CHAPTER VII: EXAMPLES OF SOCIAL SONGS {Concluded)
The songs in this chapter are in many respects like those in the preceding chapter. They are, however, usually longer, and they sometimes approximate ballad and epic in combinations fearfully and wonderfully made. Difficulties of classification are at once apparent. One class of songs stands out clearly, however, namely, the songs having to do with the Negro "Bad Man" or bully. These are presented first. Other groups include train songs, dance songs, and various miscellaneous types.
STAGOLEE
The notorious character is sung as a hero of the tribe. His deeds are marvelous, his personality is interesting. He's admired by young and old in song and story and undoubtedly has an important influence upon the group.
Stagolee, Stagolee, what's dat in you' grip?
Nothin' but my Sunday clothes, I'm goin' to take a trip.
Oh, dat man, bad man, Stagolee done come.
Stagolee, Stagolee, where you been so long?
I been out on de battle fiel' shootin' an' havin' fun.
Oh, dat man, bad man, Stagolee done come.
Stagolee was a bully man, an' ev'ybody knowed,
When dey seed Stagolee comin' to give Stagolee de road.
Oh, dat man, bad man, Stagolee done come.
The refrain "Oh, dat man, bad man, Stagolee done come," is sung at the end of each stanza and adds much to the charm of the song, giving characteristic thought to the words and rhythmical swing to the music. The singer continues his narrative:
Stagolee started out, he give his wife his han';
"Good bye, darlin', I'm goin' to kill a man."
Stagolee killed a man an' laid him on de flo',
What's dat he kill him wid? Dat same ole fohty-fo'.
Stagolee killed a man an' laid him on his side,
What's dat he kill him wid? Dat same ole fohty-five.
Out of house an' down de street Stagolee did run,
In his hand he held a great big smok'n' gun.
Stagolee, Stagolee, I'll tell you what I'll do;
If you'll git me out'n dis trouble I'll do as much for you.
Ain't it a pity, ain't it a shame?
Stagolee was shot, but he don't want no name.
Stagolee, Stagolee, look what you done done;
Killed de best ole citerzen; now you'll have to be hung.
Stagolee cried to de jury, "Please don't take my life.
I have only three little children an' one little lovin' wife."
Oh, dat man, bad man, Stagolee done come.
STAGOLEE DONE KILL DAT BULLY
The foregoing version is more usually sung in Mississippi, Louisiana and Tennessee, though it is known in Alabama and Georgia, besides being sung by the Negro vagrants all over the country. Another version, more common in Georgia, celebrates Stagolee as a somewhat different character, and the song is sung to different music.
I got up one mornin' jes' 'bout four o'clock;
Stagolee an' big bully done have one finish' fight.
What 'bout? All 'bout dat rawhide Stetson hat.
Stagolee shot bully; bully fell down on de flo',
Bully cry out: "Dat fohty-fo' it hurts me so."
Stagolee done kill dat bully now.
Sent for de wagon, wagon didn't come,
Loaded down wid pistols an' all dat gatlin' gun.
Stagolee done kill dat bully now.
Some give a nickel, some give a dime;
I didn't give a red copper cent, 'cause he's no friend o'mine.
Stagolee done kiil dat bully now.
Fohty dollar coffin, eighty dollar hack,
Carried po' man to cemetery but failed to bring himback,
Ev'ybody been dodgin' Stagolee.
From the home to the cemetery he has gone the road of many a Negro "rounder." Sometimes the man killed is at a picnic or public gathering, sometimes elsewhere. The scenes of the burial, with its customs, are but a part of the life, hence they are portrayed with equal diligence.
RAILROAD BILL
But Stagolee has his equal, if not his superior. "Railroad Bill" has had a wonderful career in song and story. He is the Negro's hero of the track. One must take all the versions of the song in order to appreciate fully the ideal of such a character.
Some one went home an' tole my wife
All about — well, my pas' life.
It was that bad Railroad Bill.
Railroad Bill, Railroad Bill,
He never work an' he never will.
Well, it's that bad Railroad Bill.
Railroad Bill so mean an' so bad,
Till he tuk ev'thing that farmer had.
It's that bad Railroad Bill.
I'm goin' home an' tell my wife,
Railroad Bill try to take my life.
It's that bad Railroad Bill.
Railroad Bill so desp'rate an' so bad,
He take ev'ything po' womens had.
