A Folk Song A Day

Jon says of this one, “From possibly the most powerful recording of the Watersons I’ve heard. There’s also lots of interesting stuff about the origins of the Santy Anna refrain.”

Now there’s a challenge. Firstly this is apparently a capstan or pump shanty and the Watersons were predated by A.L.Lloyd in the recording stakes. I note that Bert also makes much of the Watersons’ version praising them for singing “an ocean-going shanty in an ocean going way, roughly with plenty of guts.” Anyway, one of the possible origins of the Santy Anna refrain that Jon refers to is the Mexican general/president, Antonio Lopez de Santa Aña, although he is missing from the Watersons’ and thereby Jon’s versions. It seems that the British took the side of the Mexicans in their conflict with the USA, perhaps unsurprisingly and it seems that some British sailors even fought with them in the war. Equally it’s been attributed to the Black American slaves, who also identified with Santa Aña, again presumably on a ‘my enemy’s enemy’ basis. Most straight forward is the suggestion that it’s simply the patron saint of Breton seamen Saint Anne. It may be an amalgam of both general and saint that suited the singing. As we’ve covered with all shanties, the verses are entirely fluid and many were probably made up on the spot to suit the circumstances. Following this Mudcat thread down gives some alternatives, including things related to California and the gold-rush and you might want to Wiki here too. Plus there is more made of the historical (in)accuracy as the song at some point simply flips Santa Aña from loser to victor. It also seems that some versions will have included reference to Bonepart, probably for no other reason than he was a popular figure to include in songs, although Santa Aña may have styled himself on the Frenchman. The final oddity for this post is that this is a shanty about the plains of Mexico, when the bays or ports would seem more fitting. You can get yourself tied into some knots trying to sort the various threads and the truth is probably that the words and sentiments changed all the time depending on who was doing the singing and where. I note Jon follows the Watersons and seems more concerned with the girls of Liverpool than any Mexican Generalissimos. Actually there is one final, final oddity as it seems shanties are big in Poland. I guess there’s no reason why they shouldn’t be, but it’s got me curious and I’d love to hear from someone to confirm or refute this and perhaps, if true, some explanation.

A Boden tune here as Jon says, “After setting this lyric from Folk Songs Of The Upper Thames I then heard Will Noble sing a Yorkshire version with a not entirely dissimilar tune. Fay has now taken this on and improved my melody somewhat.”

Intriguingly this is another that appears in Sussex from George “Pop” Maynard, as well as the Thames Valley and interestingly to back up Jon’s comment Sheffield. If the notes at Mainly Norfolk are anything to go by, then this was a widespread and therefore you would think, popular broadside. It seems odd therefore that many collectors apparently ignored it and even Mudact is lacking. I must say I like Jon’s tune for this, although feel rather sorry for the poor lass. Mind you, perhaps she just didn’t fancy him.

Jon reminisces, “I borrowed A Song For Every Season on vinyl from Winchester library as a teenager, and for some reason this stuck in my mind. Unfortunately I had to return it and I’ve only recently got round to tracking that set down on ebay. Not cheap! Worth it though.”

This has a jolly, music hall feel from whence it probably originated, although is another collected by the Coppers. You’ll see a reference to Jon’s precious vinyl set on Mainly Norfolk and can also link to Mudcat, but again there isn’t much on this save that is was a very popular song in the C19th, often appearing in a mockney style dialect. A quick sweep of ebay brings up a single album sampler of the boxed set at £8.99 starting price, but with no track listing… I’m almost tempted.

Jon says, “Very Sussex this. Sung by Shirley Collins on the brilliant Voices album on Fellside.”

Sussex through and through as appropriately enough it’s in the Copper archive, collected by Bob from a Harold “Jim” Swain who got it from a shepherd near Felpham. Hastings’ born Shirley Collins originally recorded this for her Adieu To Old England and she described it as “a little confused,” but was suitably taken with it to record it as she found it. This seems to have several variant takes on Mossom, Mossen, Mossing, etc, although none of them actually seem to have much meaning for the word. There is, however, a River Mosson in France and the trade back and forth between Southern England and our near neighbour may account for a cross-channel origin, although that’s pure speculation. Mainly Norfolk has Shirley’s recordings noted and you can also link to Mudact here although it doesn’t really add much.

Jon recalls, “Sharron Kraus used to sing this at the Half Moon – always brought the house down. I’ve read a few strange articles claiming that this has something to do with Jesus. I suspect not.”

Hmmm. I’d tend to agree with that last comment too. I know Jesus was supposed to be the fisher of men, but the last time I looked he wasn’t proposing marriage or wearing gold chains, mind you it might be metaphorical marriage and gold of course. This one seems to be known widely across the country with both Harry Cox and The Coppers having it in their repertoire. Jon’s source for this, however, was Maddy prior and Tim Hart and they raise the Christian allegory theory, whilst slyly noting that “…it could be a very classic love story.” Mainly Norfolk covers this well and efforts to turn up much more of merit have faltered on the other song of the same title, as performed by Humphry Bogart in The African Queen.