This chanty, halfway between more familiar forms of "Shenandoah" and "Sally Brown," takes the form of the chorus "walkalong, you Sally Brown." A form of it, as sung by one "Tobago Smith," appears in Stan Hugill's _Shanties from the Seven Seas_. Another form, interpreted here, appears in Cape. Robinson's 1917 articles in _The Bellman_. Only one verse is offered; I've interpreted in by way of a demonstration.

Walk Along, You Sally Brown

Voiceover Sample

There's No 'AH' in the Samoan Language!

"Mountain of Dub" - A Ritz Sound special (2024), remade from the 1967 Stephen Cheng recording.

Mountain of Dub

THANKS FOR ASKING

"Dublin Dub" Copyright 1997, Gibb "Ranzo" Schreffler

I composed this very 1990s hybrid of Jamaican and Irish music in 1997, and recorded it at Electric Wilberland Studios with a host of guest musicians. On the track I'm playing electric bass, tenor banjo, and penny whistle (overdubbed). 
It's one "movement" of a larger "Celtic Jamaican Suite". Each movement fuses a different style/groove of the respective traditions. This one blends Irish reels (newly composed) with 4/4 reggae.

Dublin Dub

The morning soundscape, around 5:45am, 8 February 2019 in the center of Malerkotla, Punjab, India. Includes several Calls to Prayer from mosques and religious singing of Hindu and Sikh communities.

Morning soundscape in Malerkotla, Punjab

My performance of a song that I believe to be from the repertoire of 19th century cotton screwmen, which I sourced from a recorded performance, in the Library of Congress, of a group of Bahamian boatmen (Including Abraham Atterly (Rabbit), Jack Delancey, and “Greene”), 1935.
The solo lyrics are my own improvised text.
The "performance" took place during a "round robin" session aboard the historic training ship JOSEPH CONRAD at Mystic Seaport (Mystic, CT, USA) during the annual Sea Music Festival, on June 9, 2019.

Cotton Screwing Chant: "Fire Down Below"

A dub I created for Ritz Sound. This track is my ode to 2020 CE. 

"Clash" is a metaphor-ized on several levels. 

The title / concept is homage to the reggae group Culture's song "Two Sevens CLASH," which brought pathos to the turbulent year of 1977 in Jamaica. 

It's one of my mock-up dubplates, to be used in a sound CLASH. 

I like how the word "CLASH" is like an onomatopoeia, and I especially emphasize the SHHHHH sound when singing it, in imitation of the gongs that CLASH throughout the track. 

The Balinese-derived sounds are meant as a cultural CLASH with the Jamaican music. I played a live "suling" (Balinese flute) and used an iPad app that simulates the Balinese metalophone "pemade." 

Various harmonies and tunings heard throughout are also meant to CLASH. The basic instrumental harmonies are based in a D mixolydian, though sometimes using major 7th leading tone (bass line, from Eddie Cochran's rockabilly "Somethin' Else"). With the aerophones and vocals, however, I use other scale tones like sharp 4th and augmented second. 

As per tradition of Jamaican dancehall, it's based on a riddim, the famous "Sleng Teng" which was lifted from the built in accompaniment of the 1981 model CASIO MT-40 keyboard. Rather than sampling the sound from Jamaican records, however, I used my vintage original CASIO to generate the sounds. 

The robotic "computer" sounds of the keyboard CLASH with the rest of the analog arrangement.