The Evolution of the “New Massachusetts Liberty Song”

In February 1770, as I’ve described, the musician Josiah Flagg and the printers Edes and Gill brought to the Boston public new lyrics to the tune of “The British Grenadiers.”

The following month, most of the soldiers involved in the Boston Massacre were British grenadiers—men in the 29th Regiment of Foot.

We might think that would make Bostonians happier about replacing lines praising the grenadiers with lines praising “brave America.” But the shooting could have had the opposite effect, rendering anything to do with the grenadiers, even a tune, less popular.

In any event, “The New Massachusetts Liberty Song” wasn’t printed again (so far as I know) until 6 Jan 1774, when Alexander Purdie and John Dixon of Williamsburg ran the verses in the “Poets Corner” section of their Virginia Gazette. They headlined it “A Song on LIBERTY, made by a Bostonian, to the Tune of The British Grenadiers.” The text wasn’t precisely what Edes and Gill had printed in 1770, but close enough that the changes might have come in the typesetting.

The 28 April New-York Journal from John Holt likewise gave “Poets Corner” space for “A Song on Liberty.” But this version (shown here) had more changes, small and large.

In the original, every verse ended with “brave America.” This version had “brave America,” “North America,” and “free America” each twice—the first time that last phrase appeared in the song. And the ending of the fourth verse changed from:

The World shall own their Masters here, then hasten on the Day,
Huzza, huzza, huzza, huzza, for brave AMERICA.

to:

The world shall own we’re freemen here, and such will ever be,
Huzza! huzza! huzza! huzza for love and liberty.

There were other tweaks.

And blast the venal Sycophant, who dares our Rights betray,
Preserve, preserve, preserve, preserve my brave AMERICA.

became

And blast the venal sycophants who dare our rights betray;
Assert yourselves, yourselves, yourselves for brave America.

The awkward “And shout, and shout, and shout, and shout, for brave AMERICA” turned into “And shout huzza! huzza! huzza for brave America.”

But the biggest change occurred in the final verse. Here’s how the 1770 version ended:

Some future Day shall crown us, the Masters of the Main,
And giving Laws and Freedom, to subject FRANCE and SPAIN;
When all the ISLES o’er Ocean spread, shall tremble and obey,
Their Lords, their Lords, their Lords, their Lords of brave AMERICA.

The song already started by reminding Britons that they had been conquered by “many Masters” while Americans had “never fell a prey.” And here it ended with the prediction that in “Some future Day” Americans would be the “Masters of the Main” with “all the ISLES”—which by implication must include the British Isles—bowing to “their lords of brave AMERICA”! That’s a remarkable public position, especially for 1770.

In the 1774 version, that verse was rewritten to make a better fit with the American Whigs’ message:

The land where freedom reigns shall still, be masters of the main,
In giving laws and freedom to subject France and Spain;
And all the isles o’er ocean spread shall tremble and obey,
The prince who rules by freedom’s laws in North America.

Americans, the song now said, still trusted King George III to uphold traditional British liberties. Who would claim anything different?

COMING UP: More versions as war approaches.

Meeting the Younger William Hunter

The Summer 2014 issue of the Colonial Williamsburg magazine includes an interview with William Hunter, as portrayed by Sam Miller. Hunter was one the town’s Loyalists. Though he remained in town through the late 1770s, he gave up his role in the Virginia Gazette newspaper and eventually left town with the British military because he couldn’t support an independent America.

However, the Colonial Williamsburg podcast about Hunter is a lot more interesting since it goes into his backstory. He was born out of wedlock to the Williamsburg printer William Hunter and Elizabeth Reynolds. In 1761, when the boy was about seven, his father died suddenly, acknowledging in his will “my natural Son William Hunter who now lives with Benjamin Weldon.” Some scholars interpret this to mean that most people in Williamsburg hadn’t known about the boy before.

The elder Hunter had been well connected and financially successful; he shared the job of deputy postmaster in North America with Benjamin Franklin, and his Virginia Gazette newspaper was the colony’s leading news source. He left a half-interest in that business to his son and the other half, plus the responsibility of running it, to his brother-in-law Joseph Royle.

In the mid-1760s young Billy was sent to the Franklin family in Philadelphia for education and training. Since Benjamin was in London for much of that time, scholars say that his son William (also born out of wedlock) was the real mentor for the Virginia youngster. Accounts show Billy boarded with Benjamin’s older brother Peter Franklin, and in 1768 he wrote back to Benjamin’s wife Deborah with friendly regards and requests for textbooks.

After more schooling in Virginia, in 1774 the younger William Hunter became an active partner in the Virginia Gazette with one of its two recent proprietors, John Dixon. Dixon had married Joseph Royle’s widow, and was thus also Hunter’s uncle. The new partners promised subscribers “good Paper and new Type,” probably because they now had to compete with the other recent proprietor, Alexander Purdie, who was starting his own Virginia Gazette (making three in all).

Hunter married, and in June 1777 he and his wife deeded some land near the printing office to his mother, still Elizabeth Reynolds. He also supplied her with a small house, an annuity of £40, and a “servant maid fit & able to serve wait & attend” her. His father’s bequests and connections had allowed him to become an established young businessman in the Virginia capital. But he just didn’t agree with the way the colonies were heading.