Good morning, ladies all
Traditional · The Shanty Book, Part I
With a heave-oh haul.
And a last farewell, and a long farewell.
And good morning, ladies all.
2. For we're outward bound to New York town;
With a heave, etc.
And you'll wave to us till the sun goes down.
And good morning, etc.
3. And when we get to New York town,
Oh it's there we'll drink, and sorrows drown.
4. When we're back once more in London Docks,
All the pretty girls will come in flocks.
5. And Poll, and Bet, and Sue will say:
"Oh it's here comes Jack with his three years' pay."
6. So a long good-bye to you, my dear,
And a last farewell, and a long farewell.
About Good morning, ladies all
"Good morning, ladies all" finds Traditional in a pop-minded frame, where a clear central idea and emotional directness carry the song. The song works best when its main melodic and rhythmic ideas are allowed to speak plainly, without being crowded by unnecessary decoration. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. That restraint gives the performance room to breathe and makes the emotional color feel earned rather than imposed. For listeners returning to Traditional, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. It is a track for focused listening, especially when the details around the main idea begin to reveal their own quiet pull. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout.