Hubbry Logo
Pay Me My Money DownPay Me My Money DownMain
Open search
Pay Me My Money Down
Community hub
Pay Me My Money Down
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Pay Me My Money Down
Pay Me My Money Down
Pay Me My Money Down
View on Wikipedia
from Wikipedia

"Pay Me My Money Down" (Roud 21449, also known as "Pay Me" or "Pay Me, You Owe Me") is a work song originated among the Black stevedores working in the Georgia Sea Islands.[1] It was collected by Lydia Parrish and published in her 1942 book, Slave Songs of the Georgia Sea Islands:[2][3]

Pay me, Oh pay me,
Pay me my money down.
Pay me or go to jail,
Pay me my money down.

The melody is much older and used in other songs.[4]

It was performed by The Weavers during their influential 1955 Carnegie Hall concerts, and was further popularized by The Kingston Trio on tour starting in 1957. Capitalizing on the Weavers' folk success with the song, Robert Nemiroff and Burt D'Lugoff appropriated the melody unchanged for their pop song Cindy, Oh Cindy, originally recorded in 1956 by Vince Martin and The Tarriers, and quickly covered by Eddie Fisher.

Dan Zanes performed a children's version done calypso-style on his popular 2002 album Night Time.

Bruce Springsteen version

[edit]
"Pay Me My Money Down"
Single by Bruce Springsteen
from the album We Shall Overcome: The Seeger Sessions
Released2006
StudioThrill Hill Recording
GenreAmericana, folk
Length4:32
LabelColumbia
ProducerBruce Springsteen
Bruce Springsteen singles chronology
"Devils & Dust"
(2005) 		"Pay Me My Money Down"
(2006) 		"Radio Nowhere"
(2007)
Music video
Pay Me My Money Down on Youtube.com

"Pay Me My Money Down" was the first single and video released from Bruce Springsteen's 2006 big band folk album, We Shall Overcome: The Seeger Sessions. It was one of the most popular songs played on Springsteen's subsequent Seeger Sessions Band Tour, where it usually closed out the main set amidst much on-stage hijinks and repetitions. On June 23, 2006, near the end of the American leg of that tour, Springsteen performed the song on Late Night with Conan O'Brien with his E-Street Band, along with host Conan O'Brien, the show's band The Max Weinberg 7, and guests Thomas Haden Church and Jimmy Fallon. It was also the only Seeger song to date to return to regular play with the E-Street Band in the later stages of the 2013 Wrecking Ball Tour.

Other Recordings

[edit]
  • "Pay Me You Owe Me" was recorded by the American quintet Bounding Main and released on their 2005 album Maiden Voyage. [5]

Notes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pay Me My Money Down

View on Grokipedia
from Grokipedia
"Pay Me My Money Down" is a traditional American and that originated among African American stevedores laboring in the Georgia Sea Islands, where it served to synchronize physical efforts during dock work while expressing demands for unpaid wages. The song's call-and-response structure and rhythmic pulse reflect its roots in communal labor traditions, with centered on a worker's insistent plea to a or foreman: "Pay me, oh pay me / Pay me my money down." First documented in maritime contexts as early as 1858 aboard an English vessel, it embodies the fusion of African-derived musical forms and European shanty influences adapted by Black laborers in the American . Ethnomusicologist Lydia Parrish collected versions of the song from communities—descendants of enslaved Africans isolated on coastal islands—and published them in her 1942 book Slave Songs of the Georgia Sea Islands, preserving its oral heritage amid fading performance practices. Though traditional and unattributed to a single composer, Parrish's transcription earned her credit in some early publications, highlighting the challenges of attributing folk materials gathered from living traditions. The melody draws from older English shanties like "," but its lyrical content and performance style underscore African American innovations in dynamics. The song entered broader folk consciousness during the mid-20th-century revival, with releasing the first commercial recording in 1957 on their album The Weavers on Tour, infusing it with upbeat ensemble energy that popularized it beyond maritime circles. , drawing from Parrish's collection, performed it extensively, bridging authenticity with protest-era folk audiences. Its defining modern revival came via Bruce Springsteen's 2006 album We Shall Overcome: The Seeger Sessions, where "Pay Me My Money Down" served as the lead single, blending rootsy with Springsteen's of working-class resilience and achieving chart success while honoring Seeger's legacy. These recordings underscore the song's enduring appeal as a testament to labor solidarity, unadorned by sentimentality and rooted in the causal mechanics of rhythmic coordination for heavy toil.

Origins and Early History

Initial Documentation and Maritime Roots

"Pay Me My Money Down" emerged as a traditional , specifically a shanty used by sailors to coordinate the rhythmic hauling of heavy sails on movable spars known as yards. The song's maritime roots trace to its employment in shipboard labor, where verses allowed crews—often including Black West Indian sailors—to synchronize efforts during demanding tasks like raising or trimming sails. Its assertive refrain demanding payment reflects the precarious economics of seafaring life, where wages were frequently withheld or disputed upon voyage completion. The earliest documented reference to the song dates to , when it was noted aboard an English merchant vessel, indicating its circulation in transatlantic maritime culture during the mid-19th century. This notation predates its adaptation onshore, where it persisted among English ships into the early before evolving into work songs for loading timber onto schooners in coastal Georgia. The shanty's structure, featuring call-and-response patterns, facilitated group exertion, a hallmark of maritime work songs derived from African and influences carried by diverse crews. In the American context, the song's maritime ties linked to post-emancipation labor practices, with roustabouts and stevedores repurposing it for dockside unloading and loading operations in the Georgia Sea Islands. These adaptations retained the shanty's demand for fair compensation, underscoring tensions over withheld pay amid racial and economic inequities in port economies reliant on coastal shipping. Field recordings from the region, such as those by in 1959 with the Georgia Sea Island Singers, preserve variants that echo this hybrid maritime-folk heritage.

Development Among American Dock Workers

"Pay Me My Money Down" developed in the 19th century as a work song among African American dockworkers, known as stevedores and roustabouts, in southern United States ports, particularly along the Georgia coast including Savannah and St. Simons Island. These laborers sang it during the loading of timber and logs onto schooners at facilities such as the Hilton-Dodge Mill, which operated from 1874 to 1910, employing Black workers post-emancipation to haul heavy cargo in coordinated groups. The song's call-and-response structure, often with a calypso-influenced rhythm, facilitated rhythmic pulls on key words like "pay" to synchronize hauling efforts, functioning as both a practical tool for labor efficiency and an expression of grievance against exploitative wage practices. Ship captains frequently withheld payments until the following day or departed without settling accounts, prompting dockworkers to use the "Pay me my money down / Pay me or go to jail" as a direct demand for immediate cash compensation upon unloading completion. This reflected the precarious daily conditions faced by freed laborers seeking dock work, where exploitation persisted despite . The song likely adapted elements from earlier sea shanties noted on English vessels as early as 1858 and variants, but evolved ashore into a land-based dock song with localized verses referencing specific employers, such as "Mr. Foster," the overseer at Hilton-Dodge Mills. Over decades, the tune persisted in Georgia Sea Islands dock culture into the early , with variations incorporating contemporary figures or disputes, maintaining its dual role in coordinating physical toil and asserting workers' rights against non-payment. While maritime influences contributed to its form, its primary development occurred through oral transmission among American dockworkers, adapting to the specific demands of southern port labor rather than onboard ship routines.

