & Co. (1879).
3754:, W. Strange (1832) pp. 222â3.
3741:12(23) (16 April 1836) p. 180.
3637:, Barre Publishing Co. (1962).
3284:
3271:
3262:Seven Years of a Sailor's Life
3254:
3241:
3225:
3212:
3183:
3159:
2870:(1975) : "Spanish Ladies"
2145:Baltzer, R. and Klaus Prigge.
1873:
1706:a hand over hand chant (video)
886:New ships and new requirements
391:in 1915, English musicologist
277:Seven Years of a Sailor's Life
13:
1:
6211:Shipping Wonders of the World
5225:Ships, Sea Songs and Shanties
5098:"El Tuerto," "Sea Shanties,"
4132:, F. J. Needham (1889) p. 24.
4030:Harper's New Monthly Magazine
3689:, John Murray (1847) p. 151.
3209:, Mayerbooks (1990) pp. 96â7.
3152:
3073:, did something similar with
2838:(1952): "Haul on the Bowline"
2680:Fantasia on British Sea Songs
2137:. Paris: Editions Eos (1927).
1974:"Shanties" versus "sea songs"
1914:refers to work songs used on
1470:A-screwing cotton by the day?
1395:: A reg'lar bull and tarrier,
1311:San Francisco Maritime Museum
1155:British Library Sound Archive
1094:Archive of American Folk Song
5727:Journal of American Folklore
5348:, Creative Age Press (1942).
5286:Shanties from the Seven Seas
5273:Shanties from the Seven Seas
5174:Shanties from the Seven Seas
5152:Shanties from the Seven Seas
5061:Shanties from the Seven Seas
4959:106(632) (Jan. 1903) p. 319.
4931:Shanties from the Seven Seas
4918:Shanties From the Seven Seas
4905:Shanties from the Seven Seas
4190:Davis, J. and Ferris Tozer,
4089:e.g.: Johnson, Theodore T.,
4069:Shanties from the Seven Seas
4056:Shanties from the Seven Seas
4043:The Romance of Jenny Harlowe
4017:Shanties from the Seven Seas
3947:Shanties from the Seven Seas
3934:Twenty Years Before the Mast
3572:Shanties from the Seven Seas
3479:, The Porpoise Press (1931).
3249:Shanties from the Seven Seas
3220:Shanties from the Seven Seas
2489:
2285:
2206:in San Francisco, weekly in
1937:Sample: A menhaden chantey,
1219:Shanties from the Seven Seas
1214:Shanties from the Seven Seas
1195:Shanties from the Seven Seas
1177:Shanties from the Seven Seas
1163:Shanties from the Seven Seas
566:On board a well-disciplined
542:work was accompanied by the
431:
260:
126:) is a genre of traditional
7:
5830:, WEA International (1984).
5716:92(552) (Oct. 1903) p. 500.
5391:, Groombridge (1865) p. 87.
4825:"Official Chantey Singer,"
4693:Doerflinger, William Main,
4290:, Methuen & Co. (1906).
3795:e.g.: Adams, Captain R.C.,
3663:, Methuen & Co. (1927).
3583:Doerflinger, William Main,
3231:e.g.: Hotten, John Camden,
3205:Doerflinger, William Main,
3115:
2987:(2019): "Doodle Let Me Go "
2961:(2012): "Blow the Man Down"
2897:(1996): "Blow the Man Down"
2811:The Curse of the Cat People
2806:(1943): "Blow the Man Down"
2348:the claims made and adding
1574:. Rather than rhythmically
1453:Up aloft this yard must go.
1321:
637:, discuss the issue on the
499:the more primitive chants.
489:referred to "singing out".
447:Work chants and "sing-outs"
378:
296:, Mass. in 1865, he wrote:
32:Sea shanty (disambiguation)
10:
6300:
5699:, Roberts Brothers (1883).
5673:, Lee and Shepard, (1881).
5669:, Lee and Shepard (1869);
5438:, Houghton Mifflin (1927).
5400:Marryat, Capt. Frederick,
5301:A Century of Our Sea Story
4812:Manchester Literary Club,
4206:Smith, Laura Alexandrine,
4197:, Boosey & Co. (1887).
3763:Wergeland, Henrik Arnold,
3728:Part 1. (Jan. 1834) p. 68.
3726:The United Service Journal
3460:The Seven Seas Shanty Book
3407:11(41) (1915) pp. 135â140.
3349:31 (1 Aug. 1868) pp. 92â3.
3095:Roll the Old Chariot Along
3086:"Aim'Spirente", based on "
2589:, and Herman Melville. In
1900:Georgia Sea Island Singers
1810:Roll the Old Chariot Along
1500:
1240:Sailor Songs or 'Chanties'
1224:
1186:
1145:recorded Stanley Slade of
697:of the south-eastern U.S.;
516:(sea experience 1841â42).
36:
29:
5708:e.g.: Hains, T. Jenkins,
5695:Stevenson, Robert Louis,
5684:Redburn: His First Voyage
5641:Two Years Before the Mast
5639:Dana, Richard Henry Jr.,
5417:11(60) (Jan. 1822) p. 22.
5085:"Minstrelsy on the Sea,"
4957:Harper's Monthly Magazine
4192:Sailor Songs or 'Chanties
3969:Oberlin Student's Monthly
3872:, ed. by M.D. Hay (1953).
3674:Two Years Before the Mast
3672:Dana, Richard Henry Jr.,
3648:Two Years Before the Mast
3646:Dana, Richard Henry Jr.,
3633:Harlow, Frederick Pease,
3491:Oxford English Dictionary
3454:e.g.: Harris, S. Taylor,
3419:Terry, Richard Runciman,
3373:Sailor Songs or 'Chanties
2762:Frederick Augustus Packer
2760:from Australian composer
2609:", which was invented by
2592:Redburn: His First Voyage
2578:Two Years Before the Mast
2452:Bound for South Australia
2159:Opsang fra Seilskibstiden
1514:were often of a suitable
1456:Up aloft from down below.
693:Corn-shucking parties on
440:The Complaynt of Scotland
389:Royal Musical Association
363:, Schreffler argues that
63:
51:
46:
6051:"Assassin's Creed Rogue"
5875:Neuwirth, Allan (2003).
5652:Scudder, Horace Elisha,
5413:"The Man-of-War's Man,"
5298:Jeffery, Walter (1900).
5249:(8 July 1909) pp. 76â83.
4981:, p. 259; Brown, David,
4621:7(4) (1998) pp. 471â495.
3971:1(2) (Dec. 1858). p. 48.
3702:2(9) (July 1858) p. 153.
3659:e.g. Fox Smith, Cicely,
3524:8(32) (1928) pp. 96â100.
3494:, Second edition (1989).
3425:The Shanty Book, Part II
3334:10.1215/00031283-4395157
2979:(2016): "Haul Away, Joe"
2934:Pirates of the Caribbean
2921:(2002): "New York Girls"
2862:(1962): "Hanging Johnny"
2665:Pirates of the Caribbean
2430:Down to the Sea in Ships
2028:Rolling Down to Old Maui
2024:The Leaving of Liverpool
1704:Sample: A recreation of
1557:
1536:Marching Through Georgia
1485:O wake her, O shake her,
1128:William Main Doerflinger
1116:collected shanties from
896:William Main Doerflinger
5320:The Music of the Waters
5236:Masefield, "Sea-Songs."
5074:The Music of the Waters
4247:The Shanty Book, Part I
4208:The Music of the Waters
3895:Negro Singer's Own Book
3881:British Naval Officer,
3561:8(32) (1928) pp. 55â60.
