If I’m ever asked to describe the sounds of a football match it would always begin with the gentle hum of chatter on the train. Who’s in, who’s out and what tactics will be employed for the game. Then the growing roar as I edge closer to the stadium, fans pushing their vocal chords to the point of fracture as they scream ‘Irons!’.
The programme sellers come next with their plaintive cry as they offer an essential souvenir of the game. Then inside the stadium we have the ultimate as the fans begin to sing. A good old fashioned sing song is a product of the terrace culture we still hold dear. It’s an indispensable part of the atmosphere and can galvanise a team as they strive for that vital breakthrough.
Anthems versus Chants
A player can be inspired or destroyed by the fans as they sing in unison. There are broadly two types of terrace song, the ‘anthem’ and the ‘chant’. Anthems are simply songs that have been adopted by the fans over a period of time. For us, it remains ”I’m forever blowing bubbles’, which is synonymous with the club, and of course, the song from which this magazine took its name.
The song was written in 1918 by John Kellete and Jaan Kenbrovin. It was popular on both sides of the Atlantic and was a music hall standard. The reasons for the song becoming the Hammers’ anthem are buried deep in the mists of time. A number of theories have been expounded over the years and the most common involves a Pears Soap advert.
In West Ham United: The Complete Record, John Northcutt and Steve Marsh explained further ‘in 1829 Sir John Millais painted a portrait of his grandson watching a soap bubble he had just blown through a clay pipe. The painting was exhibited at the Royal Academy. Later the Pears Soap Works used the painting as an advertisement’.
As the soap works was situated in Canning Town the image would have been under the noses of many Hammers fans. Added to the fact that ‘bubbles’ was a notable song of the day it becomes a reasonable assumption. A more tenuous association lies with a member of the West Ham Boys team in the 1920s. Schoolboy games often took place at Upton Park in front of large crowds. Will Murray had similarly curly hair to the boy in the advert. He soon acquired the nickname ‘Bubbles’ as the fans sang his praises.
Another theory is that it was first sung by Swansea Town fans during a three game FA Cup tie with the Hammers. Our fans heard the song and adopted it as their own. All of which sounds equally feasible but unlikely to settle the matter. Happily the anthem now belongs to us in all its glory, but what about those strangely forgotten verses?
Prophetic Lyrics and Brass Bands
Fans have only ever sung the chorus and never the two verses that complete the song. The verses speak of dreaming dreams, scheming schemes and creeping shadows, which don’t seem to scan very well in the context of a football anthem. However, the chorus is prophetic and one could almost believe it was written by a West Ham supporter. To speak of ‘fortunes always hiding’ and dreams that fade and die seems to tell our story with unerring accuracy.
For many years, the song was played by a variety of brass bands before kick-off and is a warm reminder of my early visits to Upton Park. The Salvation Army were particularly memorable as they marched stiff backed onto the pitch in single file. These days brass bands are rarely seen at football matches. A recorded version of ‘bubbles’ now follows ‘London Calling’ by the Clash as players take the pitch. Fans sing along to the recorded version rather than a brass band accompaniment. It just wouldn’t be matchday without a chorus of the song taking us back to where it all started.
The Chart-Toppers of Liverpool and Manchester City
Hit records often provide a source of inspiration for fans when anthems are adopted. Liverpool and Manchester City found theirs with tunes that became no.1 singles in the charts. ‘You’ll never walk alone’ was a song written by Richard Rodgers and Oscar Hammerstein for the musical Carousel, which opened on Broadway in 1945. When Merseybeat band Gerry and the Pacemakers recorded the song in 1963 it went to No.1.
The Anfield faithful pounced on this unassuming song and has been owned by the Reds ever since. In many respects it has a similar narrative to ‘bubbles’ conveying fear, hope and ultimately optimism. The underlying theme of solidarity and comradeship seems made for football fandom. The song is frequently sung by fans of other clubs but will always be associated with Liverpool.
