 “South Sea Whalers Boiling Blubber/Boats Preparing to get a Whale Alongside” by Sir Oswald Walters Brierly (1876). Dixon Galleries, State Library of New South Wales. You may have seen sea shanties in the news lately. CNN has talked about them. And NPR. Our friends at SeaHistory did a lovely writeup, too. For some reason, these historic maritime songs have struck a chord with folks around the world. Shanties may have started their modern revival with the 2019 film, Fishermen's Friends, based on a true story about a group of Cornish fishermen whose work song chorus catapulted them to unexpected stardom in the UK. The film became available to American audiences via streaming giant Netflix in 2020. Sea songs and shanties are two different things, according to experts interviewed by JSTOR daily and Insider.com. Shanties are work songs, often designed for call-and-response. Sea songs are those about the sea, but not designed to be sung while at work. Both evoke a bygone era the lends itself to romanticism, even as the real life experience was less than ideal. "The Wellerman" and ShantytokSo why "The Wellerman" and why did Shantytok become a thing? Scottish postal worker Nathan Evans (he's since quit his job with a record deal in hand) posted a video of his acapella version of "The Wellerman," a 19th century New Zealand whaling song to TikTok with the hashtag #seashanty on December 27, 2020. Kept home by the pandemic lockdown, along with many other people around the world, Evans' version went viral. The next day, Philadelphia teenager Luke Taylor used TikTok's duet feature to add a harmonizing bass line to Evans' video. That version, too, went viral, and other TikTok users from around the world kept adding harmonies and instrumentals to build on Evans' original song. "The Wellerman," also known as "Soon May the Wellerman Come," is a song based in real life. Joseph Weller was a wealthy Englishman suffering from tuberculosis. A doctor recommended a sea voyage, and Weller and his family found their way to Australia in 1830. The next year, they purchased a barque and established a whaling station in nearby New Zealand - likely without the permission of the local Maori, who raided the station several times. The Wellers persisted until Joseph died in 1834. His sons continued whaling for several years, but sold out in 1840 and returned to Sydney. In later years the station also doubled as a general store supplying other whaling ships as well as their own. When the Wellers sold out, the station continued as a general store. So from the chorus of the song the lines, "Soon may the Wellerman come and bring us sugar and tea and rum" are likely a direct reference to the Weller family store supplying whaling ships. Read more about the history of "The Wellerman" and a biography of the Wellers. Unlike the sort of whaling practiced in Nantucket and made famous by Moby Dick (fun fact - Herman Melville actually worked on a Weller whaling ship), whaling in New Zealand in the 1830s was done from shore and was developed in response to declining sperm whale populations (learn more about shore-based whaling). Maori people in New Zealand also practiced whaling, and the crews of whaling vessels and stations were likely racially and ethnically diverse. Edward Weller himself married a Maori woman (learn more about Maori whaling traditions and the Weller connection). "The Wellerman" LyricsThe above version of "The Wellerman" is by the Irish Rovers and was filmed in 1977 aboard a sailing ship off of New Zealand. 1. There was a ship that put to sea, The name of the ship was the Billy of Tea The winds blew up, her bow dipped down, O blow, my bully boys, blow. Chorus: Soon may the Wellerman come And bring us sugar and tea and rum. One day, when the tonguin' is done, We'll take our leave and go. 2. She had not been two weeks from shore When down on her a right whale bore. The captain called all hands and swore He'd take that whale in tow. 3. Before the boat had hit the water The whale's tail came up and caught her. All hands to the side, harpooned and fought her When she dived down below. 4. No line was cut, no whale was freed; The Captain's mind was not of greed, But he belonged to the whaleman's creed; She took the ship in tow. 5. For forty days, or even more, The line went slack, then tight once more. All boats were lost (there were only four) But still the whale did go. 6. As far as I've heard, the fight's still on; The line's not cut and the whale's not gone. The Wellerman makes his regular call To encourage the Captain, crew, and all. Shanty v. ChanteyYou may have seen it spelled "chantey" or "chanteys" before, based on the French word "chanter" meaning "to sing" or "chantez" meaning "Let's sing" (both pronounced "shawn-tay"). Although most dictionaries now agree that the "correct" spelling is "shanty," "chantey" has held on in many American