3421:The Shanty Book, Part I
3380:The Music of the Waters
2684:Last Night of the Proms
2643:Frigging in the Rigging
2457:
2405:
1954:The Barrouallie Whalers
1663:"Haul Away Joe" (audio)
1412:When working this as a
1330:
1092:, founding head of the
1082:James Madison Carpenter
1010:The 1914 collection by
510:James Madison Carpenter
427:History and development
255:
5665:Kellogg, Rev. Elijah,
5568:, Living Stereo (1961)
5428:Eckstorm, Fannie Hardy
5383:e.g.: McKillop, H.F.,
5102:22(40) (23 June 1909).
5100:Coast Seamen's Journal
4316:(Jan. 1906) pp. 56â80.
4234:Sea Songs and Shanties
3750:"Steerage passenger,"
3328:92.4 (2017): 429-458.
3260:Clark, George Edward,
3071:Obsidian Entertainment
3036:Assassin's Creed Rogue
2814:(1944): "Reuben Ranzo"
2768:In film and television
2611:Robert Louis Stevenson
2602:
2262:
2256:
2246:
2020:The Stately Southerner
1983:
1856:
1793:", "Paddy Lay Back", "
1766:
1743:
1591:
1590:Sailors hauling a line
1510:genre, songs of whose
1494:
1489:O Johnny come to Hilo;
1474:
1460:
1432:
1410:
1373:: Boney was a warrior,
1341:military cadence calls
1263:
1184:
1098:San Francisco Bay Area
1033:
947:
882:
859:
842:
794:
768:
741:
572:
562:
527:
522:
496:
478:
463:
393:Richard Runciman Terry
357:
303:
267:
214:, performed between a
181:southern United States
6075:Benn, Martin (2015).
5667:The Ark of Elm Island
5654:The Bodleys on Wheels
5304:. J. Murray. p.
5124:, W.F. Payson (1931).
5089:27 (Jan. 1884) p. 10.
5048:English Folk-Chanteys
4840:Pacific Marine Review
4829:(27 Jan. 1918) p. 46.
4450:English Folk-Chanteys
4434:English Folk-Chanteys
4421:English Folk-Chanteys
4104:California and Oregon
3897:(ca. 1843â45) p. 337.
3475:Bone, David William,
3388:English Folk-Chanteys
3053:Red Dead Redemption 2
2910:SpongeBob SquarePants
2822:(1946): "Sally Brown"
2737:SpongeBob SquarePants
2597:
2583:Horace Elisha Scudder
2245:A German shanty choir
2244:
2133:Hayet, Capt. Armand:
1981:
1851:
1831:"Sally Brown" (video)
1762:Sailors working at a
1761:
1738:
1690:Hand over hand shanty
1589:
1482:
1464:
1450:
1427:
1363:
1307:Mystic Seaport Museum
1259:
1171:
1090:Robert Winslow Gordon
1042:English Folk-Chanteys
1030:English Folk-Chanteys
1024:
997:The Maid of Amsterdam
942:
873:
854:
850:William Clark Russell
826:
789:
763:
736:
564:
552:
523:
518:
491:
471:
458:
334:
298:
5714:The Atlantic Monthly
5258:"Songs of the Sea,"
4987:Letters from Alabama
4942:As in: Doerflinger,
4801:Folklore and the Sea
4786:Abrahams, Roger D.,
4712:folktrax-archive.org
4340:Everybody's Magazine
4130:Life by Land and Sea
3739:The Rural Repository
3587:, Mayerbooks (1990).
3234:The Slang Dictionary
3024:Golden Age of Piracy
2787:Mutiny on the Bounty
2729:Barrett's Privateers
2549:Golden Age of Piracy
2468:Pay Me My Money Down
1528:Paddy on the Railway
999:") was derived from
635:improve this section
409:British folk revival
30:For other uses, see
5135:On Board the Rocket
5063:(abridged), p. 252.
4408:Songs of Sea Labour
4406:Bullen and Arnold,
4395:Songs of Sea Labour
4393:Bullen and Arnold,
4382:Songs of Sea Labour
4380:Bullen and Arnold,
4369:Songs of Sea Labour
4367:Bullen and Arnold,
4356:Songs of Sea Labour
4128:Mulford, Prentice,
4041:Russell, W. Clark,
4032:(July 1882) p. 281.
3991:On Board the Rocket
3921:The Merchant Vessel
3797:On Board the Rocket
3596:Falconer, William,
3505:Library of Congress
3384:Songs of Sea Labour
3305:The Merchant Vessel
3303:Nordhoff, Charles,
3000:Saturday Night Live
2992:Fisherman's Friends
2958:The Big Bang Theory
2795:Captains Courageous
2536:Norman Luboff Choir
2532:Robert Shaw Chorale
2498:is a notable case.
2419:recorded the album
2169:Sternvall, Sigurd.
1729:Stamp and go shanty
1317:Nature of the songs
1299:The Clancy Brothers
1278:The Almanac Singers
1247:U.S. Shipping Board
1199:in combination with
1141:English folklorist
1016:Songs of Sea Labour
1012:Frank Thomas Bullen
232:steam-powered ships
6213:, pp. 523â528
6028:Labella, Anthony.
5983:. 30 December 2013
5798:The New York Times
5682:Melville, Herman,
5590:We Sing of the Sea
5432:Mary Winslow Smyth
5087:The New York Times
4892:The Singing Sailor
4675:Helencreighton.org
4619:Folk Music Journal
4327:A Sailor's Garland
4301:A Sailor's Garland
4288:A Sailor's Garland
4115:Whidden, John D.,
3932:Erskine, Charles,
3846:e.g.: Giola, Ted,
3837:(May 1806): 202â3.
3808:Schreffler, Gibb,
3711:Rodger, Nicholas,
3685:Melville, Herman,
3661:A Book of Shanties
3464:A Book of Shanties
3438:Colcord, Joanna C.
3360:Chambers's Journal
3316:Schreffler, Gibb.
3080:Fallout: New Vegas
2819:Great Expectations
2567:Popular literature
2506:Performance styles
2333:possibly contains
2247:
2237:Continental Europe
1984:
1910:. The category of
1857:
1785:, a sort of giant
1767:
1592:
1540:The Golden Vanitee
1291:The Singing Sailor
1274:folk music revival
1185:
1034:
993:A Sailor's Garland
935:Heyday and decline
904:American Civil War
883:
742:
579:East India Company
563:
487:Richard Henry Dana
166:American Civil War
5886:978-1-58115-269-2
5846:. Walch and Sons.
5746:. 15 January 2021
5580:, Columbia (1956)
5521:978-1-881322-13-9
5477:Thejovialcrew.com
5460:"NE ChanteySings"
5331:Tangye, Richard,
5262:2(9) (July 1858).
4870:The Musical Times
4842:15 (August 1918).
4286:Masefield, John,
3850:, Duke UP (2006).
3541:Bangor Daily News
3466:, Methuen (1927).
3039:â set during the
3022:â set during the
2969:Northwest Passage
2918:Gangs of New York
2835:Against All Flags
2748:English composer
2742:Gilligan's Island
2464:Bruce Springsteen
2444:Blow the Man Down
2378:
2377:
2370:
2335:original research
2178:Performance today
1912:menhaden chanties
1904:St. Simons Island
1803:John Brown's Body
1672:Sweating-up chant
1643:Short-drag shanty
1623:Blow the Man Down
1544:traditional songs
1532:John Brown's Body
1337:call and response
983:The English poet
973:Folk-Song Society
963:Formative writing
667:
666:
659:
212:call and response
191:, and land-based
77:
76:
16:(Redirected from
6291:
6269:Australian songs
6249:Maritime history
6244:Maritime culture
6214:
6193:Bilgemunky Radio
6130:
6129:
6128:. March 2, 2018.
