Although mostly used for windlass or capstan, Sir Walter Runciman
tells me that he frequently sang to it for 'hand-over-hand' hauling.
Whall gives it on page 107 under the title 'Early in the morning.' It
is one of the few shanties that were sung in quick time.
15. BLOW, MY BULLY BOYS
This shanty has been included in every collection that I know of. (See
Whall, page 91.) Most of my sailor relatives sang the last line thus:
[Music illustration: Her masts and yards they shine like silver.]
Spotless decks, and 'masts and yards that shone like silver,' were the
distinguishing marks of a Yankee Packet, and this immaculate condition
was the result of a terrible discipline, in which the belaying pin was
a gruesome factor.
16. BLOW THE MAN DOWN
This is the shanty which is perhaps the best known among landsmen.
'Winchester Street' is in South Shields, and in the old days was the
aristocratic quarter where only persons of high distinction--such as
shipowners, and 'Southspainer' skippers--lived. Whall gives the shanty
on page 92.
17. CHEER'LY, MEN
This is a very well-known shanty, and the variants of it are endless.
This particular version was sung to me by Capt. R.W. Robertson. It
differs but slightly from the version which I originally learnt from
Sir Walter Runciman. Very few of the words were printable, and old
sailors who read my version will no doubt chuckle over the somewhat
pointless continuation of the verses concerning Kitty Carson and Polly
Riddle. They will, of course, see the point of my having supplied a
Chopinesque accompaniment to such a shanty.
18. GOOD MORNING, LADIES ALL
The title belongs to other shanties as well; but, so far as I know,
this tune has never been printed until now. I learnt it from
Northumbrian sailors when a very small boy, and have never heard of
its use in any other than Blyth and Tyne ships. It may be a
Northumbrian air, but from such knowledge as I have gleaned of
Northumbrian folk-tunes, I incline to the conjecture that it may have
been picked up in more southern latitudes by some Northumbrian seaman.
19. HANGING JOHNNY
This cheery riot of gore is wedded to the most plaintive of tunes, and
is immortalized by Masefield in his 'Sailor's Garland.' Nowadays one
occasionally meets unhumorous longshore sailormen who endeavour to
temper its fury to the shorn landsman by palming off a final verse,
which gives one to understand that the previous stanzas have been only
'Johnny's' little fun, and which makes him bleat:
'They said I hanged for money,
But I never hanged nobody.'
I also possess a shanty collection where the words have so clearly
shocked the editor that he has composed an entirely fresh set. These
exhibit 'Johnny' as a spotless moralist, who would never _really_ hang
his parents, but would only operate (in a Pickwickian sense of course)
on naughty and unworthy people:
'I'd hang a noted liar,
I'd hang a bloated friar.
'I'd hang a brutal mother,
I'd hang her and no other.
'I'd hang to make things jolly,
I'd hang all wrong and folly.'
Imagine a shantyman (_farceur_ as he ever was) making for edification
in that style!
20. HILO SOMEBODY
This is another of the shanties I learnt as a boy from Blyth sailors,
and which has never been printed before. I fancy that 'blackbird' and
'crew' must be a perversion of 'blackbird and _crow_,' as the latter
figure of speech occurs in other shanties.
21. OH, RUN, LET THE BULLGINE RUN
The reference to the 'Bullgine' seems to suggest Transatlantic origin.
There were endless verses, but no attempt at narrative beyond a
recital of the names of places from which and to which they were
'running.' This version was sung to me by Mr. F.B. Mayoss, a seaman
who sailed in the old China Clippers.
22. REUBEN RANZO
Alden gives this version, and I fancy it may have once been fairly
general, as several of my relatives used to sing it. The version I
mostly heard from other sailors, however, began:
[Music illustration: Oh, pity poor Reuben Ranzo etc.]
But from Mr. Morley Roberts I had the following:
[Music illustration: Oh, pity poor Reuben Ranzo etc.]
Capt. Robertson's version ran thus:
[Music illustration:
Oh, poor old Reuben Ranzo,
Ranzo, boys, Ranzo,
Oh, poor old Reuben Ranzo,
Ranzo, boys, Ranzo.]
Whall gives another version on page 84.
