During this era another song with local flavour was sung
by lads from the housing estate of Paulsgrove, which went
something like this:
"We
are the Paulsgrove boys
Respected
wherever we go.
We spends
our tanners,
We minds
our manners.
Put that
fucking Woodbine out!"
The following two chants were popular with the fans in
the late 1950's and early 1960's and tended to be sung
together:
"1-2-3-4,
Who d'ya
think we're shouting for?
P-O-M-P-E-Y.
Pompey!"
"2-4-6-8,
Who do we
appreciate?
P-O-M-P-E-Y.
Pompey!"
Several football songs and chants were included by Iona
and Peter Opie in their book 'The Lore and Language of
Schoolchildren' (Ref 7), including the "Two, four, six,
eight" chant, which was popular in many sports and
regions in the 1950's. Although the chant is no longer
part of the modern football repertoire, there is a
variation in which the name of the club is spelled out
letter by letter by a leader with the main chorus
replying.
During this period some
fans recall standing behind the goal at Fratton Park and
throwing sweets to goalkeeper, Norman Upritchard, and
moving up the other end at half time. Unfortunately, it
is no longer possible to move so freely around the ground
due to the many barriers and police restrictions on the
movement of fans. Also, it is likely that these fans
would now be arrested for throwing missiles onto the
field!
Fratton
Park in the 1960's
The Fratton End was a
fairly peaceful place in the 1950's and most of the
singing tended to come from the halfway line where the
Supporters' Club gathered. This all changed in the 1960's
when the Fratton End began to attract large numbers of
young fans who adopted it as their 'Kop'. Some trouble
also arose from the conflict of home and away fans who
were all mixed in together. Strict segregation of home
and away fans at Fratton Park was not introduced until
the 1970's when visiting fans were accomodated at the
Milton End of the ground.
Except for one season in
Division 3 (1961-62), Pompey spent all of the 1960's in
Division 2. Their most successful season was 1967-68 when
they were serious promotion contenders until the end of
Febuary, but they ran out of steam and finally finished
5th. This was the decade of the Beatles and of the
explosion of singing and chanting on Liverpool's Spion
Kop. We don't have much definite evidence about the
singing of the Fratton Enders in the 1960's, but we
suspect it followed much the same pattern as that of the
rest of the country, with the rapid spread of football
songs and chants.
One strong memory we have is of the young fans kicking
the metal fencing, which used to run along the back of
the Fratton End stand, to the rhythm: This chant was
still popular in the 1990s, but the metal fencing had
long since gone, so the fans clapped the rhythm, or
sometimes a horn got the chant going.
"X X
XXX XXXX Portsmouth"
A popular song during Pompey's brief flirtation with
promotion in 1967-68 was an adaptation of Keith West's
famous pop song "Excerpt from a Teenage Opera", referring
to manager, George Smith:
"Mr
Smith, Mr Smith,
Is it
true
What they
say
We're
gonna win Division To-oo?"
A favourite from the
early 1960's, when Pompey and Saints were both in
Division 2, is a version of 'John Brown's Body' referring
to Southampton's star player Terry Paine, which went as
follows:
"Terry
Paine's body lies a moaning in the Dell,
Terry
Paine's body lies a moaning in the Dell,
Terry
Paine's body lies a moaning in the Dell,
And the
Blues go marching on, on, on."
Another 'golden oldie' from 1967-68 season is an adaption
of the Carmen Miranda Forties' pop hit song "Ay, ay, ay,
ay", now usually sung to the words "We all agree,
Nottingham Forest (or whoever) are magic". The Fratton
Enders' somewhat unrealistic lyrics went as
follows:
"Ay,
ay, ay, ay,
Milkins
is better than Yashin.
Trebilcock
is better than Eusebio,
And
Millwall are in for a thrashin'."
Charles Barber who
has been a Pompey fan since around 1956 and is still a
proud PFC season ticket holder and shareholder, pointed
out one song missing from the 1960's list, though he does
add that it never really caught on.
To the tune of the
Beetles "She Loves you
'
"Now
down at Fratton Park
We cheer
the boys in blue
The older
side looks dark when we've scored one or two
because
it's Pompey
And you
know you know they can't be bad
And it's
Pompey
And you
know you should be glad
Pompey
yeah yeah yeah
Pompey
yeah yeah yeah
Pompey
yeah yeah yeah yeah!"
SUPPORTIVE
SONGS AND CHANTS
Football songs and chants
can broadly be divided into two main types, supportive
and negative. Supportive songs and chants are those in
which the fans sing their praises to their team in a
positive manner. These are the most popular and widely
heard chants and are the most effective for generating
atmosphere in a ground.
In contrast, negative
songs and chants pour scorn, abuse and derision upon the
opposition team and their fans. These chants are often
witty, biting and aggressive, though when looked at in
the context of the match as a whole their bark is much
worse than their bite. We shall look first at the main
supportive chants, with particular reference to those
popular at Portsmouth during the 1970s and early 1980s,
though they can still be heard on many grounds in the
1990s.
There are many songs used
by the fans to praise the team and to celebrate victory.
Some of the following were accompanied by synchronous
hand clapping on the beat, thus adding to the atmosphere
and keeping the singers together. Here are some of the
best we heard at Fratton Park.
We love
you, Portsmouth, we do
This was probably the
most popular song of praise of the 1980s. It was sung at
any time during the game, but was most common during
periods of exciting attacking play or following goals. It
was sung with great feeling and usually repeated several
times together with synchronised hand
clapping.
"We
love you, Portsmouth, we do
We love
you, Portsmouth, we do.
We love
you, Portsmouth, we do.
Oh,
Portsmouth we love you."
This reached a peak of
popularity in the mid-1980's, but its origins are a
mystery. We first heard it at Fratton Park sung by
Sheffield Wednesday fans in their promotion season in
1983, though we are not sure whether they actually
started it. Steve Addison (a Preston fan) believes he
heard it at Anfield in the mid-1970's, but if this is the
case it took a long time for the song to catch on
generally. Mike Ticher (founding editor of "When Saturday
Comes" and Chelsea fan) thinks some credit should go to
the Chelsea fans for its popularity though he thinks it
may have started at Manchester City in the 1983-84
season. Wednesday fans were also heard singing it during
the televised FA Cup game against Southampton in March
1984, though it did not become generally popular until
the 1984-85 season when it could be heard on pretty well
all grounds. At Fratton Park it became the most popular
song (apart from the Chimes) in that season. Its
popularity has declined subsequently though it can still
b heard at most clubs.
We have not been able to
identify the tune, but one theory is that it came from a
locally released record on Merseyside in the 1970's
called "We love you Beatles, we do" sung by a female pop
group. There are several variations of the basic song. It
was often used at Portsmouth in the mid 1980's as a
player greeting for Noel Blake: "We love you Blakey, we
do, Oh, Blakey, we love you". It was also turned on the
opposition, particularly following goals against the home
team, e.g., "We hate you, Brighton, we do, Oh, Brighton,
we hate you".
And
it's Portsmouth City
This song is one of the
popular in the football repertoire and is typically sung
with great feeling by large numbers of fans in
celebration of a goal or in anticipation of victory. It
is sung fairly slowly with the emphasised words being
drawn out and accompanied by clenched fists punched into
the air. Here is the Portsmouth version
"And
it's Ports-mouth City,
Ports-mouth
City F.C.
We're by
far the greatest city
The world
has ever seen."
Variations occur at
different clubs. Here is a version sung by Chelsea:
"And
it's super Chelsea,
Super
Chelsea, F.C.,
We're by
far the greatest te-eam,
The world
has ever seen."
The tune comes from
an old folk song called "The Wild Rover" which tells the
tale of a young man reformed from drinking. The football
song uses only the tune from the chorus, the original
words of which are as follows:
And it's no, nay,
never;
No, nay, never, no more
Will I play the wild rover,
No, never, no more.
Glory,
glory, Portsmouth FC
The "Glory, glory" song
was Tottenham Hotspur's famous anthem from the early
1960's, but is now part of the general football song
repertoire. At Fratton Park, the second verse is
sometimes sung on its own. It is the sort of song that
can occur at any time during a match or during the
prematch period, but is most usually heard when the fans
are celebrating a goal. It is sung with great feeling and
the final "ON! ON! ON!" is punched out vigorously with
fists into the air. The final chorus is often repeated
and accompanied by synchronous clapping. The tune comes
from the traditional American hymn, "The Battle Hymn of
the Republic", or more commonly known as, "John Brown's
Body".
"Mine
eyes have seen the glory
Of the
gates at Fratton Park.
Mine eyes
have seen the glory
Of the
gates at Fratton Park.
Mine eyes
have seen the glory
Of the
gates at Fratton Park.
And the
blues go marching ... ON! ON! ON!
Glory,
glory, Portsmouth F.C.
Glory,
glory, Portsmouth F.C.
Glory,
glory, Portsmouth F.C.
And the
blues go marching ... ON! ON! ON!"
According to Spurs'
historian Phil Soar (Ref 8), the song made its first
appearance at White Hart Lane in the 1960/61 season when
Tottenham achieved the League and FA Cup double. Bill
Nicholson, Spurs' manager at that time, also recalls the
anthem in his autobiography "Glory, Glory" (1983), but
dates its first appearance a year later. Nicholson
describes it thus: "A new sound was heard in English
football in the 1961/62 season. It was the hymn 'Glory,
Glory, Hallelujah' being sung by 60,000 fans at White
Hart Lane in our European Cup matches. I do not know how
it started, or who started it, but it took over the
ground like a religious feeling."
We will
follow the Portsmouth
The Spurs' anthem, more
than any other, marked the beginning of the new era in
football singing, heralding a torrent of new songs and
chants, first at Anfield, Liverpool, then across the
country as a whole. The following song is sung typically
when the game is going well. The opening verse is usually
sung by a small group of voices with more and more
progressively joining in until the invitation, "All
together, now!" when, hopefully, the full chorus joins
in, with synchronous hand clapping.