6126:Switchplayer.net
6118:
6112:
6111:
6091:
6085:
6084:
6072:
6066:
6065:
6063:
6061:
6046:
6040:
6039:
6025:
6019:
6018:
6016:
6014:
5999:
5993:
5992:
5990:
5988:
5971:
5965:
5964:
5962:
5960:
5943:
5937:
5936:
5920:
5914:
5913:
5897:
5891:
5890:
5872:
5866:
5865:
5855:
5847:
5837:
5831:
5827:Red Roses for Me
5822:
5816:
5815:
5813:
5812:
5786:
5780:
5779:
5777:
5776:
5761:
5755:
5754:
5752:
5751:
5736:
5730:
5723:
5717:
5710:The Wind-jammers
5706:
5700:
5693:
5687:
5680:
5674:
5663:
5657:
5650:
5644:
5637:
5631:
5630:
5628:
5627:
5612:
5606:
5599:
5593:
5592:, Elektra (1960)
5587:
5581:
5578:Songs of the Sea
5575:
5569:
5563:
5557:
5554:
5548:
5545:
5539:
5536:
5530:
5529:
5524:. Archived from
5505:
5499:
5496:
5490:
5487:
5481:
5480:
5469:
5463:
5457:
5451:
5445:
5439:
5424:
5418:
5411:
5405:
5398:
5392:
5381:
5375:
5368:
5362:
5355:
5349:
5344:Parrish, Lydia,
5342:
5336:
5329:
5323:
5316:
5310:
5309:
5295:
5289:
5282:
5276:
5269:
5263:
5260:Atlantic Monthly
5256:
5250:
5243:
5237:
5234:
5228:
5221:
5215:
5208:
5202:
5195:
5189:
5186:
5177:
5170:
5164:
5161:
5155:
5144:
5138:
5131:
5125:
5118:
5112:
5109:
5103:
5096:
5090:
5083:
5077:
5070:
5064:
5057:
5051:
5044:
5038:
5031:
5025:
5018:
5012:
5005:
4999:
4996:
4990:
4975:
4969:
4966:
4960:
4953:
4947:
4940:
4934:
4927:
4921:
4914:
4908:
4901:
4895:
4894:Topic LP (1955).
4888:
4882:
4879:
4873:
4862:
4856:
4849:
4843:
4836:
4830:
4823:
4817:
4810:
4804:
4797:
4791:
4784:
4778:
4774:
4759:
4752:
4746:
4745:
4743:
4742:
4728:
4722:
4721:
4719:
4718:
4704:
4698:
4691:
4685:
4684:
4682:
4681:
4671:"Sea Songs List"
4667:
4661:
4654:
4648:
4641:
4635:
4628:
4622:
4615:
4609:
4608:
4606:
4605:
4591:
4585:
4584:
4582:
4581:
4567:
4561:
4560:
4558:
4557:
4543:
4537:
4536:
4534:
4533:
4519:
4513:
4512:
4510:
4509:
4495:
4489:
4488:
4486:
4485:
4471:
4465:
4462:
4453:
4446:
4437:
4430:
4424:
4417:
4411:
4404:
4398:
4391:
4385:
4378:
4372:
4365:
4359:
4352:
4343:
4336:
4330:
4323:
4317:
4310:
4304:
4297:
4291:
4284:
4278:
4271:
4262:
4259:
4250:
4243:
4237:
4226:
4220:
4217:
4211:
4204:
4198:
4195:
4188:
4182:
4175:
4169:
4166:
4160:
4153:
4147:
4144:
4133:
4126:
4120:
4113:
4107:
4100:
4094:
4087:
4081:
4078:
4072:
4065:
4059:
4052:
4046:
4039:
4033:
4026:
4020:
4013:
4007:
4000:
3994:
3987:
3981:
3978:
3972:
3965:
3959:
3956:
3950:
3943:
3937:
3930:
3924:
3917:
3911:
3904:
3898:
3892:
3886:
3879:
3873:
3866:
3860:
3857:
3851:
3844:
3838:
3831:
3825:
3822:
3813:
3806:
3800:
3793:
3787:
3781:
3768:
3761:
3755:
3748:
3742:
3735:
3729:
3722:
3716:
3709:
3703:
3700:Atlantic Monthly
3696:
3690:
3683:
3677:
3670:
3664:
3657:
3651:
3644:
3638:
3631:
3614:
3607:
3601:
3594:
3588:
3581:
3575:
3568:
3562:
3555:
3549:
3548:
3538:
3531:
3525:
3514:
3508:
3501:
3495:
3486:
3480:
3473:
3467:
3456:Six Sea Shanties
3452:
3446:
3445:
3444:. Heath Cranton.
3434:
3428:
3417:
3408:
3401:
3395:
3376:
3369:
3363:
3356:
3350:
3343:
3337:
3314:
3308:
3301:
3295:
3288:
3282:
3275:
3269:
3258:
3252:
3245:
3239:
3229:
3223:
3216:
3210:
3203:
3194:
3187:
3181:
3180:
3178:
3177:
3163:
3132:Military cadence
3041:Seven Years' War
2976:The Finest Hours
2779:The Phantom Ship
2750:Michael Maybrick
2702:," performed by
2677:Sir Henry Wood's
2542:In popular media
2373:
2366:
2362:
2359:
2353:
2350:inline citations
2326:
2325:
2318:
2265:
2259:
2253:
2252:
2212:The Griswold Inn
2171:SĂ„ng under Segel
2135:Chansons de Bord
1774:
1773:
1595:Long-drag shanty
1161:Stan Hugill and
894:in shanties, as
818:William L. Alden
672:Capstan shanties
662:
655:
651:
648:
642:
618:
617:
610:
596:Henrik Wergeland
411:performers like
318:Charles Nordhoff
270:
125:
124:
121:
120:
117:
114:
111:
108:
105:
64:Derivative forms
56:
44:
43:
21:
6299:
6298:
6294:
6293:
6292:
6290:
6289:
6288:
6219:
6218:
6183:files of tunes.
6139:
6134:
6133:
6120:
6119:
6115:
6102:
6099:Wayback Machine
6092:
6088:
6073:
6069:
6059:
6057:
6047:
6043:
6035:Game Revolution
6026:
6022:
6012:
6010:
6000:
5996:
5986:
5984:
5973:
5972:
5968:
5958:
5956:
5944:
5940:
5922:
5921:
5917:
5899:
5898:
5894:
5887:
5873:
5869:
5849:
5848:
5838:
5834:
5823:
5819:
5810:
5808:
5790:Renner, Rebecca
5787:
5783:
5774:
5772:
5762:
5758:
5749:
5747:
5738:
5737:
5733:
5724:
5720:
5707:
5703:
5697:Treasure Island
5694:
5690:
5681:
5677:
5664:
5660:
5651:
5647:
5638:
5634:
5625:
5623:
5613:
5609:
5600:
5596:
5588:
5584:
5576:
5572:
5564:
5560:
5555:
5551:
5546:
5542:
5537:
5533:
5522:
5511:Rise Up Singing
5506:
5502:
5497:
5493:
5488:
5484:
5471:
5470:
5466:
5458:
5454:
5446:
5442:
5425:
5421:
5412:
5408:
5399:
5395:
5382:
5378:
5370:See: Abrahams,
5369:
5365:
5356:
5352:
5343:
5339:
5330:
5326:
5317:
5313:
5296:
5292:
5283:
5279:
5270:
5266:
5257:
5253:
5247:The Independent
5244:
5240:
5235:
5231:
5222:
5218:
5210:Boyd, Alex J.,
5209:
5205:
5196:
5192:
5187:
5180:
5171:
5167:
5162:
5158:
5145:
5141:
5132:
5128:
5120:Grant, Gordon,
5119:
5115:
5110:
5106:
5097:
5093:
5084:
5080:
5071:
5067:
5058:
5054:
5045:
5041:
5032:
5028:
5019:
5015:
5006:
5002:
4997:
4993:
4976:
4972:
4967:
4963:
4954:
4950:
4941:
4937:
4928:
4924:
4915:
4911:
4902:
4898:
4889:
4885:
4880:
4876:
4872:(1 April 1928).