Who Ranzo was must ever remain a mystery. Capt. Whall suggests that
the word might be a corruption of Lorenzo, since Yankee Whalers took
many Portuguese men from the Azores, where Lorenzo would have been a
common enough name. He adds that in his time the shanty was always
sung to the regulation words, and that 'when the story was finished
there was no attempt at improvization; the text was, I suppose,
considered sacred.' He further says that he never heard any variation
from the words which he gives.
I think he is right about the absence of improvization on extraneous
topics, but I used to hear a good deal of improvization on the subject
of Ranzo himself. I knew at least three endings of the story: (1)
where the captain took him into the cabin, 'larned him navigation,'
and eventually married him to his daughter; (2) where Ranzo's hatred
of ablutions caused the indignant crew to throw him overboard; (3)
where the story ended with the lashes received, not for his dirty
habits, but for a theft:
'We gave him lashes thirty
For stealin' the captain's turkey.'
I have also heard many extemporaneous verses relating his adventures
among the denizens of the deep after he was thrown overboard.
23. THE DEAD HORSE
This shanty was used both for hauling and for pumping ship. It seems
to have had its origin in a rite which took place after the crew had
'worked off the dead horse.' The circumstances were these: Before any
voyage, the crew received a month's pay in advance, which, needless to
say, was spent ashore before the vessel sailed. Jack's first month on
sea was therefore spent in clearing off his advance, which he called
working off the dead horse. The end of that payless period was
celebrated with a solemn ceremony: a mass of straw, or whatever other
combustibles were to hand, was made up into a big bundle, which
sometimes did, and more often did not, resemble a horse. This was
dragged round the deck by all hands, the shanty being sung meanwhile.
The perambulation completed, the dead horse was lighted and hauled up,
usually to the main-yardarm, and when the flames had got a good hold,
the rope was cut and the blazing mass fell into the sea, amid shouts
of jubilation.
24. TOM'S GONE TO HILO
This beautiful tune was very popular. I have chosen the version sung
to me by Mr. George Vickers, although in the first chorus it differs
somewhat from the version I learnt as a boy:
[Music illustration: Away down Hilo etc.]
It will be seen how closely the above resembles the version given by
Whall on page 74. (It will be noted that he entitled it '_John's_ gone
to Hilo.') I give Mr. Vickers's verses about 'The Victory' and
'Trafalgar,' as I had never heard them sung by any other seaman. I
have omitted the endless couplets containing the names of places to
which Tommy is supposed to have travelled. As Capt. Whall says: 'A
good shantyman would take Johnny all round the world to ports with
three syllables, Montreal, Rio Grande Newfoundland, or any such as
might occur to him.'
25. WHISKY JOHNNY
This Bacchanalian chant was a prime favourite. Every sailor knew it,
and every collection includes some version of it.
26. BONEY WAS A WARRIOR
I never met a seaman who has not hoisted topsails to this shanty. Why
Jack should have made a hero of Boney (he frequently pronounced it
'Bonny') is a mystery, except perhaps that, as a sailor, he realized
the true desolation of imprisonment on a sea-girt island, and his
sympathies went out to the lonely exile accordingly. Or it may have
been the natural liking of the Briton for any enemy who proved himself
a 'bonny fechter.'
27. JOHNNY BOKER
This popular shanty was sometimes used for bunting-up a sail, but more
usually for 'sweating-up.' Although I have allowed the last note its
full musical value, it was not prolonged in this manner aboard ship.
As it coincided with the pull, it usually sounded more like a staccato
grunt.
28. HAUL AWAY, JOE
The major version of this shanty (which appears in Part II) was more
general in the last days of the sailing ship; but this minor version
(certainly the most beautiful of them) is the one which I used to hear
on the Tyne. The oldest of my sailor relatives never sang any other.
This inclines me to the belief that it is the earlier version. The
verses extemporized to this shanty were endless, but those concerning
the Nigger Girl and King Louis never seem to have been omitted. As in
No. 27, I have allowed the last note its full musical value, but
aboard ship it was sung in the same manner as No. 27.
29. WE'LL HAUL THE BOWLIN'
This was the most popular shanty for 'sweating-up.' There are many
variants of it. The present version I learnt from Capt. John Runciman.
In this shanty no attempt was ever made to sing the last word. It was
always shouted.
30. PADDY DOYLE'S BOOTS
This shanty differs from all others, as (_a_) it was sung _tutti_
throughout; (_b_) it had only one verse, which was sung over and over
again; and (_c_) it was used for one operation and one operation only,
viz. bunting up the foresail or mainsail in furling. In this operation
the canvas of the sail was folded intensively until it formed a smooth
conical bundle. This was called a bunt, and a strong collective effort
(at the word 'boots') was required to get it on to the yard.
