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THE JOURNAL OF
AMERICAN FOLK-LORE
Vol. XXIV. OCTOBER-DECEMBER, 1911No. XCIV
--------------------
FOLK-SONG AND FOLK-POETRY AS FOUND IN THE
SECULAR SONGS OF THE SOUTHERN NEGROES
Concluded
BY HOWARD W. ODUM
54. JOE TURNER
The "special" is a well-known term for the negro's "gun," which is usually a pistol; the "44" is always the favorite. The "coolin'-board is the death-bed, and is a common expression used to signify that one's time is at an end; that is, when he is to be on the "coolin'- board." The negro criminal almost invariably dies at peace with God. The conception commonly found among the negroes, and one which they cultivate, is that the criminal will always be reconciled before his death. So in this case Eddy Jones dies singing "Nearer, my God, to Thee." In much the same way the man who has been to the chain gang or prison is looked upon with some sort of admira- tion at the same time that he is feared. In "Joe Turner" an ideal is hinted at. Each line is sung three times to make a stanza.
Dey tell me Joe Turner he done come,
Dey tell me Joe Turner he done come,
Oh, dey tell me Joe Turner he done come.
| : Come like he ain't never come befo'. : | (three times)
| : Come with that fohty links o' chain. : | (three times)
| : Tell a me Joe Turner is my man. : | (three times)
55. CASEY JONES
A hero of less criminal intents and habits was "Casey Jones." He is the hero of the engine and train. As will be noted, the negro is fascinated by the train-song. He would like to be an engineer all his days. Negroes often discuss among themselves the possibility of their occupying positions on the trains; they take almost as much pride in being brakemen and subordinates. It is interesting to hear them boasting of what they would do in emergencies, or whether or not
VOL. XXIV.----NO. 94.----23 351
they would be frightened. The song that follows gives a favorite version of the ballad.
Casey Jones was engineer,
Told his fireman not to fear,
All he wanted was boiler hot,
Run in Canton 'bout four o'clock.
One Sunday mornin' it wus drizzlin' rain,
Looked down road an' saw a train,
Fireman says, "Let's make a jump,
Two locomotives an' dey bound to bump."
Casey Jones, I know him well,
Tole de fireman to ring de bell;
Fireman jump an' say good-by,
Casey Jones, you're bound to die.
Went on down to de depot track,
Beggin' my honey to take me back,
She turn 'roun some two or three times,
"Take you back when you learn to grind."
Womens in Kansas all dressed in red,
Got de news dat Casey was dead;
De womens in Jackson all dressed in black,
Said, in fact, he was a cracker-jack.
The verse about "begging his honey" is intended to give the scene after the wreck, when the fireman, who did not stay on the engine with Casey, was out of a job. "Canton" and "Jackson" are regularly sung in Mississippi, while "Memphis" is more often sung in Tennessee.
56. JOSEPH MICA
Another version of the song as found in Georgia and Alabama is
sung in honor of "Joseph Mica." Atlanta or Birmingham are the
local places.
Joseph Mica was good engineer,
Told his fireman not to fear,
All he want is water'n coal,
Poke his head out, see drivers roll.
Early one mornin' look like rain,
'Round de curve come passenger train,
On powers lie ole Jim Jones,
Good ole engineer, but daid an' gone.
Left Atlanta hour behin',
Tole his fireman to make up the time,
All he want is boiler hot,
Run in there 'bout four o'clock.
The picture of the man looking out of the locomotive window and watching the "drivers" roll is a good one. The negroes love to watch
the trains; and no more complete happiness could be imagined than to be an engineer, with nothing to do but watch the scenes and the engine.
57. brady
A more mixed scene is pictured in "Brady." Here, too, the women hear of the news, as, indeed, they always do; but this time they are glad of his death. Why this is, the song does not tell. Brady, how- ever, must have been a pretty bad fellow, for he did not stay long in hell.
Brady went to hell, but he didn't go to stay,
Devil say, "Brady, step 'roun' dis way,
I'm lookin' for you mos' every day."
Brady, Brady, you know you done wrong,
You come in when game was goin' on,
An' dey laid po' Brady down.
Up wid de crowbar, bus' open de do',
Lef' him lyin' dead on pool-room flo',
An' they laid his po' body down.
Womens in Iowy dey heard de news,
Wrote it down on ole red shoes,
Dat dey glad po' Brady wus dead.
The scene is one of a killing in a game of poker or craps. "They laid his po' body down "is the common way of saying they killed him. The expression has been met in a number of verses previously given. Just what the conclusion of the scene with the devil was, the negro singer does not seem to know.
58. THE NEGRO BUM
More personal and less conspicuous are the boasts of individuals. Here the negro's wit appears again, and he refuses to be interrupted with anything serious, unless it be fear of some officer. The "Negro Bum "is the name of a short song that is a good exposition of his
feelings.
I wus goin' down the railroad, hungry an' wanted to eat,
I ask white lady for some bread an' meat,
She giv' me bread an' coffee, an' treated me mighty kin',
If I could git them good handouts, I'd quit work, bum all the time.
Well, the railroad completed, the cars upon the track,
Yonder comes two dirty hobos with grip-sacks on dere backs,
One look like my brother, the other my brother-in-law,
They walk all the way from Mississippi to the State of Arkansas.
59. ONE MO' ROUNDER GONE
The term "rounder" is applied not only to men, but to women also. In general, the interpretation is that of a worthless and wandering
person, who prides himself on being idle, and thus on the acquirement of as many passing accomplishments as possible. It is also a term of fellowship. In songs that follow, the chorus ''One mo' Rounder gone'' will be found to express fitting sentiment to the accompanying scenes. The song by that name gives a repetition of the burial-scenes and general feeling which was caused by the death of a girl. Its unusual feature lies in the fact that the song applies to a girl.
Rubber-tired buggy, double-seated hack,
Well, it carried po' Delia to graveyard, failed to bring her back,
Lawdy, one mo' rounder gone.
Delia's mother weep, Delia's mother mourn,
She wouldn't have taken it so hard if po' girl had died at home,
Well, one mo' ole rounder gone.
Yes, some give a nickel, some give a dime,
I didn't give nary red cent, fo' she was no friend o' mine,
Well, it's one mo' rounder gone.
60. EASTMAN
The negroes have appropriate names for many of their typical characters, the meaning of which is difficult to explain. "Eastman," "rounder," "creeper," and other characters, have their own peculiar characteristics. The "rounder" is more than the idle character. He becomes the meddler in the home. The "Eastman" is kept fat by the women among whom he is universally a favorite. The "creeper" watches his chance to get admittance into a home, unknown to the husband. The "Natu'al-bohn Eastman" gives a view of his opinion of himself, with adopted forms of burlesque.
I went down to New Orleans
To buy my wife a sewin'-machine,
The needle broke an' she couldn't sew,
I'm a natu'al-bohn Eastman, for she tole me so.
I'm a Eastman, how do you know?
I'm a natu'al-bohn Eastman, for she tole me so.
Well, they call me a Eastman if I walk around,
They call me a Eastman if I leave the town,
I got it writ on the tail o' my shirt,
I'm a natu'al-bohn Eastman, don't have to work.
Oh, I'm a Eastman on the road again,
For I'm an Eastman on the road again.
Wake-up, ole rounder, it's time to go,
I think I heard dat whistle blow,
You step out, let work-ox step in,
You're a natu'al-bohn Eastman, you k'n come agin.
Carry me down to the station-house do',
Find nuther Eastman an' let me know.
Wake up, ole rounder, you sleep too late,
Money-makin' man done pass yo' gate,
You step out, let money-makin' man step in,
You a natu'al-bohn Eastman, you can come agin.
61. bad-lan' stone
The negro loves to boast of being a "bad man."" I bin a bad man in my day," says the older fellow to the boys about him. Much the same sentiment is here sung as that in the songs just given. He sings,
I was bohn in a mighty bad lan',
For my name is Bad-Lan' Stone.
Well, I want all you coons fer to understan',
I am dangerous wid my licker on.
You may bring all yo' guns from de battle-ship,
I make a coon climb a tree.
Don't you never dare to slight my repertation,
Or I'll break up this jamberee.
Well, well, I wus bohn in a mighty bad lan',
For my name my name is
Bad-Man Stone.
62. YOU MAY LEAVE, BUT THIS WILL BRING YOU BACK
It will be seen that the negro loves to sing of trials in court, arrests, idleness, crime, and bravado. The tramp and the "rounder," the "Eastman" and the "creeper," are but typical extremes. The no- torious characters sung are the objective specimens of the common spirit of self-feeling. Now comes the song with the personal boast and the reckless brag. Mixed with it all is the happy-go-lucky sense of don't-care and humor. It is a great philosophy of life the negro has.
Satisfied, tickled to death,
Got a bottle o' whiskey on my shelf,
You may leave, but this will bring you back.
Satisfied, satisfied,
Got my honey by my side,
You may leave, but this will bring you back.
An' I'm jus' frum the country come to town,
A too-loo-shaker from my head on down,
You may leave, but this will bring you back.
63. THIS MORNIN', THIS EVENIN', SO SOON
What does it matter to him if he has been in serious trouble? Is not the jail about as good as home, the chain gang as good as his every-day life? He will get enough to eat and a place to sleep. The negro sings with characteristic humor "This mornin', this evenin',"
and mingles his scenes in such a way that the singer enjoys them all. Says he,
| : Went up town wid my hat in my han' dis mo'nin', : |
Went up town wid my hat in my han',
"Good mornin', jedge, done killed my man,"
This mornin', this evenin', so soon,
| : I didn't quite kill him, but I fixed him so, this mornin', : |
I didn't quite kill him, but I fixed him so,
He won't boder wid me no mo',
This mornin', this evenin', so soon.
| : All I want is my strong hand-out, this mornin', : |
All I want is my strong hand-out,
It will make me strong and stout,
This mornin', this evenin', so soon.
In the same way other couplets are sung, the first line repeated twice with "this mornin';" the third time without it, and rhymed with the second line of the couplet, after which follows the refrain "This mornin', this evenin', so soon." The effect is striking.
When you kill a chicken, save me the feet,
When you think I'm workin', I'm walkin' the street.
When you kill a chicken, save me the whang,
When you think I'm workin', I ain't doin' a thing.
'Tain't no use a me workin' so,
'Cause I ain't goin' ter work no mo'.
I'm goin' back to Tennessee,
Where dem wimmins git stuck on me,
This mornin', this evenin', so soon.
64. BRER RABBIT
With the same song the negroes of the Carolinas sing some verses about Brer' Rabbit. While they are not the purely original creation of negro song, they are very appropriate, and easily please the negro's fancy. These verses consist, as above, of various repetitions, two of which follow.
| : O Brer Rabbit! you look mighty good this mornin', : |
O Brer Rabbit! you look mighty good,
Yes, by God! you better take to de wood,
This mornin', this evening so soon.
| : O Brer Rabbit! yo' ears mighty long, this mornin', : |
O Brer Rabbit! yo' ears mighty long,
Yes, by God! dey's put in wrong,
This mornin', this evenin', so soon.
| : O Brer Rabbit! yo' tail mighty white, this mornin', : |
O Brer Rabbit! yo' tail mighty white,
Yes, by God! yer better take to flight,
This mornin', this evenin' so soon.