4863:
4859:
4850:
4846:
4837:
4833:
4824:
4820:
4811:
4807:
4798:
4794:
4785:
4781:
4775:
4762:
4753:
4749:
4740:
4738:
4730:
4729:
4725:
4716:
4714:
4706:
4705:
4701:
4692:
4688:
4679:
4677:
4669:
4668:
4664:
4660:(16 Jan. 1927).
4655:
4651:
4642:
4638:
4634:(26 July 1931).
4629:
4625:
4616:
4612:
4603:
4601:
4593:
4592:
4588:
4579:
4577:
4569:
4568:
4564:
4555:
4553:
4545:
4544:
4540:
4531:
4529:
4521:
4520:
4516:
4507:
4505:
4497:
4496:
4492:
4483:
4481:
4473:
4472:
4468:
4463:
4456:
4447:
4440:
4431:
4427:
4418:
4414:
4405:
4401:
4392:
4388:
4379:
4375:
4366:
4362:
4353:
4346:
4337:
4333:
4324:
4320:
4311:
4307:
4298:
4294:
4285:
4281:
4272:
4265:
4260:
4253:
4244:
4240:
4227:
4223:
4218:
4214:
4205:
4201:
4193:
4189:
4185:
4176:
4172:
4167:
4163:
4154:
4150:
4145:
4136:
4127:
4123:
4114:
4110:
4101:
4097:
4088:
4084:
4079:
4075:
4066:
4062:
4053:
4049:
4040:
4036:
4027:
4023:
4014:
4010:
4001:
3997:
3988:
3984:
3979:
3975:
3966:
3962:
3957:
3953:
3944:
3940:
3931:
3927:
3918:
3914:
3905:
3901:
3893:
3889:
3880:
3876:
3867:
3863:
3858:
3854:
3845:
3841:
3832:
3828:
3823:
3816:
3807:
3803:
3794:
3790:
3785:The Mudcat Café
3782:
3771:
3762:
3758:
3749:
3745:
3736:
3732:
3723:
3719:
3710:
3706:
3697:
3693:
3684:
3680:
3671:
3667:
3658:
3654:
3645:
3641:
3632:
3617:
3608:
3604:
3595:
3591:
3582:
3578:
3569:
3565:
3556:
3552:
3533:
3532:
3528:
3515:
3511:
3502:
3498:
3487:
3483:
3474:
3470:
3453:
3449:
3435:
3431:
3418:
3411:
3402:
3398:
3374:
3370:
3366:
3357:
3353:
3344:
3340:
3326:American Speech
3315:
3311:
3302:
3298:
3289:
3285:
3276:
3272:
3266:Adams & Co.
3259:
3255:
3246:
3242:
3230:
3226:
3217:
3213:
3204:
3197:
3188:
3184:
3175:
3173:
3165:
3164:
3160:
3155:
3118:
3013:
2950:Treasure Island
2827:Treasure Island
2770:
2716:
2706:-based postman
2639:
2625:
2616:Treasure Island
2569:
2553:Napoleonic Wars
2544:
2508:
2492:
2460:
2439:Rise Up Singing
2408:
2374:
2363:
2357:
2354:
2339:
2327:
2323:
2316:
2288:
2250:
2249:
2239:
2223:
2198:
2189:
2187:Regional trends
2180:
2036:
1997:fo'c's'le songs
1976:
1941:, performed by
1876:
1867:South Australia
1822:Windlass shanty
1771:
1770:
1756:
1584:
1560:
1546:, for example "
1516:metrical length
1503:
1493:
1490:
1488:
1486:
1473:
1471:
1469:
1468:
1459:
1457:
1455:
1454:
1422:
1420:Lyrical content
1409:
1396:
1387:
1374:
1333:
1324:
1319:
1295:South Australia
1267:The Shanty Book
1255:Merchant Marine
1251:Stanton H. King
1227:
1191:
1166:
1114:Helen Creighton
1078:field recording
1054:
1052:Field-recording
989:Rudyard Kipling
965:
960:
937:
888:
880:Black Ball Line
868:
785:Oberlin College
780:
663:
652:
646:
643:
632:
619:
615:
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:
6297:
6287:
6286:
6281:
6279:Scottish songs
6276:
6271:
6266:
6264:Canadian songs
6261:
6259:American songs
6256:
6251:
6246:
6241:
6236:
6231:
6229:Maritime music
6217:
6216:
6207:"Sea shanties"
6202:
6196:
6190:
6184:
6174:
6168:
6162:
6156:
6146:
6138:
6137:External links
6135:
6132:
6131:
6113:
6086:
6067:
6041:
6020:
5994:
5966:
5938:
5925:Spanish Ladies
5915:
5892:
5885:
5867:
5832:
5817:
5792:(2021-01-13).
5781:
5756:
5731:
5718:
5701:
5688:
5675:
5658:
5645:
5632:
5615:Carson, Erin.
5607:
5594:
5582:
5570:
5558:
5549:
5540:
5531:
5528:on 2006-07-21.
5520:
5500:
5491:
5482:
5464:
5452:
5440:
5419:
5406:
5393:
5376:
5363:
5350:
5337:
5324:
5311:
5290:
5277:
5264:
5251:
5238:
5229:
5216:
5203:
5190:
5178:
5165:
5156:
5139:
5126:
5113:
5104:
5091:
5078:
5065:
5052:
5039:
5026:
5013:
5000:
4991:
4979:Service Afloat
4970:
4961:
4948:
4935:
4922:
4909:
4896:
4883:
4874:
4868:(March 1927);
4857:
4855:(7 Nov. 1926).
4853:New York Times
4844:
4831:
4827:New York Times
4818:
4805:
4799:Beck, Horace,
4792:
4779:
4760:
4754:Hugill, Stan,
4747:
4723:
4699:
4686:
4662:
4658:New York Times
4649:
4636:
4632:New York Times
4623:
4610:
4586:
4562:
4538:
4514:
4490:
4466:
4454:
4438:
4425:
4419:Sharp, Cecil,
4412:
4399:
4386:
4373:
4360:
4344:
4331:
4318:
4305:
4292:
4279:
4263:
4251:
4238:
4221:
4212:
4199:
4183:
4170:
4161:
4155:e.g.: Harlow,
4148:
4134:
4121:
4108:
4095:
4082:
4073:
4067:e.g.: Hugill,
4060:
4047:
4034:
4021:
4008:
3995:
3989:As in: Adams,
3982:
3973:
3960:
3951:
3938:
3925:
3912:
3899:
3887:
3883:Service Afloat
3874:
3861:
3852:
3839:
3826:
3814:
3801:
3788:
3769:
3756:
3743:
3730:
3717:
3704:
3691:
3678:
3665:
3652:
3639:
3615:
3602:
3589:
3576:
3563:
3550:
3526:
3518:New York Times
3509:
3496:
3481:
3468:
3447:
3429:
3409:
3396:
3364:
3351:
3338:
3309:
3296:
3283:
3270:
3268:(1867) p. 165.
