The story of the Northfleet begins to be explained


Several decades ago, I learned the song The Wreck of the Northfleet from the singing of an elderly south-coast fisherman called Johnny Doughty.

In addition to hearing him singing in public on a few occasions I was also lucky enough to meet Johnny socially a few times, as he was a family friend of one of my close musical friends at the time. Johnny, I can report, was a charming, jolly man who enjoyed an old-fashioned bottle of Guinness and revelled in company, particularly that of women.

But this post is about the story of the song, which tells of an unexplained collision in which large foreign vessel collides with the Northfleet, while she lay at anchor in the English Channel waiting for a fair wind to carry her westward on the first leg of the long voyage to Australia. The song as Johnny had it recounted that she had 500 souls on board; the crew of the foreign vessel fail to stand by and assist the sinking vessel, and some details of what happens as the ship sinks, including a fatal shooting as the captain enforced the rule that women and children must be allowed to escape first. It ends with the captain’s wife insisting on going down with her ‘dear husband’ and his ship.

I should add that the whole dramatic performance is enhanced by the song’s stately, hymn-like tune and a chorus that calls on the Almighty to protect the women and children affected by the tragedy.

One of the delights of Elliott O’Donnell’s book Strange Sea Mysteries published in 1926 is that it includes the first written account I’ve seen of the Northfleet tragedy. Although the captain’s wife did survive, much of old Johnny’s details were correct, despite the ‘Chinese whispers effect’ inherent in the oral tradition.

But what it also reveals that this was a peculiarly nasty and needless disaster, which was no doubt the reason this particular wreck should have lodged in people’s minds and imaginations when hundreds of others have been forgotten. From O’Donnell’s account it seems the crew of the ‘big and foreign vessel’ were seen covering the ship’s name and figurehead before beating their hasty retreat, and also that the Northfleet was anchored among many other ships at the time – and that neither they nor the coastguard on duty at nearby Dungeness reported being aware of the unfolding tragedy, despite the Northfleet’s distress rockets and flares. The flares, it seems, were taken to be signals requesting a pilot.

Even in a time when life was cheap and death was commonplace, the tragedy of the Northfleet fired the public imagination; subscriptions were raised to aid those most affected, and Queen Victoria was moved to write a letter of condolence to the captain’s wife, Mrs Knowles.

Here’s my version of the song as it comes down from old Johnny. I don’t pretend it’s my most polished performance, but there’s more than enough here to learn the song yourself, if you should wish to do so.

Alone and forsaken but with an intriguing stern – or is it bows?

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Punt with striking stern - or bows

There’s something very affecting about this engraving, which Craig O’Donnell of the splendid The Cheap Pages emailed over a few days ago. I know several old songs that seem to apply, and I gather Craig spotted this engraving in an antique shop.

From a practical point of view, I wonder why that stern – or bows, if you prefer – is as it is? Why would anyone build the end of a punt this way? My suggestion is that it’s a chain or rope ferry boat, but if you agree or disagree, please feel free say so in the comment link below!

Back to the songs: I think the Waters of Tyne seems particularly appropriate:

I cannot get tae my love if I would dee
For the waters of Tyne run between him and me
And here I maun stand wi a tear in my ee
All sighin and sobbin, my true love to see

Oh where is the boatman, my bonny hinney
Oh where is the boatman, go bring him to me
For to ferry me over the Tyne to my honey
Or speed him across the rough waters to me

For a fuller, singable set of lyrics and a sample of the tune, go here.

Thanks Craig!

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The concertina at sea

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Dan Worralll article Concertinas at sea

This weekend I was lucky to meet Dan Worrall, an anglo concertina player from Texas who has written a series of fascinating articles about the instrument.

His latest paper examining the widely-held perception that the instrument has a strong connection with sailors is required reading for those of us with an interest in sea songs and music!

For some years there has been a widely held view that the ‘tina-playing sailor was a myth – they might bring a concertina bought on the quayside home as a present, but they would be impractical instruments on a boat because steel reeds would be subject to corrosion. With no real evidence to work from, I tended towards this view myself.

However, from the evidence Dan has found, it turns out that sailors in times past did play concertinas. In a way, that should be no surprise when one considers the limited options sailors have had for entertainment during their precious leisure hours at sea – ask a ex-merchant navy seaman over fifty years old who remembers voyages made before video players were widely available, and he’ll usually tell you how important music making was on board ship.

That being so, then why shouldn’t an instrument as popular as the anglo concertina in the late 19th and early 20th centuries be an important part of the music-making scene on board ship, if a way can be found of keeping the instrument dry? After all, many types of instruments are susceptible to damage from damp and salt, not least the fiddle.

For shanties and other sea songs, see Stan Hugill’s books at ABE Books

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