65. ev'ybody bin down on me
Doleful and gruesome verses are very much in vogue among the negroes. Repetition of such lines makes a peculiar effect. The fol- lowing song, which represents another phase of the wantonness and simplicity of the negro, is sung at length. Each stanza is made to contain six lines by repeating each line of the stanza three times.
Ev'y since I lef' dat county farm,
Ev'ybody bin down on me.
I killed a man, killed a man,
Nobody to pay my fine.
I went on down to de railroad,
Could not find a frien'.
When I git up de road,
Wonder who'll pay my fine!
Long as I make my nine a week,
'Round yo' bedside I goin' to creep.
66. nobody's bizness but mine
Repeated much in the same way is the song "Nobody's Bizness but
Mine." The sentiment is somewhat similar to the song "'Tain't
Nobody's Bizness but my Own," but is more careless and care-free.
The chorus is repeated after each stanza or omitted at will.
| : Georgia Luke, how do you do?
Do lak' I use ter, God knows! : |
| : Do lak' I use ter, God knows! : |
And in the stanzas the first two lines are sung, with the second or the chorus line repeated four times, or the second sung once with the chorus line three times, either of which makes a good impression.
Goin' to my shack,
Ain't comin' back,
| : Nobody's bizness but mine, : |
(four times)
Git upon my bunk,
Look into my trunk,
Count my silver an' my gold.
If you don't believe I'm fine,
Git me behin' a pine,
Treat you lak' a lady, God knows!
Goin' back up North,
Goin' pull my britches off,
Goin' sleep in my long shirt-tail.
Goin' to my shack,
Goin' have hump on my back,
Nobody's bizness but mine.
Goin' be hump on my back
So many chickens in de sack,
Nobody's bizness but mine.
Chickens in my sack
Big hounds on my track,
Nobody's bizness but mine.
Hounds on my track, boys,
Never did look back,
Nobody's bizness but mine.
67. i'm goin' back
The above song perhaps reaches a climax of the happy and care- less disposition of the vaudeville negro. Such pictures as he paints there, he sees vividly, and enjoys them. There are many other verses which are sung to the song, but which will not permit reproducing. In much the same spirit, but with perhaps a little more recklessness, the negro man sings,
My name is Uncle Sam,
An' I do not give a damn,
I takes a little toddy now an' then,
I'm goin' back.
Well, some folks do say
Dat it is not a sin
If I takes a little toddy now an' then,
I goin' back.
I was born in sweet ole Alabam',
An' I do not give a damn,
Where I takes a little toddy now an' then,
Well, I'm goin' back.
68. DAT FORTUNE-TELLER MAN
Again he sings of his prowess. This time he is the "fortune-teller man," which term has a hidden meaning, to which the other verses are adapted.
I'm dat fortune-teller man,
Can read yo' future by lookin' in yo' han',
Can tell yo' fortune by lookin' in yo' han',
Oh, I'm dat fortune-teller man.
69. COCAINE HABIT
The negro singer pays his respects to the cocaine habit and whiskey.
The majority of these songs are indecent in their suggestion. An
example of the better verses will illustrate.
Well, the cocaine habit is might' bad,
It kill ev'ybody I know it to have had,
O my babe!
Well, I wake in de mornin' by the city-clock bell,
An' the niggers up town givin' cocaine hell,
O my babe, O my babe!
I went to the drug-store, I went in a lope,
Sign on the door, "There's no mo' coke,"
O my babe, O my babe, O my babe!
70. rollin'-mill
So in the "Rollin'-Mill" the singer says there's no more iron to ship to town. Sometimes he means he won't have to work because the material is exhausted, sometimes he means there will be no more chains for him, but it is most likely that he symbolizes liquor by the iron. He sings of local whiskey-houses in the same manner, and urges getting a full supply.
Rollin'-mill done shut down,
Ain't shippin' no mo' iron to town.
If you don't believe Jumbagot's dead,
Jus' look at crepe on 'Liza's head,
O babe, O babe!
Carried him off in hoo-doo wagon,
Brought him back wid his feet a-draggin',
O babe, O babe!
Carried him off on smoky road,
Brought him back on his coolin'-board,
O babe, O babe!
Well, cocaine womens oughter be like me,
Drink corn whiskey, let cocaine be,
O babe, O babe!
If you don't believe I'm right,
Let me come to see you jus' one night,
O babe, O my babe!
Murder, conviction, courts, and fines are thus seen to be common themes along with the general results that would be expected to follow the use of whiskey and weapons; and just as the knife, razor, and "special" are common companions with the negro, and indicate much of his criminal nature, so his songs boast of crimes which he thinks of and sometimes commits. But the negro is often a coward, and loves to boast of things he is going to do. The fellow who sang of asking everybody if the bully boy had been that way, was pretty certain that he had not; and the appearance of the bully would have meant a hasty retreat of the pursuer. He boasts of his brave acts and "strong nerve." However, this boasting attitude itself leads to actual crime. The negro who places himself in such a position often is com- pelled to commit the crime; he often fights because he has an advan-
tage, and makes a suitable occasion to give vent to his feelings. This tendency has been noted in many of his songs. He says, "Well, I goin' to kill you, but dat's all right," and sings,
I tell you once, an' I tell you twice,
Nex' time I tell you, gwine take yo' life.
So he laughs at his predicament when he is out of it:
Went up town one Friday night,
Went to kill a kid,
Reach my han' in my pocket,
Nothin' to kill him wid.
71. JULIA WATERS
In the same mood he tells of his escape from the county gang while
he was supposed to be working in the rocks. His song is almost as
varied as his experiences. He sings in a monotone-like chant.
O Julia Waters! do you remember the day,
When we wus drivin' steel in ole rock querry,
I tried to git away?
Round de mountain I went skippin';
Thru' de weeds I went flyin',
Out-run lightening fas' mail on Georgia line.
Well, I walked up to conductor for to give him game o' talk,
"If you got money or ticket, I take you to New York;
If you have no money or ticket"
"Pity me, sir, for I am po',
Yonder come brakeman on outside,
Goin' shut up box-car do'."
I was boun' down to Louisville,
Got stuck on Louisville girl,
You bet yo' life she's out o' sight,
She wore the Louisville curl.
72. THOUGHT I HEARD THAT K.C. WHISTLE BLOW
Much has already been said of the negro's attitude toward the railroad and train. His songs abound in references to the train as an agent for his desires. From "ridin' the rods" to a long-desired trip back to see his sweetheart, the negro is the frequent patron of the train. Some years ago the agents for some of the Western business concerns offered attractive inducements to the negroes to migrate for permanent work. These agents went throughout the South, securing large num- bers of laborers. Many a family disposed of their goods for a trifle in order to accept the flattering terms offered, for they thought that in the new environment they would soon become wealthy and prosperous.
The history of their experience is well known. They were carried out, given poor treatment, with no money and often not enough to eat. It is needless to say that all who could obtain the money, and escape, came back to their old homes. Some of the most interesting and pathetic stories told by the negroes are those of adventure and privation incurred in their effort to return home. Many of them are humorous. The following song represents one of these laborers, a man or a woman, waiting at the station for the train to carry her back "where she come frum." The song is pathetic in its appeal. Each line is repeated three times; or, if the stanza consists of a rhyming couplet, the first is repeated twice with the second once. The woman waits.
| : Thought I heard that K.C. whistle blow, : |
Oh, I thought I heard that K.C. whistle blow!
| : Blow lak' she never blow befo', : |
Lawd, she blow lak' she never blow befo'.
| : Wish to God some ole train would run, : |
Carry me back where I come frum.
| : Out in the wide worl' alone. : |
| : Take me back to sweet ole Birmingham. : |
| : Baby-honey, come an' go with me. : |
| : Ev'ybody down on us. : |
(Whistle blows)
| : Thought I heard whistle when it blow, : |
Blow lak' she ain't goin' blow no mo'.
(Train has come, now moves away)
| : Good by, baby, call it gone. : |
| : Fireman, put in a little mo' coal. : |
| : Fireman, well, we're livin' high. : |
| : Yonder comes that easy-goin' man o' mine. : |
Ain't no use you tryin' send me roun',
I got 'nuf money to pay my fine.
Out in this wide worl' to roam,
Ain't got no place to call my home.
73. K. C.
Still another version of the song represents a lone laborer working near the railroad, and watching the trains go by. He has not the money, nor can he get away, but he longs to go home. As he works, he pictures these scenes; imagines himself on board the train, and happy in going back to the "sunny South, where sun shines on his
baby's house." Or as a train comes from his home, he imagines that some of his friends have come to see him. He sings,
Well, I thought I heard that K.C. whistle blow,
Blow lak' she never blow befo'.
I believe my woman's on that train,
O babe! I b'lieve my woman's on that train.
She comin' back from sweet ole Alabam',
She comin' to see her lovin' man.
Fireman, put in a little mo' coal,
Run dat train in some lonesome hole.
74. L. & N.
A song of the same origin, and very much like the "K. C.," is another called "L. & N." Instead of "L. & N.," other roads may be designated. This negro man labors with the hope that he will soon go home again. By "home" he means the community where he knows the most people. It is a song of the wanderer, and repeats much the same sentiment as that found in many of the songs under that class. This song and the one just given are sung to the "Frisco Rag-Time" music or train-song. The train is heard running; the wheels distinctly roar as they cross the joints of rail; the whistle blows between each verse, and the bell rings anon for the crossing. A more vivid picture than this is not portrayed with the aid of words and music. The negro sees, and sees vividly, every scene here portrayed. Indeed, one forgets himself, and unconsciously visualizes the train with its passengers. The song with the music is described elsewhere. The lonely laborer sings,
Just as sho' as train run thru' L. & N. yard,
I'm boun' do go home if I have to ride de rod.
So good-by, little girl! I'm scared to call yo' name;
Good-by, little girl! I'm scared to call yo' name.
Now, my mamma's dead, an' my sweet ole popper, too,
An' I got no one fer to carry my trouble to.
An' if I wus to die, little girl, so far 'way from home,
The folks, honey, for miles 'round would mourn.
Now, kiss yo' man, an' tell yo' man good-by;
Please kiss yo' man, an' tell yo' man good-by!
I'm goin' tell my mommer, whenever I git home,
How people treated me way off from home.
75. KNIFE-SONG
Very much like the railroad-song is the knife-song, which has also been described previously. Sometimes the two are combined; and
with the blowing of the whistle, the ringing of the bell, and the "talkin'" of the knife as it goes back and forth over the strings, the "music physicianer" has a wonderful production. Many songs are sung to this music. One version of the well-known knife-song has been given. Another, which is sung more generally in the Southern States, follows. The verses consist of either a single line repeated, or a rhyming couplet. Two lines are sung in harmony with the running of the knife over the strings of the negro's guitar; while the refrain, "Lawd, lawd, lawd!" wherever found, is sung to the "talking" of the knife. The other two lines are sung to the picking of the guitar, as in ordinary cases. The sentiment of the song is much the same as that in those of the first two divisions, the wanderer and his love-affairs. The stanzas given in full repetition will illustrate the song. The lines sung with the knife are italicized; other verses are then given in their simple form.