An' it's that bad Railroad Bill.
it's that bad railroad bill
With all these crimes to his credit, it is high time
that some one was going after Railroad Bill. The
singer starts on his journey as quickly as he can, but
has to make many trips.
I went down on Number One,
Railroad Bill had jus' begun,
It's lookin' fer Railroad Bill.
I come up on Number Two,
Railroad Bill had jus' got through.
It's that bad Railroad Bill.
I caught Number Three and went back down the road,
Railroad Bill was marchin' to an' fro.
It's that bad Railroad Bill.
200 The Negro and His Songs
An' jus' as I caught that Number Fo',
Somebody shot at me with a fohty-fo'.
It's that bad Railroad Bill.
I went back on Number Five,
Goin' to bring him back, dead or alive.
Lookin' fer Railroad Bill.
When I come up on Number Six,
All the peoples had done got sick.
Lookin' fer Railroad Bill.
When I went down on Number Seven,
All the peoples wish'd they's in heaven.
A-lookin' fer Railroad Bill.
I come back on Number Eight,
The folks say I was a minit too late.
It's lookin' fer Railroad Bill.
When I come back on Number Nine,
Folks say, "You're just in time
To catch that Railroad Bill."
When I got my men, they amounted to ten;
An that's when I run po' Railroad Bill in.
An' that was last of po' Railroad Bill.
it's lookin' fer railroad bill
But Railroad Bill soon appears again, and now he is
worse than before. The next version differs only
slightly from the foregoing one. One must remember
that the chorus line follows each couplet, and the
contrast in meaning makes a most interesting song.
Railroad Bill mighty bad man,
Shoot dem lights out o' de brakeman's han'.
It's lookin' fer Railroad Bill.
Examples of Social Songs 201
Railroad Bill mighty bad man,
Shoot the lamps all off the stan'.'
An' it's lookin' fer Railroad Bill.
First on table, next on wall;
Ole corn whiskey cause of it all.
It's lookin' fer Railroad Bill.
Ole McMillan had a special train;
When he got there was shower of rain.
Wus lookin' fer Railroad Bill.
Ev'ybody tole him he better turn back;
Railroad Bill wus goin' down track.
An' it's lookin' fer Railroad Bill.
Well, the policemen all dressed in blue,
Comin' down sidewalk two by two,
Wus lookin' fer Railroad Bill.
Railroad Bill had no wife,
Always lookin' fer somebody's life.
An' it's lookin' fer Railroad Bill.
Railroad Bill was the worst ole coon:
Killed McMillan by de light o' de moon.
It's lookin' fer Railroad Bill.
One Culpepper went up on Number five,
Goin' bring him back, dead or alive.
Wus lookin' fer Railroad Bill.
The Negroes sing different forms of these verses, as
they are suggested at the moment:
McMillan had a special train,
When he got there, it was spring.
Two policemen all dressed in blue
Come down street in two an' two.
202 The Negro and His Songs
Railroad Bill led a mighty bad life,
Always after some other man's wife.
Railroad Bill went out Wes',
Thought he had dem cowboys bes'.
Railroad Bill mighty bad man,
Kill McGruder by de light o' de moon.
RIGHT ON, DESPERADO BILL
It is not surprising that a song so popular as "Rail-
road Bill" should find its way into others of similar
type. Another version of the same song adds reck-
lessness to the achievements of the desperado and
combines gambling, criminal tendencies, and his gen-
eral immorality, in one. The following version is
somewhat mixed, but is known as a "Railroad Bill"
song. There are two forms of the chorus, and they
are given first.
Lose, lose — I don't keer;
If I win, let me win lak a man.
If I lose all my money, I'll be gamblin' for my honey;
Ev'y man ought to know when he lose.
Lose, lose, I don't keer;
If I win, let me win lak a man.
Lost fohty-one dollars tryin' to win a dime;
Ev'y man plays in tough luck some time.
Railroad Bill was mighty sport,
Shot all buttons off high sheriff's coat,
Den hollered, "Right on, Desperado Bill!"
Honey babe, honey babe, where you been so long?
I ain't been happy since you been gone.
Dat's all right, dat's all right, honey babe.
Examples of Social Songs 203
Honey, babe, Honey babe, bring me de broom,
De lices an' chinches 'bout to take my room.
Oh, my baby, baby, honey, chile!
Honey babe, honey babe, what in de worl' is dat,
Got on tan shoes an' black silk hat?