Although the same verse was sung over and over again, very
occasionally a different text would be substituted, which was treated
in the same manner. Capt. Whall gives two alternatives, which were
sometimes used:
'We'll all drink brandy and gin,'
and--
'We'll all shave under the chin.'
Mr. Morley Roberts also told me that a variant in his ship was--
'We'll all throw dirt at the cook.'
THE SHANTY BOOK.
PART I.
[Transcriber's Note: Fractions in brackets indicate that the original
text has a music note symbol over the succeeding word, e.g., [1/4] = a
quarter note. A vowel with an umlaut indicates that the word or
syllable has two dots over it in the original text, presumably to
indicate that it should be prolonged when sung. See the Glossary
below.]
1. Billy Boy.
(NORTHUMBRIAN CAPSTAN SHANTY.)
[Music illustration:
1. Where hev ye been aeal the day,
Billy Boy, Billy Boy?
Where hev ye been aeal the day, me Billy Boy?
I've been walkin' aeal the day
With me charmin' Nancy Grey,
And me Nancy kittl'd me fancy
Oh me charmin' Billy Boy.]
2. Is she fit to be yor wife
Billy Boy, Billy Boy?
Is she fit to be yor wife, me Billy Boy?
She's as fit to be me wife
As the fork is to the knife
And me Nancy, _etc._
3. Can she cook a bit o' steak
Billy Boy, Billy Boy?
Can she cook a bit o' steak, me Billy Boy?
She can cook a bit o' steak,
Aye, and myek a gairdle cake
And me Nancy, _etc._
4. Can she myek an Irish Stew
Billy Boy, Billy Boy?
Can she myek an Irish Stew, me Billy Boy?
She can myek an Irish Stew
Aye, and "Singin' Hinnies" too.
And me Nancy, _etc._
_Glossary_:--
aeal = all. Pronounced to rhyme with "shall" only the vowel
must be very much prolonged.
kittled = tickled.
myek = make.
gairdle cake = girdle cake, i.e. a cake baked on a griddle.
Singin' Hinnies--i.e. a species of Sally Lunn teacake only
larger. Usually plentifully besprinkled with currants, in
which case it is designated by pitmen as "Singin' Hinnies
wi' smaea co fizzors" (small coal fizzers.)
2. Bound for the Rio Grande.
(WINDLASS AND CAPSTAN SHANTY.)
[Music illustration:
1. I'll sing you a song of the fish of the sea.
Oh Rio.
I'll sing you a song of the fish of the sea
And we're bound for the Rio Grande.
Then away love, away,
'Way down Rio,
So fare ye well my pretty young gel.
For we're bound for the Rio Grande.]
2. Sing good-bye to Sally, and good-bye to Sue, Oh Rio, _etc._
And you who are listening, good-bye to you. And we're bound, _etc._
3. Our [1/4]ship [1/8]went sailing out over the Bar
[1/16]And [1/16]we pointed her nose for the South-er-en Star.
4. Farewell and adieu to you ladies of Spain
[1/16]And [1/16]we're all of us coming to see you again.
5. [1/8]I [1/4]said [1/8 1/4]farewell [1/8]to Kitty my dear,
[1/16]And [1/16]she waved her white hand as we passed the South Pier.
6. The oak, and the ash, and the bonny birk tree
They're all growing green in the North Countrie.
3. Good-bye, fare ye well.
[Music illustration:
1. I thought I heard the old man say
Good-bye, fare ye well,
Good-bye, fare ye well.
I thought I heard the old man say,
Hooray my boys we're homeward bound.]
2. We're homeward bound, I hear the sound. (_twice_)
3. We sailed away to Mobile Bay. (_twice_)
4. But now we're bound for Portsmouth Town. (_twice_)
5. And soon we'll be ashore again. (_twice_)
6. I kissed my Kitty upon the pier
[1/16]And [1/16]it's oh to see you again my dear.
7. We're homeward bound, and I hear the sound. (_twice_)
4. Johnny come down to Hilo.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. I nebber see de like since I bin born,
When a big buck nigger wid de sea boots on,
Says "Johnny come down to Hilo.
Poor old man."