' Fo' long, honey, 'fo' long, honey,
' Fo' long, honey, 'fo' long, honey,
Law-d, l-a-w-d, l-a-w-d!
'Fo' long, honey, 'fo' long, honey,
'Fo' long, honey, 'fo' long, honey,
L-a-w-d, la-w-d, la-w-d!
Don't never git one woman on yo' min',
Keep you in trouble all yo' time,
L-a-w-d, l-a-w-d, l-a-w-d!
Don't never git one woman on yo' min',
Keep you in trouble all yo' time,
L-a-w-d, l-a-w-d, l-a-w-d!
In the same manner the song continues, couplets being sung like the one just given. They give a general review of negro life as seen in his songs. He sings,
Don't never let yo' baby have her way,
Keep you in trouble all yo' day,
L-a-w-d, l-a-w-d, l-a-w-d!
Don't never take one woman for yo' frien',
When you out 'nuther man in,
L-a-w-d, l-a-w-d, l-a-w-d!
I hate to hear my honey call my name,
Call me so lonesome an' so sad.
Etc.
I got de blues an' can't be satisfied,
Brown-skin woman cause of it all.
Etc.
That woman will be the death o' me,
Some girl will be the death o' me.
Etc.
Honey, come an' go with me,
When I'm gone what yer gwine ter say?
Etc.
Sung like the first stanza given, are many "one-verse" songs. Nor are they less attractive. The insertion of the chorus line takes away any monotony; besides, the knife adds zest.
I'm goin' 'way, won't be long,
I'm goin' 'way, won't be long,
L-a-w-d, l-a-w-d, l-a-w-d!
Went up town to give my troubles away,
Went up town to give my troubles away,
L-a-w-d, l-a-w-d, l-a-w-d!
| : Too good a man to be slighted down. : |
| : Slide me downI'll slow-slide up agin. : |
| : Baby, you always on my min'. : |
| : The girl I love's the girl I crave to see. : |
| : Baby, do you ever think of me? : |
| : Baby, what have I done to you? : |
| : Wonder whar' my honey stay las' night! : |
| : Got a baby, don't care wher' she goes. : |
| : I goin' pack my grip git further down de road. : |
| : Gwine to leave if I haf ter ride de rod. : |
| : Ridin' de rod ain't no easy job. : |
76. BREAK-DOWN SONG
The "break-down" or dancing songs have been described in relation to their repetition and use. The instrument is more incentive to the dance than the song, but would be far less effective without the singing. These examples give an insight, again, into the simple life of the negro. It is one of his happy traits to combine his entertainment with scenes appropriate to the occasion; however, his themes are often very ir- relevant per se.
| : Give me a little buttermilk, ma'am, : | {three times)
Please give me a little buttermilk, ma'am.
| : Ain't had none so long, so long, : | {three times)
Oh, I ain't had none so long!
The repetition not only is not unpleasant, but adds whatever of charm
there is to the line. The singer continues,
| : Cows in de bottom done gone dry : |
| : Sister got so she won't churn. : |
Goin' to tell auntie fo' long. : |
77. GREASY GREENS
But buttermilk is not more attractive than "greasy greens.*' In this remarkable song the negroes dance with merriment, each final line being suitable to the "s-w-i-n-g c-o-r-n-e-r" of the dance. The picture, while not exactly elegant, is at least a strong one.
Mamma goin' to cook some,
Mamma goin' to cook some,
Mamma goin' to cook some
Greasy greens.
How I love them,
How I love them,
How I love them
Greasy greens.
| : Mamma goin' ter boil them : | (three times)
Greasy greens.
| : Sister goin' pick them : | (three times)
Greasy greens.
| : I goin' eat them : | (three times)
Greasy greens.
78. lost john
Still others are composed of single lines repeated without variation. The single song often has only three or four verses; these are repeated as long as that particular song is wanted for the dance. Another will then be taken up. The negroes enjoy variety.
Lost John, lost John, lost John,
Lost John, lost John, lost John,
Lost John, lost John, lost John,
Help me to look for lost John.
Lost John done gone away,
Help me to look for lost John.
Still I ain't bother yet,
Still I ain't bother none.
Sun is goin' down,
Sun is goin' down.
I goin' 'way some day.
Yes, I goin' way some day.
I'm goin' 'way to stay,
Still I'm goin' 'way to stay.
Come an' go with me
Oh, yes! come an' go with me.
I got a honey here,
Yes, I got a honey here.
Goin' away to leave you,
Well, I goin' 'way to leave you
79. ain't you sorry
With more humor than those just given the negro sings the following
verses. Sorry for what? Anything.
Ain't you sorry,
Ain't you sorry,
Ain't you sorry,
Ain't you sorry, sorry-y?
| : Let us marry, marry, : | {three times)
Let us marry Miss Carrie.
Marry Miss Carrie (as above)
Yes, marry, marry Miss Carrie.
80. Lilly
The next song gives much insight into negro life, at the same time that it gives the negro's interpretation of the scenes. In the song that follows, the varied events from the home to the grave are told; and here is found again a review and summary of the negro's social life. The song, sometimes called respectively "Pauly," "Frankie," "Lilly," is the story of the murder committed, and of the conviction of the murderess. The pathos is typical, and re-echoes the sentiment of other negro songs. The scene is Atlanta, one singer says; another says Memphis. The reader will recognize verses common to negro songs in general. The combination and scene make a new setting. The song is an unusually strong portrayal of negro life and thought.
Lilly was a good girl ev'ybody knows,
Spent a hundred dollars to buy her father suit o' clothes,
Her man certainly got to treat her right.
She went to Bell Street bought a bottle of beer;
" Good-mornin', bar-keeper, has my lovin' man been here? "
My man certainly got to treat me right.
It is Sunday an' I ain't goin' to tell you no lie,
He wus standin' over there jus' an hour ago,
My man certainly got to treat me right.
She went down to First Avenue, to pawn-broker.
"Good-mornin', kind lady, what will you have?"
"I want to git a fohty-fo' gun, for
All I got's done gone."
He say to the lady, "It's against my law
To rent any woman '44' smokin' gun,
For all you got'll be daid an' gone."
She went to the alley, dogs begin to bark,
Saw her lovin' man standin' in de dark,
Laid his po' body down.
"Turn me over Lilly, turn me over slow,
May be las' time, I don't know,
All you got's daid an' gone."
She sent for the doctors doctors all did come;
Sometimes they walk, sometimes they run;
An' it's one mo' rounder gone.
They picked up Pauly, carried him to infirmiary,
He told the doctors he a's a gamblin' man,
An' it's one mo' rounder gone.
Newsboys come runnin' to tell de mother de news.
She said to the lads, "That can't be true,
I seed my son 'bout an hour ago."
Come here, John, an' git yo' hat;
Go down the street an' see where my son is at,
Is he gone, is he gone?
The policemen all dressed in blue,
Dey come down de street by two an' two,
One mo' rounder gone.
Lucy, git yo' bonnet! Johnnie, git yo' hat!
Go down on Bell Street an' see where my son is at,
Is he gone, is he gone?
Sunday she got 'rested, Tuesday she was fined,
Wednesday she pleaded for all-life trial,
An' it's all she's got done gone.
Lilly said to jailer, "How can it be?
Feed all prisoners, won't feed me.
Lawd, have mercy on yo' soul!"
Jailer said to Lilly, "I tell you what to do,
Go back in yo' dark cell an' take a good sleep!"
An' it's all she's got done gone.
She said to the jailer, "How can I sleep?
All 'round my bedside lovin' Paul do creep,
It's all I got's gone."
The wimmins in Atlanta, dey heard de news,
Run excursion with new red shoes,
An' it's one mo' rounder gone.
Some give a nickel, some give a dime,
Some didn't give nary red copper cent,
An' it's one mo' rounder gone.
Well, it's fohty-dollar hearse an' rubber-tire hack,
Carry po' Paul to cemetary, but fail to bring him back,
An' it's one mo' rounder gone.
Well, they pick up Pauly, an' laid him to rest;
Preacher said de ceremony, sayin',
"Well, it's all dat you get's daid an' gone."
vol. xxivno. 9424
8l. BABY LET THE DEAL GO DOWN
The negro has portrayed some pictures of his adventures in crime and rowdyism. He has told of shooting and killing, of his arrests and conviction, and of his day in jail. The judges and jury make per- manent impressions upon him. He is yet to tell something of his gambling pleasures. The negro's propensities for "shootin' craps" and gambling in general are well known. He boasts of his good and bad luck. In "Let the Deal go Down" he gives a characteristic picture:
| : Baby, let the deal go down : i {three times)
I gamble all over Kentucky,
Part of Georgia, too,
Everywhere I hang my hat,
Home, sweet home, to me.
I lose my watch an' lose my chain,
Lose ev'y thing but my diamon' ring.
Come here, all you Birmingham scouts!
Set down yo' money on Number Six.
When I left Kansas City, Missouri, had three hundred dollars;
Soon as I struck Birmingham, put cup on me.
82. GET THAT MONEY
The song continues in a monotone, the singer often chanting the words to the accompaniment of the guitar. The concrete suggestion makes the song more fascinating to the negro. The negro woman talks to her "man," and tells him to go and get the money from that "nigger up-stairs." He asks her what he must do if the fellow offers trouble. To be sure of his safety, she asks him the same question; and when assured, she tells him to go and get the money, she will then give him the "slip." This song also reflects the vaudeville adaptation.
Nigger up-stairs got hundred dollars:
Some matches lyin' on mantelpiece,
Lamp standin' right side of 'em,
Now I want you to be sho' an' git dat money.
When you git dat money,
I'll be down in big skin game,
Baby, let the deal go down.
"Suppose dat nigger start sumpin'?"
"I got my pistol in my right pocket."
"Be sho' an' git dat money; an' when you git it, give me the wink,
Baby, let the deal go down."
Ev'y since I bin a gam'lin' man,
I bin a skippin' an' a-dodgin' in the lan'.
83. ODD-FELLOWS HALL
Says a negro, "I went up to Odd-Fellows Hall Cards and dices scattered all over flo';" and if he had a good time, perhaps he does not mind a little fight or losing his money. Odd-Fellows Hall, in most communities, is a general meeting-place. So it happens often that informal meetings like the one here mentioned are held. The "brago" spirit is here seen again in the burlesque
I went up to Odd-Fellows Hall,
Had a good time, dat was all:
Hats an' cuffs all lyin' on de flo',
I bet six bits all I had
Nigger bet seven made me mad.
To dat coon I could not help but say,
"Git off my money don't you hit my honey
'Cause I'm a nigger don't cuts no figger
I'm gamblin' for my Sady she's a lady
I'm a hustlin' coon, that's what I am."
84. I GOT MINE
A version of the popular song "I got Mine" has been arranged and
adapted, and is sung with hilarity.
I got mine, boys, I got mine;
Some o' them got six long months;
Some o' them paid their fine;
With balls and chains all 'round my legs,
I got mine.
I went down to a nigger crap game,
Really was against my will;
Lose ev'thing I had but bran new dollar bill.
Well, a five-dollar bet was lyin' on de flo',
An' the nigger's point was nine,
When the cops come in
Well, I got mine.
When they brought them chains 'round,
How them niggers' eyes did shine
With balls and chains all 'round their legs
Like I got mine.
85. gamblin' story
Very much like the above is a scene given in a colloquy which may have been between two negroes, but more likely between four. They are playing a game; and, being in constant fear of being ap- prehended, they hear sounds that do not exist. They picture it with humor.
Quit, stop, I say! Don't you hear?
Some one's at that do'.
O Lord, have mercy! They've got us at las'.
Why don't you niggers stop all that fuss?
If you wusn't shootin' craps, they'd think so
Now you done giv' ev'ything away.
Why don't you open that do'?
Well, if you want it open, yo'd better
Come an' open it yo'self.
Say, you niggers, you better stop jumpin' out.
Guess I better go out that window myself
An' there was nobody at the door.
86. YOU SHALL BE FREE
No one appreciates more than himself the ridiculous predicaments in which the negro often gets. His wit is quick, his repartee is effective. He makes funny puns, and sings of remarkable scenes in which a negro takes part. His pictures are extremes, his sentiment trifling, his rhymes fastidious. What a description he gives of the negro and his environment, mingled with absurdities, in the following song!
Nigger be a nigger, whatever he do:
Tie red ribbon 'round toe of his shoe,
Jerk his vest on over his coat,
Snatch his britches up 'round his throat,
Singin' high-stepper, Lawd, you shall be free.
Great big nigger, settin' on log,
One eye on trigger, one eye on hog,
Gun said "blop!" hog said "sip!"
An' he jumped on de hog wid all his grip,
Singin' high-stepper, Lawd, you shall be free.
Shout to glory, Lawd, you shall be free,
Shout to glory, Lord, you shall be free,
Shout, mourner, Lord, you shall be free,
Shout when de good Lord set you free!
I went down to hog-eye town,
Dey sot me down to table;
I et so much dat hog-eye grease,
Till de grease run out my nabel.
Run 'long home, Miss Hog-eye,
Singin' high-stepper, Lord, you shall be free.
Nigger an' rooster had a fight,
Rooster knowk nigger clean out o' sight,
Nigger say, "Rooster, dat's all right,
Meet you at hen-house do' to-morrow night,
Singin', high-stepper, Lord, you shall be free.11
Two barrels apples, three barrels cheese,
When I git to heaven, goin' shout on my knees,
Shout to glory, Lord, you shall be free,
Shout to glory, mourner, you shall be free.
With the crokus sack you shall be free,
With the crokus sack you shall be free,
Shout to glory, Lord, you shall be free,
When de good Lord set you free!
A nigger went up town actin' a hoss,
De jedge he found him ten an' cost,
Shout, mourner, you shall be free,
When de good Lord shall set you free!
87. PANS O' BISCUIT
Here is another delightful picture which he paints of himself. It
is perhaps much simpler than the one just given, which was originally
adapted from a religious song, "Mourner, you shall be Free." For
simplicity and exuberance of expression combined, one ought to see
a crowd of small negroes singing the following verses. With mouths
open and teeth shining, bodies swaying, they make a most incom-
parable scene.
Settin' in de wily woods
Settin' on a seven
Throwed 'im in a feather bed
Swore he'd gone to heaven.
Pans O' biscuit, bowls o' gravy,
Slice-pertater pie
Kill a nigger dead.
Had a sweet pertater
Roastin' in de san',
Saw my mother comin'
How I burnt my hand!
88. WHEN THE BAND BEGINS TO PLAY
Much has been said of the negro's love of music. It is needless to
repeat that a musical band in the community is enough to thoroughly
"demoralize" every negro within hearing distance. The song "When
the Band begins to Play" shows much of the complexity of feeling
possible. Here, again, the negro is at his best in clownish portrayal
of unusual scenes. His memory carries him back; his feeling idealizes
the present. The chorus, always sung after each stanza, serves to
unify the song; while the two-line refrain gives hilarity to the singing.
| : When de ban' begins to play, : | (three times as chorus)
See dat mule a-comin', ain't got half a load,
If you think he unruly mule, give him all de road,
Whoa, mule, whoa! Whoa dere, I say!
Keep yo' seat, Miss 'Liza Jane! Hold on to the sleigh!
Musketer fly high, musketer fly low;
If I git my foot on him, he won't fly no mo';
Well, it's whoa, mule, whoa! Whoa dere, I say!
Keep yo' seat, Miss Liza Jane! Hold on to the sleigh!
Had ole banjo one time, strings made out o' twine;
All song I could sing was "Wish dat Gal was Mine!"
An' it's whoa, mule, whoa! Whoa dere, I say, etc.
Sung like the above, each of the following stanzas of two long lines,
but sung with emphasis and pause as if four short lines, is followed
by the two lines as refrain, "whoa, mule,"
etc., with the original chorus,
"When the band begins to play,"
following each stanza. This, too, is
the negro's vaudeville song:
If you want to see dat mule kick,
If you want to hear him hollar,
Tie a knot in his tail,
An' poke his head through a collar,
Den you kin hollow, "Whoa, mule," etc.
Went runnin' down to turkey-roost,
Fell down on his knees,
Liked to kill'd hisself laughin',
'Cause he heard a turkey sneeze.
Ole Massa bought a yaller gal,
Brought her from de South;
He wrapped her hair so mazen tight,
She could not shut her mouth.
He taken her down to blacksmith shop,
To have her mouth cut smaller,
She made a whoop, she made a squall,
Den swallowed shop an' all.
On Sat'day night he stole a sheep,
On Sunday he was taken,
Monday was his trial day,
Tuesday he hung like bac'n.
Keep yo' seat, Miss Liza Jane!
Don't act jes' lak a fool.
Ain't got time to kiss you,
'Cause I'm tendin' to dis mule.
Ole marster he raise a cow,
He knowed de day when she wus bohn,
Hit took a jay-bird seventeen years
To fly from ho'n to ho'n.
Ole marster raised ole gray mule,
He knowed de day he wus born,
Ev'y tooth in his head
Would hold a barrel o' corn.
Ole master had little ole mule,
Name was Simon Slick,
Dey tied a knot in his tail,
Oh, how dat thing did kick!
Ole Mistus raised a little black hen,
Black as any crow;
She laid three eggs ev'y day,
On Sunday she laid fo'.
An' it's whoa, mule, whoa! Whoa dere, I say!
Keep yo' seat, Miss Liza Jane! Hold on to the sleigh,
When de ban' begins to play.
89. "one-verse" songs
What has been called the "one-verse" song was described in the
previous section. These songs are practically without number.
Parts of every song known by the negro may be sung line by line, or a
single line that is especially pleasing may be sung for an hour at a time.
Further examples, other than those already given, will illustrate the
complexity of the subjects and the irregularity of the metres. Frag-
ments of song are always interesting; and one wonders to which song,
if to any, they originally belonged, or how they may ultimately be
combined.
Carried my woman to the world's fair;
Would a won a fortune, but she had bad hair.
I goin' to ride that Cincinnati Southern 'fore long, little girl.
If I miss you, God intended it, Baby mine.
How in worl' can I miss you,
When I'm good dead, Amy, true girl?
Up on the hillside to see who I could see;
There was no boat runnin' but the "Cherokee," little girl,
An' she won't go.
Time ain't long like use to be.
I'm on my way, babe, I'm comin' home.
Shame on you, can't treat me right.
Don't you love no other coon.
Baby, won't you hold my head,
While I go to bed.
I bin' in the bin so long,
With rough an' rowdy men.
Goin' whar' ain't never bin befo'.
My woman did sumpin' never did befo'.
Swear, by God, never goin' dere no mo'.
Creeper, won't you step in?
Ain't goin' to rain no mo'.
Goin' whar de sun don't never shine.
Goin' whar chily win' don't blow.
Goin' whar de water drink like wine,
Watermelon smilin' on de vine.
Chicken don't roos' too high for me.
90. SHE ROLL DEM TWO WHITE EYES
As in the religious songs of the negro, so in his social folk-songs, he
quickly adapts new songs to his own environment. Mention has been
made of the negro's fondness for the new and popular coon-songs; but
these songs often lose their original words, and take on words of negro
origin. The music does not change so much as in the case of the
spirituals. The song itself often becomes amusing because of its para-
phrases. "Goo-goo Eyes" was sung much among the negroes, as
among the whites. The negroes have improvised more than a score of
verses, some of which may be given.
Nex' day when show wus gone,
His baby threw him down;
She say to him, "I'll have you inched
If you lay 'round dis town.
Now, let me tell my tale of woe.
"Well, de fust time I seed my brother-in-law,
He had some chickens for sale;
De nex' time I seed my brother-in-law,
He wus laid up in Collin's jail.
Den he rolled dem two white eyes."
Jus' because he had them thirty days,
He thought he had to lay in jail de res' of his days,
He's de bes' dey is, an' dey need him in dey biz,
Well, jes' because he had them thirty days.
Of all de beastes in de woods,
I'd rather be a tick;
I'd climb up 'roun' my true love's neck,
An' there I'd stick,
Jes' to see her roll dem snow-white eyes.
Let me tell you 'bout a cheap sport
Was on a Sunday morn,
Put five cents in missionary box,
Took out fo' cents for change,
Well, won't he cheap! well, won't he cheap!
Well, I would not marry black gal;
Tell you de reason why;
Ev'y time she comb her head,
She make dem goo-goo eyes;
Well, she roll dem two white eyes.
91. HONEY, TAKE A ONE ON ME (second version)
Another version of "Honey, take a One on Me" differs from the one
already given, being more like the original; but the ordinary person
would scarcely recognize the verse that the negroes sing.
A yellow girl I do despise,
But a jut black girl I can't denies,
O honey! take a whiff on me.
A jut black nigger, jus' black as tar,
Tryin' to git to heaven on eligater car,
O honey! take a whiff on me.
Hattie don't love me, Esther do,
Because I wear my Sunday clothes,
Honey, take a whiff on me.
92. don't you hear them bells a-ringin'?
A probable variation of "In the Evening by the Moonlight" is
scarcely recognizable. The song is thoroughly mixed with the old
spiritual; the result is a song without individuality.
Don't you hear them bells a-ringin'?
How sweet, I do declare!
Don't you hear them darkies singin',
Climbin' up the golden stairs?
Oh, Peter was so wicked,
Climbin' up the golden stairs,
When I asked him for a ticket,
Climbin' up the golden stairs.
If you think he is a fool,
Climbin' up the golden stairs,
He will treat you mighty rude,
Climbin' up the golden stairs.
93. CARVE 'IM TO DE HEART
For a long time the 'possum and the 'tater, the chicken and the
watermelon, have been considered the requisites of the negro's happi-
ness. He himself admits that this would make a good heaven. For-
merly he sung of two seasons when "the good Lord fed the nigger;"
namely, in blackberry time and when the watermelons were ripe. He
is much the same to-day, and the 'possum is still proverbial. "Carve
dat 'Possum" smacks with good times for the negro. His recipe is
quite appetizing. This is a well-known song, and much quoted.1
Well, 'possum meat's so nice an' sweet,
Carve 'im to de heart;
You'll always find hit good ter eat,
Carve 'im to de heart.
Carve dat 'possum,
Carve dat 'possum, chillun,
Carve dat 'possum,
Oh, carve 'im to de heart.
My ole dog treed, I went to see,
Carve 'im to de heart;
Dar wus a 'possum in dat tree,
Carve 'im to de heart.
I went up dar to fetch 'im down,
Carve 'im to de heart.
I bus' 'im open agin de groun,
Carve 'im to de heart.
De way ter cook de 'possum nice,
Carve 'im to de heart;
Fust parbile 'im, stir 'im twice,
Carve 'im to de heart.
Den lay sweet 'taters in de pan,
Carve 'im to de heart;
Nuthin' beats dat in de lan',
Carve 'im to de heart.
94. CROSS-EYED SALLIE
The negro's ready wit and marked propensities for making song
have been noted. Songs thus composed, and sung in whatever manner
the occasion demands, give the negro a wide range of song service.
His tendency to put everything into song is well illustrated in the
following monotone song. One would scarcely believe this to be a
song. The negro appeared to be making it as he sang, all the while
picking his guitar in the regular way; but he repeated the song in the
exact words except for the usual variation of dialect. This he could do
as often as required. The song is one of many stories which the negroes
devise to tell of their adventures. It tells of varied life and custom;
it hints at undercurrents of negro thought; it tells again of woman in
her relations to man; it gives splendid insight into negro characteristics
in the r61e of the clown, who has mixed his thoughts, wits, bits of song
and burlesque, with the crude jokes he has heard. The rendering of
the song is perhaps its chief value.
1 This song is sung with as much zest and enjoyment by the negro girls in a Penn-
sylvania institution of correction as by the darkies of southern Mississippi.
Had ole gal one time, name was Cross-eyed Sally,
She was the blackest girl in Paradise Alley.
She had liver lips an' kidney feet. Didn't know she was so black till I
took a fire-coal one mornin' an' made a white mark on her face. An'
I didn't know she was so cross-eyed till one mornin' she come up to me
an' say, "Look here, boy, I want to eat!" I tole her if she had anything,
she had better go to eatin' it I never had nuthin'. It hurt my girl
so bad when I tole her this, that she cried; an' in cryin' she so cross-eyed
till the tears run down her back. Thought I felt sorry for my girl an'
I taken her up to ole massa's home dat day an' we seen a heap o' chickens
all sorts an' all sizes an' I tole her to hold quiet till dat night when we
go up an' see what we could do to dem chickens. So we looked all 'round
de house, an' we couldn't find nuthin'. We looked in de trees an' yard, an'
couldn't find nuthin'. We looked in hen-house, wher' chickens oughter
bin, an' never found nuthin'. We looked under de house, an' couldn't
find nuthin'. So my girl got oneasy thought dere was no chickens
'round dere. Long 'bout 'leven or twelve o'clock dat night, I heard ole
rooster crow in hollow back of de hen-house. I says, "Look here, girl!
Dey's chickens here." He couldn't set up an' not crow for midnight nor
mornin' neither: so me'n her goes down, an' chickens wus settin' way up
in cedar-tree. She say to me, "How in worl' you goin' git dem chickens
out'n dat high tree?" I tole her I can clam jes' good as they can fly I can
clam jes' as good as they can fly. So up de tree I went like anything
else wid sharp claws cat or squirrel clam jes fas' as please. So I
seen all sorts o' chickens, boot-legs, Shanghais, Plymouth Rock, an'
found some ole freezlins. She say to me, "I doan know how in de worl'
de freezlin git up dere." An' I say, "Nor me, neither. He ain't got 'nuf
feathers to fly over a rail, much less up in a tree." I say he mus' clam'
tree lak' I did. I reached 'roun' an' got every kind o' rock but flint rock
But dem ole Plymouth Rock hens kind er rocks I'm talkin' 'bout I
got ever kind er eyes I seen but buckeye; an' reason I didn't git dat wus
a cedar-tree But Shanghai (eye) pullets kind o' eye I talkin' 'bout
I got ever kind o' freeze I seen but de weather, an' it wus hot when I went
up dere. But freezlin chicken what I'm talkin' about. An' I got ever
kind o' leg I seen but de thousand leg, an' dey tells me dat's a worm, an'
I didn't need him. Boot-legged roosters dem's de kind o' legs I got.
My girl say, "You better make haste an' come down 'way from up'n dat
tree." I say, "Why?" She say, "I'm gittin' oneasy down here."
I say," 'Bout what?" She say, "Somebody may come an' ketch you up
dat tree: if they do, times sho' will be hard wid you." I says, "Wait a
minit! Here's sumpin'! I don't know whether it's a chicken or a bird.
I say he mighty little, but he's got feathers on him. I ketchin' everything
what's got feathers on it." Come to find out, it wus little ole banter
rooster. I grabbed him, an' jobbed him into my sack. I says, "Look
out, girl! Here dey comes!" She say, "Naw, don't throw them chickens
down here! You may break or bruise or kill some uv them." She say,
"How in de worl' you gwine git down dat tree wid all dem chickens?"
I wus settin' out on big lim': I goes out to de body of de tree. Then I
slap my sack in my mouth you oughter seen me slidin' down dat tree
you oughter seen me slidin' down dat tree. We struck right out thru'
the woods fer home. I had chickens enuf to las' a whole week. But
let me tell you what a jet black gal will do, especially if she's cross-eyed,
lak' mine. When de chickens give out, de gal give out too. She quit
me nex' mornin'. I got up, lookin' fer my gal: she's done gone. Her
name was Lulu, but we called her Cross-eyed Sally. So I looked fer Lulu
all that day, but could not find her nowhere. So I found her de nex'
evenin'. You know I tole you she was so black till I could take a fire-coal
an' make a white mark on her face. She wus settin' up courtin' a great
big nigger twice as black as she wus. He look jes' precise lak' black calf
lookin' thru crack of whitewashed fence. Reason he look dat way was,
he had on one o' dese deep turn-down collars; but when he put it on, he
didn't turn it down, he turn it up settin' 'way up to his years look
lak' hoss wid blin' bridle on. So I goes in an' says, "Good-evenin', Lulu!"
She wouldn't say a word. I says, "How are you, mister?" He wouldn't
say a word, neither. I goes out-doors an' gits me a brick. "Say, how
you do, mister?" He wouldn't say a word. I drawed back wid my brick.
I knocked him in de head, an' 'bout dat time I thought I killed him dead.
I reach'd up an' got my hat an' hollered, "Good-by, Miss Lulu, I'm
gone I'm gone."
II. WORK-SONGS
It has been observed that the negro sings on all occasions. This has
been especially true of the laborer. The tendency of the negro workers
to sing is well known; and it matters little what the work is, the negro
will have a song which he may sing while working. Those who have
ample opportunity for continued observation maintain that the negro
is fast losing his cheerfulness and gayety, his love of song and practice
of singing. They affirm that the laborers work in silence; and instead
of singing as of yore, the negroes are becoming perhaps each year more
morose. The solitary workman, too, sings less continually than in
former days. Undoubtedly this is the prevailing tendency; but the
negro still retains much of his disposition to sing while at work. Who-
ever has seen in the spring-time a score of negroes with hoes, chopping
in the fields to a chant, making rhythm, motion, and clink of hoe
harmonize; whoever has heard in the autumn a company of cotton-
pickers singing the morning challenge to the day, and uniting in song
and chorus at the setting of the sun and "weighing-time,"will
not soon forget the scene. The negroes still work and sing. They
sing while going to and coming from the fields, while driving their
teams and performing their sundry tasks; and the ploughman has been
known to repeat his song until his mule waited for the accustomed
voice before swinging into the steady walk for the day. So in town
and country, in the city and at the camps, every class of workers finds
song a good supplement to work. The railroad and section gangs, the
contractor's "hands," the mining groups and convict camps, all re-
echo with the sound of shovel, pick, and song. The more efficient the
song-leader is, the better work will the company do: hence the singer
is valued as a good workman. As motion and music with the negro
go hand in hand, so the motion of work calls forth the song; while
the song, in turn, strengthens the movements of the workers. The
roustabout is willing to do almost any kind of work of short duration:
he is likely to sing through his work. With song and jest these laborers
rush through great feats of labor, and enjoy it. Sometimes the singers
seem to set the ship in motion by the rhythm of their work and song,
songs of the moment, perhaps. From the woman at the wash-tub to
the leader of a group, from the child to the older darkies, song is a
natural accompaniment to work.
The negro songs are, for the most part, easily suited to common
work, and therefore the number of work-songs is not limited. The
stateliness of the religious song assists the workman as it does the
shouters in the church; the common secular songs are easily adapted
to any occasion. Indeed, there is no song which the negro knows, that
he may not sing at any time. However, as a rule, certain songs are
judged to be more naturally suited for work-songs, and are so desig-
nated. They are thus sung more frequently as work-songs. Their
rhythm and metre must be more regular; their words must be adapted
to slow and successive motions of the body. The kind of song is often
determined by the nature of the work and the number of workmen.
Songs are improvised at will, under the influence of work. The themes
vary with the thoughts of the workmen or with the suggestions of the
occasion. In general, however, work-songs are not unlike the average
negro song, and are taken at random from the experiences of every-day
life. The negro sings his flowing consciousness into expression. Like
the other songs, the work-songs give a keen insight into the negro's
real self.
The songs that follow are typical work-songs and phrases; they
show much of the quality of the negro's disposition while at work.
Special features may be observed as the songs are given.
95. WELL, SHE ASK ME IN DE PARLOR
In the first song that follows, the theme is one of the lover. It is
suited, in its technique, to pulling, striking, digging, or any work that
calls for long and rhythmic movements of the body. Each line has
its regular cζsural pause, at which a stroke is finished and signified
by the undertone of the palatal "whuk." The pause in song and
motion is well suited to visualization. The negro singer thus reviews
the words just sung, and begins the next half-line. The scenes pre-
sented in the song are graphic in contrast to the burning sun or the
drizzling rain in which the negro works. The girl and the parlor, the
invitation inside, the cool fan, and the affection of the woman for the
lover, are vividly portrayed. The dramatic touch in which the refusal
brings forth the despair of the " dark-eyed man " touches a character-
istic chord; but, as usual, the negro comes out victorious without giv-
ing further details. Happily works the dusky figure while he and his
companions sing,
The rhythm of the workers may easily be seen from the metrical
scheme of the lines. The cζsural pause is long enough for the laborer
to begin a new stroke, and may well be represented by the triseme.
Note, too, the freedom in the use of syllables and words in harmony
with a single motion. The metre is a common one for the work-song.
Sometimes the expression is varied from " whuk " to various kinds of
grunts; sometimes the sound is inarticulate, while again it is only
a breath.
96. THE DAY I LEF' MY HOME
In the next song, " huh " is pronounced with a nasal twang, and has
almost the sound of " huch." It serves its purpose, and is no more
than the expression of the negro's surplus breath. Here the labor per-
haps suggests the home and mother. A spider is seen; and the negro
immediately puts it into his song, then goes back to his musings of
the routine of his daily work. He finds some satisfaction in singing,
97. EARLY IN DE MORNIN'
The above verses, with their scansion, will show the general rhythm
of the work-song. Further examples will be given in the discussion of
the negro's mental imagery. In the following songs the reader may
easily feel the rhythm that is adapted to work. The next song is that
of one of the mining or railroad camp laborers. Sometimes the pause
in the lines is one of silence, and the thought works out the rhythm.
| : Early in de mornin', honey, I'm goin' rise, : |
Yes; early in de mornin', honey, I'm goin' rise,
Goin' have pick an' shovel right by my side.
| : Goin' take my pick an' shovel goin' deep down in mine, : |
(three times)
I'm goin' where de sun don't never shine.
| : Well, I woke up this mornin' couldn't keep from cryin', : |
(three times)
For thinkin' about that babe o' mine.
| : Well, I woke up this mornin' grindin' on my mind, : | (three times)
Goin' to grind, honey, if I go stone-blind.
98. GRADE-SONG
The "Grade-Song" is one of the most typical of all negro songs.
Here may be seen the humor and wit of the negro workman, and his
relation to the "boss." In this song he epitomizes the events of the
camp and of the day. It breathes the recklessness of the wanton work-
men, and shows much of the trend of common thought. It gives the
attitude of the negro, and the reply of the "captain," as they are
conceived by the workman. No better picture of the negro workman
can be found than that which is reflected in the verses that follow.
Picture him as he works, talks, and sings,
Well, I tole my captain my feet wus cold,
"Po' water on fire, let wheelers roll!"
Told my captain my han's wus cold.
"God damn yo' hans, let the wheelers roll!"
"Well, captain, captain, you mus' be blin';
Look at yo' watch! See ain't it quittin' time?
"Well, captain, captain, how can it be?
Whistles keep a-blowin', you keep a-workin' me.
"Well, captain, captain, you mus' be blin';
Keep a-hollerin' at me, skinners damn nigh flyin'.
"Well, I hear mighty rumblin' at water-trough;
Well, it mus' be my captain an' water boss."
Well, de captain an' walker raise Cain all day;
Well, captain take a stick, run walker away.
"Wasn't dat ter'ble time" so dey all did say
"When cap'n take hick'ry stick an' run walker away?"
Well, I hear mighty rumblin' up in de sky,
Mus' be my Lord go passin' by.
Well, dey makin' dem wheelers on de Western plan,
Dey mos' too heavy for light-weight man.
"Skinner, skinner, you know yo' rule,
Den go to de stable an' curry yo' mule.
" Well, curry yo' mule an' rub yo' hoss,
An' leave yo' trouble wid de stable boss."
Well, if I had my weight in gold,
I'd have the wimmin under my control.
Well, if I had my weight in lime,
I'd whip my captain till I went stone-blind.
"Well, cap'n, cap'n, didn't you say
You wouldn't work me in rain all day?
"Well, you can't do me like you do po' Shine,
You take Shine's money, but you can't take mine."
Well, de boats up de river an' dey won't come down,
Well, I believe, on my soul, dat dey's water-boun'.
Well, pay-day come, and dey done paid off,
I got mo' money dan de walkin' boss.
Well, I got upon level, look as far's I could see,
Nuthin' wus a-comin' but a big captain.
Well, I went to my dinner at twelve o'clock,
I looked on table : "forty-fo's" was out.
Get up in mornin' when ding-dong rings,
Look at table see same damn things.
Oh, Captain Redman, he's mighty damn mean,
I think he come from New Orleans.
The negro's attitude toward his "captain" is especially distinct.
The song represents the kind of conversation the negroes have at the
white man's expense. What does it matter to the "boss" if hands and
feet are cold, or if the laborers must work in the rain all day? "On
with the work!" is the only reply that the negro claims is given him.
More than anything, the laborer is loath to work a single moment
over-time. He waits for the minute, and stops in the midst of his
work, if he be free to do so. If he is restrained, his frown and rest-
lessness show what he is thinking about. Sometimes he works in
silence, then bursts out
"You hurt my feelin's, but I won't let on"
then back to silence, resenting the fact that he is worked beyond the
time when whistles blow. Perhaps then he thinks that he would like
to "whip his captain till he goes stone-blind." It is then that he
thinks the captain is a " mighty damn mean" man. But the negro
also thinks his captain has great powers, and often boasts of him to
other workmen. So in this case his captain gets the better of the fight,
and runs the "walker" away; but, according to the negro's concep-
tion of things, it must have been a great fight. However, the general
tone of the song is one of complaint. The negro is complaining of his
victuals, and shows at the same time his humor. By "forty-fours"
he means peas. Even the common old stand-by has been left off the
table. The combination of scenes with the characteristic imagery
make an unusually typical song.
99. LAWDY, LAWDY, LAWDY!
The reckless disposition of the railroad-man is again reflected in
the favorite song of the gang,
| : Me'n my pahdner an' two'r three mo', : | (three times)
Goin' raise hell 'round pay-cah do' pay-cah do',
Goin' ter raise hell 'round pay-cah do',
Lawdy, lawdy, lawdy!
It is an interesting spectacle to watch a score of negro laborers file
into the pay-car to receive their pay. The listless manner in which they
wait in their eagerness, the peculiar expression on each man's face as he
enters and as he returns, the putting of the money into his pockets and
the plans for spending it,these are all reflected in the typical scene.
In the verse just given, the negro is represented as being impatient,
and threatens to do violence to the paymaster; or he is boisterous with
the knowledge that he will soon have money, and "raises hell" among
his fellows while the crowd waits. Such a scene is a common one,
although most of the rowdyism is "fun." They jeer one another and
ridicule each man's paltry wage; they boast of how much money they
will have, and what they will do with it; but when the money is re-
ceived, there is almost universal silence. Why does the negro remain
in silence after receiving his wages?
100. BABY'S IN MEMPHIS
But now he goes back to work, and sings,
| : Baby's in Memphis layin' 'round, : | (three times)
Waitin' for de dollah I done found, I done found,
Waitin' for de dollah I done found.
And she gets the "happy dollar." The negro says that the " reason
why" the woman's face is on the dollar is because she always gets it
away from the man. Such is undoubtedly the case with the negro:
not only does she get her allowance, but often deprives the poor work-
vol. XXIVno. 9425
man of his own necessities. Still he maintains that there is a limit,
and sings again,
I pawn my watch, an' I pawn my chain,
Well, I pawn my watch, an' I pawn my chain,
I pawn my watch, an' I pawn my chain,
An' I pawn ev'ything but my gold diamon' ring, gol' diamon' ring,
An' I ain't goin' to pawn it, my baby, my baby!
101. RAILROAD GANG SONG
Note the suggestiveness in the following stanza. The singer prides
himself on being a "bad man," and intends that
" a hint to the wise"
should be understood as he tells of his former partner. The "sprawlin'
man" and the grave are suggestive of the common experiences which
may arise among the workmen. He sings,
"Don't you remember one mornin'
In June, 'bout eight o'clock,
My pahdner fell sprawlin'?
Dey carried him to his grave
I ain't goin' to say how he died."
102. JA-GOOZE
The negro's fondness for the railroad has been noted. Some of
the songs thus originating were given, many of which are sung as
railroad work-songs. "Ridin' the rods" is a heroic deed, and the
work of the railroad stands out always as a permanent field of labor
for the negro. "Only road wus de road of all, On dat road was a
cannon-ball," sings the workman about some train, either imaginary or
real, then continues,
"Ja-gooze said a befo' he died,
Two mo' roads he wanter ride;
Ef dere's nuthin' else, goin' to ride de rod,
Goin' to leave all de coppers in de hands o' God."
"Under the Rail" expresses the sentiment of the worker, at the same
time that it makes a rhythmical work-song. "Lawdy, lawdy, lawd!"
sings the section-hand.
Under the rail, under the tie,
Under the rail, under the tie,
Under the rail, under the tie, whar' yo' dollah lie,
Whar' yo' dollah lie, whar' yo' dollah lie.
103. ho-ho
Often the work-song is little more than a collection and combination
of words and phrases for regular rhythm. A single reference will
likely constitute each stanza. Dinner and quitting-time, coming and
going, and the work of the moment, are the thoughts of the following
song. In this case the pause is toward the end of the line, and of
longer duration. It may be filled with a word or exclamation, but
ordinarily is indicated by the closing of the lips only.
Ain't it dinner ho, ho?
Ain't it dinner tell me so?
Goin' to leave you! Let's go!
Won't you tell me? Why so?
If I leave you ho, ho!
Please don't leave me! Why so?
Well, let's go! I'm right.
Well, let's go! I'm right.
Good-by! I'm gone,
Good-by! I'm gone.
To the bottom, ho, ho!
To the bottom, ho, ho!
104. BABY MINE
Dealing with much the same themes, the next song shows a variation
in form. Instead of the usual two parts of the line with successive
repetitions, there are three, in which the third part almost equals in
time the full length of the other two. The designations "baby,"
"woman," "gal," "girl," are but the ordinary names used in songs
and conversation. He sings to his "baby,"
If I had it, you could git it,
Baby mine.
I ain't got it, an' you can't git it.
Woman o' mine.
Lord, Im goin' away to leave,
Gal o' mine.
If you mus' go'n leave me, don't go now,
My man.
Well, I goin' cross the water, to my long happy home,
Poor girl!
I ain't got no money, but will have some,
Pay-day.
105. RAISE THE IRON
The foreman of the gang cries out, "Can't you line 'em a little bit?"
and the leader replies in the affirmative. He then sets the standard,
and they all pull together for the desired work. The formula is a
good one.
Brother Rabbit, Brother Bear,
Can't you line them just a hair?
| : Shake the iron, um-uh! : |
| : Down the railroad, um-uh! : |
| : Get the iron, let go! : |
| : Well, is you got it, um-uh! : |
Well, raise the iron, um-uh!
Raise the iron, um-uh!
| : Throw the iron, um-uh! : |
| : Throw the iron throw it away! : |
106. PICK-AND-SHOVEL SONG
The "Pick-and-Shovel Song" that follows combines many of the
features of those already given, and shows the repetition of form and
matter that is so common in all negro songs. "Holding his head,"
"going crazy," "killing him dead," "licker," and the "bar-room,"
are common themes.
Run here, mamma! Run here, mamma!
Run here an' hold my head, O Lord!
Run here an' hold my head!
This ole hammer, this ole hammer,
Lord, it's 'bout to kill me dead, O Lord!
Lord, it's 'bout to kill me dead.
I'm goin' crazy, I'm goin' crazy,
Well, corn whiskey gone an' kill me dead, O Lord!
Corn whiskey gone an' kill me dead
O Lord Captain, O Lord Captain!
I don't know what to do, O Lord!
I don't know what to do.
O Lord Captain, O Lord Captain!
Well, it's captain, didn't you say, O Lord,
You wouldn't work me in the rain all day?
Honey baby, honey baby,
Honey, don't let the bar-room close, O Lord!
Honey, don't let the bar-room close!
Honey mine, honey mine,
If de licker's all gone, let me know, O Lord!
If de licker's all gone, let me know.
My honey babe, my honey babe,
If you have any good things, save me some, O Lord!
If you have any good things, save me some.
107. workmen's song
There are many short songs which the workmen employ. Some-
times they are stanzas from other songs. All of the "one-verse "
songs are usually adapted to work-song phrases. It is here that full
opportunity is given for singing a great number of songs. Fragments
of song are easily recalled, and sung again to new circumstances or
to the regular kind of work. Most of the rhymes thus sung have their
indecent counterpart, and both versions are often sung. Some of the
fragments follow.
Sister Mary, aunt Jane,
Whyn't you come along? Ain't it a shame?
Rabbit on de main line, Coon turn de switches,
Bull-frog jump from bank to bank.
Look out! You tear yo' britches!
If Johnnie wus a tumble-bug an' John wus his brother,
Wouldn't they have a jolly time a-tumblin' together?
That's my brown-skin papa, better leave him alone,
Because I'll kill you befo' day in the morn.
You cause me to weep, you cause me to mourn,
You cause me to leave my happy home.
I lef' my home one cold an' rainy day,
God knows if I ever git back again!
I loved the men befo' my man died,
Lord, I loved the men befo' my man died.
The day I lef' my mother's house
Is the day I lef' my home.
108. FRANK AND JESSE JAMES
In the same way that the promiscuous songs are most easily re-
newed through the hours of work, so every kind of possible song is
heard here. The mongrel productions arising from the mingling of
negro song with "coon" songs and with popular songs of the whites,
both assist in passing the time and in harmonizing work and movement.
Typical stanzas may illustrate.
O mother! I'm dreaming, O mother! I'm dreaming,
O mother! I'm dreaming 'bout Frank and Jesse James.
Jesse James had a wife, she mourned all her life,
Jesse James' children cried for bread.
Went up on the wall, thought I heard a call,
Thought I heard a call 'bout Frank an' Jesse James.
109. satisfied
Likewise here are found many of the most jingling rhymes, the origin
and purity of which are uncertain quantities. They, too, are distinct
in their quality, because of their present adaptation. The following
jingle describes one of the workmen's idea of his own condition.
Rich folks worries 'bout trouble,
Po' folks worry 'bout wealth;
I don't worry 'bout nuthin',
All I want's my health.
Six long months have passed,
Since I have slept in bed;
I ain't eat a square meal o' vittles in three long weeks,
Money thinks I'm dead.
But I'm satisfied,
Oh, yes! I'm satisfied.
If religion was a thing that people had to buy,
The Jews would live, an' the Irishman would die,
But I'm satisfied,
Oh, yes! I'm satisfied.
Some one stole a chicken in our neighborhood,
They 'rested me on suspicion, it was understood,
They carried me 'fo' de jury. How guilty I did flee,
'Cause my name wus signed at de head! De jury said was me.
110. "fill-in" song
Watch the lonely singer plodding along and singing. Does his song
mean anything more to him than the expression of a passing feeling
in harmony with his work?
I thought I had a friend was true,
Done found out friends won't do;
It seems to me so awful shame,
You git confuse over such small things.
And again, does his thought exist in his work-song as it does in his
singing when unrestrained?
There's a girl I love, she don't pay me no mind,
There's a girl I love, one I bears in mind,
She's a merry girl, but I love her jus' the same.
111. "ain't goin' be no rine"
The popular "Ain't goin' be no Rine" fills an appropriate place in
the work-song. The theme is exactly suited to the sulky mood of a
young negro laborer, and he sings,
"If you don't like the way I work, jus' pay me off;
I want to speak one luvin' word before I go;
I know you think I'm pow'ful easy, but I ain't sof',
I can git another job an' be my boss.
For they ain't goin' to be no rine,
I'll talk bizness to you some other time,
Watermelon good an' sweet,
Seed's only thing I don't eat,
You can judge from that ain't goin' to be no rine.
112. IT'S MOVIN' DAY
So, too, many mixed verses make good at any time when there is a
dearth of material for song.
"I'm goin live in hell till I die,
An' I know you goin' talk 'bout me when I'm gone,
Sticks and stones goin' break my bone,"
is as much of the old song as the workman needs: so it becomes his
work-song of the moment. So it is in others.
It breaks my heart to see my baby part,
And then be left behind,
And then be left alone. By-by, my baby! By-by!
Pack up my trunk, pack up my trunk an' steal away,
Pack up your trunk, pack up your trunk an' steal away,
Oh, it's me an' my darlin' goin' steal away from home.
It's movin' day, it's movin' day,
I'm a natchel-bohn git away,
I spin ev'y cent go camp in a tent,
Lord, it's movin' day!
Well, I jus' can't help from lovin' that baby o' mine,
I'm crazy 'bout that brown-skin baby o' mine.
I got no use for sleep, I ain't got no use for sleep,
I hate to feel it upon me creep;
When I am sleepy, I goes to bed;
When I am dead, be a long time dead.
In the foregoing examples of work-songs, the illustrations are sec-
ondary as work-songs. It may be repeated that any of these songs
may be commonly sung at any time, but that they have special qualities
which adapt them to the laborer's singing. The real work-song, and
that from which many of the negro songs originally sprang, is the
work-song phrase. The formulas by which they "pull together" are
often simple expressions of word or phrase originated in communal
work. The inventiveness of the negro working in concert with his
fellows is unusually marked. Consequently there are an unlimited
number of "heave-a-horas" in his song vocabulary. The "yo-ho"
theory may well be applied to the origin of the work-song phrase.
Each group of workmen has its leader: the signals are given by him,
and the leading part is always sung by him. In the majority of the
work-phrases he is the sole singer; he often resigns to another member
of the group, or the several members are designated as leaders in a
particular kind of work. A leader ordinarily has at his command
several score of appropriate phrases. Not infrequently the act of the
moment is put into sound and becomes the work-song; again the
natural sound arising from the work may often become the rhythmic
force.
113. GANG-SONGS
Before giving examples that are typical of the exclamations of
song in general, the prevalent method may be illustrated by typical
verses. The rhythm may be obtained from the scansion. A leader
waits for the company to pull or push. He says, "Is you ready ?"
After a slight pause, a second man answers," Ready!" and the leader
continues,
"Joe pick 'em up he heavy, pick 'em up,
Joe he heavy, pick 'em up,"
and so on until the work is finished. Again, he and his companions
are expected to pull a large weight on the rope. They line up with
hands holding, ready for the pull. The leader then says "Willie,"
and they pull out on the first part and on the second syllable get the
new hold. The leader repeats "Willie" with the same process; he
then finishes the rhythm for the hardest pull of the three with "Willie
bully Willie," in which the double pull is given with one hold
on the first "Willie," the new hold on the "bully," and the second
pull on the last "Willie." The scheme is given. The leader then
continues with as many of the periodic phrases as is necessary, using
various names to suit his fancy.
Willie, Willie, Willie bully Willie.
Mandy, Mandy, Mandy bully Mandy.
Janie, Janie, Janie bully Janie.
Haul it, haul it, haul it bully haul it.
Tear 'em up, tear 'em up, tear 'em up, bully tear 'em up.
Thus he sings "Susie," "Patty," "Lizzie," and other names which
come to mind. Again, a very similar method, and one that may
represent the general habit of using the shorter phrases, is the follow-
ing. The work may be pulling, pushing, or lifting. The first half
of the line serves to give the signal and impetus to the pull; the second
is the return stroke.
Won't you pick 'em up in heaven?
Won't you haul 'em in heaven?
114. HEAVE-A-HORAS
The shorter phrases are used in exactly the same way. They will
be repeated more often. The tendency is to use the longer expressions
when they are more suited to the task at hand, though long and short
are freely interchanged. The negro easily makes a long one out of
several short ones. One line may illustrate the time rhythm that
is characteristic of them all. In general, the long foot or syllable
corresponds to a high note, and the short foot to a lower one. While
they pull or work, the leader cries out
" Come on, menses!"
And while the "menses" come, they work as a machine. The leader
repeats this as often as he works, or until he likes another phrase
better. As a rule, the leader will use a single phrase an average of
ten or fifteen times before passing to another. The examples that
follow will indicate the free range which they cover, and the ease
with which the negro composes them. It will be seen that there are
no strict essentials which must belong to the song: the fitting words
may be the invention of the moment. The harmony of the group
of negroes working on the bridge, the house, the railroad, or at the
warehouse and in the mine, is typified by the union of the many simple
work-song phrases. They may be studied for themselves. Each line
constitutes an entire work-song phrase, complete in itself.
Hey slip slide him a slip-slide him.
Ev'ybody bow down an' put yo' han's to it.
Come an' go wid me come an' go wid me.
Heavy heavy heavy heavy hank back.
All right all right.
Drawback adrawback.
Tear 'em up-a-tear 'em up.
Come hard ag'in it-a.
Work hard again it so.
Break it, boys, break it.
Hike, hike, kike-back.
Come on here.
What's a matter? white-eyed.
What's a matter fagged out?
What's a matter monkey got you?
Haul it haul it back.
Here yeah here, you.
Turn turn it turn her on.
Let's turn 'em over.
Turn it one mo' time.
How 'bout it?
Knock down on it.
Up high wid it, men.
Get up get it up any way to git it up.
Yonder she go.
Put yo' nugs on it.
Lay yo' hands on it.
Put 'im up on it.
Get up, Mary, Janie, etc.
Hello hello hello!
Yang 'em Yang 'em. (Go 'round an' pick 'em up.)
Hy, Captain, too heavy here.
Hold it, boys, till I come.
Now, let's go. bullies.
Hold hold hold.
Once more boys.
Little lower down.
'Way up 'way up.
Go ahead go ahead.
H-ey h-e-y h-e-y.
Draw back on it.
Do fare you well.
Here you tight white eye.
Jump up jump now.
Get up dere last down.
Ev'y quack d-o-w-n.
Bow down back up back off.
Whack man a-l-l.
P-r-i-z-e e-m.
Hit 'em hit 'em high.
Whoa Reuben.
Whoa lead pull 'em a-little over there.
Git back on de right side now.
Drive drive drive.
Pull 'em over jus' a hair.
Jack 'em up men.
Lawd, it don't take nuthin' but a red-eyed man to make it here.
115. H-O-L-D SONGS
Many of these exclamations in time become connected, and make
more distinct songs. The songs that are given in couplets are of this
type. Each couplet represents, as a rule, four parts; each line, two
divisions; each division constituted a single phrase like those just
given. The process is a natural one. The technique is often not
so clearly noticeable as in the following railroad phrase:
Ole aunt Dinah has a garden
On one side is sweet pertaters
On other side good ripe permaters,
H-o-l-d h-o-l-d!
A single glance, however, shows that each line is naturally divided
into two periods, each of which makes an effective work-phrase. So
in the following:
H-i-g-h-t, red bird flyin' 'round here,
Monkey sho' gwine git somebody,
See 'im wid his tail turned up.
I broke down on de beam so long,
Till I done lost de use o' my right arm.
Come on, menses, let's pick up the iron,
Ain't it heavy all de time?
Up to my lips, down let her slips,
Where many quarts an' gallons go.
In the same way each particular kind of work may suggest a special
form of the phrase or verse. The negroes loading the vessels, as they
rush past each other with the freight and jeer at each other, sing
"Git out of de way dere!" "Git 'cross de way!" "Git to yo' place!"
"Talk to me-e!" "Oh, yes! time ain't long," "O-h-h cross over,
young man!" "O-O me-babe!" and other exclamations differing
only slightly from the common laborers' phrases. The negro special-
izes his songs whenever he desires. Their flexibility and his imagery
and taste are not discordant. Song is conducive to good humor,
and good humor brings better work. Both the direct and indirect
effect of singing upon the worker make it advisable that his song
continue as long as he works.
BRIEF BIBLIOGRAPHY OF NEGRO FOLK-SONGS
Armstrong, M. F. Hampton and Its Students. New York, 1874. Fifty cabin and plantation songs.
Barton, W. E. Hymns of Negroes (New England Magazine, vol. xix, pp. 699 et seq., 707 et seq.). A number of songs with some musical notation and discussions.
Brown, J. M. Songs of the Slave (Lippincotts, vol. ii, pp. 617-623). A number of songs with brief comments.
Cable, Geo. W. Creole Slave Songs (Century Magazine, vol. xxxi, pp. 807-828). A number of songs with music.
Coleridge-Taylor. Twenty-four Negro Melodies. Boston, 1905.
Fenner, T. P., and Rathbun, F. G. Cabin and Plantation Songs. New York, 1891. Songs with music.
Finck, Jennie. Negro Melody (Music, vol. xiii, p. 604). Mammy's song with music.
See also Music, vol. iii, p. 119.
Guial, E. L. Among Negro Singers (Lakeside, vol. ii, p. 421). Discussion and songs.
Harris, Joel Chandler. Uncle Remus: His Songs and His Sayings. New York, 1880. Nine songs.
Uncle Remus and his Friends. New York, 1892. Sixteen songs.
Negro Plantation Music and the Banjo (Critic, vol. iii, pp. 505-534).
Haskell, M. A. Negro Spirituals (Century Magazine, vol. xxxvi, pp. 577 et seq.). Songs with musical notation. See also Ibid., vol. xlv, p. 263, for eleven songs.
Higginson, T. W. Hymns of Negroes (Atlantic, vol. xix, pp. 685 et seq.). Thirty-six religious and two secular songs, musical notation.
Hobson, Anne. In Old Alabama. New York, 1903. Ten dialect stories and songs.
Journal of American Folk'Lore;
Bergen, Mrs. Fanny D. On the Eastern Shore (vol. ii, pp. 296-298). Two fragments, with a brief discussion of the manners and morals of the negroes of the eastern shore of Maryland.
Clarke, Mary Almsted. Song Games of Negro Children in Virginia (vol. iii, pp. 288-290). Nine song-games and rhymes.
Thanet, Octave. Cradle Songs of Negroes in North Carolina (vol. vii, p. 310). Two cradle songs.
Negro Hymns of the Judgment Day (vol. ix, p. 210). One song.
Backus, E. M. Negro Hymns from Georgia (vol. x, p. 116). Two Hymns (vol. x, p. 202). One song.
Negro Song from Georgia (vol. x, p. 216; vol. xi, pp. 22, 60). Two songs, one hymn.
Christmas Carols from Georgia (vol. xii, p. 272). One cradle-song.
Peabody, Charles. Notes on Negro Music (vol. xvi, pp. 148-150). Fragments of negro songs, with discussions.
Marsh, J. B. T. The Story of the Jubilee Singers, with their songs. Boston, 1880.
Odum, H. W. Religious Folk-Songs of the Southern Negroes
(American Journal of Religious Psychology and Education, vol. iii, pp. 265-365).
Peterson, C. G. Creole Songs from New Orleans. New Orleans, 1902.
Pike, G. D. The Jubilee Singers. Boston and New York, 1873. Sixty-one religious songs.
Slave Songs of the United States. New York, 1867. One hundred and thirty-six songs, with music.
INDEX OF SONGS
I. General Social Songs
page
1. Dony got a Hole in de Wall................................................ 263
2. Mule-Song....................................................... 264
3. The Negro and his Mule................................................ 265
4. Poor John............................................................ 265
5. At the Ball........................................................... 265
6. When he gits Old Old an' Gray........................................ 266
7. Ain't it Hard to be a Nigger............................................ 267
8. Po' Boy Long Way from Home......................................... 270
9. On a Hog............................................................ 270
10. Frisco Rag-Time...................................................... 271
11. Look'd down de Road..................................................... 272
12. If I die in Arkansas.................................................... 273
13. Got no where to lay my Weary Head.................................... 273
14. Baby, you sho' lookin' Warm........................................... 274
15. Take your Time....................................................... 274
16. 'Tain't Nobody's Bizness but my own.................................... 275
17. I'm going 'way........................................................ 275
18. O Babe!.............................................................. 276
19. Sweet Tennessee....................................................... 276
20. I ain't Bother yet...................................................... 277
21. I'm on my Last Go-round.............................................. 277
22. Learn Me to let All Women Alone....................................... 277
23. O my Babe! won't you come Home...................................... 278
24. Make me a Palat on de Flo'............................................. 278
25. Can't be your Turtle any mo'........................................... 279
26. No more Good Time.................................................. 279
27. Diamon' Joe.......................................................... 280
28. Baby, what have I done ?.............................................. 280
29. Things ain't Same, Babe, since I went 'way............................... 281
30. Baby, let me bring my Clothes back Home................................ 281
31. Long and Tall an' Chocolate to the Bone................................. 282
32. Goin' back to Sweet Memphis, Tennessee................................ 282
33. Started to leave........................................................ 282
34. I couldn't git in....................................................... 283
35. What, stirrin', Babe?................................................... 284
36. Hop right.............................................................284
PAGE
37. If you want to go a courtin'............................................. 285
38. If you want to marry.................................................. 285
39. Honey, take a One on Me.............................................. 285
40. Don't hit that Woman.................................................. 286
41. I love that Man....................................................... 286
42. Kelly's Love........................................................... 286
43. My Love for You is All I knew.......................................... 286
44. Thought I heard that K. C.............................................. 287
45. Sweet, forget Me not................................................... 287
46. Stagolee.............................................................. 288
47. Stagolee.............................................................. 288
48. Railroad Bill.......................................................... 289
49. It's that Bad Railroad Bill.............................................. 290
50. It's lookin' for Railroad Bill............................................. 291
51. Right on Desperado Bill................................................ 292
52. Lookin' for that Bully of this Town...................................... 293
53. Eddy Jones........................................................... 294
54. Joe Turner............................................................ 351
55. Casey Jones........................................................... 351
56. Joseph Mica..........................................................352
57. Brady................................................................ 353
58. The Negro Bum.......................................................353
59. One mo' Rounder gone................................................. 353
60. Eastman..........................................................354
61. Bad-lan' Stone........................................................ 355
62. You may leave, but this will bring you back.............................. 355
63. This Mornin', this Evenin', so soon...................................... 355
64. Brer Rabbit........................................................... 356
65. Ev'ybody bin down on Me.............................................. 357
66. Nobody's Bizness but Mine.............................................. 357
67. I'm goin' back......................................................... 358
68. Dat Fortune-teller Man................................................ 358
69. Cocaine Habit......................................................... 358
70. Rollin'-Mill........................................................... 359
71. Julia Waters.......................................................... 360
72. Thought I heard that K. C. Whistle blow................................. 360
73. K. C................................................................. 361
74. L. & N............................................................... 362
75. Knife-Song............................................................ 362
76. Break-down Song...................................................... 364
77. Greasy Greens......................................................... 365
78. Lost John............................................................. 365
79. Ain't you Sorry........................................................ 366
80. Lilly.................................................................366
81. Baby, let the Deal go down............................................. 368
82. Get that Money.......................................................368
83. Odd-Fellows Hall...................................................... 369
84. I got mine............................................................ 369
85. Gamblin' Story........................................................369
86. You shall be Free....................................................370
87. Pans o' Biscuit.........................................................371
88. When the Band begins to Play........................................... 371
89. "One-verse" Songs....................................................373
PAGE
90. She roll dem Two White Eyes........................................... 374
91. Honey, take a One on Me (second version)................................375
92. Don't you hear them Bells a-ringin'...................................... 375,
93. Carve 'im to de Heart.................................................. 375
94. Cross-eyed Sallie....................................................... 376
II. Work-Songs
95. Well, she ask Me in de Parlor............................................ 379
96. The Day I lef' my Home............................................... 380.
97. Early in de Mornin'.................................................... 381
98. Grade-Song........................................................... 381
99. Lawdy, lawdy, lawdy!.................................................. 383
100. Baby's in Memphis.................................................... 383
101. Railroad Gang Song................................................... 384
102. Ja-gooze.............................................................. 384
103. Ho-ho................................................................ 384
104. Baby Mine............................................................ 385
105. Raise the Iron......................................................... 385
106. Pick-and-Shovel Song................................................... 386
107. Workmen's Song...................................................... 386
108. Frank and Jesse James................................................. 387
109. Satisfied.............................................................. 387
110. "Fill-in" Song........................................................ 388
111. "Ain't goin' be no Rine "............................................... 388
112. It's Movin' Day....................................................... 389
113. Gang-Songs........................................................... 390
114. Heave-a-horas........................................................ 390
115. H-o-l-d Songs......................................................... 392
LOCALITIES FROM WHICH SONGS WERE COLLECTED
I. Northern Mississippi, Lafayette County.
(a) Collected from resident singers: Nos. 14, 15, 16, 17, 20, 21,
31, 33,35,40,46,55, 56, 57,62, 73, 74, 79,89,91,108.
(b) Collected from visiting singers: Nos. 1, 8, 12, 13, 22,
23, 24,
32, 34, 50, 53, 54, 60,63, 65, 75, 76, 77, 78, 89,110.
II. Northern Georgia, Newton County.
(a) Collected from resident singers: Nos. 2, 3, 4, 5, 6, 7, 11, 18,
25, 26, 27, 29, 30, 36, 37, 38, 39, 45, 47, 48, 49, 58, 61, 68,
69, 70, 71, 81, 84, 85, 86, 87, 89, 92, 95, 96, 97, 98, 103,
104, 105, 106, 107, 109, 111.
(b) Collected from visiting singers: Nos. 9, 10, 19, 28, 41, 42, 43,
44, 51, 52, 59,66, 67, 72, 80, 82, 83, 88, 89,90,94.
III. Railroad "gangs" on Illinois Central Railroad in
Northern Mississippi: Nos. 99, 100, 101, 102, 113,
114,115.
IV. Miscellaneous.
(a) Reported from Chapel Hill, N. C, No. 64.
(b) Reported from Southern Mississippi (Biloxi), No. 93.
Philadelphia, Pa.