Lyrics and Musical Analysis

Lyrics Structure and Variations

The lyrics of "Pay Me My Money Down" exhibit a classic call-and-response format characteristic of African American work songs and sea shanties, where a leader sings a short narrative verse and the group responds with a standardized chorus to synchronize labor efforts such as loading . This structure facilitated rhythmic coordination among stevedores in the Georgia Sea Islands during the late 19th and early 20th centuries. The chorus, consistently rendered as "Oh, pay me, pay me / Pay me my money down / Pay me or go to jail / Pay me my money down," serves as the song's , emphasizing the demand for owed wages with a threat of . Verses typically comprise four lines, with the first and third advancing the story—often involving a captain's announcement of or the singer's personal stakes—and the second and fourth echoing "Pay me my money down" to cue the response. Early transcriptions by Lydia Parrish from Georgia Sea Islands singers in the 1930s and 1940s capture a core set of verses focused on imminent departure and withheld pay, such as "Think I heard my captain say / Pay me my money down / T'morrow is my sailing day / Pay me my money down." These reflect oral transmission, with phonetic elements like dialectal phrasing ("T'morrow" for "Tomorrow") preserving influences from West African musical traditions adapted to dock work. The song's modular design allowed for , enabling singers to insert context-specific verses during performance. Variations proliferate in 20th-century folk collections and recordings, stemming from its roots as a 19th-century West Indian-influenced shanty that evolved among Black American laborers. For instance, Pete Seeger's 1950s rendition adds verses like "If I don't get my money, I'm gonna raise hell / Pay me my money down," heightening the confrontational tone, while ' version incorporates lighter, narrative expansions about a girlfriend in "." Later adaptations, such as Bruce Springsteen's 2006 live performances, introduce contemporary verses referencing economic hardship or regional pride, diverging from the original labor-focused simplicity to suit revival audiences. These changes highlight the song's adaptability in oral folk traditions, where verses "float" between performances, though the chorus remains invariant to maintain communal cohesion. No single authoritative version exists, as evidenced by discrepancies in archival audio from the Sea Island Singers versus printed folk songbooks.

Themes of Labor and Contractual Dispute

The of "Pay Me My Money Down" center on a direct demand for settlement, with the repeated "Pay me my money down / Pay me or go to jail" encapsulating the singer's refusal to proceed with further obligations until compensation is rendered. This structure, typical of call-and-response work songs, facilitated coordinated labor among stevedores while voicing frustration over withheld earnings, a common grievance in early 20th-century dock work where payments were often deferred until shipment completion or voyage end. Originating among African American dock workers in the Georgia Sea Islands, the song reflects the precarious contractual arrangements of maritime labor, where informal agreements for loading relied on trust but frequently led to disputes over amounts owed, advances deducted, or outright non- by ship captains or employers. Workers leveraged their physical control over the vessel—threatening to halt loading or prevent —to enforce , as implied in verses warning of imminent departure ("Tomorrow is our sailing day") only after dues are cleared, highlighting a form of through song rather than formal unions. Such tactics underscore causal links between labor exertion and economic entitlement, absent employer fulfillment leading to operational deadlock. The theme extends to broader contractual realism in pre-industrial work settings, where ("go to jail") invoked rudimentary enforcement mechanisms available to laborers, though rarely pursued due to power imbalances; instead, the song's militant tone served as psychological and communal assertion of , deterring exploitation amid grueling conditions of manual handling that could span days without guaranteed . Unlike romanticized shanties, this piece prioritizes pragmatic over adventure, evidencing how folk traditions encoded survival strategies against systemic wage delays documented in regional labor histories of the American South.

Collection and Folk Revival

Lydia Parrish's Documentation

Lydia Parrish, a folklorist residing on St. Simons Island, Georgia, conducted extensive fieldwork among Gullah communities in the Georgia Sea Islands, collecting oral traditions over nearly twenty-five years. Her efforts focused on preserving songs sung by descendants of enslaved Africans, capturing performances in natural settings such as work, worship, and social gatherings without formal notation during initial recordings. This approach emphasized authenticity, relying on repeated listenings and community immersion to transcribe melodies and lyrics accurately. In her 1942 book Slave Songs of the Georgia Sea Islands, published by Creative Age Press, Parrish presented sixty folk songs with accompanying lore, including musical transcriptions by Creighton Churchill and Robert MacGimsey. The volume documents "Pay Me My Money Down" as a call-and-response performed by stevedores loading cargo, particularly , onto ships at ports like Brunswick. Parrish described its rhythmic structure as suited to synchronized labor, with leaders calling verses and choruses echoed by groups to maintain pace and assert contractual demands for wages owed before vessels departed. The documented lyrics begin with the "Pay me, oh pay me, / Pay me my money down," followed by verses detailing scenarios of withheld pay, such as "Wish I had a / For every day I worked" and threats like "Captain, if you don't pay me / I'll tie your ship in town." Parrish's notation highlights the song's simple, repetitive melody in key, facilitating group participation and underscoring themes of economic leverage in maritime labor. Her work provides primary evidence of antebellum musical survivals in , where African-derived polyrhythms blended with Anglo-American forms to sustain communal identity and resistance narratives. Parrish's documentation of "Pay Me My Money Down" stands out for its rarity, as few pre-1940s exist of such dockside songs from isolated communities, offering verifiable into 19th-century labor practices without reliance on later folk revival adaptations. By attributing the song to specific singers and contexts, she avoided generalization, enabling scholars to trace its oral transmission amid declining traditional singing by the early .