communities. Perhaps to differentiate it from the waterfront shack also known as a "shanty?" (that word also derives from the French - this time the French-Canadian "chantier," meaning a lumber camp shack). Or perhaps because Americans are more likely to adopt foreign words wholesale into the lexicon. Any way you spell it, chantey, chanty, shanty, or shantey - all are technically correct. The African Connection ORIGINAL CAPTION: "At the bow of the boat were gathered the negro deck-hands, who were singing a parting song. A most picturesque group they formed, and worthy the graphic pencil of Johnson or Gerome. The leader, a stalwart negro, stood upon the capstan shouting the solo part of the song, the words of which I could not make out, although I drew very near; but they were answered by his companions in stentorian tones at first, and then, as the refrain of the song fell into the lower part of the register, the response was changed into a sad chant in mournful minor key." Illustration from “Down the Mississippi” by George Ward Nichols, Harper’s New Monthly Magazine 41 (246) (November 1870). Some have questioned whether the reference in "The Wellerman" to "bring us sugar and tea and rum" was a reference to slavery. But given that "The Wellerman" is set in New Zealand, it was far more likely that the reference was about delivering sailors' rations, rather than a direct connection to slavery. However, sea shanties do have a direct connection to Africa and slavery. Call and response style work songs were common in West Africa, where many people were captured and sold into slavery for hundreds of years. Enslaved people brought these work song traditions with them when they were forced into labor in the Americas. Slaves worked in fishing, on sailing ships, and even on steamboats. Slaves who loaded and unloaded steamboats often sang a style of work song that came to be known as "roustabout" songs. When combined with dance, this song style was known as "coonjine" (learn more). Singing was one way that enslaved people could push back against the brutal domination of enslavers. Some references even indicate that Black and enslaved people themselves were once called "chanteys," reflective of their singing talents. New York singer and historian Vienna Carroll (who we've featured before), has also helps preserve New York's Black maritime history through song. Her version of "Shallow Brown" recounts an enslaved man, Shallow Brown, being sold away from his wife to work on a whaling ship in the North. Whaling in particular offered opportunities for free Black sailors and whalers in the United States. As whaling shifted to the Pacific and the Arctic, Black mariners were able to escape the harsher racism of the Caribbean and the American South. You can learn more about enslaved and free Black mariners in a previous blog post by historian Craig Marin. As anyone who has ever tried to raise a sail knows, singing "Haul Away Joe" can help you work in tandem with others. Keeping a rhythm helps with hauling, rowing, pulling in nets, loading cargoes, and any other heavy task that requires more than one person to work in rhythm with another. Singing also keeps the mind occupied, but focused on the task at hand. The West African call-and-response style became integral to shanties and was quickly adopted and adapted by sailors of all ethnicities. Sources & Further ReadingShanties:
New Zealand Whaling and The Wellers:
Black Mariners and Shanties:
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Northwest Passage is the title track of a 1981 album by Stan Rogers. "Northwest Passage" compares the singer's own travels across the prairie provinces to the exploratory adventures of Sir John Franklin, Alexander Mackenzie, David Thompson, and Henry Kelsey. Stanley Allison Rogers (November 29, 1949 – June 2, 1983) was a Canadian folk musician and songwriter. Rogers was noted for his rich, baritone voice and his traditional-sounding songs which were frequently inspired by Canadian history and the daily lives of working people, especially those from the fishing villages of the Maritime provinces and, later, the farms of the Canadian prairies and Great Lakes.