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Cashmere teenager Stephen Carr, who would later call himself Steve McCabe, was inspired variously by the sounds of the British punk/new wave scene, the anarchistic punk-psychedelia of the And Band and Perfect Strangers, and pop music in general. He was already writing and recording songs as half of The Gorillas with his friend Peter Rees, recording the embryonic works on a wonky tape deck in the instrument room at Cashmere High while the other kids were out playing sports, and releasing the results as home-dubbed cassettes.

Performances were generally wild and chaotic, as the band struggled with entire sets of songs written earlier that afternoon, additional band personnel who had mysteriously appeared in their midst since the last band practice, and Steve's jury-rigged electronics. He favoured a heavily modified cheapo-brand guitar played through a ghetto blaster and once brought his grandmother's 3-in-1 music centre into the Gladstone Hotel to use as a guitar amp.

The remaining AXEMEN recruited William Daymond on bass, and in 2011 toured Australia and dashed off the B-side for another single, The Nutsack Suite, featuring 'Nutsack', a song co-written by Cardy and Stojanovic in the USA, and 'Nutshack Redemption Song' written by McCabe and Stojanovic, for Australian label Negative Guest List.

Please note that the song mentioned is available on our website solely for entertainment purposes. We want to clarify that we do not endorse or promote any brotherhood or organization associated with the song. Our intention is to provide a platform where music lovers can enjoy a wide range of musical genres.

For within the last few years folk-lore has been promoted to the rank of a serious study and the Folk-Lore Society of London, aided by its numerous and lusty offshoots, both American and Continental, is busily applying the scientific method to fireside tale, custom, song, and ballad seeking what old philosophies lie at the heart of these, and what they have to tell about intercourse between peoples in the past.

Nevertheless, the folk-lorist treats his subject-matter as tenderly as Isaak Walton bade the angler hook his worm, for he remembers what poetry the song and saga hold, and that laughter and tears are ever young.

These essays range over a wide field, both of space and time. The earlier in arrangement deal with subjects which are purely literary and modern, and justify their presence only in the reasons advanced by the author. But the major number come within the ken of the folk-lorist, and appeal not to him only, but to all who are moved by the passion and sincerity of primitive poetry, in the skill and sympathy with which the varied note of folk-song in East and West is interpreted. In some of the examples, however, notably those from Roumania, Mr. Williams does not sufficiently allow for the modern dress in which the peasant verse is clothed.

The words of these windlass and bowline "shanties" have, of course, little of the element of finished poetry about them. They are not songs, but chants, whose purpose is to give accentuation and force to the exertion of united strength rather than to the expression of sentiment, and of which the rhythmical melody is the essential element. Whether they be new or old, they always have been essentially improvisations, capable of being stopped at any moment or added to indefinitely, and, like the refrains of the old ballads, are dependent upon the sound rather than the sense for their effect. Nevertheless, however imperfect and indefinite their expression, they took their tone and color originally from the elements in which they were born, and gave out not only the voice of the sea and the wind, the notes of the never silent olian harp of the cordage and the bellying sails, but the prevailing sentiment of the human heart upon the great deep, its underlying oppression, its longing for home, its craving for relief from monotony; and it is a dull ear that would not detect this, under the most absurd and uncouth words ever strung together in a sailor's shanty.

There were many, with slight American variants, which were undoubtedly of English origin, and have been heard on English merchant ships from time immemorial; some which relate especially to the operations of whaling; and some which had their origin on the river flatboats and in the choruses of the roustabouts on the Ohio and Mississippi, and have been only slightly changed for salt-water purposes, the quality being as little varied as the number is endless. Their essential quality was that of an improvised chant, and the dominant feeling was to be found in the intermingling of the words and the cadence, as in the apparently meaningless refrain of the old ballads. They expressed, through all their rudeness and uncouthness, and more through the melody than the words, the minor chords which distinguish all folk music, the underlying element in the human heart oppressed by the magnitude and solitude of nature, as well as the enlivening spirit of strong exertion; and no sensitive ear could ever call them really gay, however vigorous and lively they might be. The shanties are passing away with the substitution of iron cranks and pulleys for the muscles of men, and the clank of machinery has taken the place of the melodious chorus from human throats. It is not probable that they will ever entirely disappear so long as men go down to the sea in ships; but whatever life and flavor they had will fade away, and the first-class leading tenor among the "shanty men" will vanish with the need and appreciation of his skill. As for the old words, they will also be utterly lost, because they have no existence except in oral recitation and memory, and do not contain enough of the elements of pure poetry to secure their preservation in print, as the folk songs and ballads have been preserved. They are relics of custom rather than of literature; and although any poet or musician who deals with the sea will miss a source of very valuable inspiration if he does not possess himself of the spirit of their weird melody and the unconscious power of their vigorous rhythm, in themselves they are likely to be lost with the chants of the Phoenician sailors or the rowers of the galley of Ulysses, which they have succeeded, and some of whose melody they have perhaps reproduced.

The genuine sea songs differ from the shanties in that they had a definite poetical purpose to tell a story or express emotion, and were not merely words strung together to give voice to a rhythm of labor. It cannot be said that the genius of the American sailor has turned itself especially to expressing his emotions in song, any more than that of the English. His nature is entirely too practical, and the touch of tender sentiment which, in the Scotch nature, produced the beautiful fishing songs of the coast and the grand rowing and boat songs of the Western Islands, is wanting alike in him and his English associate.

the Fair American, commanded by Captain Daniel Hawthorne, which fought a British snow, laden with troops, off the coast of Portugal, and whose exploits are recorded in a ballad of very considerable spirit, and evidently by one of the crew; and some others, who did not happen to have a poet on board or a laureate on shore, and are not embalmed in verse. To this period, however, belongs what is, perhaps, the very best of American sea songs. We do not know whether its authorship was of that time or not, although it probably was, and from internal evidence would seem to have been composed by one of the very crew of the Ranger, Paul Jones's ship, which escaped from a British squadron in the Irish Channel in 1778. It was first published by Commodore Luce, in his collection of Naval Songs, with the statement that it was taken down from the recitation of a sailor. It is one of the gems of forecastle song, has the full scent of the brine and the gale, and the ship does not manouvre as if she were a wagon on dry land, as was said of Allan Cunningham's account of Paul Jones's cruises. The title given is

This battle, fought in the North Atlantic on August 2, 1812, between the American frigate Constitution, Captain Isaac Hull, and the British frigate Guerriere, Captain James R. Dacres, and one of consummate seamanship as well as fighting capacity on the part of Hull, was the theme of the best and most spirited song of the whole war; one which still keeps its place in the forecastle, and, it may be hoped, will keep it so long as Uncle Sam has a war-ship afloat. It is set to a very lively and emphatic air, called, indifferently, The Landlady of France and The Bandy-Legged Officer, from the coarsely comical words which George Colman the younger had written to it.

There were other exploits of American ships told in verse, among them the gallant repulse, by the crew of the privateer General Armstrong, Captain Samuel C. Reid, in the Harbor of Fayal, of the boats of three British men-of-war, which was the subject of a forecastle ballad, but none of this memorial verse reached the level of poetry. The battles of Lake Erie and Lake Champlain also had their numerous laureates; and the raid of Admiral Cockburn and the troops upon Baltimore was the subject of a song, the opening lines of which have a vigor and strong rhythm not maintained throughout. 2351a5e196