Mid-20th Century Folk Interpretations

In the late 1940s and early 1950s, "Pay Me My Money Down" entered the American folk revival through and , a quartet formed in 1948 that emphasized group singing and audience participation in traditional work songs. The group regularly featured the shanty in live performances, adapting its call-and-response structure to foster communal engagement, which aligned with the song's historical use among dock workers for rhythmic coordination during labor. This interpretation preserved the lyrics' focus on demanding fair wages—"Pay me my money down, pay me or go to jail"—while presenting it to urban audiences unfamiliar with maritime traditions, thereby bridging regional folk practices with national revivalist trends. The Weavers' renditions, often accompanied by banjo and guitar, emphasized the song's upbeat tempo and repetitive choruses, making it accessible for sing-alongs amid the post-World War II folk boom. However, the group's popularity waned after in 1950 due to alleged communist ties, leading to their 1952 disbandment; Seeger, undeterred, continued solo performances of the shanty through the decade, including on radio and at folk festivals, where he highlighted its origins among Georgia Sea Island stevedores to underscore themes of worker exploitation. Seeger's approach, informed by his fieldwork with traditional musicians, avoided commercialization by prioritizing authenticity over polished production, though critics later noted how revivalists like him sometimes streamlined variants for broader appeal. By the mid-1950s, the song appeared in Seeger's recordings, such as on compilations of American folk ballads, where it was documented as a halyard shanty still sung in working contexts. This period's interpretations influenced subsequent folk acts; for instance, covered it around 1957, incorporating it into their hit-driven style that sold millions of albums and introduced shanty elements to teenage listeners via lighter, harmony-focused arrangements. These adaptations, while diluting some raw labor intensity for radio play, expanded the song's reach, with sales data from the era showing folk albums featuring such tracks contributing to the genre's commercial peak before the rock shift. Overall, mid-century folk versions prioritized revivalist dissemination over strict fidelity, reflecting a tension between preservation and popularization in the movement.

Notable Recordings and Performances

Traditional and Early Covers

One of the earliest documented audio captures of "Pay Me My Money Down" in its traditional form occurred in January 1944, when recorded a rendition by the Bell Crew, a group of Black longshoremen in , who used the song to synchronize loading tasks and voice grievances over unpaid wages. This preserved the call-and-response format inherent to stevedore work chants, with leaders issuing demands like "pay me or go to jail" echoed by the crew, reflecting the song's practical utility in maritime labor disputes. In October 1959, Lomax again recorded the song during fieldwork on St. Simons Island, Georgia, with the Georgia Sea Island Singers, a Gullah-descended ensemble whose performance emphasized polyrhythmic clapping, foot-stomping, and layered vocals to mimic dockside exertion. These recordings, held in the Lomax Digital Archive, exemplify the song's endurance in among Sea Island communities, where variations focused on contractual frustrations without instrumental embellishment. The transition to early commercial covers began in the mid-1950s folk revival, with releasing the first widely available version on their live album The Weavers at in 1957, featuring Pete Seeger's and prominent lead vocals alongside group harmonies. This adaptation retained the core ' insistence on immediate payment—"pay me my money down"—but incorporated string-band instrumentation to suit concert settings, drawing directly from Sea Island sources encountered by Seeger. ' rendition, performed live at , marked a pivotal shift, introducing the to broader audiences while preserving its rhythmic drive for sing-alongs.