Oh wake her, oh, shake her,
Oh wake dat gel wid de blue dress on,
When Johnny comes down to Hilo.
Poor old man.]
2. I lub a little gel across de sea,
She's a Badian[1] beauty and she sez to me,
"Oh Johnny," _etc._
3. Oh was you ebber down in Mobile Bay
Where dey screws de cotton on a summer day?
When Johnny, _etc._
4. [1/16]Did [1/16]you ebber see de ole Plantation Boss
And de long-tailed filly and de big black hoss?
When Johnny, _etc._
5. I nebber seen de like since I bin born
When a big buck nigger wid de sea boots on,
Says "Johnny come down," _etc._
[Footnote 1: i.e. Barbadian, to wit, a native of Barbados.]
5. Clear the track, let the Bullgine run.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Oh, the smartest clipper you can find.
Ah ho Way-oh, are you most done.
Is the Marget Evans of the Blue Cross Line.
So clear the track, let the Bullgine run.
Tibby Hey rig a jig in a jaunting car.
Ah ho Way-oh, are you most done.
With Lizer Lee all on my knee.
So clear the track, let the Bullgine run.]
2. Oh the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line
She's [1/16 1/16]never a day behind her time.
3. Oh the gels are walking on the pier
[1/16]And [1/16]I'll soon be home to you, my dear.
4. Oh when I come home across the sea,
It's Lizer you will marry me.
5. Oeh shake her, wake [1/16]her, [1/16 1/8]before [1/8]we're [1/8]gone;
Oh fetch that gel with the blue dress on.
6. Oh I thought I heard the skipper say
"We'll keep the brig three points away."
7. Oh the smartest clipper you can find
Is the Marget [1/16 1/16]Evans [1/16]of [1/16]the Blue Cross Line.
6. Lowlands away.
(WINDLASS AND CAPSTAN.)
[Music illustration:
(INTRODUCTION.)
Lowlands, Lowlands,
Away my John,
Lowlands, away,
I heard them say,
My dollar and a half a day.
1. A dollar and a half a day is a Hoosier's pay.
Lowlands, Lowlands,
Away my John.
A dollar and a half a day is very good pay.
My dollar and a half a day.
2. Oh was you ever in Mobile Bay.
Lowlands, Lowlands,
Away my John.
Screwing the cotton by the day.
My dollar and a half a day.
3. All in the night my true love came,
Lowlands, Lowlands,
Away my John.
All in the night my true love came.
My dollar and a half a day.]
4. She came to me all in my sleep. (_twice_)
5. And her eyes were white my love. (_twice_)
6. And then I knew my love was dead. (_twice_)
7. Sally Brown.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Sally Brown she's a bright Mulatter.
Way Ay-y Roll and go.
She drinks rum and chews terbacker.
Spend my money on Sally Brown.]
2. Sally Brown she has a daughter
Sent me sailin' 'cross the water.
3. Seven long years I courted Sally. (_twice_)
4. Sally Brown I'm bound to leave you
Sally Brown I'll not deceive you.
5. Sally she's a 'Badian' beauty. (_twice_)
6. Sally lives on the old plantation
She belongs the Wild Goose Nation.
7. Sally Brown is a bright Mulatter
She drinks rum and chews terbacker.
8. Santy Anna.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Oh Santy Anna won the day.
Way-Ah, me Santy Anna.
Oh Santy Anna won the day.
All on the plains of Mexico.]
2. He beat the Prooshans fairly. Way-Ah, _etc._
And whacked the British nearly. All on, _etc._
3. He was a rorty gineral;
A rorty snorty gineral.
4. They took him out and shoet him.
Oh when shall we forget him.
5. Oh Santy Anna won the day
And Gin'ral Taylor run away.
9. Shenandoah.[2]
(WINDLASS AND CAPSTAN.)
[Footnote 2: The small notes in the piano part are to be played when
there is no violin.]
[Music illustration:
1. Oh Shenandoah, I long to hear you.
Away you rolling river.
Oh Shenandoah, I long to hear you.
Away, I'm bound to go
'Cross the wide Missouri.]
2. Oh Shenandoah, I love your daughter. (_twice_)
3. 'Tis seven long years since last I see thee. (_twice_)
4. Oh Shenandoah, I took a notion
To sail across the stormy ocean.
5. Oh Shenandoah, I'm bound to leave you.
Oh Shenandoah, I'll not deceive you.
6. Oh Shenandoah, I long to hear you. (_twice_)
10. Stormalong John.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Oh poor old Stormy's dead and gone.
Storm along boys,
Storm along.
Oh poor old Stormy's dead and gone.
Ah-ha, come along, get along,
Stormy along John.]
2. I dug his grave [1/8]with [1/8]a silver spade. (_twice_)
3. I lower'd him down [1/8]with [1/8]a golden chain. (_twice_)
4. I [1/8 1/8]carried [1/8]him [1/8]away to Mobile Bay. (_twice_)
5. Oh poor old Stormy's dead and gone. (_twice_)
11. The Hog's-eye Man.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Oh the hog's-eye man is the man for me,
He were raised way down in Tennessee.
Oh hog's eye, oh.
Row the boat ashore for the hog's-eye.
Steady on a jig with a hog's-eye oh,
She wants the hog's-eye man.]
2. Oh who's been here while I've been gone?
Soeme big buck [1/16 1/16]nigger, with his sea boots on?[3]
3. Oh bring me down my riding cane,
For I'm off to see my darling Jane.
4. Oh [1/16 1/16]Jenny's [1/16]in [1/16]the [1/8 1/16]garden a-picking
peas,
And her [1/16 1/16]golden hair's [1/16 1/16]hanging down to her knees.
5. Oh a hog's-eye ship, and a hog's-eye crew,
And a hog's-eye mate, and a skipper too.
[Footnote 3: This verse was sometimes sung:--
"Now where have you been gone so long
You Yankee Jack wid de sea boots on?"]
12. The Wild Goose Shanty.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. I'm the Shanty-man of the Wild Goose Nation.
Tibby Way-ay Hioha!
I've left my wife on a big plantation.
Hilo my Ranzo Hay!]
2. Now a long farewell to the old plantation. (_twice_)
3. And a long farewell to the Wild Goose Nation. (_twice_)
4. Oh the boys [1/8.]and [1/16]the [1/4]girls went a [1/8. 1/16 1/8.
1/16]huckleberry hunting. (_twice_)
5. Then good-bye [1/8.]and [1/16 1/4]farewell yoeu rolling river.
(_twice_)
6. I'm the Shanty-man of the Wild Goose Nation.
I've left my wife on a big plantation.
13. We're all bound to go.
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. Oh Johnny was a rover
And to-day he sails away.
Heave away, my Johnny,
Heave away-ay.
Oh Johnny was a rover
And to-day he sails away.
Heave away my bully boys,
We're all bound to go.]
2. As I was walking out one day,
Down by the Albert Dock.
Heave away, &c.
I heard an emigrant Irish girl
Conversing with Tapscott.
Heave away, &c.
3. "Good mornin', Mister Tapscott, sir,"
"Good morn, my gel," sez he,
"It's have you got a Packet Ship
All bound for Amerikee?"
4. "Oh yes, I've got a Packet Ship,
I _have_ got one or two.
I've got the _Jenny Walker_
And I've got the _Kangeroo_."
5. "I've got the _Jenny Walker_
And to-day she does set sail,
With five and fifty emigrants
[1/16]And [1/16]a thousand bags o' male."[4]
6. [1/8]Bad [1/8]luck [1/8]to [1/8]thim Irish sailor boys,
Bad luck to thim I say.
[1/16]For [1/16]they all got [1/8]drunk, [1/8]and [1/8]broke into me
bunk
And stole me clo'es away.
[Footnote 4: meal.]
14. What shall we do with the drunken sailor?
(WINDLASS AND CAPSTAN.)
[Music illustration:
1. What shall we do with the drunken sailor,
What shall we do with the drunken sailor,
What shall we do with the drunken sailor
Early in the morning?
Hooray and up she rises,
Hooray and up she rises,
Hooray and up she rises
Early in the morning.]
2. [1/16]Put [1/16]him in the long-boat until he's sober. (_thrice_)
3. Pull out the plug aend [1/16]wet [1/16]him all over. (_thrice_)
4. [1/16]Put [1/16]him in the [1/16 1/16]scuppers with a hose-pipe on
him. (_thrice_)
5. [1/16]Heave [1/16]him by the leg in a running bowlin'. (_thrice_)
6. [1/16]Tie [1/16]him to the [1/16 1/16]taffrail when she's yard-arm
under. (_thrice_)
15. Blow my bully boys.
(HALLIARD SHANTY.)