[1] Rogers died in a fire aboard Air Canada Flight 797 on the ground at the Greater Cincinnati Airport at the age of 33. https://en.wikipedia.org/wiki/Stan_Rogers This performance by The Longest Johns & El Pony Pisador is presented by Caraway Studios. El Pony Pisador are an incredible group of musicians from Barcelona. They play a fantastic combination of Sea Shanties and Irish music in a unique and spellbinding style. https://www.facebook.com/elponypisado... The Longest Johns are a fantastic group of folk singers from Bristol. Rooting their elaborate harmonies in strong bass tones with elegant highs, their sound is truly captivating and original. https://www.thelongestjohns.com The Northwest Passage - Lyrics Westward from the Davis Strait 'Tis there 'twas said to lie The sea route to the Orient For which so many died Seeking gold and glory, Leaving weathered, broken bones And a long-forgotten lonely cairn of stones Ah, for just one time I would take the Northwest Passage To find the hand of Franklin Reaching for the Beaufort Sea Tracing one warm line Through a land so wide and savage And make a Northwest Passage to the sea Three centuries thereafter I take passage overland In the footsteps of brave Kelsey Where his "sea of flowers" began Watching cities rise before me Then behind me sink again This tardiest explorer Driving hard across the plain Ah, for just one time I would take the Northwest Passage To find the hand of Franklin Reaching for the Beaufort Sea Tracing one warm line Through a land so wide and savage And make a Northwest Passage to the sea And through the night, behind the wheel The mileage clicking west I think upon Mackenzie, David Thompson and the rest Who cracked the mountain ramparts And did show a path for me To race the roaring Fraser to the sea Ah, for just one time I would take the Northwest Passage To find the hand of Franklin Reaching for the Beaufort Sea Tracing one warm line Through a land so wide and savage And make a Northwest Passage to the sea How then am I so different From the first men through this way? Like them, I left a settled life I threw it all away To seek a Northwest Passage At the call of many men To find there but the road back home again Ah, for just one time I would take the Northwest Passage To find the hand of Franklin Reaching for the Beaufort Sea Tracing one warm line Through a land so wide and savage And make a Northwest Passage to the sea. Thanks to HRMM volunteer Mark Heller for sharing his knowledge of Hudson River music history for this series. If you enjoyed this post and would like to support more history blog content, please make a donation to the Hudson River Maritime Museum or become a member today!
The traditional sea chantey, "Leave Her Johnny," sung by English folk singer Johnny Collins. Johnny Collins (10 May 1938 – 6 July 2009) was an English folk singer based in London, England, specializing in traditional maritime music and sea shanties. Collins was born in Norfolk, England and adopted by a railway worker and a music teacher living in Norwich. He joined the British Army in 1956, where he learned to play the guitar in jazz and folk clubs while posted in London. He was posted to Singapore in 1959 where he began performing in bars and cabarets in his off hours, and was posted to Hong Kong in 1965 where he began performing large concerts with other folk performers in the British and U.S. military. He also performed on television and radio (including the "Voice of America in East Asia") and played venues like the Hong Kong Hilton. In 1967 he was posted again to Singapore where he began his own folk club at the Anophel Inn. Tom Lewis and Pam Ayres performed there, among others. He was demobilized ("demobbed") in 1968, and he began to perform full-time. In 1983 he and Jim Mageean, performing as a duo, won the Intervision Song Contest in Rostock, in East Germany. Later, in 1987, they were invited by the East German government to perform at a sea shanty festival in Berlin commemorating the city's founding. Collins and his business partner Joyce Squires, assisted by Bernard Peek ran The Singing Chef. This service provided a wide range of home-cooked food at smaller folk-festivals throughout the UK. On occasions Collins sang on-stage wearing his chef's toque supported by backing singers (The Cheffettes) drawn from his kitchen brigade. Although slowed down by health problems, Collins continued to tour and perform worldwide up to the time of his death. including in the Netherlands, Belgium, Germany, Poland and France as well as making frequent appearances in his native country at Cutty Sark Tall Ships Races, and maritime festivals at Hull, Lancaster, Bristol, Dundee, Maldon, Portsmouth, Gosport, Greenwich and Chatham. He died on 6 July 2009 while on tour in Gdańsk, Poland, aged 71. https://en.wikipedia.org/wiki/Johnny_Collins LEAVE HER JOHNNY - LYRICS Oh the work was hard and the wages low Leave her Johnny, leave her I guess it's time for us to go And it's time for us to leave her Leave her Johnny leave her Oh leave her Johnny, leave her Oh the voyage is done and the winds don't blow And it's time for us to leave her Oh I thought I heard the old man say Leave her Johnny, leave her Oh tomorrow you will get your pay And it's time for us to leave her Leave her Johnny, leave her Oh, leave her Johnny, leave her Oh the voyage is done and the winds don't blow And it's time for us to leave her The winds blew foul and the seas ran high Leave her Johnny, leave her We shipped up green and none went by And it's time for us to leave her Leave