Contemporary Revivals and Adaptations

Bruce Springsteen's 2006 album We Shall Overcome: The Seeger Sessions featured a prominent revival of "Pay Me My Money Down," recorded during informal sessions in 2005 that drew from Pete Seeger's folk interpretations, transforming the traditional shanty into an energetic big-band folk arrangement with horns, , and emphasizing its call-and-response structure. The track, running 4:32, was selected as the and accompanying , released on April 25, 2006, via , marking Springsteen's deliberate homage to American roots music traditions amid his shift from rock-oriented work. Springsteen performed the song live extensively to promote the album, including a notable appearance at the New Orleans Jazz & Heritage Festival on April 30, 2006, where it clocked in at 4:30 with the Seeger Sessions Band, capturing the shanty's communal spirit in a festival setting. The rendition continued in subsequent tours, adapting the piece for larger ensembles; for instance, during the 2023 leg of his world tour, it was delivered in St. Paul, Minnesota, on March 5, integrating it into sets blending folk revival with contemporary rock energy. Educational and choral adaptations have sustained the song's presence in modern , with Publishing issuing arrangements for school ensembles, such as those incorporating drum sets and swing elements in collections like Choral Resources circa 2015-2018, facilitating its use in teaching rhythms and harmony. These versions preserve the lyrical demands for fair pay while simplifying for young performers, reflecting broader efforts to adapt maritime folk for accessible, group-singing contexts without altering core themes.

Cultural and Social Impact

Role in Labor Narratives

"Pay Me My Money Down" functions as a that encapsulates the rudimentary between maritime workers and their employers, centering on the enforcement of wage payments after arduous service. Originating among Black stevedores in the Georgia Sea Islands during the early , with roots traceable to 19th-century sea shanties, the directly confront the captain's obligation to remit owed compensation upon docking, as in the demanding "Pay me my money down" under threat of legal repercussions. This reflects documented practices in 19th-century merchant shipping, where captains frequently withheld portions of sailors' wages to offset risks like or advances, prompting individual assertions of contractual amid power asymmetries favoring shipowners. In the context of labor narratives, the song underscores the causal link between physical toil—such as coordinated hauling of cargo—and the subsequent claim on , serving as a rhythmic aid for synchronized effort while embedding a of accountability. Collected by ethnomusicologist Lydia Parrish from Georgia Sea Island singers in the 1930s and published in , it exemplifies how such chants maintained work efficiency on docks and vessels, where call-and-response structures aligned group actions to heavy lifting. Unlike organized , which emerged later in maritime unions like the International Seamen's Union founded in 1892, the song portrays an archetypal individual , highlighting pre-union era dependencies where workers relied on verbal insistence or portside confrontations to secure pay. Scholars interpret its persistence in folk traditions as emblematic of broader working-class resilience against exploitation, though primarily functional rather than ; for instance, its revival by in the mid-20th century aligned it with labor , emphasizing themes of fair compensation amid industrial disputes. Later adaptations, such as Bruce Springsteen's 2006 recording, frame it within American narratives of economic justice, drawing on its stevedore origins to evoke demands for equitable returns on labor. Empirical accounts from shipping logs and sailor memoirs corroborate the prevalence of such disputes, with withheld wages contributing to high turnover and occasional violence, yet the song's tone remains assertively pragmatic rather than revolutionary. The song "Pay Me My Money Down" appeared on the American television program on October 19, 1963, where it was performed by singer Doug Owen alongside "." This episode highlighted the tune's adaptation into mid-20th-century folk performances, reflecting its transition from traditional roots to broadcast . In 2006, released a for his rendition of the song, directed by Thom Zimny, which accompanied the track from his album We Shall Overcome: The Seeger Sessions and emphasized its lively, roots-oriented revival through visual storytelling of communal music-making. The video's production aligned with Springsteen's broader effort to reinterpret American folk traditions, drawing on Pete Seeger's influences to reach wider audiences via music television and online platforms.