3253:
3240:
3224:
3211:
3195:
3189:Hugill, Stan,
3182:
3171:Etymonline.com
3157:
3156:
3154:
3151:
3150:
3149:
3144:
3139:
3134:
3129:
3124:
3117:
3114:
3113:
3112:
3111:
3110:
3107:
3104:
3101:
3098:
3091:
3057:
3048:
3031:
3012:
3011:In video games
3009:
3008:
3007:
3005:Regé-Jean Page
2996:
2988:
2984:The Lighthouse
2980:
2972:
2962:
2954:
2946:
2938:
2930:
2922:
2914:
2906:
2898:
2894:Down Periscope
2890:
2882:
2871:
2863:
2855:
2851:The Buccaneers
2847:
2839:
2831:
2823:
2815:
2807:
2803:The Ghost Ship
2799:
2791:
2783:
2769:
2766:
2715:
2712:
2638:
2635:
2624:
2621:
2613:for his novel
2587:Elijah Kellogg
2568:
2565:
2543:
2540:
2507:
2504:
2500:Malcolm Arnold
2496:Percy Grainger
2491:
2488:
2459:
2456:
2407:
2404:
2392:, and Western
2376:
2375:
2330:
2328:
2321:
2315:
2312:
2308:Spanish Ladies
2287:
2284:
2238:
2235:
2222:
2221:United Kingdom
2219:
2197:
2194:
2188:
2185:
2179:
2176:
2175:
2174:
2167:
2165:
2162:
2157:Brochmann, H.
2155:
2153:
2150:
2143:
2141:
2138:
2131:
2129:
2091:chant de marin
2054:
2053:
2050:
2047:
2044:
2035:
2032:
2016:Spanish Ladies
1975:
1972:
1964:
1963:
1962:
1961:
1946:
1895:
1892:
1880:
1875:
1872:
1871:
1870:
1846:
1845:
1841:
1840:
1839:
1838:
1823:
1819:
1818:
1817:
1816:
1775:
1772:Capstan shanty
1755:
1752:
1751:
1750:
1747:Drunken Sailor
1730:
1727:
1716:
1712:
1711:
1710:
1709:
1691:
1687:
1686:
1685:
1684:
1673:
1669:
1668:
1667:
1666:
1644:
1640:
1639:
1638:
1637:
1596:
1583:
1580:
1559:
1556:
1508:minstrel music
1502:
1499:
1491:Poor old man.
1483:
1465:
1451:
1421:
1418:
1364:
1332:
1329:
1323:
1320:
1318:
1315:
1226:
1223:
1210:Roger Abrahams
1187:Main article:
1165:
1159:
1062:Percy Grainger
1053:
1050:
1001:Thomas Heywood
985:John Masefield
964:
961:
959:
956:
936:
933:
902:and up to the
887:
884:
867:
864:
779:
776:
770:Shanty-writer
728:
727:
724:American South
705:
698:
691:
665:
664:
629:of the subject
627:worldwide view
622:
620:
613:
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:
9:
6:
4:
3:
2:
6296:
6285:
6282:
6280:
6277:
6275:
6274:British songs
6272:
6270:
6267:
6265:
6262:
6260:
6257:
6255:
6252:
6250:
6247:
6245:
6242:
6240:
6237:
6235:
6232:
6230:
6227:
6226:
6224:
6212:
6208:
6203:
6200:
6199:Bordel de Mer
6197:
6194:
6191:
6188:
6185:
6182:
6178:
6175:
6172:
6169:
6166:
6163:
6160:
6157:
6154:
6150:
6147:
6144:
6141:
6140:
6127:
6123:
6117:
6109:
6105:
6100:
6096:
6090:
6082:
6078:
6071:
6056:
6052:
6045:
6037:
6036:
6031:
6024:
6009:
6005:
5998:
5982:
5981:
5976:
5970:
5955:
5954:
5949:
5942:
5935:
5931:
5927:
5926:
5919:
5912:
5908:
5904:
5903:
5896:
5888:
5882:
5878:
5871:
5863:
5859:
5853:
5845:
5844:
5836:
5829:
5828:
5821:
5807:
5803:
5799:
5795:
5791:
5785:
5771:
5767:
5760:
5745:
5741:
5735:
5728:
5722:
5715:
5711:
5705:
5698:
5692:
5685:
5679:
5672:
5668:
5662:
5655:
5649:
5642:
5636:
5622:
5618:
5611:
5604:
5598:
5591:
5586:
5579:
5574:
5567:
5562:
5553:
5544:
5535:
5527:
5523:
5517:
5513:
5512:
5504:
5495:
5486:
5478:
5474:
5468:
5461:
5456:
5449:
5444:
5437:
5433:
5429:
5423:
5416:
5410:
5403:
5397:
5390:
5386:
5380:
5373:
5367:
5360:
5354:
5347:
5341:
5334:
5328:
5321:
5315:
5307:
5303:
5302:
5294:
5287:
5281:
5274:
5268:
5261:
5255:
5248:
5242:
5233:
5226:
5220:
5213:
5212:The Shellback
5207:
5200:
5194:
5185:
5183:
5175:
5169:
5160:
5153:
5149:
5143:
5136:
5130:
5123:
5117:
5108:
5101:
5095:
5088:
5082:
5075:
5069:
5062:
5056:
5049:
5043:
5036:
5030:
5023:
5017:
5010:
5004:
4995:
4988:
4984:
4980:
4974:
4965:
4958:
4952:
4945:
4939:
4932:
4926:
4919:
4913:
4906:
4900:
4893:
4887:
4878:
4871:
4867:
4861:
4854:
4848:
4841:
4835:
4828:
4822:
4815:
4809:
4802:
4796:
4789:
4783:
4773:
4771:
4769:
4767:
4765:
4757:
4751:
4737:
4733:
4727:
4713:
4709:
4703:
4696:
4690:
4676:
4672:
4666:
4659:
4653:
4646:
4640:
4633:
4627:
4620:
4614:
4600:
4596:
4590:
4576:
4572:
4566:
4552:
4548:
4542:
4528:
4524:
4518:
4504:
4500:
4494:
4480:
4476:
4470:
4461:
4459:
4451:
4445:
4443:
4435:
4429:
4422:
4416:
4409:
4403:
4396:
4390:
4383:
4377:
4370:
4364:
4357:
4351:
4349:
4341:
4335:
4328:
4322:
4315:
4309:
4302:
4296:
4289:
4283:
4276:
4270:
4268:
4258:
4256:
4248:
4245:e.g.: Terry,
4242:
4235:
4231:
4225:
4216:
4209:
4203:
4196:
4187:
4180:
4174:
4165:
4158:
4152:
4143:
4141:
4139:
4131:
4125:
4118:
4112:
4105:
4099:
4092:
4086:
4077:
4070:
4064:
4057:
4051:
4044:
4038:
4031:
4025:
4018:
4012:
4005:
3999:
3992:
3986:
3977:
3970:
3964:
3955:
3948:
3942:
3935:
3929:
3922:
3916:
3909:
3903:
3896:
3891:
3884:
3878:
3871:
3868:Hay, Robert,
3865:
3856:
3849:
3843:
3836:
3830:
3821:
3819:
3811:
3805:
3798:
3792:
3786:
3780:
3778:
3776:
3774:
3766:
3760:
3753:
3747:
3740:
3734:
3727:
3721:
3714:
3708:
3701:
3695:
3688:
3682:
3675:
3669:
3662:
3656:
3649:
3643:
3636:
3630:
3628:
3626:
3624:
3622:
3620:
3612:
3606:
3599:
3593:
3586:
3580:
3573:
3567:
3560:
3554:
3546:
3542:
3537:
3530:
3523:
3519:
3513:
3506:
3500:
3493:
3492:
3485:
3478:
3472:
3465:
3461:
3457:
3451:
3443:
3439:
3433:
3426:
3422:
3416:
3414:
3406:
3400:
3393:
3389:
3385:
3381:
3377:
3368:
3361:
3355:
3348:
3342:
3335:
3331:
3327:
3323:
3321:
3313:
3306:
3300:
3293:
3287:
3280:
3274:
3267:
3263:
3257:
3250:
3244:
3237:
3235:
3228:
3221:
3215:
3208:
3202:
3200:
3192:
3186:
3172:
3168:
3162:
3158:
3148:
3145:
3143:
3140:
3138:
3135:
3133:
3130:
3128:
3125:
3123:
3120:
3119:
3108:
3105:
3102:
3099:
3096:
3092:
3089:
3085:
3084:
3082:
3081:
3076:
3072:
3068:
3064:
3063:
3058:
3055:
3054:
3049:
3046:
3042:
3038:
3037:
3032:
3029:
3028:Edward Kenway
3025:
3021:
3020:
3015:
3014:
3006:
3002:
3001:
2997:
2994:
2993:
2989:
2986:
2985:
2981:
2978:
2977:
2973:
2970:
2966:
2965:The Polar Sea
2963:
2960:
2959:
2955:
2952:
2951:
2947:
2944:
2943:
2939:
2936:
2935:
2931:
2928:
2927:
2923:
2920:
2919:
2915:
2912:
2911:
2907:
2904:
2903:
2899:
2896:
2895:
2891:
2888:
2887:
2886:Lonesome Dove
2883:
2881:
2877:
2876:
2872:
2869:
2868:
2864:
2861:
2860:
2856:
2853:
2852:
2848:
2845:
2844:
2840:
2837:
2836:
2832:
2829:
2828:
2824:
2821:
2820:
2816:
2813:
2812:
2808:
2805:
2804:
2800:
2797:
2796:
2792:
2789:
2788:
2784:
2781:
2780:
2776:
2775:
2774:
2765:
2763:
2759:
2755:
2751:
2746:
2743:
2738:
2734:
2733:Steve Goodman
2730:
2726:
2721:
2711:
2709:
2705:
2701:
2697:
2693:
2689:
2685:
2681:
2678:
2674:
2672:
2667:
2666:
2661:
2656:
2652:
2651:The Dubliners
2648:
2644:
2634:
2631:
2623:Popular music
2620:
2618:
2617:
2612:
2608:
2601:
2596:
2594:
2593:
2588:
2584:
2580:
2579:
2574:
2564:
2562:
2558:
2554:
2550:
2539:
2537:
2533:
2528:
2524:
2520:
2517:
2511:
2503:
2501:
2497:
2487:
2485:
2484:The Dubliners
2481:
2477:
2473:
2469:
2465:
2455:
2453:
2449:
2445:
2441:
2440:
2436:
2432:
2431:
2426:
2422:
2418:
2413:
2403:
2400:
2395:
2391:
2387:
2383:
2372:
2369:
2361:
2351:
2347:
2343:
2337:
2336:
2331:This section
2329:
2320:
2319:
2311:
2309:
2305:
2301:
2297:
2293:
2283:
2281:
2277:
2273:
2269:
2264:
2258:
2243:
2234:
2232:
2228:
2218:
2215:
2213:
2209:
2205:
2204:
2196:North America
2193:
2184:
2172:
2168:
2166:
2163:
2160:
2156:
2154:
2151:
2148:
2144:
2142:
2139:
2136:
2132:
2130:
2127:
2126:
2125:
2121:
2119:
2115:
2111:
2107:
2106:
2101:
2097:
2093:
2092:
2087:
2083:
2079:
2075:
2071:
2067:
2063:
2059:
2051:
2048:
2045:
2042:
2041:
2040:
2031:
2029:
2025:
2021:
2017:
2012:
2010:
2006:
2002:
1998:
1994:
1989:
1980:
1971:
1969:
1959:
1955:
1951:
1947:
1944:
1940:
1936:
1935:
1933:
1929:
1925:
1921:
1917:
1913:
1909:
1905:
1901:
1896:
1893:
1890:
1885:
1881:
1878:
1877:
1868:
1864:
1859:
1858:
1855:
1852:Operation of
1850:
1843:
1842:
1836:
1832:
1828:
1827:
1824:
1821:
1820:
1814:
1811:
1807:
1806:
1804:
1800:
1796:
1792:
1788:
1784:
1780:
1776:
1769:
1768:
1765:
1760:
1748:
1742:
1736:
1731:
1728:
1725:
1721:
1717:
1714:
1713:
1707:
1703:
1702:
1700:
1696:
1692:
1689:
1688:
1682:
1678:
1677:
1674:
1671:
1670:
1664:
1660:
1659:
1657:
1653:
1649:
1645:
1642:
1641:
1635:
1634:Joseph Conrad
1631:
1627:
1626:
1624:
1620:
1616:
1612:
1609:
1605:
1601:
1597:
1594:
1593:
1588:
1579:
1577:
1573:
1569:
1565:
1555:
1553:
1552:The Derby Ram
1549:
1545:
1541:
1537:
1533:
1529:
1525:
1521:
1517:
1513:
1509:
1498:
1492:
1481:
1477:
1472:
1463:
1458:
1449:
1447:
1442:
1440:
1436:
1435:Improvisation
1431:
1426:
1417:
1415:
1408:
1407:
1403:
1401:
1394:
1392:
1385:
1381:
1379:
1372:
1370:
1362:
1360:
1355:
1353:
1349:
1344:
1342:
1338:
1328:
1314:
1312:
1308:
1302:
1300:
1296:
1292:
1287:
1283:
1279:
1275:
1270:
1268:
1262:
1258:
1256:
1252:
1249:in 1918 when
1248:
1243:
1241:
1236:
1231:
1222:
1220:
1215:
1211:
1207:
1202:
1200:
1196:
1190:
1182:
1178:
1174:
1170:
1164:
1158:
1156:
1152:
1148:
1144:
1143:Peter Kennedy
1139:
1137:
1133:
1129:
1125:
1124:
1119:
1115:
1110:
1108:
1104:
1099:
1095:
1091:
1087:
1083:
1079:
1073:
1071:
1067:
1066:wax cylinders
1063:
1059:
1049:
1045:
1043:
1039:
1031:
1027:
1023:
1019:
1017:
1013:
1008:
1006:
1002:
998:
994:
990:
986:
981:
977:
974:
970:
955:
953:
946:
941:
932:
930:
926:
922:
918:
917:clipper ships
912:
909:
905:
901:
897:
893:
881:
877:
872:
863:
858:
853:
851:
846:
841:
839:
835:
831:
825:
823:
819:
815:
811:
806:
804:
803:minstrel song
800:
793:
788:
786:
775:
773:
767:
762:
758:
755:
751:
747:
740:
735:
731:
725:
721:
717:
713:
709:
706:
703:
699:
696:
692:
689:
686:
685:
684:
681:
675:
673:
661:
658:
650:
640:
636:
630:
628:
621:
612:
611:
603:
601:
597:
593:
588:
584:
580:
575:
571:
569:
560:
556:
551:
547:
545:
541:
537:
531:
526:
521:
517:
515:
511:
500:
495:
490:
488:
484:
477:
475:
470:
468:
462:
457:
455:
444:
442:
441:
424:
420:
418:
414:
410:
406:
401:
399:
394:
390:
385:
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:
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:
6239:Sea shanties
6210:
6125:
6116:
6106:– via
6095:Ghostarchive
6093:Archived at
6089:
6080:
6070:
6058:. Retrieved
6055:Gaming Nexus
6054:
6044:
6033:
6023:
6011:. Retrieved
6007:
5997:
5985:. Retrieved
5978:
5969:
5957:. Retrieved
5951:
5941:
5923:
5918:
5900:
5895:
5870:
5842:
5835:
5825:
5820:
5809:. Retrieved
5797:
5784:
5773:. Retrieved
5769:
5759:
5748:. Retrieved
5743:
5734:
5726:
5721:
5713:
5709:
5704:
5696:
5691:
5683:
5678:
5670:
5666:
5661:
5653:
5648:
5640:
5635:
5624:. Retrieved
5620:
5610:
5597:
5589:
5585:
5577:
5573:
5566:Sea Shanties
5565:
5561:
5552:
5543:
5534:
5526:the original
5510:
5503:
5494:
5485:
5476:
5467:
5455:
5443:
5435:
5422:
5414:
5409:
5401:
5396:
5388:
5384:
5379:
5371:
5366:
5359:Marine Notes
5358:
5353:
5345:
5340:
5332:
5327:
5319:
5314:
5300:
5293:
5285:
5280:
5275:, pp. 134â5.