[Music illustration:
1. A Yankee ship came down the river,
Blow, boys blow.
Her masts and yards they shine like silver.
Blow my bully boys blow.]
2. And how d'ye know [1/8]she's [1/8]a Yankee packet?
The Stars and Stripes they fly above her.
3. And who d'ye think was skipper of her. (_twice_)
4. 'Twas Dandy Jim, the one-eyed nigger;
'Twas Dandy Jim, [1/8]with [1/8]his bully figure.
5. And what d'ye think they had for dinner?
Why bullock's lights and donkey's liver.
6. And what d'ye think they had for supper?
Why weevilled bread and Yankee leather.
7. Then blow my boys, and blow together.
And blow my boys for better weather.
8. A Yankee ship came down the river.
Her masts and yards they shine like silver.
16. Blow the man down.
(HALLIARDS.)
[Music illustration:
1. Oh blow the man down, bullies, blow the man down.
To me Way-ay, blow the man down.
Oh blow the man down, bullies, blow him away.
Oh gimme some time to blow the man down.
2. We went over the Bar on the thirteenth of May.
To me Way-ay, blow the man down.
The Galloper jumped, and the gale came away.
Oh gimme some time to blow the man down.]
3. Oh the rags they was gone, and the chains they was jammed,
[1/16]And [1/16]the skipper sez he, "Let the weather be hanged."
4. Aes I was a-walking down Winchester Street,
A saucy young damsel I happened to meet.
5. I sez to her, "Polly, and how d'you do?"
Sez she, "None the better for seein' of you."
6. Oh, it's sailors is tinkers, and tailors is men.
[1/16]And [1/16]we're all of us coming to see you again.
7. So we'll blow the man up, and we'll blow the man down.
[1/16]And [1/16]we'll blow him away into Liverpool Town.
17. Cheer'ly men.[5]
(HALLIARDS.)
[Footnote 5: Pronounced "Chee-lee men."]
[Music illustration:
1. Oh, Nancy Dawson, I-Oh.
Chee-lee men.
She robb'd the Bo'sun, I-Oh.
Chee-lee men.
That was a caution, I-Oh.
Chee-lee men.
Oh Hauly, I-Oh,
Chee-lee men.
If sung without accompaniment the portion within brackets may be
omitted. If sung with accompaniment the note D (to the word "men") may
be sung _crescendo_ and held on to the end of the bar.]
2. Oh Sally Racket. I-Oh, &c.
Pawned my best jacket. I-Oh, &c.
Sold the pawn ticket. I-Oh, &c.
3. Oh Kitty Carson
Jilted the parson,
Married a mason.
4. Oh Betsy Baker
Lived in Long Acre,
Married a quaker.
5. Oh Jenny Walker
Married a hawker
That was a corker.
6. Oh Polly Riddle
Broke her new fiddle.
Right through the middle.
18. Good morning, ladies all.
(HALLIARDS.)
[Music illustration:
1. Now a long good-bye to you, my dear,
With a heave-oh haul.
And a last farewell, and a long farewell.
And good morning, ladies all.]
2. For we're outward boeund to New York town;
With a heave, _etc._
And you'll wave to us till the sun goes down.
And good morning, _etc._
3. Aend when we get to New York town,
Oh it's there we'll drink, and sorrows drown.
4. When we're back once moere in London Docks,
All the pretty girls will come in flocks.
5. Aend Poll, and Bet, and Sue will say:
"Oh it's here comes Jack with his three years' pay."
6. So a long good-bye to you, my dear,
And a last farewell, and a long farewell.
19. Hanging Johnny.
(HALLIARDS.)
[Music illustration:
1. Oh they call me hanging Johnny.
Away, boys, away.
They says I hangs for money.
Oh hang, boys, hang.]
2. Aend first I hanged my daddy. (_twice_)
3. Aend then I hanged my mother,
My sister and my brother.
4. Aend then I hanged my granny. (_twice_)
5. Aend then I hanged my Annie;
I hanged her up see canny.[6]
6. We'll hang and haul together;
We'll haul for better weather.
[Footnote 6: Northumbrian equivalent of "so nicely" or "so gently."]
20. Hilo somebody.
(HALLIARDS AND INTERCHANGEABLE.)
[Music illustration: