VI. Examples of Social Songs
CHAPTER VI: EXAMPLES OF SOCIAL SONGS
In this chapter will be presented the songs which might be classed in a general way as songs of the Negro wanderer and songs dealinj with woman. An effort is made to avoid repetition as much as possible, and at the same time to report the songs in such a way as to do justice to the characteristic qualities of the song. Hence stanzas that have been given in one song will
not always be given in full in others in which they are found. The dialect is that of the average singing; for the Negro, in his social and secular songs, even
more than in his religious songs, uses no consistent
speech. The language is neither that of the whites
nor that of the blacks, but a freely mingled and varied
usage of dialect and common speech. Colloquialisms
are frequent. The omission of pronouns and con-
nectives marks many Negro verses, while the insertion
of interjections and senseless phrases goes to the other
extreme. Such peculiarities may be best noted when
the songs are studied. It should be remembered that
the song not only begins and ends with the regular
chorus, but each stanza is followed by the same chorus,
thus doubling the length of the song.
Perhaps no person is sung more among the Negroes
than the homeless and friendless wanderer, with his
disappointments in love and adventure. In no phases
of Negro life do self-feeling and self-pity manifest
themselves more than in the plaintive appeals of the wanderer. With his characteristic manner, he appeals
to both whites and blacks for sympathy and assistance.
He especially appeals to his women friends, and thus
moves them to pity him. His pleas for their sym-
pathy are usually effective; and the Negro thus gets
shelter, food and attention. The wandering "song-
ster" takes great pride in singing with skill his fa-
vorite songs ; then he can boast of his achievements as
"a bad man" with his "box." As he wanders from
community to community he finds lodging and solace.
The Negroes at each place take up the songs and sing
them to their companions, this constituting the most
effective method of courtship. In these songs the
roving, rambling thoughts of the Negro are well brought
out by the quick shifting of scenes; so his rambling and
unsteady habits are depicted with unerring though
unconscious skill.
PO' BOY LONG WAY FROM HOME
In the following song, which is sometimes sung with
the knife instrumental described in Chapter V, each
stanza consists of a single line repeated several times.
I'm po' boy long way from home,
Oh, I'm po' boy long way from home.
I wish a 'scushion train would run,
Carry me back where I cum frum.
My mother daid an' my father gone astray,
You never miss you mother till she done gone away.
No need, O babe, try to throw me down,
A po' little boy jus' come to town.
I wish that ole engeneer wus dead,
Brought me 'way from my home.
170 The Negro and His Songs
Central, gi' me long-distance phone,
Talk to my babe all night long.
If I die in State of Alabam',
Send my papa great long telegram.
Come here, babe, an' sit on yo' papa's knee.
You brought me here an' let 'em throw me down.
I ain't got a frien' in dis town.
I'm out in de wide worl' alone.
If you mistreat me, you sho will see it again.
Come 'way to Georgia, babe, to git in a home.
Sometimes the following "one-verse" songs are added:
Shake hands an' tell yo' babe good-bye.
Bad luck in de family, sho God, fell on me.
Have you got lucky, babe, an' them got broke?
I'm goin' 'way, comin' back some day.
Good ole boy, jus' ain't treated right.
I'm Tennessee raise, Georgia bohn.
I'm Georgia bohn, Alabama raise.
ON A HOG
Very much like the above song is "On a Hog,"
which means the condition of a "broke hobo" or tramp.
By "broke" he means the usual state of being without
money, or place to. sleep, or food to eat. The song
Examples of Social Songs 171
like the above one, consists of lines repeated, without
a chorus. There is little sense or connection in the
words and verses. It represents the characteristic
blending of all kinds of words to make some sort of
song. At the same time its verses are classics in
Negro song.
Come 'way to Georgia to git on a hog,
Come 'way to Georgia to git on a hog,
Come 'way to Georgia to git on a hog.
Lord, come 'way to Georgia to git on a hog.
If you will go, babe, please don't go now,
But heave-a-hora, heave-a-hora, babe, heave!
I didn't come here to be nobody's dog.
I jest come here to stay a little while.
Well, I ain't goin' in Georgia long.
And with characteristic rhyme-making, a Negro, after
he had finished the few verses that he knew, began
adding others. Said he,
I didn't come here to be nobody's dog,
Jes come here to git off'n dat hog.
FRISCO RAG-TIME
Even more disjointed and senseless is the song known
among the Negroes as "Frisco Rag-time," "K. C,"
or any other railroad name that happens to be desired.
The song may be sung by a man or a woman or by both.
It is expected that the viewpoint of man be indicated
in the use of woman as the object and woman's view-
point be indicated in the reference to man. Such is
sometimes the case; but usually the Negro sings the
172 The Negro and His Songs
song through, shifting from time to time from man to
woman without so much as noticing the incongruity
of meaning. In the verses which follow, the scenes are
portrayed with clear vision by the Negro singer.
Got up in the mornin', couldn't keep from cryin'.
Got up in the mornin', couldn't keep from cryin'.
Got up in the mornin', couldn't keep from cryin;
Thinkin' 'bout that brown-skin man o' mine.
Yonder comes that lovin' man o' mine,
Comin' to pay his baby's fine.
Well, I begged the jedge to low' my baby's fine,
Said de jedge done fine her, clerk done wrote it down.
Couldn't pay dat fine, so taken her to de jail.
So she laid in jail, back to de wall,
Dis brown-skin man cause of it all.
No need, babe, tryin' to throw me down,
Cause I'm po' boy jus' come to town.
But if you don't want me, please don't dog me 'round,
Give me this money, sho will leave this town.
Ain't no use tryin' to send me 'roun',
I got plenty money to pay my fine.
It will be observed that the last-named verses are
practically the same as those given in other songs and
have no connection with the theme with which the song
was begun; yet they formed an integral part of the song.
In the same way single lines repeated four times are
sung at length, although one would need to search
diligently for the connection of meaning.
If you don't find me here, come to Larkey's dance.
Examples of Social Songs 173
If you don't find me there, come to ole Birmingham.
Ain't goin' to be in jungles long.
Yonder comes that easy-goin' man o' mine.
Ain't Jedge Briles a hard ole man?
"Jedge Briles" is only a local name which was applied
to Judge Broyles of Atlanta. His reputation is widely
known among the Negroes of Georgia. Instead of this
name are often inserted the names of local characters,
which serves to add concreteness to the song. Instead
of Birmingham, the Negro may sing Atlanta, Chat-
tanooga, or any other city that ranks as a favorite.
LOOKED DOWN DE ROAD
The following song might well be a continuation of
those just given. It is sung, however, to a different
tune, and should be ranked as a separate song. Its
form is not unlike that already cited — repetition of a
single line twice, or, in rare instances, a rhymed
couplet.
Looked down de road jes' far as I could see,
Well, the band did play "Nearer, My God, to Thee."
I got the blues, but too damn mean to cry.
I got the blues, but too damn mean to cry.
Now when you git a dollar, you got a frien'
Will stick to you through thick an' thin.
I didn't come here fer to steal nobody's find,
I didn't jes come here to serve my time.
I ask jailer, "Captain, how can I sleep?
All 'round my bedside polices creep."
174 The Negro and His Songs
The jailer said, "Let me tell you what's best:
Go 'way back in yo' dark cell an' take yo' rest."
If my kind man quit me, my main man throw me down,
I goin' run to de river, jump overboard 'n' drown.
The local policeman is always spoken of as creeping
around the bedside. It makes an interesting com-
parison to note the contrast between the police and
the angels of the old wish-rhyme. Various versions
of the above stanzas are given, some of which are far
from elegant. Profanity is inserted in the songs in
proportion as the singer is accustomed to use it, or as
the occasion demands or permits its use.
IF I DIE IN ARKANSAS
Ridiculous and amusing in its pathos, "If I Die in
Arkansas" is typical and representative. It is quite
impressive when sung with feeling. The Negro gets
a kind of satisfaction in believing that he is utterly
forlorn, yet begs to be delivered from such a condition.
If I die in Arkansaw,
Oh, if I die in Arkansaw,
If I die in Arkansaw,
Des ship my body to my mother-in-law.
If my mother refuse me, ship it to my pa,
If my mother refuse me, ship it to my pa.
If my papa refuse me, ship it to my girl,
If my papa refuse me, ship it to my girl.
If my girl refuse me, shove me into de sea,
Where de fishes an' de whales make a fuss over me.
And then after this remarkable rhyme and sentiment,
Examples of Social Songs 175
the singer merges into plaintive appeal, and sings
further:
Poor ole boy, long ways from home,
Out in dis wide worl' alone.
Somewhat similar in spirit is a song given by Talley 1
under the title "When My Wife Dies," one stanza of
which is as follows:
Railly, w'en I'se been dead, you needn' bury me at tall.
You mought pickle my bones down in alkihall;
Den fold my han's "so", right across my breas';
An' go an' tell de folks I'se done gone to res'.
GOT NO WHERE TO LAY MY WEARY HEAD
This song, also called "Po' Boy 'Way From Home,"
repeats much the same sentiment. Besides many
verses of other songs, the singer adds :
I want to see do my baby know right from wrong,
I want to see do my baby know right from wrong,
I want to see do my baby know right from wrong,
Obabe!
Well, I got no where to lay my weary head,
babe!
Well, a rock was my pillar las' night,
O girl!
Thus repetition makes a long story of a short one.
BABY, YOU SHO LOOKIN' WARM
In the next story, "Baby, You Sho Lookin' Warm,"
three lines in a stanza are alike, while the fourth
1 Thomas W. Talley, Negro Folk Rhymes, Macmillan, 1922. For further
description see Bibliographical Notes.
176 The Negro and His Songs
varies only by an exclamation. This, too, is an appeal
to the "baby" or sweetheart for pity and admission
into the house.
Baby, you sho lookin' warm,
Baby, you sho lookin' warm,
Baby, you sho lookin' warm.
my babe, you sho' lookin' warm.
Baby, I'm feelin' so tired,
my babe, I'm feelin' so tired.
Got nowhar to lay my weary head,
my babe, got nowhar to lay my weary head.
Sometimes I'm fallin' to my face,
my babe, sometimes I'm fallin' to my face.
I'm goin' whar de water drinks like wine.
Gwine whar' I never been befo'.
Baby, I love the clothes you wear.
Whar in de worl' my baby gone?
Gone away, never come back no more.
TAKE YO' TIME
"Take Your Time" represents the Negro in a more
tranquil and independent state of mind. It portrays
varied circumstances from the home to the court. It
is a popular favorite.
Baby, baby, didn't you say
You'd work for me bctli night and day?
Take yo' time, take yo ; time.
me?
Examples of Social Songs 177
Baby, baby, don't you know
I can git a girl anywhere I go? ,
Take yo' time, take yo' time.
Baby, baby, can't you see,
How my girl git away from u
Take yo' time, take yo' time.
Went down country to see my frien',
In come yaller dog burnin' the win'.
Take yo' time, take yo' time.
'Tain't but the one thing grieve my mind:
Goin' 'way, babe, an' leave you behin'.
Take yo' time, take yo' time.
Carried me 'roun' to de courthouse do',
Place wher' I never had been befo',
Take yo' time, take yo' time.
Jedge an' jury all in de stan',
Great big law-books in deir han'.
Take yo' time, take yo' time.
Went up town 'bout four o'clock,
Rapt on door, an' door was locked.
Take yo' time, take yo' time.
'tain't nobody's bizness but my own
Jingling rhymes are sought at the sacrifice of mean-
ing and the sense of song. If the sentiment of the
subject of the song appeals to the singer, he may take
it and make his own rhymes, departing from the orig-
inal version. The frequent omission of words and the
mixing of dialect and modern slang usually result.
"Tain't Nobody's Bizness but My Own" represents
the more reckless temperament of the wanderer.
178 The Negro and His Songs
Baby, you ought-a tole me,
Six months before you roll me;
I'd had some other place to go.
'Tain't nobody's bizness but my own.
Sometimes my baby gets boozy,
An' foolish 'bout her head,
An' I can't rule her,
'Tain't nobody's bizness but my own.
I want to see my Hanner,
Turn tricks in my manner,
'Tain't nobody's bizness but my own.
Don't care if I don't make a dollar,
Jes so I wear my shirt an' collar.
'Tain't nobody's bizness but my own.
i'm going 'way
The swaggering tramp decides to leave the town,
as indeed he is often doing; but he expects to come
back again. He looks forward to the adventures of
the trip with pleasure, not with fear, although he
knows he must ride the rods, go without food, and
sleep where he may. He sings:
I'm goin' 'way, comin' back some day,
I'm goin' 'way, comin' back some day.
I'm just from the country, come to town —
A zoo-loo-shaker from my head on down.
If I git drunk who's goin' ter carry me home?
Brown-skin woman, she's chocolate to de bone.
o babe!
The following song really has little meaning, but it
is probably the "rounder's" attempt to boast of his
adventurous life.
Examples of Social Songs 179
Late every evenin' 'bout half pas' three,
I hire smart coon to read the news to me.
O babe! O my babe! O my babe!
O babe! O babe! O my babe! take a one on me,
An' my partnah', too, that's the way sports do.
babe! O my babe! O my babe!
Well, you talk 'bout one thing, you talk 'bout another.
But if you talk 'bout me, gwine talk 'bout yo' mother.
O babe! O my babe! O my babe!
SWEET TENNESSEE
To be sure, the wanderer will not work : He will have
his own way, where the "water drinks like wine,"
and where the "wimmins" are "stuck" on him. He
bids farewell, in an appeal of great force.
Come an' go to sweet Tennessee,
Where de money grows on trees,
Where de rounders do as they please, babe!
Come an' go to sweet Tennessee.
Come an' go to sweet Tennessee,
Where the wimmins all live at ease,
Where the rounders do as they please, babe!
Come an' go to sweet Tennessee.
Come an' go to sweet Tennessee,
Where the wimmins do as they please,
Where the money grows on trees, babe!
Come an' go to sweet Tennessee.
i ain't bother yet
As woman occupies a prominent place in the songs
of the wanderer, so woman and sweetheart occupy the
most prominent part in the general social songs. The
180 The Negro and His Songs
Negro's conception of woman as seen in his songs has
been observed. Few exalted opinions of woman, little
permanent love for sweetheart, or strong and pure
love emotions will be found in the songs. Sensual
love, physical characteristics, and jealousy are pre-
dominant. The singer is not different from the wan-
derer who figures as the hero in the class of songs just
given. Woman here is not unlike woman there. The
Negro sings:
I got a woman an' sweetheart too,
If woman don't love me, sweetheart do.
Yet, I ain't bother yet, I ain't bother yet.
Honey babe, I can't see
How my money got away from me.
Yet, I ain't bother yet, ain't bother yet.
Or the woman sings in retort to the husband who does
not support her properly, or has failed to please her
in some manner:
I got a husband, a sweetheart, too,
Husband don't love me, but sweetheart do.
i'm on my last go-round
The Negro lover sometimes gets more or less de-
spondent. The theme of rejected love is strong, but
the sorrow short. While this feeling lasts, however,
the lover, in his jealousy, shows desperation. Some-
times he is determined.
It's no use you sendin' no word,
It's no use you sendin' or writin' no letter,
I'm comin' home pay-day.
Examples of Social Songs 181
I'm on my last go-round,
I'm on my last go-round,
I'm on my last go-round.
God knows Albirdie won't write to me.
There's mo' pretty girls 'an one,
Swing, an' clang an' don't git lost,
There's mo' pretty girls 'an one.
LEARN ME TO LET ALL WOMEN ALONE
The Negro is constantly singing of woman and
trouble. In a large per cent of his quarrels and fights
the cause of the trouble is the "woman in the case.' ,
It is she who gets his money and makes him do all
manner of trifling things to please her fancy. He
claims that she turns from him as soon as she gets all
he has. It is not surprising to hear the song "Learn
Me to Let All Women Alone" as the expression of a
disgruntled laborer.
One was a boy, an' one was a girl.
If I ever specs to see 'em again,
I'll see 'em in de other worl':
Learn me to let all women alone.
All I hope in this bright worl',
If I love anybody, don't let it be a girl:
Learn me to let all women alone.
Firs' girl I love, she gi' me her right han'.
She's quit me in de wrong fer anudder man:
Learn me to let all women alone.
Woman is a good thing, an' a bad thing too,
They quit in the wrong an' start out bran-new:
Learn me to let all women alone.
182 The Negro and His Songs
I got up early nex' mornin', to meet 'fo' day train,
Goin' up the railroad to find me a man:
Learn me to let all women alone.
In Talley's collection occurs a song in which a
"roustabout" narrates in some detail the story of how-
he rid himself of a wife who abused him. The sen-
timent of the closing stanza is similar to "Learn Me
to Let All Women Alone" :
WHEN I WAS A "ROUSTABOUT"
(Talley, p. 145)
On a Sund'y mornin', as I laid on my bed,
I didn' have no nigger wife to bother my head.
Now whiskey an' brandy jug's my bigges' bes' friend,
An' my long week's wuk is about at its end.
O MY BABE, WON T YOU COME HOME
The Negro sings, "I don't know what I'll do! Oh,
I don't know what I'll do!" "Oh, I'll take time to
bundle up my clothes! Oh, I'll take time to bundle
up my clothes! Oh, I'll take time to bundle up my
clothes," and he is off; but he is soon involved again,
and sings his promiscuous allegiance.
I love my babe and wouldn't put her out of doors,
I'd love to see her kill a kid wid fohty-dollar suit o'
clothes,
my babe, won't you come home?
Some people give you nickel, some give you dime;
1 ain't goin' give you frazzlin' thing, you ain't no girl
o' mine.
my babe, won't you come home?
Examples of Social Songs 183
Remember, babe, remember givin' me yo' han';
When you come to marry, I may be yo' man.
my babe, won't yo' come home?
Went to sea, sea look so wide,
Thought about my babe, hung my head an' cried.
my babe, won't you come home?
MAKE ME A PALAT ON DE FLO'
Perhaps the lover is again turned out of doors, and
pines around the house. "That's all right, treat me
mean, treat me wrong, babe. Fare you well forever
mo', how would you like to have a luvin' girl turn you
out o' doors?" he sings, and pretends to leave. But
true to the Negro proverb, "Nigger ain't gone ever'
time he say good-bye," he returns again to sing:
Make me a palat on de flo',
Make it in de kitchen behin' de do'.
Oh, don't turn good man from yo' do',
May be a frien', babe, you don't know.
Oh, look down dat lonesome lane,
Make me a palat on de flo!
Oh, de reason I love Sarah Jane,
Made me a palat on de flo'."
can't be yo' turtle any mo'
Somewhat similar is the song "Can't Be Yo' Turtle
Any Mo'," localized to apply to Atlanta, Memphis, or
other specific places.
Goin' to Atlanta, goin' to ride de rod,
Goin' to leave my babe in de hands o' God.
Sorry, sorry, can't be your turtle any mo'.
184 The Negro and His Songs
Goin' up town, goin' hurry right back,
Honey got sumpin' I certainly lak.
Sorry, sorry, can't be yo' warbler any mo!
NO MORE GOOD TIMES
The Negro adds much zest and fun to his song when
he introduces local characters. In the next song it is
sometimes "Police Johnson, woman, knockin' at de
do','' or in other localities it is the name of the most
dreaded officer. He sings these and laughs heartily,
boasting now and then of fortunate excapes. "No
More Good Times" portrays a common scene.
No more good times, woman, like we used to have,
Police knockin', woman, at my back do!
Meet me at the depot, bring my dirty clothes,
Meet me at the depot, woman, when the train comes
down.
For I goin' 'way to leave you, ain't comin' back no mo';
You treated me so dirty, ain't comin' back no mo'.
I got a little black woman, honey, an' her name's Mary
Lou,
She treat me better, baby, heap better than you.
diamon' joe
Very much like the above in general tone, but sung
by a woman, "Diamon' Joe" typifies a custom all too
common in the Negro community. It is a love song.
Diamon' Joe, you better come an' git me:
Don't you see my man done quit?
Diamon' Joe, com'n' git me.
Examples of Social Songs 185
Diamon' Joe he had a wife, they parted every night.
When the weather it got cool,
Ole Joe he come back to that black gal.
But time come to pass,
When old Joe quit his last;
An' he never went to see her any mo'.
BABY, WHAT HAVE I DONE?
"Baby, What Have I Done?" introduces other
scenes of Negro love life. The same wail of "knockin'
at de do'" is heard again and again — a hint at in-
fidelity, which is so often sung in the next few songs.
Late las' night an' night befo',
Heard such a knockin' at my do',
Jumped up in stockin' feet, skipped across the flo':
Baby, don't never knock at my do' no mo'.
O me, O my! baby, what have I done?
O me, O my! baby, what have I done?
me, O my! baby, what have I done?
me, my! baby, what have I done?
Where were you las' Saturday night,
When I lay sick in my bed?
You down town wid some other ole girl,
Wasn't here to hold my head.
Ain't it hard to love an' not be loved?
Other verses of one long line are divided into two
short lines or repeated each four times to make the
stanza.
It's ninety-six miles from Birmingham,
1 tramped it day by day.
186 The Negro and His Songs
It's fifteen cents' wuth o' morphine,
A dollar's all I crave.
I didn't bring nuthin' in this bright worl',
Nuthin' I'll carry away.
I laid my head in bar-room do',
Ain't goin' to get drunk no mo'.
Han' me down my grip-sack
An' all my ole dirty clothes.
If my baby ask for me,
Tell her I boun' to go.
THINGS AIN'T SAME, BABE, SINCE I WENT 'WAY
Both men and women appear changeable in their
affections. A husband and wife quarrel the first of
the week, separate, vow never to speak again; but the
latter part of the week may find them back again. This
does not happen once, but many times. A Negro man
will often give his entire week's or month's wages in
order to pacify his wife who has threatened to go live
with some other man. She spends the money and
begins to quarrel again. In the same way the wife
may often beg to be received back after she has left
him. She is often received, sometimes with a beating,
sometimes not at all. A typical appeal of these
characters is sung:
Things ain't same, babe, since I went 'way;
Now I return, please let me stay.
I'm sorry I lef you in this worl' alone;
I'm on my way, babe, I'm comin' home.
Examples of Social Songs 18,
BABY, LET ME BRING MY CLOTHES BACK HOME
Another appeal is a little more forceful. It is the
present moment that counts. So the Negro often
makes promises of fidelity, if only he will be given
another chance.
The burly coon, you know,
He packed his clothes to go,
Well, he come back las' night,
His wife said, "Honey, I'm tired o' coon,
I goin' to pass for white."
But the coon got mad —
He's 'bliged to play bad,
Because his color was black.
"O my lovin' baby! don't you make me go;
I git a job, if you let me, sho.
"I'll wuk both night an' day,
An' let you draw my pay.
Baby, let me bring my clothes back home.
When you kill chicken, save me the bone;
When you bag beer, give me the foam.
"I'll work both night an' day,
An' let you draw the pay.
Baby, let me bring my clothes back home."
When she make them strange remarks,
He look surprise — goin' roll them white eyes;
"Goin' cry, baby, don't make me go!"
LONG AN' TALL AN' CHOCOLATE TO THE BONE
The Negro often makes trouble for the meddler in
his home. Here arise many of his capital crimes.
Jealousy runs riot among both men and women. In
the following song a hint is given of the boasting spirit
of the Negro.
188 The Negro and His Songs
Well, I'm goin' to buy me a little railroad of my own;
Ain't goin' to let nobody ride but the chocolate to the
bone.
Well, I goin' to buy me a hotel of my own;
Ain't goin' to let nobody eat but the chocolate to the
bone.
She's long an' tall an' chocolate to the bone.
Well, I goin' to start a little graveyard of my own,
If you don't, ole nigger, let my woman alone.
She's long an' tall an' chocolate to the bone.
She make you married man, then leave yo' home.
Well, if that's yo' man, you'd better buy a lock an' key,
Obabe!
An' stop yo' man from runnin' after me-e-e.
Well, I goin' back to sweet Memphis, Tennessee, babe!
Where de good-lookin' wimmins take on over me.
Now, a good-lookin' man can git a home anywhare he go,
The reason why is, the wimmins tell me so.
She change a dollar an' give me a lovin' dime,
I'll see her when her trouble like mine.
STARTED TO LEAVE
The sense of humor is very marked in many of the
verses sung by the Negroes. The commonplace,
matter-of-fact statement in the following illustrates.
Says the Negro,
I'm goin' 'way,
Goin' sleep under the trees till weather gits warmer.
Well, me an' my baby can't agree,
Oh, that's the reason I'm goin' to leave.
Examples of Social Songs 189
But, as in other cases, the Negro does not stay long.
Perhaps it is too cold under the trees for him; perhaps
the song has it all wrong, anyway.
Well, I started to leave, an' got 'way down the track;
Got to thinkin' 'bout my woman, come runnin' back,
Obabe!
She have got a bad man, an' he's as bad as hell, I know,
For ev'body, sho God, tell me so.
I thought I'd tell you what yo' nigger woman'll do:
She have another man an' play sick on you.
i couldn't git in
The spirit of infidelity, already touched upon in the
songs given, may be shown further in "I Couldn't
Git In."
Lawd, I went to my woman's do',
Jus' lak I bin goin' befo';
" I got my all-night trick, baby,
An' you can't git in.
"Come back 'bout half pas' fo',
If I'm done, I'll open de do'.
Got my all-night trick, baby,
An' you can't git in."
I keep rappin' on my woman's do',
Lak I never had been dere befo';
She got a midnight creeper dere,
An' I couldn't git in.
Buddy, you oughter to do lak me:
Git a good woman, let the cheap ones be,
Fur dey always got a midnight creeper,
An' you can't come in.
190 The Negro and His Songs
Buddy, stop an' let me tell you
What yo' woman'll do:
She have 'nuther man in, play sick on you.
She got all-night creeper, buddy,
An' you can't git in.
You go home; well, she layin' in bed,
With red rag tied all 'round her head.
She done had 'fo'-day creeper in here,
Dat's de reason you couldn't git in.
what's stirrin', babe?
The singer uses the common slang "fallin' den"
for his bed. As he has sung of his love and jealousies,
so he sings of varied affection and infidelity, but with
abandon.
Went up town 'bout four o'clock;
What's stirrin', babe; stirrin', babe?
When I got dere, door was locked;
What's stirrin', babe, what's stirrin', babe?
Went to de window an' den peeped in:
What's stirrin', babe; stirrin', babe?
Somebody in my fallin' den —
What's stirrin', babe; stirrin', babe?"
The woman tells the "creeper" that he had best be
watchful while he is about her house. At the same
time, besides his general rowdyism, he is perhaps
eating all the provisions in the house. She sings:
Don't you let my honey catch you here —
He'll kill you dead jus' sho's you born.
HOP RIGHT
It will thus be seen that the songs of the most char-
acteristic type are far from elegant. They go beyond
Examples of Social Songs 191
the interesting point to the trite and repulsive themes.
Nor can a great many of the common songs be given at
all. But these are songs current among the common
Negroes, and as such are powerful comment upon the
special characteristic of the group. A few of the
shorter themes thus sung will illustrate further.
Hop right! goin' to see my baby Lou.
Goin' to walk an' talk wid my honey,
Goin' to hug an' kiss my honey,
Hop right, my baby!
I wouldn't have a yellow gal
Tell you de reason why:
Her neck so long, 'fraid she never die.
I wouldn't have a black gal,
Tell you de reason why:
Her hair so kinky, she break every comb I buy.
Talley has several songs containing themes like those
in the second and third stanzas of "Hop Right."
The following examples are taken from his "I Would
Not Marry a Black Girl" (p. 56) and "I Wouldn't
Marry a Yellow or a White Negro Girl" (p. 63)
respectively:
I wouldn' marry a black gal,
I'll tell you de reason why:
When she goes to comb dat head
De naps'll 'gin to fly.
I wouldn' marry dat yaller nigger gal,
An' I'll tell you de reason why:
Her neck's drawed out so stringy an' long,
I'se afraid she 'ould never die.
192 The Negro and His Songs
IF YOU WANT TO GO A COURTIN
While there is not much sense to the next song,
it gives some insight into the life of the common
Negroes.
If you want to go a courtin', I show you where to go,
Right down yonder in de house below.
Clothes all dirty an' ain't got no broom:
Ole dirty clothes all hangin' in de room.
Ask'd me to table, thought I'd take a seat.
First thing I saw was big chunk o' meat.
Big as my head, hard as a maul —
Ash-cake, corn-bread, bran' an' all.
IF YOU WANT TO MARRY
Similar to some of the songs used in children's games
in the Colonial days is "Marry Me." The song has
come to* be thought a Negro song, but is apparently a
form of the old rhyme, "If you will marry, marry,
marry, If you will marry me." The Negro sings:
If you want to marry, come an' marry me-e-e:
Silk an' satin you shall wear, but trouble you shall
see-e-e.
If you want to marry, marry the sailor's daughter;
Put her in a coffee-pot and sen' her cross the water.
I marry black gal; she was black, you know,
For when I went to see her, she look like a crow-ow,
She look like a crow-ow-ow.
Examples of Social Songs
HONEY, TAKE A ONE ON ME
A variation of the once popular song, "Honey, Take
a One on Me," has a great number of verses that are
undoubtedly Negro verses. Most of these, however,
are not suitable for publication. An idea may be given
of the song.
Comin' down State Street, comin' down Main,
Lookin' for de woman dat use cocaine.
Honey, take a one on me!
Goin' down Peter Street, comin' down Main,
Lookin' for de woman ain't got no man.
Honey, take a one on me!
HONEY, TAKE A WHIFF ON ME
Another version of "Honey, Take a One on Me" also
shows something of the attitude toward woman.
A yellow girl I do despise,
But a jut-black girl I can't denies,
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 does,
Because I wear my Sunday clothes,
Honey, take a whiff on me.
I LOVE THAT MAN, O GOD, I DO
More serious and of much better sentiment is the
lover's song, ordinarily sung as the lament of a woman.
194 The Negro and His Songs
I love that man, God, I do,
I love him till the day he die;
If I thought that he didn't love me,
I'd eat morphine an' die.
If I had listened to what mamma said,
I wouldn't a been here today;
But bein' so young, I throwed
That young body o' mine away.
Look down po' lonesome road,
Hacks all dead in line.
Some give nickel, some give dime,
To bury dis po' body o' mine.
kelly's love
In "Kelly's Love" the note of disappointed affec-
tion is sounded :
Love, Kelly's love,
Love, Kelly's love,
Love, Kelly's love.
You broke de heart o' many a girl,
You never break dis heart o' mine.
When I wo' my aprons low,
When I wo' my aprons low,
When I wo' my aprons low,
Couldn't keep you from my do'.
Now I weahs my aprons high,
Sca'cely ever see you passin' by.
Now I weahs my aprons to my chin,
You pass my do' but can't come in.
See what Kelly's love have done.
See what Kelly's love have done.
Examples of Social Songs 195
If I had listened to what my mamma said,
I would a been at home in mamma's bed.
FAREWELL
Nearer the simple longing of a sincere affection is
the chorus, "Farewell."
My love for you is all I knew,
My love for you is all I knew,
My love for you is all I knew.
Hope I will see you again.
Farewell, my darling, farewell!
Farewell, my darling, farewell!
Farewell, my darling, farewell!
Hope I will see you again.
SWEET FORGET-ME-NOT
The singer grows imaginative when he thinks of
things absent. He longs to see his sweetheart. He
thinks of all the good times he has had, and sometimes
he sings plaintively that they are gone.
girl, girl! what have I done?
Sweet forget-me-not.
Fve got a girl dat's on de way,
Sweet forget-me-not.
Times ain't like dey use ter be,
Sweet forget-me-not.
Times have been, won't be no more.
Sweet forget-me-not.