5272:
5267:
5259:
5254:
5246:
5241:
5232:
5224:
5219:
5211:
5206:
5198:
5197:e.g.: Luce,
5193:
5173:
5168:
5159:
5154:, pp. 575â9.
5151:
5147:
5142:
5134:
5129:
5121:
5116:
5107:
5099:
5094:
5086:
5081:
5073:
5068:
5060:
5055:
5047:
5042:
5034:
5029:
5021:
5016:
5008:
5003:
4994:
4986:
4982:
4978:
4973:
4964:
4956:
4951:
4943:
4938:
4933:, pp. 30â31.
4930:
4925:
4917:
4912:
4904:
4899:
4891:
4886:
4877:
4869:
4865:
4860:
4852:
4847:
4839:
4834:
4826:
4821:
4813:
4808:
4800:
4795:
4787:
4782:
4755:
4750:
4739:. Retrieved
4736:sounds.bl.uk
4735:
4726:
4715:. Retrieved
4711:
4702:
4694:
4689:
4678:. Retrieved
4674:
4665:
4657:
4652:
4644:
4639:
4631:
4626:
4618:
4613:
4602:. Retrieved
4599:sounds.bl.uk
4598:
4589:
4578:. Retrieved
4575:sounds.bl.uk
4574:
4565:
4554:. Retrieved
4551:sounds.bl.uk
4550:
4541:
4530:. Retrieved
4527:sounds.bl.uk
4526:
4517:
4506:. Retrieved
4503:sounds.bl.uk
4502:
4493:
4482:. Retrieved
4479:sounds.bl.uk
4478:
4469:
4449:
4433:
4428:
4420:
4415:
4407:
4402:
4394:
4389:
4381:
4376:
4368:
4363:
4355:
4339:
4334:
4326:
4321:
4313:
4308:
4300:
4295:
4287:
4282:
4274:
4246:
4241:
4233:
4230:Whall, W. B.
4224:
4215:
4207:
4202:
4191:
4186:
4178:
4173:
4164:
4156:
4151:
4129:
4124:
4116:
4111:
4103:
4098:
4090:
4085:
4076:
4068:
4063:
4058:, pp. 19â20.
4055:
4050:
4042:
4037:
4029:
4024:
4016:
4011:
3998:
3990:
3985:
3976:
3968:
3963:
3954:
3946:
3941:
3933:
3928:
3920:
3915:
3907:
3902:
3894:
3890:
3882:
3877:
3869:
3864:
3855:
3847:
3842:
3834:
3829:
3804:
3796:
3791:
3764:
3759:
3751:
3746:
3738:
3733:
3725:
3720:
3712:
3707:
3699:
3694:
3686:
3681:
3673:
3668:
3660:
3655:
3647:
3642:
3634:
3610:
3605:
3597:
3592:
3584:
3579:
3571:
3566:
3558:
3553:
3540:
3529:
3521:
3517:
3512:
3499:
3489:
3484:
3477:Capstan Bars
3476:
3471:
3463:
3459:
3455:
3450:
3441:
3432:
3424:
3420:
3404:
3399:
3391:
3387:
3383:
3379:
3372:
3367:
3359:
3354:
3346:
3341:
3325:
3319:
3312:
3304:
3299:
3294:, p. 41, 44.
3291:
3286:
3278:
3273:
3261:
3256:
3248:
3243:
3232:
3227:
3222:, pp. 22â23.
3219:
3214:
3206:
3190:
3185:
3174:. Retrieved
3170:
3161:
3122:Sailing ship
3078:
3075:cowboy songs
3060:
3051:
3044:
3034:
3017:
2998:
2990:
2982:
2974:
2964:
2956:
2948:
2940:
2932:
2924:
2916:
2908:
2900:
2892:
2884:
2879:
2873:
2865:
2857:
2849:
2841:
2833:
2825:
2817:
2809:
2801:
2793:
2785:
2777:
2771:
2753:
2747:
2719:
2718:The musical
2717:
2708:Nathan Evans
2669:
2663:
2640:
2626:
2614:
2603:
2598:
2590:
2576:
2570:
2545:
2529:
2525:
2521:
2515:
2512:
2509:
2493:
2461:
2437:
2428:
2420:
2417:Paul Clayton
2412:folk revival
2409:
2379:
2364:
2358:October 2014
2355:
2332:
2289:
2251:Shanty choir
2248:
2226:
2224:
2216:
2202:
2199:
2190:
2181:
2170:
2158:
2146:
2134:
2122:
2117:
2114:Seemannslied
2113:
2109:
2104:
2100:sjĂžmannsvise
2099:
2095:
2090:
2055:
2037:
2013:
2000:
1996:
1985:
1965:
1945:of Virginia.
1923:
1911:
1863:Downton pump
1854:Downton pump
1834:
1777:Raising the
1739:
1633:
1618:
1614:
1575:
1571:
1567:
1563:
1561:
1504:
1495:
1484:
1478:
1475:
1466:
1461:
1452:
1443:
1433:
1428:
1423:
1413:
1411:
1405:
1399:
1397:
1390:
1388:
1383:
1377:
1375:
1368:
1366:
1365:
1356:
1351:
1347:
1345:
1334:
1325:
1303:
1290:
1271:
1266:
1264:
1260:
1244:
1239:
1232:
1228:
1218:
1213:
1205:
1203:
1198:
1194:
1192:
1176:
1175:, author of
1162:
1140:
1135:
1121:
1111:
1074:
1058:folk revival
1055:
1046:
1041:
1035:
1029:
1015:
1009:
1004:
992:
982:
978:
966:
958:20th century
948:
943:
938:
913:
908:Packet ships
891:
889:
874:An American
866:19th century
860:
855:
847:
843:
827:
821:
814:non sequitur
813:
810:poetic meter
807:
798:
795:
790:
781:
769:
766:much easier.
764:
759:
743:
729:
700:The work of
676:
668:
653:
644:
624:
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
18:Sea shanties
6284:Irish songs
6153:Stan Hugill
6081:Games Sided
5199:Naval Songs
5076:, pp. 40â1.
