Now that the workplace has disappeared, any performance must to some extent be artificial. But with Johnny Collins there is no risk that their original purpose will be forgotten. His authority and straight forward, unaffected style have made him one of the most respected singers of shanties and sea songs.
I mean, that's the kind of place Shirley Bassey plays! Then, in , I went back to Singapore. We had people like Pam Ayres sing there and Tom Lewis, who was then a submariner. We met every Friday night and it really was quite popular with people coming from all over. In I got demobbed and after a very short spell living in Cornwall I moved to Reading. About this time I met up with Roy Harris and he was a very big influence on me.
Pete Nalder was there, running folk clubs, and Roger Watson and John Tams were helping me making records and things. Around this time Derek Elliot and Dave Burland were a big influence on me and a great support to me because I was worried.
I had this traditional label on me, but I liked other things, like Music Hall songs and American music, and wasn't sure where I was going. I remember Derek Elliot saying that as long as you enjoy what you're doing and the people out front are enjoying it you'll be doing it 20 years from now. Well, it's been 25 years, and I'm still doing it! I'll always be grateful to Derek and Dave Burland for their support and encouragement. In this connection I remember I was in the Queen's Arms at Edenbridge, about , and chatting to George Spicer, the Sussex traditional singer, and I asked him what he really liked singing.
He replied: " I love the traditional ballads but it's hard to beat the Music Hall songs. In I moved to Watford with work. We actually met for the first time at the Berkshire Mid-Summer Festival, though we knew of each other by reputation.
We did some singing together and travelled with each other in cars, did harmonies to each others songs and we liked each other's material. So, after a few weeks we thought "Why don't we work together as a duo? We did quite a lot of European work and did some American tours, and then, in , we reached the pinnacle of our career as a duo.
We did it with a medley of three unaccompanied sea shanties. It was memorable because when we presented ourselves to the organizers they asked us for our music for the orchestra. We said: "We don't work with orchestras; all we need is a microphone. There was this 96 piece band and all we wanted was a microphone! And we did it! Tom's gone to Hilo 3. Rolling Coal 3. Jolly Roving Tar 5. Roll the Cotton 6. Randy Dandy 7. Frankie's Trade 8.
Blow Boys Blow 9. Johnny come down to Hilo Our version is again taken from Hugill, though Colcord and Doerflinger each print several variants. The verses recount some of the treatment accorded to the sailors on the packet ships, perhaps only slightly exaggerated by the shantyman. Chorus after each verse : Blow the man down, bullies, blow the man down Timme way, hay, blow the man down!
Blow him right back to Liverpool town Oh, gi' me some time to blow the man down! She was bowlin' along with the wind blowin' free She clewed up her courses an' waited for me. She was round in the counter and bluff in the bow So I hold in all sailing, cryin', well enough now. Where she did hail from I really can't tell But I gave her my flipper, we're both bound for hell.
Solo verse couplets documented to have been sung to "South Australia" include the following from sailors of the 19th century. I see my wife standing on the quay The tears do start as she waves to me. And now I'm bound for a foreign strand, With a bottle of whisky in my hand. I'll drink a glass to the foreign shore And one to the girl that I adore.
In the s, "South Australia" became popular as a camp song. A slightly different version of the song was published by Doerflinger in Lloyd recorded the song, without citing a source, on the album "Blow Boys Blow.
The Clancy Brothers recorded the song in , in a version similar to A. The song has been recorded many times in both traditional and modern arrangements. A traditional Morris Dance of the same name is performed to the tune, from the style of Adderbury.
From Wikipedia, the free encyclopedia. Redirected from Bound for South Australia.
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