Legacy and Scholarly Perspectives

Influence on Sea Shanty Traditions

"Pay Me My Money Down" originated as a work song among Black stevedores and roustabouts in the coastal Georgia Sea Islands, reflecting demands for fair wages amid exploitative labor practices following emancipation. The song's earliest documented maritime appearance dates to 1858 aboard an English ship, where it was sung by Black West Indian sailors, indicating early cross-pollination between shore-based labor songs and onboard shanty practices. This predates its collection by Lydia Parrish in 1942 from Georgia dockworkers, underscoring its roots in African diasporic musical traditions adapted to port labor rhythms. Classified as a halyard shanty due to its call-and-response structure and utility for synchronized hauling tasks, such as raising sails on movable spars, the song bridged land-based work chants with nautical ones. Pre-1888 variants describe it as a shore song repurposed at sea for pump and work, often in 3/4 time to match heaving motions. Its rhythmic drive and thematic focus on payment disputes—echoing grievances against captains and stevedores—enriched shanty repertoires with explicit labor protest elements, contrasting more generalized sailor narratives in European-derived shanties. In the mid-20th-century folk revival, performances by , in the 1950s, and later integrated it into broader shanty traditions, sustaining its use among contemporary groups like . Alan Lomax's 1959 recording with Georgia Sea Island singers further preserved its authentic form, influencing scholarly recognition of Black contributions to maritime work songs. This adoption diversified modern shanty singing by incorporating African American call-and-response dynamics, fostering a more inclusive understanding of shanty evolution beyond Anglo-Irish origins.

Debates on Authenticity and Commercialization

Scholars have debated the of "Pay Me My Money Down" as a genuine , given its primary documentation as a among African American stevedores in the Georgia Sea Islands rather than aboard ships. First noted in print in 1858 on an English vessel, the song's core form emerged from dockside laborers loading timber onto schooners, reflecting post-emancipation demands for fair wages amid exploitative conditions. Lydia Parrish collected versions in 1942 featuring local references, such as complaints against a foreman named Mr. Foster, underscoring its roots in Gullah-speaking communities' protest traditions rather than maritime hauling tasks like work. While some adaptations by sailors incorporated it into shipboard routines, purists argue this represents secondary borrowing, diluting its origin as a land-based akin to African American call-and-response labor songs. Authenticity concerns intensified with mid-20th-century field recordings, such as Alan Lomax's 1939-1940 captures in and Georgia, which preserved raw performances by groups like the Georgia Sea Island Singers but faced scrutiny for potential later influences from commercial folk versions. Critics, including folklorists examining Lomax's 1960s re-recordings, question whether performers had internalized popularized arrangements, altering rhythmic emphases from utilitarian work coordination to performative flair. This highlights broader tensions in over oral traditions' purity, where empirical evidence from primary sources like Parrish's notations—emphasizing unadorned, repetitive choruses for group synchronization—contrasts with retrospective claims of seamless sea origins, often amplified in revivalist narratives without rigorous causal tracing to onboard use. Commercialization debates center on the folk revival's transformation of the song from a functional wage protest into accessible entertainment. The Weavers, featuring Pete Seeger, adapted it in the early 1950s, stripping localized verses for broader appeal and integrating calypso-inflected rhythms that echoed its West Indian echoes but prioritized stage dynamics over labor authenticity. The Kingston Trio's 1959 release as a B-side further mainstreamed it, achieving commercial success through polished harmonies and simplified lyrics, which folk purists critiqued as commodifying raw Black work-song elements into sanitized, middle-class leisure. Later covers, such as Bruce Springsteen's 2006 rendition on We Shall Overcome: The Seeger Sessions, invoked Seeger's influence while footnoting sources to assert fidelity, yet incorporated rock instrumentation and narrative framing that shifted focus from economic grievance to nostalgic Americana, prompting arguments that such iterations prioritize market viability over the song's causal ties to racialized labor exploitation. These adaptations, while exposing the tune to wider audiences, often elide empirical details of its Gullah provenance, favoring interpretive liberty that revivalist institutions like Smithsonian Folkways have packaged for educational yet consumable formats.

References

  1. https://wordsmusicandstories.wordpress.com/2018/10/29/a-song-pay-me-my-money-down/
  2. http://pancocojams.blogspot.com/2014/10/the-black-origins-of-song-pay-me-my.html
  3. https://archive.org/details/slavesongsofgeor0000unse_i1h3
  4. https://blogs.loc.gov/folklife/2021/01/a-deep-dive-into-sea-shanties/
  5. https://secondhandsongs.com/work/127551/all
  6. https://www.stat.cmu.edu/~brian/ufo/old/agps.pdf
  7. https://www.elijahwald.com/songblog/pay-me-my-money-down/
  8. https://estreetshuffle.com/index.php/2018/07/03/roll-of-the-dice-cover-me-pay-me-my-money-down/
  9. https://thelongestsong.fandom.com/wiki/Pay_Me_My_Money_Down
  10. https://ssiheritagecoalition.org/52-weeks-of-celebration/
  11. https://www.acousticmusicarchive.com/pay-me-my-money-down-chords-lyrics
  12. https://genius.com/The-longest-johns-pay-me-my-money-down-lyrics
  13. https://mudcat.org/thread.cfm?threadid=92735
  14. https://media.efdss.org/resourcebank/docs/RB319SeaSongsandShantiesforTallShips.pdf
  15. https://www.coveredbybrucespringsteen.com/viewcover.aspx?recordID=556
  16. https://www.cambridge.org/core/books/american-song-and-struggle-from-columbus-to-world-war-2/muscle-blood-and-steel/4819796A725B968E365FE304A2ABB982
  17. https://www.amazon.com/Slave-Songs-Georgia-Islands-Thrasher/dp/0820323896
  18. https://www.npr.org/2022/09/05/1120734736/fresh-airs-summer-music-interviews-pete-seeger
  19. https://www.thehour.com/news/article/Local-musicians-share-their-recollections-of-folk-7993230.php
  20. https://acousticguitar.com/happy-birthday-pete-seeger-watch-him-perform-if-i-had-a-hammer-in-1956-read-an-in-depth-qa-from-the-archives/
  21. https://open.spotify.com/track/3t08B5QspSrmSJrCiImhQ2
  22. https://www.the-american-interest.com/2006/09/01/the-boss-rooted/
  23. http://jopiepopie.blogspot.com/2015/07/married-man-going-to-keep-your-secret.html
  24. https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/st-simons-island-i-1059/pay-me-my-money-down
  25. https://www.rollingstone.com/music/music-news/pete-seeger-guerrilla-minstrel-237549/
  26. https://music.apple.com/dk/song/pay-me-my-money-down/838764058
  27. https://www.discogs.com/master/926240-Bruce-Springsteen-Pay-Me-My-Money-Down
  28. http://brucebase.wikidot.com/song:pay-me-my-money-down
  29. https://www.youtube.com/watch?v=N9QzxUWExDc
  30. https://www.halleonard.com/bin/CatChoralHlclsrm2015-2016.pdf
  31. https://www.springsteenlyrics.com/lyrics.php?song=paymemymoneydown
  32. https://digitalcommons.denison.edu/cgi/viewcontent.cgi?article=1098&context=studentscholarship
  33. https://www.academia.edu/92223996/Behind_the_music_representation_of_labor_and_society_in_American_work_songs
  34. https://www.tailem.com/pay-me-my-money-down-song-we-shall-overcome-the-seeger-sessions-american-land-edition/reviews/bruce-springsteen-artist
  35. https://folkways-media.si.edu/docs/folkways/artwork/SFW40231.pdf
  36. https://www.imdb.com/title/tt9165842/
  37. https://media.efdss.org/resourcebank/docs/RB217_Black_Sailors_and_Sea_Shanties.pdf
  38. https://www.sailorsongs.com/pay_me_the_money_down.html
  39. https://folkways-media.si.edu/docs/folkways/artwork/SFW40258.pdf
  40. https://www.nytimes.com/2006/06/23/arts/music/23bruce.web.html
Add your contribution
Related Hubs
User Avatar
No comments yet.