4325:Masefield,
4299:Masefield,
4179:Naval Songs
3442:Roll and Go
3392:The Bellman
3347:Once a Week
3292:Seven Years
3279:Seven Years
2725:Stan Rogers
2660:Johnny Depp
2647:Sex Pistols
2472:The Weavers
2272:Netherlands
2096:sjömansvisa
2001:forebitters
1920:purse-seine
1884:holystoning
1874:Other types
1844:Pump shanty
1715:Bunt shanty
1404:: John Fran
1389:Shantyman (
1367:Shantyman (
1189:Stan Hugill
1173:Stan Hugill
1132:Nova Scotia
1118:Nova Scotia
1038:Cecil Sharp
1026:Cecil Sharp
969:Cecil Sharp
952:windjammers
921:gold rushes
900:War of 1812
876:packet ship
772:Stan Hugill
754:New Orleans
708:Stevedoring
695:plantations
688:Boat-rowing
413:A. L. Lloyd
326:jack-screws
250:landlubbers
160:, the word
156:via French
152:From Latin
141:. The term
6234:Work music
6223:Categories
6060:7 December
6013:7 December
5987:7 December
5975:"Shanties"
5959:7 December
5811:2021-01-15
5775:2021-01-15
5750:2021-01-15
5626:2021-01-13
5150:; Hugill,
4866:Gramophone
4741:2020-10-03
4717:2020-10-03
4680:2020-10-03
4604:2020-10-03
4580:2020-10-03
4556:2020-10-03
4532:2020-10-03
4508:2020-10-03
4484:2020-10-03
4410:, p. viii.
4314:Temple Bar
3919:Nordhoff,
3848:Work Songs
3609:Falconer,
3176:2022-07-16
3153:References
3147:Shosholoza
2859:Billy Budd
2758:Susie Bell
2655:The Pogues
2573:travelogue
2480:Poor Paddy
2478:recorded "
2476:The Pogues
2399:cover song
2382:folk music
2342:improve it
2263:shantykoor
2257:Shantychor
2254:s (German
2208:Gloucester
2009:concertina
1988:forecastle
1932:whaleboats
1924:in between
1799:Shenandoah
1795:Rio Grande
1608:topgallant
1524:Music hall
1414:short-drag
1286:A.L. Lloyd
1235:pianoforte
1206:collectors
1181:landlubber
1151:Shenandoah
1126:. Lastly,
1123:Rio Grande
1103:Alan Lomax
1040:'s, whose
925:California
834:Old Emmett
714:, and the
712:Gulf Coast
680:Martinique
647:March 2017
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
5852:cite book
5806:0362-4331
5744:MSNBC.com
5402:Poor Jack
5007:Whidden,
4397:, p. xii.
4384:, p. vii.
4329:, p. 302.
4303:, p. 300.
4249:, p. xii.
4102:Johnson,
3993:, p. 312.
3281:, p. 312.
3127:Work song
3088:Santianna
3067:overworld
2967:(2014): "
2942:Moby Dick
2902:Moby Dick
2843:Moby Dick
2754:Nancy Lee
2700:Wellerman
2516:a capella
2490:Classical
2435:fake book
2425:Burl Ives
2394:classical
2346:verifying
2296:Fremantle
2286:Australia
2227:a capella
2203:Balclutha
2152:Norwegian
2062:Norwegian
1928:whalermen
1791:Santianna
1695:staysails
1548:Billy Boy
1382:: Way-ay-
1348:shantyman
1107:Caribbean
929:Australia
720:jackscrew
716:Caribbean
639:talk page
432:Emergence
261:Etymology
220:shantyman
132:work song
128:folk song
6097:and the
5934:Q3752929
5930:Wikidata
5911:Q5291602
5907:Wikidata
5288:, p. 26.
5284:Hugill,
5271:Hugill,
5176:, p. 24.
5172:Hugill,
5059:Hugill,
5050:, p. 19.
5011:, p. 99.
4929:Hugill,
4907:, p. 36.
4903:Hugill,
4436:, p. xv.
4371:, p. vi.
4106:, p. 88.
4054:Hugill,
4019:, p. 14.
4015:Hugill,
3949:, p. 17.
3945:Hugill,
3923:, p. 43.
3570:Hugill,
3545:Archived
3440:(1924).
3251:, p. 20.
3247:Hugill,
3116:See also
3045:Morrigan
2704:Scotland
2694:after a
2630:doggerel
2551:and the
2450:," and "
2260:, Dutch
1948:Sample:
1916:menhaden
1829:Sample:
1808:Sample:
1801:", and "
1679:Sample:
1661:Sample:
1628:Sample:
1600:halyards
1512:couplets
1359:Napoleon
1322:Function
633:You may
592:The Quid
583:The Quid
559:The Quid
494:strains.
454:windlass
379:Spelling
338:chanting
136:merchant
6108:YouTube
5322:, p. 7.
5318:Smith,
5223:Whall,
5133:Adams,
5072:Smith,
5046:Sharp,
4946:, p. 6.
4452:, p. x.
4448:Sharp,
4432:Sharp,
4071:, p. 6.
3574:, p. 5.
3290:Clark,
3277:Clark,
2880:Unicorn
2727:song, "
2688:Britain
2557:pirates
2390:country
2340:Please
2304:Bunbury
2276:Germany
2231:Channel
2164:Swedish
2110:oppsang
2058:Swedish
2026:" and "
1889:yardarm
1837:, 2022.
1813:(audio)
1783:capstan
1764:capstan
1724:furling
1617:, hey,
1604:topsail
1568:heaving
1564:hauling
1550:" and "
1534:" and "
1501:Sources
1400:refrain
1378:refrain
1225:Revival
1147:Bristol
1086:Ireland
892:revival
878:of the
838:Kroomen
750:Antigua
739:capstan
702:stokers
670: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
6008:AVGame
5953:Kotaku
5932:
5909:
5883:
5804:
5518:
4777:2009).
4228:e.g.:
3488:e.g.:
3320:chanty
2692:TikTok
2561:TikTok
2534:, the
2300:Albany
2298:, and
2280:Norway
2278:, and
2268:choral
2266:) are
2140:German
2128:French
2118:szanta
2105:sjanti
2086:German
2082:Polish
2076:, and
2074:Breton
2070:French
2005:fiddle
1908:timber
1835:Gazela
1779:anchor
1652:sheets
1648:braces
1576:timing
1572:pacing
1352: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
4194:'
3375:'
2875:Roots
2720:style
2696:viral
2292:Perth
2078:Welsh
2066:Dutch
1993:watch
1968:tempo
1952:, by
1787:winch
1656:tacks
1611:yards
1558:Types
1439:blues
1406:çois!
1398:All (
1376:All (
830:Dixie
283:from
93:, or
6181:MIDI
6062:2017
6015:2017
5989:2017
5961:2017
5881:ISBN
5862:link
5858:link
5802:ISSN
5621:CNET
5516:ISBN
5430:and
2867:Jaws
2466:'s "
2458:Rock
2446:," "
2410:The
2406:Folk
2386:rock
2084:and
1735:deck
1720:bunt
1699:jibs
1697:and
1619:Blow
1391:solo
1369:solo
1346:The
1331:Form
927:and
822:both
746:Grog
415:and
347:The
256:Word
239:and
201:sail
172:and
5980:IGN
5824:On
5770:CNN
5306:169
3330:doi
3083:):
3077:in
3059:In
3050:In
3033:In
3016:In
2686:in
2454:".
2344:by
2030:."
2007:or
1999:or
1956:of
1902:of
1805:."
1654:or
1625:."
1615:Way
1606:or
1566:or
1554:."
1343:).
1028:'s
1003:'s
923:in
799:Joe
287:to
6225::
6209:,
6124:.
6101::
6079:.
6053:.
6032:.
6006:.
5977:.
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631:.
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116:t
113:n
110:ĂŠ
107:Ê
104:Ë
101:/
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