her, Johnny, leave her Oh leave her Johnny, leave her Oh the voyage is done and Oh the voyage is done and the winds don't blow And it's time for us to leave her The mate was a bucco and the old man was a Turk. Leave her Johnny, leave her. And the boatswain was a begger with a middle name of work And it's time for us to leave her. Leave her Johnny, leave her, Oh leave her Johnny, leave her. Oh the voyage is done and the winds don't blow And it's time for us to leave her. The old man swears, and the mate swears too, Leave her Johnny, leave her. The crew all swear, and so would you And it's time for us to leave her, Leave her Johnny, leave her, Oh leave her Johnny, leave her. Oh the voyage is done and the winds don't blow And its time for us to leave her. The starboard pump is like the crew Leave her Johnny, leave her. It's all worn out and will not do And it's time for us to leave her, Leave her Johnny, leave her, Oh leave her Johnny, leave her. Oh the voyage is done and the winds don't blow And it's time for us to leave her. The rats have gone and we the crew Leave her Johnny, leave her. It's the time be-damned that we went too And it's time for us to leave her, Leave her Johnny, leave her, Oh leave her Johnny, leave her. Oh the voyage is done and the winds don't blow And it's time for us to leave her. Well I pray that we shall ne're more see Leave her Johnny, leave her. A hungry ship, the likes of she And it's time for us to leave her, Leave her Johnny, leave her, Oh leave her Johnny, leave her. Oh the voyage is done and the winds don't blow And it's time for us to leave her. Thanks to HRMM volunteer Mark Heller for sharing his knowledge of Hudson River music history for this series. If you enjoyed this post and would like to support more history blog content, please make a donation to the Hudson River Maritime Museum or become a member today!
Vienna Carroll performs this version of Shallow Brown, a Caribbean sea shanty. Ms. Carroll has written a musical play about pre-Civil War Black sailors. The sea shanty Shallow Brown is a song by and about a Jamaican slave sold off to a Yankee ship owner, who is jumping ship to find a better life. Shallow Brown shares the under-told story of the critical impact of Black sailors on the antebellum maritime economy and on the lives of the Black community and it highlights their activities in the Underground Railroad. Vienna presented an excerpt (and research journey) at the 39th Mystic Sea Music Festival Symposium in 2018 and debuted a full reading at the Langston Hughes House in Harlem in the Fall. She kicked off the first Langston Hughes playwright showcase to a packed house on May 3, 2019. Vienna was scheduled to perform at the Cold Springs Whaling Museum and at the 41st Mystic Sea Music Festival this year in 2020. http://shallowbrown.com/ Vienna Carroll is a singer, playwright, actor, historian and herbalist. Vienna learned music from the Black Ladies of her youth, including her fearsome great grandmother who played guitar to country singer Minnie Pearl on Saturday night radio but only proper Pentecostal chords in church on Sunday. Vienna also sang in the choir at her family’s AME church, and attended her godmother’s Baptist church. At her Alabama grandmother’s 125 acre working farm, she listened to gospel and country on the radio and joined in the Sunday church services an hour’s drive away down a dusty road, where singing was often accompanied only by the hand clapping and shouting of its fervent members. She later formalized her study of early African American music and culture at Yale University, where she received a BA in African American Studies. http://viennacarroll.com/ SHALLOW BROWN - LYRICS Say I’m going away to leave you, Oh, Shallow Brown Yes, I’m going away to leave you, Oh, Shallow Brown Say I’m signed on to a whaler, Oh, Shallow Brown I’m signed on for a sailor, Oh, Shallow Brown Well I've got my clothes in order, Oh, Shallow Brown ‘Cause my packet leaves tomorrow, Oh, Shallow Brown Say I love you Juliana, Oh, Shallow Brown Yes I love you Juliana, Oh, Shallow Brown Say my master’s gonna sell me, Oh, Shallow Brown Says he’ll sell me to a Yankee, Oh, Shallow Brown Says he’ll sell me for a dollar, Oh, Shallow Brown A big, fat Spanish dollar, Oh, Shallow Brown Gonna climb the Chili mountain, Oh, Shallow Brown Gonna find the silver fountain, Oh, Shallow Brown Say I’m bound away for to leave you, Oh, Shallow Brown But I never will deceive you, Oh, Shallow Brown Fare you well, my Juliana, Oh, Shallow Brown Fare you well, my Juliana, Oh, Shallow Brown Thanks to HRMM volunteer Mark Heller for sharing his knowledge of Hudson River music history for this series. If you enjoyed this post and would like to support more history blog content, please make a donation to the Hudson River Maritime Museum or become a member today!
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