‘Blue moon’ was written by Richard Rodgers and Lorenz Hart in 1934. The song was a big hit in the US and featured in a number of films. In 1961 the Marcels reached No.1 in the UK with a high tempo doo-wop version of the ballad. However, the song was not adopted by City fans until the late 80s when the club was going through a lean patch. They had just suffered a crushing defeat at Liverpool. With typical self-deprecating humour they saw the irony as they were winning away games ‘once in a blue moon’. From that day forward it stuck, and the most unlikely of terrace anthems was born.
Palace, Spurs and the Arsenal Innovation
Here was an overtly romantic song with its quest for love and devotion. But now we couldn’t imagine the citizens singing anything else. Crystal Palace have taken another 60’s classic to their hearts. ‘Glad all over’ was a No.1 hit for the Dave Clark Five in 1963. Written by Dave Clark and Mike Smith, it has an irresistible foot stomping beat that works superbly in the raucous atmosphere of a football ground.
In 1964 club DJ John Henty played the tune at half time to keep the fans’ feet warm. Four years later the Dave Clark Five played a gig at Selhurst Park which further cemented its status. Although how often the fans have felt glad all over is open to debate.
Spurs adopted ‘When the saints go marching in’ very early on, logically substituting ‘saints’ for ‘Spurs’. The origins of the song are unclear but it was a Chrsitian hymn that became an African American spiritual popularised by jazz legend Louis Armstrong. The song has allegedly been sung by 150 clubs with Southampton staking a strong claim through their nickname ‘The Saints’.
North London rivals Arsenal have gained an anthem that was written for them. Singer-songwriter Louis Dunford released the song ‘Angel (North London for Ever)’ as a tribute to his home town, and by extension his support for Arsenal. It was adopted by the Gooners who seized on the irritating value of a song that proclaimed ‘North London forever, whatever the weather these streets are our own’. Particularly as Spurs are the true North London team, but that’s the undying beauty of tribalism.
Community Singing and Wembley Traditions
Terrace anthems are occasionally the result of a tradition that’s handed down through successive generations. An FA Cup Final appearance not only meant a trip to Wembley, but a turn at community singing for fans of both sides. It began in the 1920s when a military band would provide the pre-match entertainment. A well known figure would climb a wooden platform to conduct the crowd in a rendition of ‘Abide with me’.
The song itself is another Christian hymn written by Anglican cleric Henry Francis Lyte, and is a prayer for God to stay with them throughout life and in death. There is a connection with the Hammers’ appearance in the first Wembley Cup Final in 1923. While the pitch was being cleared of fans the event choir sang the song. It was later said that West Ham fans trudging home after the game also struck up a chorus on the way. From that point onwards it was part of the fabric on Cup Final day.
The Decline of Community Sing-Alongs
However, by 1974 it had been overtaken by a more assertive breed of fans. Mr Saturday Night Bruce Forsyth was hired to conduct the community singing. Although backed by the Band of the Royal Marines, poor Bruce was drowned out by vociferous Liverpool and Newcastle fans. The tradition was reluctantly dropped for subsequent Finals.
Where the national side are concerned, England fans have inexplicably claimed ‘Sweet Caroline’ as their anthem. Written by Neil Diamond it was a massive worldwide hit for the singer-songwriter in 1971. It seemed to take hold when England progressed to the semi-finals of the World Cup in 2018. Despite its catchy hook line and singalong potential it feels nothing like a football anthem.
Yet fans seem to have abandoned the brilliantly constructed ‘Three Lions’, a song created to sing at matches. Written by Frank Skinner, David Baddiel and Ian Broudie of the Lightning Seeds, it relates an unforgettable tale of near misses and glorious failure in the lead up to Euro ’96. The refrain of ‘football’s coming home’ and ‘three lions on the shirt, Jules Rimet still gleaming’ resonates more clearly than ever. Without doubt the finest football anthem ever written.
The Craft of the Matchday Chant
Chants on the other hand are devised using the tune of a song with the lyrics craftily re-written for the occasion. They can be vicious, cruel and deeply hurtful. But most of the time they are inventive, playful and an essential part of any match day.
‘Go West’, a hit for the Village People, and later covered by the Pet Shop Boys has been copied many times. It’s popularly used to bait opposing fans when their team goes behind. As in ‘you’re s*** and you know you are’!’ It’s also an undying declaration of love for one’s club along the lines of ‘stand up if you love West Ham!’.
Some chants have become so deeply embedded it’s difficult to remember the originating song. ‘Cwm Rhondda’ is a traditional hymn written by John Hughes in 1907. A later translation into English ‘Guide me o thou great redeemer’ included the line ‘bread of heaven, bread of heaven, feed me now and evermore’. This has often been recycled as ‘you’re not singing anymore!’
Pop Hits and Player Homage
Cuban folk song ‘Guantanamera’ was a top 10 hit for the Sandpipers in 1966, but its melodic phrasing was soon exploited on the terraces. It’s most often used to illustrate the best and worst of what we see. For example ‘one Jarrod Bowen, there’s only one Jarrod Bowen!!’. Or, as cruelly directed at Graham Potter ‘sacked in the morning, you’re getting sacked in the morning!!’
In 1972 Chicory Tip reached no.1 with pioneering synth track ‘Son of my father’. A memorable chorus made it easily adaptable, and was recently revived in tribute to Billy Bonds, as we got ‘Oh Billy, Billy, Billy, Billy, Billy Bonds!!’. The hideous ‘D-I-S-C-O’ , a massive hit for Ottawan in the early 80s, was re-jigged in praise of Paulo Di Canio. How many of us sang ‘ D-I Canio, he is D-I Canio!!’ in homage to the gifted Italian.
Rock Riffs and European Exploits
More recently, fans have looked to heavier rock genres for inspiration. The Red Stripes’ 2003 smash ‘Seven nation army’ has been used by fans in several sports including football. Club Brugge and AS Roma were among the first to adopt the unmistakable riff as a chant during Champions League games. Later in the 2006 World Cup Italian fans carried on the trend as the Azzurri became World Champions.
In England it’s most closely associated with Manchester City fans, who’ve chanted ‘Oooh Kevin De Bruyne!!’ in praise of their Belgian icon. During the club’s recent European campaigns a new chant gained traction, ‘West Ham are massive everywhere we go, everywhere we go!!’. Largely made up on the spot it alludes to our away form which, in some ways is a fundamental weakness. It’s certainly a hostage to fortune as it can easily be turned against us.
The Challenges of Modern Fan Culture
The terrace sing song and tribal chant is closely linked with terrace culture. Which, to a certain extent has disappeared with the introduction of all seater stadia. It fuelled hooliganism in the 70s and 80s and is still used as a weapon to incite rival fans. Sadly ‘tragedy chanting’ still persists. Some feel the need to torment the opposition with jibes about the Hillsborough and Munich tragedies. It’s difficult to imagine what can be gained from such action, particularly when it causes distress to those who still live with the legacy of loss.
The authorities have been urged to take action against the culprits. But in all honesty it’s impossible where hundreds of people join a spontaneous chorus. There’s no question public order offences are being committed, but to make arrests at matches attended by 60,000 is a thankless task. UEFA apparently have ‘spotters’ in crowds to detect racist and homophobic chanting. But again one must wonder how that could possibly work in practice.
Progress and the Power of the Sing-Song
TV cameras can occasionally spot offenders, as happened at Chelsea a few years ago when Raheem Sterling was racially abused by a person sitting behind the goal. But otherwise it passes by without the evidence to take action. Football grounds can be the most politically incorrect venues where certain behaviour will flourish, whatever penalties might punish the offenders.
As a season ticket holder for the last nine years at the London Stadium, I have never once heard tragedy chanting, racist or homophobic abuse. For that, we must feel encouraged that things are changing, albeit slowly for the better. Whilst it can occasionally turn ugly, singing and chanting is mainly the result of good natured banter between the fans. It gives us all a sense of community and affiliation. A good old fashioned sing song ranks with a pre-match beer and hot dogs at half time. It just wouldn’t be the same without it. Provided fans know where to draw the line it will be part of the match day experience.
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