"We
will follow the Portsmouth
Over land
and sea ... And Sainsbury's!
We will
follow the Portsmouth
Where
ever they may be.
All
together, now ... " (repeat chorus)
There are several
variations in wording. For example, instead of "and
Sainsbury's", Chelsea and Arsenal sing "and Leicester".
Also, the words "On to v-ic-tory" are more common than
"Where ever they may be". The tune comes from Edward
Elgar's, "Land of Hope and Glory".
You are
my Portsmouth
This is another happy and
optimistic song, delivered with great feeling and gusto
by the fans when their team is winning comfortably, is
"You are my ... " It is usually begun by a leader who
sings the first line with the main body of fans quickly
taking up the rest of the song. The "la, la's" are
accompanied by synchronous clapping and tend to fade
away. Tune: "You are my sunshine" by J.Davis and
C.Mitchell. Chelsea used to have a version in which the
whole song was "la-la"ed.
"You
are my Portsmouth, my only Portsmouth,
You make
me hap-py, when skies are grey.
You'll
never no-tice, how much I love you,
Until you
take .. my Portsmouth .. a-way.
La, la,
la, la, la.
La, la,
la, la, la.
La, la,
la, la, la.
La, la,
la, la, la ..." (fading)
Oh,
when the Blues
This is one of several
chants in the football repertoire which is initiated by a
leader. Leading is an art and the right moment has to be
choosen to begin the chant. The fans need to be well
aroused, but there must also be a slight lull in the
crowd noise so that the leader's voice can be readily
heard. If the conditions are right then the chant will be
readily taken up by the main chorus. The tune is the
traditional jazz tune: "When the Saints go marching
in".
Leader:
"Oh,
when the Blues"
Chorus:
"Oh,
when the Blues"
Leader:
"Go
marching in"
Chorus:
"Go
marching in"
Chorus:
"Oh,
when the Blues go marching in.
I wanna
be in that number,
When the
Blues go marching in."
Like most football
chants this one is sung very rapidly and vigorously with
the fans clapping synchronously on the beat with their
hands held aloft. In the event of the chant being
repeated, which may happen if the fans are very excited,
then the leader is dispensed with and the intro is sung
by the whole chorus. The chant is popular at most clubs
where the appropriate club colour or nickname will be
used instead of "Blues". Also, Chelsea sing "steaming in"
instead of "marching in". At Southampton the original
"Saints" is used.
In
Portsmouth's fair city
This is another popular
classic and is a good sign of a happy and confident mood
among the fans. It used to be sung as part of the
celebration song medley following a goal and in
anticipation of victory. The clapping sequence is
executed very rapidly and may be repeated, and on the
final exclamation "Portsmouth!" the fans fling both hands
outwards in the air. Tune: "Cockles and Mussels" (a
traditional Irish song).
"In
Portsmouth's fair city
Where the
girls are so pretty
I first
set my eyes on sweet Molly Malone,
As she
wheeled her wheelbarrow
Through
streets broad and narrow
Singing
...
X X XXX
XXXX Portsmouth!"
You'll
never walk alone
This is the most well
known of all football anthems. It is the 'official'
Liverpool anthem from the hit record made by Gerry and
the Pacemakers in 1963. The story of its adoption by the
Anfield Kop apparently relates to an occasion when the
Liverpool players sang it on a TV show together with
Gerry and the Pacemakers. The fans quickly identified
with the song and took it onto the Kop where it has
remained ever since. The song is usually repeated several
times with the second verse being punctuated by
synchronous clapping (XX):
"Walk
on .. walk on,
With hope
.. in your hearts
And
you'll ne-ver walk a-lone,
You'll
ne-ver walk a-lone.
Walk on
(XX) walk on (XX)
With hope
(XX) in your arms (XX)
And
you'll ne-(XX)-ver walk (XX) alone,
You'll
ne-(XX)-ver walk (XX) alone"
Although the song
is primarily linked with Liverpool it is now popular with
fans throughout the country. When scarves went out of
fashion, the fans used to wave their hands to and fro, or
punch their fists into the air in time with the song. The
first verse is typically sung slowly and with much
feeling, with the fans holding their scarves horizontally
above their heads and swaying from side to side. When
engaged in by many thousands of fans at an arena such as
Wembley, this creates a superb atmosphere. The second
verse (not obligatory) is sung much more quickly and in a
more punchy style rapid hand clapping interspersed with
the words. A truncated and threatening version of the
song is sometimes sung in response to the celebrations of
opposition fans, "You'll never walk again
...".
We'll
support you ever more
This is another song
dating back to the early 1960's. The tune is taken from
the Welsh hymn "Cwm Rhondda" (or "Bread of Heaven"),
which is traditionally sung by the Welsh crowd before
international rugby matches at Cardiff Arms Park. The
tune is popular in the football repertoire and is used
with a large variety of lyrics.
"We'll
support you e-ver-more,
We'll
support you e-ver-more.
Por-or-orts-mouth,
Por-or-orts-mouth,
We'll
support you e-ver-more,
We'll
support you e-ver-more."
A leader usually
sings the first line with the full chorus quickly joining
in with hand clapping on the beat. As well as a general
expression of praise and encouragement, this song is also
used to express the fans' loyalty to their team when
things are not going too well.
We're
proud of you
This is sung with much
sincere feeling, usually towards the end of a hard-fought
match in which the team have given good account of
themselves, and have played well against strong
opposition, even if they have lost. The tune is the
traditional Scottish air "Auld Lang Syne" which is used
in a large number of other football chants.song is often
repeated with synchronous hand clapping.
"We're
proud of you, we're proud of you,
We're
proud of you, Portsmouth!
We're
proud of you, we're proud of you,
We're
proud of you, Portsmouth."
Here we
go
This must be the most
familiar of all football chants, though was not heard on
the terraces at Fratton Park until the 1983-84 season. It
may have had its origins in Scotland, though exactly how
and where we are not sure.
"Here
we go, here we go, here we go,
Here we
go, here we go, here we go-oh,
Here we
go, here we go, here we go,
Here we
go, here .. we .. go."
"Here we go" chant is not
restricted to football. It is also sung in several other
sports, particularly, one-day cricket, rugby league and
boxing, and it may also be heard on the picket-line and
in political and social demonstrations, where solidarity
and togetherness is demanded. Continental football fans
also sing a version in broken English! The tune comes
from the third theme of the march "Stars and Stripes
Forever" by American composer J.P.Sousa.
During a game the chant
most commonly occurs following good attacking play or a
goal, and in exciting situations, such as, near misses,
penalties, corners and free kicks. The usual length of
the chant is one full verse plus one or two lines of a
repeat, then fading away. The singing is typically
accompanied by synchronous clapping in the
beat.
Jingle
bells
This was one of the great
fun songs on the terraces at Fratton Park with the fans
bundling around into ane another.
"Jingle
bells, jingle bells,
Jingle
all the way.
Oh, what
fun it is to see
Portsmouth
win away."
There are two
versions. The first, ending with "Portsmouth win away",
was sung by the fans at away games. The second version,
ending with "(opposition team) lose away" was sung at
home games following a goal for the home club.
We're on
the march
A number of songs and
chants in the football repertoire are reserved specially
for cup games and are rarely sung on other occasions.
"We're on the march" is one of these. It first came into
the football repertoire in 1978, as the "official" song
of Scotland fans going to the World Cup finals in
Argentina. The original words "We're on the march with
Ally's army" referred to Ally McLeod the, then, Scotland
team manager. In domestic football the song is usually
reserved for cup games, with the final at Wembley
stadium.
"We're
on the march with Bobby's army,
We're all
going to Wem-ber-ley,
And we'll
really shake 'em up
When we
win the FA Cup,
'Cause
Portsmouth are
The
greatest football team."
It was typically
sung with considerable rhythm and gusto, either in the
prematch period, or during the game itself if victory
appears imminent. The tune taken from the popular
children's hymn, "Jesus died for all the children". The
song was particularly popular with Pompey fans in the
1983-84 season when Bobby Campbell was team manager.
Come on
you Blues
The fans have several
specific chants at their disposal to encourage the team
to greater efforts of which "Come on, you Blues" (or
whatever colour) is one of the best. At Fratton Park, the
chant was often used at points in the game when the home
team were flagging (quite often!), or were under pressure
from the opposition. It was always sung very slowly and
with feeling, without clapping. A wonderful echoing
effect occurs as the the chant spreads through the crowd.
We
are blue, we are white
This was one of several
songs where the fans sang for themselves and about
themselves, expressing their solidarity, loyalty,
toughness and readiness to fight for their team. Most of
these songs date back to the 'aggro' days of the 1960's
and 1970's. At Fratton Park, this one was sung very
rapidly in a strong and punchy style, usually during
periods of excitement or following goals, without
clapping.
"We
are blue, we are white,
We are
fuckin' dynamite,
La, la,
la, la,
La, la,
la,
La,
la.
The tune comes from
the American civil war ballad, "The Caissons Go Rolling
Along" by Edmund L. Gruber: "Over hill, over dale, we
have hit the dusty trail, and those caissons go rolling
along." There are several variations of this chant; e.g.,
"We've been here, we've been there. We've been every
fuckin' where. La, la, la, la. La, la, la. La, la." This
has the same message as "Everywhere we go-oh ..." though
is not so popular. Pompey fans regailed Reading fans with
this delightful ditty in 1982-83 season: "Reading boys,
make no noise, 'Cause they play with Tonka toys, La, la,
la, la. La, la, la. La, la." Another variant is this
pre-1983 chant: "West Ham boys, they got brains, They
take Millwall on the trains, La, la, la, la. La, la, la.
La, la."
Sing your
hearts out for the lads
This was a good song for
getting the fans behind the team, particularly if things
on the field are not going too well. In the 1980s at
Fratton Park it usually began with a leader singing the
first line followed quickly by the rest picking up the
song. (Tune Cwm Rhondda)
"Sing
your hearts out for the lads,
Sing your
hearts out,
Sing your
hearts out,
Sing your
hearts out for the lads,
Sing your
hearts out for the lads."
Knees up
Mother Brown
This was a great fun
song, sung with enormous gusto at breakneck speed with
the young fans leaping around and pushing one another
until the words . . . "Oh ... my!" when they all surged
forward in a tangled mass of bodies. The song usually
forms part of a celebratory medley following the scoring
of a goal. Tune: Traditional cockney song.
"Knees
up, Mother Brown.
Knees up,
Mother Brown.
Under the
table you must go.
Ee-i,
ee-i, ee-i-oh.
If I
catch you bending
I'll saw
your legs right off
So, knees
up, knees up,
Don't get
the breeze up,
Knees up,
Mother Brown.
Oh, my!
What a rotten song. Shit!
What a
rotten song. Shit!
What a
rotten song. Shit!
Oh, my!
What a rotten song. Shit!
What a
rotten singer too-oo-oo!"
Bobby
Campbell's blue 'n white ar-my
This was potentially the
longest and sometimes the most irritating chant in the
fan's football repertoire. We heard it go on for several
minutes at Fratton Park, as fans endlessly repeat the
phrase or pass it back and forth between different
locations, progressively building it up in strength and
momentum. The basic chant dates back at least to 1978,
when it was recorded by Nigel Tattersfield (who was
Desond Morris's Research Assistant) at Birmingham City
and at Arsenal, but we have no clear record of its use
before this date. The rhythm is present in a number of
other chants; e.g., "You're gonna get your fuckin' heads
kicked in".
We first heard the chant
during a live TV match between West Ham United and
Manchester United in 1983 during which the West Ham fans
kept it going for several minutes at a time. The chant is
particularly popular with the Hammers and it seems likely
that they were responsible for starting it in the first
place. Pompey fans took up the chant at the beginning of
the 1983-84 season when Bobby Campbell was Pompey's
popular, if not terribly successful, manager. The chant
was rarely heard during the subsequent managership of
Alan Ball who never completely lost his "Scummer" tag
with Pompey fans. On one occasion at Fratton Park (v.
Charlton Athletic, Dec 26th, 1983) we recorded 40
repetitions of "Bobby Campbell's blue 'n white ar-my",
with synchronous clapping and considerable speeding-up
over the final 10 repetitions, before it finally merged
into a rousing chorus of "Here we go". But on most
occasions the chant fades after several repetitions, or
is interrupted by a match incident.
The chant became popular
with many clubs; e.g, "Stevie Coppell's red 'n blue army"
was prominent during Crystal Palace's promotion season in
1988/89, though it occasionally degenerated into "Stevie
Coppell's drunk and disorderly"! Palace fans also took to
jumping at one another when singing this chant! There are
many humorous variations in which the fans poke fun at
their manager in the nicest possible manner. When Terry
Venables was in charge of Palace the fans would chant,
"Terry Venables' red 'n blue handbag" (or "evening
dress", "high heels", etc. etc.).
Those
were the days, my friend
This is a splendidly
unifying football song, dating back to the late 1960's in
which the fans sing of their loyalty and fighting
prowess. It was always sung with a great deal of gusto
when the fans are in happy and confident mood about the
state of the game. A leader often started the ball
rolling with "Those were ... " at which point the rest of
the fans quickly join in with synchronous clapping. The
following version was sung at Fratton Park:
"Those
were the days, my friend,
We are
the Fratton End,
We'll
sing and dance
Forever
and a day.
We lead
the life we choose
We fight
and never lose
Those
were the days ...
Oh, yes!
Those were the days.
La, la,
la, la, la, la.
La, la,
la, la, la, la.
La, la,
la, la,
La, la,
la, la, la, la ... " (fading)
The tune is "Those
were the days my friend", a number 1 hit song in 1968,
written by Gene Raskin and recorded by Mary Hopkins.
The following version was
reported by Simon Jacobson at Chelsea in 1975.
"We
are the Shed, my friends.
We took
the Stretford End.
We'll
sing and dance
And do it
all again.
We live
the life we choose,
We fight
and never lose,
For we're
the Shed ...
Oh, yes!
We are the Shed."
Simple supportive chants
A very popular form of
team chant is that in which the fans simply call out in
unison the name (or nickname) of their team. Here are
some typical examples of this type of chant. Clapping is
shown as X-X-Xs.
At Fratton Park, a
popular chant, at least until the late 1980s was the club
name split into three distinct syllables, "Pee-orts-muf",
with the middle syllable being held on slightly longer
than the others. The fans typically threw their arms into
the air as they called the team name and clapped with
their hands above their heads. The whole operation, if
performed well, was impressive to the eye and the ear.
The chant dates back to the early 1960's and is typically
used to express praise or encouragement following a good
attack or a goal, though it may be used at any time
during the game for general encouragement.
"Pee-orts-muf!
XXX"
Other clubs had their own
version of this chant, with the appropriate club name
substituted; e.g., "The Arse-nal", "U-ni-ted". In those
cases where the club name had only two syllables the
chant was simplified to eg, "Chel-sea", "Pal-ace", etc.
Another very popular
general encouragement chant in which the fans executed a
very rapid and well-synchronised clapping rhythm with the
hands held above the head, followed by the club name
being shouted out loud with both arms flung
outwards.
"X X
XXX XXXX Portsmouth"
This chant also made an
impressive display and the degree of synchrony that can
be achieved by several hundred fans was really quite
impressive. The chant was usually repeated several times
when celebrating a good attack or a goal, or when
welcoming the team onto the field. It was often initiated
by a fan with a horn, who honks out the basic clap rhythm
which the rest of the fans quickly took up.
The "na, na ,na"
chant, if done properly, was great for creating
atmosphere: it began fairly quietly, and gradually
emerged from the background crowd noise as more and more
fans joined in. It was sung slowly and with feeling and
repeated more than once.
"Na,na,na.
Na, na, na, na. Na,na na,na. Portsmouth"
It takes its tune from
the long refrain at the end of the Lennon and McCartney
song "Hey Jude" (1968) and probably has its origins at
Anfield. At Fratton Park the the fans used to throw their
arms out as they sang the final "Portsmouth". The chant
is repeated several times and was sung at any point in
the match when the fans scented victory for their
team.
The increasing influence of Italian songs was evident in
this popular team chant of the 1980s: It became familiar
following TV coverage of the European Athletics
Championships in Rome in the summer of 1987, when the
Italian crowd were heard singing it to encourage their
athletes. In the following season it made its appearance
on most British football terraces.
"O-le,
o-le, o-le, o-le, Ports-mouth,
Ports-mouth"
There were many
variations: e.g., following their Div 1 championship
season in 1986/87 Everton sang Ole, ole, ole, ole, We are
champs, we are champs. A Bristol City version went, Ole,
ole, ole, ole, Bris-tol Ci-ty. And, in the 1988-89
season, when Cardiff's away games were all-ticket, City
fans adapted the chant as follows: Ole, ole, ole, ole,
You'll never ban, a City fan.
"Pompey,
Pompey, Ra, Ra, Ra"
This had a small but
devoted following over the years at Fratton Park. It
sounded rather like a parody of public school-type
chanting, though it can be heard on the the BBC record
'The Day War Broke Out' from the Tommy Handley show as
"ITMA, ITMA, Ra, Ra, Ra".
"Bring
on the champions XX XX X "
This chant was sung just
before the home team came onto the field of play at the
beginning of the game. It was only heard during big games
with a large and excited crowd and followed by
synchronised clapping to the same rhythm.
Football fans are
notoriously loyal to their local region and express this
loyalty in a number of ways. A recent addition to this
list would be "I'm Portsmouth 'til I die".
"One
team in Hampshire"
This was usually directed
towards Southampton fans that might be watching on TV.
Tune of Guantanamera.
"Southerners,
la, la, la"
This was usually reserved
for visiting fans from the north. The singing was often
accompanied by a considerable amount of good natured
pushing and bundling, rather similar to that in "Knees up
Mother Brown". The tune is an abbreviated version of the
theme from the children's TV programme of the 1970's
called "Banana Splits".
"Sea,
sea, sea-siders"
This chant was sung very
quickly, punching the syllables out in an aggressive
fashion. The manner of delivery of this chant gives it a
distinctly threatening connotation. In this sense it is
quite unlike the "Southerners" chant which is sung in a
carefree lilting style. The rhythm is identical to the
clapping rhythm in "X X XXX XXXX Portsmouth!"
Optimism
singing
Many chants and songs are
used to express optimism about the outcome of the present
game or the campaign. Some are reserved for those periods
of the game when the team is doing well and look like
winning; e.g., "We will win, we will win, we will win"
and "We have won, we have won, we have won" (Tune: 'Stars
and Stripes').
"Score
in a minute" usually followed a period of attacking play.
Tune: 'Cwm Rhondda'.
"Score
in a minute,
We're
gonna score in a minute,
Score in
a minute,
We're
gonna score in a minute."
Chelsea fans in the
Shed made good use of the tune "Michael row the boat
ashore" in a number of celebratory chants; e.g., "Chelsea
two, Fulham nil, allelu-jah. Chelsea two, Fulham nil,
allelu-u-jah." Goals for Chelsea were accompanied by
considerable leaping around and dancing followed by a
rendering of "Eee-i-oh, Eee-i-oh, Eee-i-oh, Eee-i-oh.
Eee-i-oh, Eee-i-oh, Eee-i-oh, Eee-i-oh".
Fans gave vent to
their frustrations by means of several collective chants.
The team was urged on with "Get into 'em", "Attack,
attack, attack, attack, attack". Advice to the manager
would result in "Bring on Nicky Morgan" (or other
substitute), "Take off Scott McGarvey (or some other
player), or "Campbell, can you hear us?" (all to Conga).
In desperation fans will call for the head of the manager
or the chairman: e.g., "Campbell out", "Deacon out". More
severe expressions of frustration would result in "What
the fuck is going on?" (Cwm Rhondda), "What a load of
rubbish". At Chelsea, the Shed would urge their team to
"Come on, Chelsea" or more urgently "Wake up, Chelsea"
(to Auld Lange Syne). When things are going so badly they
couldn't get worse, the fans become resigned and sing:
"We only sing when we're losing", (Guantanamera), "You
should see us when we win" (Cwm Rhondda) or "We don't
care, we don't care, we don't care" (Stars and stripes).
"Oh,
we are saying, give us a goal"
This is a very plaintive
plea for a goal using the tune "Give peace a chance" Or
the fans call for yet more goals: "We want five, we want
five",
Consolation
singing
Towards the end of a game
in which the team has been well beaten the fans may
resort to consolation singing to cheer themselves up. A
good illustration of this occurred during the second half
of the 4th Round FA Cup tie between Wimbledon and
Portsmouth at Plough Lane on the 31st of January 1987.
Pompey had been completely outplayed and were 3-0 down by
half-time. The Portsmouth team were jeered off the field
at half-time with the chant "What a load of rubbish" by
their 5,000 fans who had travelled to see the game.
The Pompey fans' despair
was completed by Wimbledon's fourth goal scored 15
minutes into the second half and the immediate response
was to chant "What a load of rubbish" at the humiliated
team. But this goal signalled the fans' final
capitulation. They had lost so they may as well have a
bit of fun. They began by mockingly echoing some of the
chants of the jubliant Wimbledon fans: "Four-nil,
four-nil, four-nil, four-nil", "Alan, Alan, what's the
score?" (i.e. Alan Ball), "We're not singing any more",
A disallowed Portsmouth
goal 20 minutes from the end of the game triggered a
spate of consolation singing from the Pompey fans,
completely unrelated to any events taking place on the
pitch. The game was lost so what the hell! Lets have a
sing-song. Firstly, the fans claimed the disallowed goal
with "Four-one, four-one, four-one, four-one", then a
little later they launched into "Four-two" following a
near miss! Most of the songs during this period were of
the general supportive type, usually found in a
celebration medley in a game well won. Anyone listening
to the fans during this period and not knowing the score
might naturally assume that Pompey were winning easily.
OTHER
POPULAR SUPPORTIVE CHANTS
Player
Support
"Alan,
Alan, Alan Knight" .
. . (Some folks .. sigh)
"There's
only one (Alan Biley)"
. . . (Guantanamera)
"Hate-ley,
Hate-ley" . . .
(Chant)
"Oh, Oh,
Oh, (Nicky Morgan)" .
. . (Kiss him goodbye)
"You
ain't seen nothing like the Mighty Quinn
". . .(Mighty
Quinn)
"He's
fat, he's round, he's worth a million pounds, Micky
Quinn, Micky Quinn" .
. . (Quartermaster's Store)
"He's
here, he's there, he's every-fuckin-where Vince Hilaire,
Vince Hilaire" . . .
(Quartermaster's Store)
"England's,
England's Number One"
. . . (Chant)
"Oh, Alan
Biley" . . . (Oh,
pretty baby)
"Nice one
Micky, nice one son"
. . . (Nice one Cyril)
"Oh,
let's drink a drink a drink to ..
" (Lily the
pink)
Future
Games
"If
you're all going to (Chelsea) clap your hands"
. . . (She'll be
coming round the mountain)
"We'll be
running 'round (Chelsea) with our willies hanging out"
. . . (She'll be
coming round the mountain)
"(Chelsea,
Chelsea) here we come"
. . . (Chant)
"We'll be
there" . . . (Stars
and stripes)
Pride
and Toughness
"Hark
thou hear the Portsmouth sing"
. . . (Mary's boy
child)
"Hallo,
we are the Portsmouth boys" .
. . (Marching through Georgia)
"For
we're the barmy Portsmouth
army" . . . (Chase me
Charlie)
"My old
man said be a Pompey fan" .
. . (Don't dilly dally)
"We had
joy, we had fun" . .
. (Seasons in the sun)
"Portsmouth
aggro, Portsmouth aggro. Hallo,
hallo". . . . Chant
Local
Pride
"Isle o'
Wight" . . . (Stars
and Stripes)
"Waterlooville"
. . . (Stars and Stripes)
Atmosphere
Long
"orr" . . .
(Chant)
WOS
clapping rhythm . . .
(Clapping rhythm)
Dambusters
tune (la, la) . . .
(Dambusters March)
"Oo-ah,
ooah. Oo-ah, ooah" .
. . (Chant)
Anticipation
"We shall
not be moved" . . .
(We shall not be moved)
"Portsmouth
are back, hallo" . .
. (Chant)
Optimism
"Going
up, going up" . . .
(Stars and Stripes)
"We are
up, we are up" . . .
(Stars and Stripes)
"Ee-i-adeo,
we're going up" . . .
(Chant)
"Super
Pompey's going up" .
. . (Knees up Mother Brown)
"Pompey's
up this year" . . .
(Kum ba yar)
"We're
gonna win the league" .
. . (For he's a jolly good fellow)
"Wem-ber-ley
, Wem-ber-ley" . . .
(Stars and stripes)
"Que
sera, sera" . . .
(Whatever will be)
Frustration
"On the
pitch" . . . (Stars
and stripes)
Communications
"Give us
a song/wave" (usually
to player or manager) . . . (Chant)
"Can you
hear us on the box?" .
. . (Cwm Rhondda)
NEGATIVE
FOOTBALL CHANTS
The home fans often
directed collective threats towards the main body of
opposition fans, particularly in response to their
celebration of a goal, or to taunts, or threatening
behaviour from them. These threats were purely verbal and
occurred in the context of the drama of a game, but they
could appear intimidating when expressed by several
hundred fans simultaneously. As Peter Marsh (1978)
stressed in his analysis of football aggro in the 1970's,
such threats should not be taken literally, but should be
seen as part of the ritual of terrace culture. On the
more positive side, such chants could be seen as a
harmless outlet for the expression of aggressive
feelings.
Threatening chants were
particularly popular in the 1960's and 1970's, but
declined in usage during the late 1980's following the
clamp down on abusive and intimidating behaviour on the
terraces. The police acquired powers to eject fans using
intimidating language or gestures and were not averse to
using them.
"A-G,
A-G-R, A-G-R-O, Aggro!"
One of many threatening
chants heard at Fratton Park during the 1970s and early
1980s., but probably dates back to the early 1960's. It
has the same basic rhythm as the playground ditty, "Rain,
rain, go a-way, Come on back an-other day", which may
give some hint as to its origins.
"You're
gonna get your fuckin' heads kicked in"
This was an old favourite
and is often quoted by those hostile to football
supporters. It was widely heard in the 1970's and was
recorded at Oxford United by Peter Marsh and Nigel
Tattersfield during this period. However, it is now a
relic of football's more aggressive past.
We last heard it at
Fratton Park on January 28th 1984 during the 4th Round FA
Cup tie against local rivals Southampton. Southampton
scored a last minute winning goal, which was an intensely
sickening experience for Pompey fans and they naturally
gave vent to their feelings with a stream of threatening
and abusive chants, including "You're gon-na get your
fuckin' heads kicked in."
The chant was sung very
rapidly by the fans, with their arms outstretched,
pointing menacingly towards the opposition fans. It was
followed immediately by a burst of fast synchronous
clapping in the same rhythm with hands held aloft. The
chant and clapping were usually repeated at least once,
depending upon how aroused the fans were.
"You'll
never make the station"
In this chant the home
fans threaten to ambush the opposition fans as they make
their way back to the railway station after the game. We
last heard this chant at Fratton Park at the end of the
Portsmouth v Southampton Cup game in 1984. Although this
threat was a real one in the 1960's and 1970's, later
with modern policing methods the away fans were always
strictly segregated from the home fans and escorted to
and from the station or coaches, with little opportunity
for any aggressive interaction with the home
fans.
"We'll
kick shit out of you, Scummers, Scummers"
This chant was sung to
the rather jocular tune of the old British Airways TV
advert ("We'll take good care of you...") and was used
more as a general expression of contempt for the
opposition fans than of anger. It often occured during
the prematch period of an important game where there were
a substantial number of opposition fans.
"You
will die, you will die, you will die ...
"
Sung to the tune "Here we
go", this was directed at opposition fans who were
singing or celebrating a goal and was accompanied by all
the fans pointing towards the target of their anger. As
with all the chants using the "Here we go" tune, this one
dates back to the early 1980's.
"Come
on (Cardiff)"
This was one of many
threatening chants in the football repertoire in which
the home fans invited the away fans to to join them,
though not for tea and biscuits! Like the other
threatening chants these were most popular in the 1970's.
The "Come on" chant has a
dual use. Typically, it is used to encourage the
supported team and still is widely heard: e.g, "Come on,
Chelsea". However, at Fratton Park the chant has never
been used in this way, but only as an invitation to the
opposition fans to show what they are made of. Popular in
the 1970s and 1980s the chant was typically accompanied
by beckoning gestures with the fingers.
One we recall well was
three minutes from the end of a game against Cardiff City
in January 1984 immediately after Portsmouth had scored a
late equalising goal from a penalty. The Cardiff fans
were shattered and several flung themselves at the
fences, in vain attempts to climb over to get at the home
fans. The Fratton End fans responded by urging them on
with several repetitions of the chant: "Come on,
Cardiff". The final whistle blew to the jubilation of the
Portsmouth fans who continued to taunt the opposition
fans as they streamed out of the ground.
"Come
an' 'ave a go, if you think you're 'ard
enough"
Although popular in the
1970's this chant was rarely heard after the early 1980s.
It used the same basic rhythm as "You're gonna get your
fuckin' heads kicked in". Like the previous chant it was
a ritualistic invitation to the opposition fans to come
over the fences and fight. The chant was accompanied by
beckoning gestures with the fingers and was repeated at
least once.
"Come
'n join us, come 'n join us, come 'n join us o-ver
'ere."
This is the classic
invitation chant. Although it has a similar message to
the previous two, the fans sang it in a much more
light-hearted manner and it is best seen more as part of
the ritualistic banter between the two sets of fans
rather than an aggressive invitation.
There was always a good
deal of light hearted banter between the two sets of
fans. Pompey fans would often comment derisively about
the standard of the opposition singing, as in . . .
"You
wha' You wha'? You wha' You wha' You
wha'?"
We first heard this chant
at Fratton Park during the 1982-83 season and it became
very popular at many clubs in following years., ie "What
was that?"
"What's
it like to see a crowd?" . . .
(Tune: "Cwm
Rhondda")
There are several
variations of this chant. It was typically sung when
there is a good home crowd, and a much larger one than
the opposition could expect for their home matches. In
another version the fans remind the opposition of the
score, as in "What's it like to lose 4-1?".
A cutting example of this
chant occurred in the Birmingham v Chelsea match in
December 1988. Birmingham had not scored for a few
matches and Chelsea were running away with this game when
Birmingham scored a suprise consolation goal. This
prompted the Chelsea fans to open up with "What's it like
to score a goal?"
"Sing
when you're winning,
You only
sing when you're winning.
Sing when
you're winn . . . ing,
You only
sing when you're winning"
Tune:
Guantanamera.
This was in reponse to
the singing of the opposition fans whose team were
winning. There is another popular version of this song in
which the opposition fans are taunted for their lack of
singing. For example: "You only sing when you're sailing"
(against Pompey!), "You only sing when you're fishing"
(Grimsby), "You only sing when you're mining" (Cardiff).
"Bye,
bye, Brighton, Brighton, bye, bye."
(Tune The Chimes)
After a good win for the
home team, the opposition fans were typically bid
farewell . At Chelsea, the Shed used to bid farewell to
the opposition team and its fans in a game in which the
home team had come out on top with a strong and swelling
chorus of, e.g., "Bye, bye, Fulham; bye, bye, Fulham;
Bye, bye, Fulham; bye, bye; Bye, bye, Fulham; bye, bye,
Fulham; Bye, bye, Fulham; bye, bye." (Tune: "Auld Lang
Syne").
Opposition fans at the
end of a game where their team has taken a hiding and
making an early exit were regaled with "We can see you
sneaking out, we can see you sneaking out". This chant is
still heard in the contemporary scene, but with modern
day policing there is often no escape from home grounds
for the opposition fans until the game ends.
Please
note: some football chants used racist, sexist or
homophobic language. They are included here simply to
ensure the completeness of the record and their
publication in no way condones such
sentiments.
Racial
chants
Although widely heard
during the 1970's, racial chants declined in the 1980's,
mainly due to the increased vigilance of the police who
were empowered to arrest people making racial remarks or
taunts. However, the fans themselves became more aware of
the inappropriateness of such chants. At Fratton Park
during the 1970s coloured players in the opposition team
were invariably the target for a stream of abusive chants
and noises. The "Nigger" chant was most frequently heard,
using the same tune as the "Scummers" chant with more
emphasis being placed upon the first syllable, repeated
several times with the fans pointing towards the
unfortunate player. Other common racial taunts included
the monkey grunt "Ugh, Ugh, Ugh ...", "You're so black
it's unbelievable!" and to the tune of the Conga "Throw
'im a banana, Throw 'im a banana. La, la, la, la, La, la,
la, la." and "Get back on your jam jar, Get back on your
jam jar. La, la, la, la, La, la, la, la". Chelsea fans in
the 1980s were heard to sing the following version of
"The Bananaboat song" (popularized by Harry Belafonte)
directed towards a coloured opposition player: "Tay-oh.
Tay-oh. Daylight come and I wanna go home."
NEGATIVE
CHANTS - Summary
TOWARDS
THE OPPOSITION FANS
Reference
to their league status:
Going down Stars and
stripes
You're going down with
the Brighton Guantanamera
Staying down Stars and
stripes
We're going up, you're
not. Chant
General
abuse:
We hate (Brighton) and we
hate ... Tennessee Wigwalk
We hate (Brighton) we do.
Tune?
We hate (Brighton). Chant
What d'ya think of
(Leeds)? Shit! Chant
You're just a bunch of
wankers. Chant
Their
poverty:
In the (Brighton) slums
In our Liverpool home
You're in debt. Stars and
stripes
On the dole. Stars and
stripes
We've got more jobs than
you. British Airways
Lack
of manliness:
Does your mummy know
you're here? Cwm Rhondda
We thought you were hard,
we were wrong. British Airways
Poor
singing:
'E's only a poor little
(Brighton) 'E's only .. sparrow
Can you hear the
(Brighton) sing? No-oh. Camptown races
(Brighton, Brighton) gi'
us a song. Chant
You're not singing any
more. Cwm Rhondda
It's all gone quiet over
there She'll be coming .
Sing up you bums. Auld
Land Syne
Poor
support:
Is that all you take
away? Cwm Rhondda
What's it like to see a
crowd? Cwm Rhondda
We've got more fans than
you, (Brighton) British Airways
(Scummers) where are you?
Cry baby bunting
Physical
discomfort:
You're getting wet, we're
not. Chant
It's lovely and dry over
here. She'll be coming ...
Getting wet. Stars and
stripes
Singing in the rain
Singing in the rain
Flags:
Who's the wanker with the
flag? Cwm Rhondda
You can stick your
fuckin' flag ... She'll be coming ...
Ejected
fans:
For he's a wanker, he's a
wanker, Chase me Charlie
Fatties:
Fatty, fatty ... Chant
You ought to go on a diet
Guantanamera
You're so fat it's
unbelievable Chant
Threats:
You will die. Stars and
stripes
You're gonna get your
fuckin h.k.in. Chant
Come 'n 'ave a go Chant
You'll never make the
station. Chant
We'll kick shit out of
you. British Airways
Come on (Cardiff). Chant
Come and join us. Chant
Response
to their singing (general):
You wha'? Chant
It's nice to know you're
here. On Ikla Moor baht'at
You only sing when you're
winning Guantanamera
You're just a bunch of
wankers Chant
Scream/scream
Chimes
Fuck off (Brighton).
Chant
Fuck off, fuck off Chimes
Fuck off, fuck off ...
Amazing Grace
Response
to specific chants:
You are shit. (to 'We are
Leeds') Stars and stripes
Who the fuck are Leeds
United? Battle Hym of the R
You'll never walk again
(to 'You'll nev) You'll never walk ...
Shit! (to club name: eg
'Brighton') Chant
Seaweed, seaweed
(response to 'Seagulls') Chant
Fuck off you Spurs (to
'Come on you Spur) Chant
You're the shit of
(Merseyside) Cwm Rhondda
Girls
Get 'em off. Stars and
stripes
Get your tits out for the
lads. Cwm Rhondda
TOWARDS
THE OPPOSITION PLAYERS
Appearance:
Skinhead. Chant
Baldy Chant
Old man, old man. Chimes
(Derby County) geriatrics
Deck the hall
Coloured
players:
Ugh, ugh, ugh. (Monkey
grunt)
Nigger, Nigger. Chant
Get back on your jam jar,
la, la, la, la. Conga
Throw 'im a banana, la,
la, la, la. Conga
You're so black it's
unbelievable. Chant
Ex-Southampton
players:
Scummer, Scummer. Chant
(Watson) is a scummer,
la, la, la, la. Conga
We hate Scummers and we
hate Scummers. Tennessee Wigwalk
Ex-Portsmouth
players:
Reject, reject. Chant
Pompey reject, hallo.
Chant
Star
players:
(Keegan) is a wanker, la,
la, la, la. Conga
(Charlie Nicholas) is a
wanker, is a w. Chant
When 'e gets the ball he
does fuck all. It's a holi- holiday
(Arsenal) reject, hallo
Chant
POLICE
Walking tune Laurel &
Hardy tune
Old MacDonald had a farm.
Old MacDonald
If you all hate coppers
clap your hands. She'll be coming
Kill, kill, kill the
bill. Chant
Tra la la la la, Nik,
Nik, Nik, Nik. Blue Danube
When the red, red robin
When the red, red, robin (WHU)
REFEREE
Who's the wanker in the
black? Cwm Rhondda
The referee's a wanker.
Chant
You're a Scummer in
disguise. Cwm Rhondda
You're a bastard,
referee. Oh, my darling Clem.
We want th' ref. Chant
Cheat, cheat, cheat.
Chant
Stick your whistle up
your arse Cwm Rhondda
Ee-i-ady-oh, we want the
ref Chant
Baldy, baldy.
Chant
'E's got a bald patch on
'is 'ead. Chant
The referee ain't got no
hair, do-dah Camptown Races
Blow your fuckin' whistle
Chant
NEGATIVE
CHANTS FOR SPECIAL TEAMS
Southampton:
Scummers Chant
Scum, scum, scum ...
Chant
Oh, we hate Southampton
Oh, come all ye ...
There is a club just down
the road Laughing policeman
Oh, when the scum don't
win fuck all Oh, when the Saints
He shot, he come all over
(Lawrie's) bum Quartermaster's
Who's up (Lawrie's) bum?
Knees up Mother B
Scummers are losing Cry
baby bunting
Northern
teams:
Hovis tune (Hummed) Hovis
tune
West
country teams:
Oo-ar, oo-ar, oo-ar Chant
Oo-ar, oo-ar, oo-ar,
oo-ar Chimes
Welsh
teams:
En-g-land Stars and
stripes
Sheep, sheep,
sheepshaggers Chant
Sheepshaggers Stars and
stripes
St George killed ya
dragon, la, la, la. Conga
You can stick your
fuckin' dragon ... She'll be coming ...
Spurs:
Yiddoes, yiddoes Chant
Yids, yids, yids Chant
The Yids, we gotta get
rid of the yids Chant
Oxford:
We hate students Chant
You can stick your
fuckin' boat race ... She'll be coming ...
Read the 'Sun' Stars and
stripes
Norwich:
You're just a bunch of
turkeys Chant
You couldn't score with a
turkey Guantanamera
Bootiful Stars and
stripes
Charlton:
What's it like to have no
ground? Cwm Rhondda
We got a ground, you
ain't Chant
Aston
Villa:
Shit on the Villa Roll
out the barrel
ABUSE
AND DERISION TOWARDS THE OPPOSITION TEAM
Greeting
when the team comes onto the field:
Who the fuckin' hell are
you? Cwm Rhondda
What a load of rubbish.
Chant
For
poor play:
Brighton are boring Cry
baby bunting(
Boring, boring, Brighton.
Chant
You're worse than Derby
County Chant
You're so shit it's
unbelievable Chant
What's it like to be
outclassed? Cwm Rhondda
We thought you were shit,
we were right. British Airways tune
Take the piss Stars and
stripes
Spot the loony, hallo
Chant
Close
misses:
Oh, lucky, lucky. Tune?
You thought you had
scored. British Airways tune
What the fuckin' hell was
that? Cwm Rhondda
You couldn't score in a
brothel. Guantanamera
Home
Goals
Easy, easy, easy ...
Chant
Foul
play:
Just because you're
losing Cry baby bunting
You dirty Northern
bastards Chant
Off, off, off, off. Chant
Handball. Chant
Send 'im off. Stars and
stripes
Opposition
player down injured:
Get up you poof, get up.
Auld Lang Syne
Get 'im off. Stars and
stripes
Let 'im die. Stars and
stripes
Bring on the dustbin.
Chant
You'll get a boot wrapped
around your head Chant
'It 'im on the 'ead with
a baseball bat. Chant
Clapping (with increasing
tempo)
Ee-a, ee-a, ee-a
(sneer)
Tom Hark Tom Hark
chant
The
score:
One-nil ... Amazing
Grace
(Brighton, Brighton)
what's the score? Chant
What's it like to lose
4-1? Cwm Rhondda
Five-one, five-one
Chimes
Pompey one (Forest) nil
alle-lu-jah Michael row the boat
Towards
the end of game:
Bye, bye, (Brighton).
Chimes
At
away games:
You're supposed to be at
home. Cwm Rhondda
Where were you at Fratton
Park? Cwm Rhondda
We'll be back again next
year Cwm Rhondda
Misc
Thankyou very much for
the 3 points .. Aintree Iron
Possession cheers and
boos
Mock applause
We wish you a merry
Christmas We wish you a merry
SONGS
AND CHANTS OF OTHER CLUBS IN THE
1980s
Recordings were
made of the singing at several other clubs and details
are giuven below, but we should stress that our knowledge
is only as visitors, or more correctly intruders, as we
secretly recorded the singing from the home ends. The
clubs we studied most closely in the 1980s were Chelsea
(The Shed), West Ham (South Bank), Arsenal (North Bank)
and Oxford United (London Road End). We also made
recordings at other clubs: Brighton, Bristol City,
Cardiff City, Wolverhampton Wanderers, Fulham,
Bournemouth, Wimbledon, Derby County, Manchester United,
Manchester City and Preston North End, but these do not
feature here.
CHELSEA
One of the top clubs for
singing in the country in the 1980s was definitely
Chelsea, and we made a special study of their songs. We
acknowledge the help of Mike Ticher, founder-editor of
'When Saturday Comes' and Nick Brown of Harrow. Most of
the singing at Stamford Bridge in the 1980s came from the
Shed End (South Terrace) with some also from the benches
on the east and west sides of the ground, creating a
great cacophony of sound all around the ground. As Pompey
fans, we were very familiar with the experience of
standing on the open North Terrace on bleak winter
afternoons in the early 80's and being hit by a wave
chanting from all sides of the ground when Chelsea
scored.
The Shed was a mainly
covered terrace at one end of the ground with four main
chanting sections. Looking from the pitch, the first
section of terrace on the left was the 'Whitewall',
referring to a white wall running down the side of the
terrace. Moving across to the right the next section was
known as 'The Middle', where most of the young singing
fans gathered. The 'West Side' wass the section of
covered terrace towards the right hand side of the Shed
and is somewhat quieter than the Middle, but does become
aroused on big occasions.
During matches when there
were few away fans to taunt and the game was relatively
dull, these sections would engage in some good natured
banter and competitive chanting. For example, they would
try to outdo each other with "White-wall", "Mid-dle",
"West-Side" chants, or the Middle would taunt the
Whitewall with, "Orient ran the Whitewall" and "One man
went to paint, went to paint the Whitewall". Finally,
there was another small group of fans called the
'Teabar', so-called because they stand in front of where
an old tea-bar used to be (now a hot-dog stand). They
occasionally sang, but tended to be older than the other
groups and less overtly expressive.
Chelsea's songs and
chants of the early 1970's were documented by Simon
Jacobson in an article in New Society (27th March 1975)
entitled "Chelsea rule - okay". Here are a few of the
less common ones:
To the tune of "My bonny lies over the ocean.
If
I had the wings of a sparrow,
If I had
the arse of a crow,
I'd fly
over Tottenham tommorrow,
And shit
on the bastards below.
To the tune of
"Clementine" (substituting some other unfortunate player
for the redoubtable Charlie George).
Where's
your lipstick, where's your lipstick,
Where's
your lipstick, Charlie George?
In your
handbag, in your handbag,
In your
handbag, Charlie George.
The next song was originally
sung at Stamford Bridge in praise of Chelsea star Peter
Osgood, though it had its origins at Highbury for Noel
Brady. Chelsea also used it for Ray Wilkins and Clive
Walker, though has not been heard at Stamford Bridge
since Walker. Tune: "Noel, Noel".
Osgood,
Osgood,
Osgood,
Osgood,
Born is
the king of Stamford Bridge.
Jacobson reports a version
of the fun chant "Zigger, zagger" which used to be led by
an old Chelsea fan named Mick Greenway in the 1960's and
1970's. We are grateful to Nick Brown for the following
version, though nowadays (in the absence of Greenway?)
the chant is more likely to be "Oggie, Oggie,
Oggie".
Zigger,
zagger, zigger, zagger. (Leader)
Oi, oi,
oi. (Chorus)
Zigger
(Leader)
Oi
(Chorus)
Zagger
(Leader)
Oi
(Chorus)
Zigger,
zagger, zigger, zagger. (Leader)
Oi, oi,
oi. (Chorus)
'Blue is the colour', the
'official' Chelsea song, was recorded by the squad in
1972 following several good years for the team, in which
they won the FA Cup in 1970 and consistently finished in
a high position in Division 1. The record was a big hit,
spending 12 weeks in the charts and reaching number 5. It
was probably the best football record ever
made.
Blue
is the colour.
Football
is the game.
We're
altogether
Winning
is our aim.
So, cheer
us on through the sun and rain
'Cause
Chelsea, Chelsea, is our name.
Everywhere Chelsea fans go
so does "One man went to mow". Mike Ticher and Nick Brown
say they first heard it at the Leeds v Chelsea match in
February 1983 while the fans were being escorted from
Leeds station to the ground. The song got well
established in the 1983-84 promotion season at Stamford
Bridge, where fans in the section of seating in the East
Stand Lower Tier known as Gate 13 and in the benches in
the West Stand regularly sung it.
One
man went to mow,
Went to
mow a meadow.
One man
and his dog, Spot,
Went to
mow a meadow.
(and so
on up to ...)
Ten men
went to mow,
Went to
mow a meadow.
Ten men,
nine men, eight men,
Seven
men, six men, five men,
Four men,
three men, two men,
One man
and his dog, Spot,
Went to
mow a meadow.
Chelsea!
XXX
Chelsea!
XXX
Chelsea!
XXX
Chelsea!
XXX
Here are a few other typical
Chelsea songs of the 1980s:
Carefree,
whoever you may be,
We are
the famous CFC,
And we
don't give a fuck,
Whoever
you may be,
'Cause we
are the famous CFC.
Tune: "Lord of the
dance". There is a shorter, more punchy, version: "We are
the famous, The famous Chelsea."
Come on, you
Chelsea,
And
score, score, score!
When you
get one you'll get more
We'll
sing you assembly
When we
get to Wembley,
So, come
on, you Chelsea,
Let's
score, score, score.
Come along,
come along,
Come
along and sing this song,
We're the
boys in blue,
In
Division Two,
And we
won't be here for long.
The tune comes from
the hit song of 1979 "Hooray! Hooray! It's a holi-
holiday!" by Boney M, which is, in turn, an adaptation of
the traditional song, "Polly Wolly Doodle".
The "Celery" song
caught on in the mid 1980's when fans around the country
took to taking sticks of celery with them into the
grounds, that is, until the police decided that such
vegetables might constitute a threat to law and order and
stopped the practice! Tune: not identified, but is the
same as the popular "Wemb-er-ley" song.
Celery,
celery
If she
don't come
I'll
tickle her bum
With a
lump of celery.
Nick Brown
recalls a Watford v Chelsea Cup match in Febuary 1987
when about 75% of the Chelsea end seemed to have celery
and were throwing it up into the air. He also recalls the
last away match of that season at Wimbledon. Chelsea fans
who smuggled celery into the ground kept a low profile
until halfway through the second half, when the Wimbledon
fans began singing "Where's your famous celery" the
Chelsea fans responded by throwing hundreds of lumps of
celery into the air. The police were powerless against
such veggie-force!
One of Chelsea's main rivals
over the years in London have been Tottenham and most of
the chants against them have been anti-semitic, referring
to the alleged Jewish element in Tottenham's support. The
most popular anti-Tottenham chant contains two parts that
are usually sung one after the other. "The famous
Tottenham Hotspur ..." is sung to the tune of "John
Brown's body". "Who's that team ..." is a variation of
the 1978 Scottish World Cup song "We're on the march with
Ally's army ...". Tune (Children's hymn): 'Jesus died for
all the children'.
The
famous Tottenham Hotspur went to Rome to see the
Pope,
The
famous Tottenham Hotspur went to Rome to see the
Pope,
The
famous Tottenham Hotspur went to Rome to see the
Pope,
And this
is what 'e said - Fuck off!
Who's
that team they call the Chelsea?
Who's
that team we all adore?
We're the
boys in blue and white,
And we'll
fight with all our might,
'Cause
Chelsea are the greatest football
team.
The following variation of
the second part comes from Chelsea's successful years in
the 1970's
Who's
that team they call the Chelsea?
Who's
that team we all adore?
We're the
boys in blue and white
And we'll
fight with all our might
'Cause
we're out to show the world the way to score.
Bring on
Tottenham or the Arsenal,
Bring on
spastics by the score,
Barcelona,
Real Madrid,
Tottenham
are a load of Yids,
And we're
out to show the world the way to
score.
The next song was popular
with all London clubs. Even West Ham sang it as "We are
those bastards in claret and blue"! Tune: song from the
musical, "Mary Poppins":
Chim
Chimini, Chim Chimini, Chim, Chim Cheroo.
We hate
those bastards in claret and blue.
Chim
Chimini, Chim Chimini, Chim, Chim Cheroo.
We hate
those bastards in claret and blue.
The team name sung to the
tume of 'Amazing Grace'. This can rise into a great
swelling chorus with many thousands of voices, lasting
several minutes.
Chelsea,
Chelsea,
Chelsea,
Chelsea.
Here is another chant that
was popular at many clubs but not at Pompey. The team
name is spelt out, letter by letter by a single-voice
leader echoed by the main chorus.
See-ee,
See-ee.
Aye-aitch,
Aye-aitch.
Ee-ee,
Ee-ee.
E-el,
E-el.
E-es,
E-es.
Ee-ee,
Ee-ee.
Aye-aye,
Aye-aye.
What 'ave
you got?
Chelsea
XXX
Chelsea
XXX
We heard this one in the
Shed during Chelsea's promotion years (83-84 and 88-89).
The tune comes from the hit song of 1979 "Hooray! Hooray!
It's a holi- holiday!" by Boney M.
Come
along, come along,
Come
along and sing this song,
We're the
boys in blue,
In
Division Two,
And we
won't be here for long.
Other popular chants
at Chelsea included "We'll knock Wednesday off the top"
"We'll be top by 5 o'clock" and "We'll go up as
champions" (Cwm Rhondda).
Specific pleas for
goals is expressed in many ways. In the following song,
to the tune of "Bless 'em all", the Shed made reference
to Wembley, though it was heard during league games.
Come
on, you Chelsea,
And
score, score, score!
When you
get one you'll get more
We'll
sing you assembly
When we
get to Wembley,
So, come
on, you Chelsea,
Let's
score, score, score.
Towards the end of a drawn
game the Shed may urge the team on with (Tune: Those were
the days)
We
only want one goal,
We only
want one goal,
We only
want,
We only
want one goal.
Another rarely heard plea
for a goal from the Shed comes with tune of Al Jolson's
famous song "Mammy":
Che-el-sea,
Che-el-sea,
I've
walked a million miles,
For one
of your goals,
My
Che-el-sea.
In March 1975 the magazine
New Society published what we think is the first
description of the newly emerging repertoire of songs and
chants, by Chelsea supporter, Simon Jacobson (xx).
Jacobson documented many of the songs popular on the Shed
End of Stamford Bridge in the early 1970's. Of special
interest in Jacobson's collection are the abusive and
threatening chants. Many of these 'aggro' chants are
still with us, though much less prominent than they were.
Here are a few particularly nasty examples from
Jacobson's collection that are rarely heard nowadays
(even in the Shed!):
In
the dark, dark alleyways of Liverpool
Where the
Mile End's never been,
Lies a
mutilated body of a Scouse git,
Where the
North Stand kicked him in.
Farewell
to Man City, farewell to Liverpool,
We will
fight for the Chelsea
To win
the football league.
Tune: "From the halls of
Montezuma".
We went up
to Wolves,
We took
their North Bank,
We come
down to Arsenal,
They're
not worth a wank.
So take
my advice,
There's
nothing so nice
As
kicking the fuck out of Tottenham.
Tune: "Messing about on
the river".
If I had the
wings of a sparrow,
If I had
the arse of a crow,
I'd fly
over Tottenham tomorrow,
And shit
on the bastards below.
Tune: "My Bonny lies over
the ocean".
LIVERPOOL
The famous Liverpool
anthem, "You'll never walk alone", stemmed from a
recording of the song from the musical "Carousel" by
Richard Rodgers and Oscar Hammerstein in 1963. The record
was an immediate hit and quickly rose to Number 1 in the
charts. The story of its adoption by the Kop relates to
an occasion in 1963 when the Liverpool players sang it on
a TV show together with Gerry and the Pacemakers. The
fans sang it on the Kop and it has remained the Liverpool
anthem ever since.
The song is usually
repeated several times with the second verse being
punctuated by synchronous clapping (XX):
"Walk
on, walk on,
With hope
in your hearts
And
you'll never walk alone,
You'll
never walk alone."
Walk on
XX walk on XX
With hope
XX in your arms XX
And
you'll ne XX ver walk XX alone,
You'll ne
XX ver walk XX alone."
The first verse of
the song is typically sung slowly and with much feeling,
with the fans holding scarves horizontally above their
heads and swaying from side to side. This is an
impressive and moving sight when engaged in by many
thousands of fans at an arena such as Wembley. The second
verse is sung more quickly with the clapping interspersed
with the words as illustrated above.
Although the song is
linked with Liverpool it is now popular with fans
throughout the country. With scarves now out of fashion
the scarf waving tradition has largely been replaced by
the fans fists punching into the air in time with the
song. A truncated and threatening version of the song is
sometimes sung in response to the celebrations of
opposition fans, "You'll never walk again".
We had the following
substantial lyric from Ian Tilley, the then Editor of the
Liverpool fanzine 'When Sunday Comes' which, he claimed
was sung more often than "You'll never walk
alone"!
"Let
me tell you the story of a poor boy,
Who was
sent far away from from his home,
To fight
for his king and his country,
And also
the old folks back home.
So they
put him in higher division,
Sent him
off to a far foreign land,
Where the
flies fly around in their thousands,
And
there's nothing to see but the sand.
The
battle it started next morning,
Under the
Arabian sun,
I
remember the poor scouser, Tommy,
Who was
shot by an old Nazi gun.
As he lay
in the battlefield dying, (dying, dying),
With
blood rushing out of his head, (of his head),
As he lay
on the battlefield dying,
I
remember the last words that he said.
Oh! I am
a Liverpudlian,
I come
from the Spion Kop,
I like to
sing, I like to shout,
I go
there quite a lot, (every week),
I support
a team that plays in red,
It's a
team that you all know,
It's a
team that we call Liverpool,
And to
glory we shall go.
We've won
the League, we've won the Cup,
We've
been to Europe too,
We've
played the Toffees for a laugh,
And left
them feeling blue.
1-2,
1-2-3, 1-2-3-4, 5-0!"
TOTTENHAM
HOTSPUR
"Glory, Glory,
Tottenham Hotspur" was one of the earliest and most
famous of modern football anthems. It was first sung by
at White Hart Lane in the early 1960's, but was adopted
by fans of other clubs, with some variation in wording.
The basic chorus line is:
Glory,
glory, Tottenham Hotspur,
Glory,
glory, Tottenham Hotspur,
Glory,
glory, Tottenham Hotspur,
And the
Spurs go marching on, on, on.
The tune comes from
the traditional American hymn, "The Battle Hymn of the
Republic", or in its more familiar title, "John Brown's
Body".
According to Spurs'
historian Phil Soar in "And the Spurs Go Marching On"
(00), the song was first sung at White Hart Lane in the
1960/61 season when Tottenham achieved the League and FA
Cup double. Bill Nicholson, Spurs' manager at that time,
also recalls the anthem in his autobiography "Glory,
Glory" (1985), but dates its first appearance a year
later. Nicholson describes it thus:
"A new sound was heard in
English football in the 1961/62 season. It was the hymn
'Glory, Glory, Hallelujah' being sung by 60,000 fans at
White Hart Lane in our European Cup matches. I do not
know how it started, or who started it, but it took over
the ground like a religious feeling."
The Spurs' anthem, more
than any other, marked the beginning of the new era in
football singing, heralding a torrent of new songs and
chants, first at Anfield, Liverpool, then across the
country as a whole.
WEST
BROMWICH ALBION
Simon Wright, Secretary
of the Supporters' Club in the 1980s and editor of their
fanzine "Fingerpost", sent us Albion's version of "Oh, I
do like to be beside the seaside" (a typical Midlanders'
fantasy!), which the Brummie Road End fans are quite
partial to:
Oh,
I do like to be beside the seaside,
Oh, I do
like to be beside the sea,
Oh, I do
like to be upon the prom, prom, prom,
Where the
brass bands play
West
Brom, West Brom,
West
Brom, West Brom,
West
Brom, West Brom." ... etc
The "West Brom, West
Brom" chant can go on for as long as 8 minutes with the
two "West Brom's" being bellowed out by two different
sets of voices in a two-tone effect, which when well done
can be very effective.
WEST
COUNTRY TEAMS
Plymouth Argyle's
fans used to regale their team at Home Park with choruses
of the popular drinking ditty of Adge Cutler and the
Wurzels, "Drink up thy zider". The following song is also
popular with West Country teams (e.g. Exeter
City):
I
can't read and I can't write,
But that
don't really matter,
Because I
come from the West Country,
And I can
drive a tractor.
GLASGOW
RANGERS
The fans of the two
major Glasgow clubs have a well established tradition of
singing. According to Bill Murray in "Glasgow's Giants"
(1985), the singing goes back at least to the 1930's, and
probably well before that. The main anthem of Rangers is
"Follow, Follow, Rangers":
Follow,
follow, we will follow Rangers,
Everywhere,
anywhere, we will follow on.
The tune is based upon
the old Salvation Army song, "We will follow Jesus",
though the original words have recently become corrupted
to include religious overtones.
GLASGOW
CELTIC
The main anthem of
the Celtic fans, as recalled by John Charles (1962) used
to be "The dear little shamrock", but that song was
replaced by "It's a grand old team to play for", which
the club made strenuous efforts in the 1980s to promote
by playing it over the public address system before home
games. The history of the song is unclear. It was
probably recorded in the late 1950's/early 1960's by the
Glasgow entertainer Glen Daley. The tune, we believe,
comes from the chorus of the song "Here's a first-rate
opportunity" from the Gilbert and Sullivan operetta, "The
Pirates of Penzance":
Hail!
Hail! The Celts are here!
What the
hell do we care?
What the
hell do we care?
Hail!
Hail! The Celts are here!
What the
hell do we care, now?
Sure,
it's a grand old team to play for
And it's
a grand old team to see,
And if
you know your history,
It's
enough to make your heart go
Oh, oh,
oh, oh.
We don't
care what The Animals say, (ie, Rangers)
What the
hell do we care?
For we
only know, there's going to be a show
And the
Glasgow Celtic will be there!"
The religious
rivarly between Protestants and Catholics has been a
prominent feature of Glasgow's football since the
formation of clubs in the late 19th Century and is also
strongly present in the songs of the two clubs. Fans of
the 'Old Firm', at least at derby games, are quite happy
to sing specifically political songs alongside the
football ones, as much to wind up the opposition as to
provide support for the home team. Rangers' fans have
many Protestant and loyalist songs in their repertoire,
some deriving from Ulster and Orange Walks, whereas the
Celtic fans sing Roman Catholic and Irish rebel songs.
Here are a couple of fairly innocent examples by way of
illustration. "No Pope of Rome", sung to the tune of
"Home on the Range", by Rangers' fans:
No,
no Pope of Rome!
No
chapels to sadden my eyes!
No nuns
and no priests, and no rosary beads,
And
everyday is the 12th of July!
In contrast
Celtic fans transformed the famous Harry Lauder song,
"Roaming in the Gloaming" into the following sectarian
song:
Roamin'
in the gloamin'
With a
shamrock in my hand,
Roamin'
in the gloamin'
With St
Patrick's fenian band.
And when
the music stops
Fuck King
Billy and John Knox!
Oh! It's
good to be a Roman Catholic.
OXFORD
UNITED
The fans of Oxford
United on the London Road terrace of the Manor Ground,
became the subjects of detailed scrutiny in the 1970's
from two academic researchers who were, at the time, also
directors of the club. The first investigation was
carried out in the 1974/75 season, when Oxford were a
mid-table Division 2 club, by social psychologist, Peter
Marsh, who used cameras and video-tapes to study the
fans' behaviour. His main concern was to try to make
sense of the overt aggression displayed by the fans, in
their chants and gestures. His conclusion was that the
fans' behaviour, although apparently very unruly, was, in
fact, quite well ordered, and controlled by what he
called 'the rules of disorder'. Marsh also argued that
the 'aggro' was more apparent than real, being
essentially a ritual and rarely resulting in overt
violence. He compared it with the behaviour of youngsters
in the school playground who square up to each other, but
who rarely indulge in anything worse than nudges and
harmless wrestles. The analysis of video-films
demonstrated the remarkable degree precision in the
chanting and staccato hand-clapping of the fans. In
Marsh's sociological jargon, "... the symbolic conflict
is conducted through a channel of communication which is
orderly to an almost absurd extent".
The other researcher to
put the spotlight on Oxford United in the 1970's was the
celebrated ape and man watcher, Desmond Morris. In his
book 'The Soccer Tribe' (13), Morris approached football
fans from an anthropological point of view and portrayed
them, somewhat simplistically, as akin to members of a
primitive tribe with a variety of complex display
rituals. His view of football singing was that it
represented a ritualised ceremony with two sets of
choirs, synchronised by an "unseen choirmaster". The main
source of data for Morris's research came from tape
recordings of of the singing of the fans during the
1978-79 football season. The recordings were made,
transcribed and analysed by Oxford United fan and
post-graduate linguistics student, Nigel Tattersfield,
who worked as Morris's research assistant for this
investigation. We were grateful to Nigel for making his
tapes available to us and for discussions about the
songs.
She
wore a yellow ribbon
This was popular at
Oxford in the mid 1980's when United having good runs in
cup competitions, though other clubs do sing it with
variations. We have never heard it at Pompey.
She
wore, she wore,
She wore
a yellow ribbon,
She wore
a yellow ribbon
In the
merry month of May.
And when
I asked her
Why she
wore that ribbon
She said
it's for the Oxford
And we're
going to Wemb-er-ley.
Wemb-er-ley,
Wemb-er-ly ... (fading)
MISCELLANEOUS
TEAM SONGS AND CHANTS
West Ham United
- We're
forever blowing bubbles
Newcastle
United
- The Blaydon Races
Tottenham Hotspur
-
Glory, Glory, Tottenham Hotspur
Birmingham City
-
Keep right on to the end of the road
Bristol
City
- When the red, red robin
Bristol Rovers
-
Goodnight Irene
Chelsea -
Blue
is the colour
Norwich City -
On
the ball, City
Brighton and Hove Albion
- Sussex
by the sea
Coventry City (Eton B.S)
- Let's
all sing together
Fulham (Old Father Th.) -
Some
teams may come
Wolverhampton Wanderers -
The
happy wanderer
Rangers -
Follow,
follow,
Glasgow Celtic -
Dear
little shamrock
Plymouth Argyle -
Drink
up thy cider
ACKNOWLEDGEMENTS
Bernard Adams of
Fratton, Alan P Jeffries of Eastleigh, R.A.Street of
North End and P.S.W.Hill of Gosport for their fascinating
recollections of Fratton Park in the "good old
days".
Roger Emptage of
Reading and Barry Harris of Fareham for the Portsmouth
Supporters' Club songs of the 1950's.
Peter Galliver of
London for useful newspaper references to history of the
Chimes.
Andrew Ward of
Oxford for the key 1949 Sports Mail reference on the
origins of the Pompey Chimes.
Alan Kerby of
Watford, Editor of the Pompey Chimes, the magazine of the
Portsmouth Supporters' Club, London Branch, for much
useful information and discussion of the Pompey
songs.
Mike Neasom, Sports
Reporter of the Portsmouth Evening News in the 1980s, for
help in tracing the history of the Pompey Chimes and much
needed publicity in his newspaper.
Mrs Margaret Grist
for information about old handbooks of Portsmouth
Football Club and Portsmouth Football Club for kindly
allowing us to inspect the old club handbooks.
Tony Hellyer of
Teddington and Frank Bulbeck, following Pompey from Ohio
in the USA, for their recollections of Fratton Park in
the 1960's.
John Litser of
Kirkaldy, Fife for information on Scottish club
songs.
Aston Villa fans,
A.J.Smith for the "Bachelor boy" song and E.V.Mooney for
his "The bells are ringing" song.
Martin Mason,
Secretary of the Derby County Supporters Club, London
Branch, for the information about the Rams'
songs.
Mike Ticher,
founding Editor of that excellent fanzine, "When Saturday
Comes", for his help with the Chelsea songs and the
Celtic Song.
REFERENCES
1. Tony Mason.
Association Football and English Society. 1863-1915.
Brighton: The Harvester Press. 1980.
2. Portsmouth
Evening News, 23 September, 1899.
3. Portsmouth
Evening News, 28 October, 1899.
4. Hampshire
Telegraph, 16 December, 1899.
5. Portsmouth
Evening News, 8 December, 1899.
6. Portsmouth
Football Mail, 8 January, 1949.
7. Iona and Peter
Opie. The Lore and Language of Schoolchildren. Oxford:
The Clarendon Press, 1959.
8. Phil Soar. And
the Spurs Go Marching On. London: Hamlyn.
1985.
9. John Charles.
The Gentle Giant. London: Stanley Paul, 1962.
10. Simon Jacobson.
Chelsea rule - okay. New Society, 27 March 1975, 31,
780-783.
11. Peter Marsh.
Aggro. The Illusion of Violence. London: J.M.Dent &
Sons, 1978.
12. Peter Marsh,
Elizabeth Rosser and Rom Harre. The Rules of Disorder.
London: Routledge & Kegan Paul, 1978.
13. Desmond Morris.
The Soccer Tribe. London: Cape, 1981.
Brian J. Fellows.
Partners in Chimes. The Portsmouth News, Dec 7th, 1984,
p.34.
Bill Nicholson.
Glory, Glory. 1983.
Bill Murray.
Glasgow's Giants. 100 Years of the Old Firm. Edinburgh:
Mainstream Publishing Projects, 1988.
Bill Murray. The
Old Firm. Secretarianism, Sport and Society in
Scotland.
Eninburgh: John Donald
Publishers, 1984.