Honey babe, give it all to me.
Talk 'bout yo' five an' ten dollar bill,
Ain't no Bill like ole Desperado Bill,
Says, right on, Desperado Bill.
Railroad Bill went out west,
Met ole Jesse James, thought he had him best;
But Jesse laid ole Railroad Bill.
Honey babe, honey babe, can't you never hear?
I wants a nuther nickel to git a glass o' beer.
Dat's all right, honey babe, dat's all right.
Other still less elegant verses must be omitted.
Some conception of popular standards of conduct and
dress, social life and the home may be gained from the
song.
lookin' for that bully of this town
In most communities there will be one or more
notorious characters among the Negroes. Often these
are widely known throughout the State, and they are
familiar names to the police. Sometimes they are
known for the most part to the Negroes. Such char-
acters, noted for their rowdyism and recklessness,
sometimes with a criminal record, are usually called
"bullies." To be sure, "Stagolee," "Railroad Bill,"
"Eddy Jones," and the others, were "bullies," but
they were special cases. The song "I'm Lookin for
204 The Negro and His Songs
That Bully of This town" represents a more general
condition. It is rich in portrayals of Negro life and
thought.
Monday I was 'rested, Tuesday I was fined,
Sent to chain gang, done serve my time;
Still I'm lookin' for that bully of this town.
The bully, the bully, the bully can't be found;
If I fin' that bully, goin' to lay his body down.
I'm lookin' for that bully of this town.
The police up town they're all scared;
But if I fin' that bully, I goin' to lay his body 'way,
For I'm lookin' for that bully of this town.
I'm goin' down on Peter Street;
If I fin' that bully, will be bloody meet,
For I'm lookin' for that bully of this town.
I went down town the other day,
I ask ev'ybody did that bully come this way.
I wus lookin' for that bully of this town.
Oh, the guv'ner of this State offered one hundred dollars
reward
To anybody's arrested that bully boy.
I sho lookin' for that bully of this town.
Well, I found that bully on a Friday night,
I told that bully I'se gwine to take his life;
I found that bully of this town.
I pull out my gun an' begin to fire,
I shot that bully right through the eye;
An' I kill that bully of this town.
Now all the wimmins come to town all dressed in red,
When they heard that bully boy was dead;
An' it was the last of that bully of this town.
Examples of Social Songs 205
What a picture the song gives of the bully and his
pursuer! The boasting braggart sees himself the hero
of the whole community, but chiefly among the women.
He is better than the police: they will even thank
him for his valor. The governor will give him his
reward. Everybody he meets he asks about the bully
boy, and takes on a new swagger. The scene of the
shooting, the reaching for the pistol, and the "layin-
down" of the bully's body — these offer unalloyed
satisfaction to the singer. Altogether it is a great
song, and defies a superior picture.
EDDY JONES
Other notorious characters are sung with the same
satisfaction. The characteristic pleasure and oblivion
of time accompany the singing. While at work one
may sing the words, whistle the tunes and visualize
the picture, thus getting a richer field of vision. When
alone, the Negro gets much satisfaction out of songs
like those here given. Likewise such songs are sung
in groups, at which times the singers talk and laugh,
jeer one another, and retort, thus varying the song.
"Eddy Jones" seems very similar in character to
"Stagolee."
Slow train run thru' Arkansas,
Carryin' Eddy Jones.
Eddy died with a special in his hand,
Eddy Jones, Eddy Jones.
Eddy Jones call for the coolin'-board,
Lawdy, lawdy, lawd!
Eddy Jones looked 'round an' said,
"Man that kill'd me won't have no luck."
206 The Negro and His Songs
Ain't it sad 'bout po' Eddy bein' dead?
Eddy Jones was let down in his grave.
What did Eddy say before he died?
He said, "Nearer, My God, to Thee."
Eddy's mother she weeped a day,
Lawdy, Eddy Jones, Eddy Jones!
The singer turns to the women, if they be present,
and sings:
You want me to do like Eddy Jones?
You mus' want me to lay down and die for you.
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 inva-
riably dies at peace with God. The conception com-
monly 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."
JOE TURNER
In much the same way the man who has been to the
chain gang or prison is looked upon with some sort
of admiration 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.
Examples of Social Songs 207
Come like he ain't never come befo'.
Come with that fohty links o' chain.
Tell-a me Joe Turner is my man.
CASEY JONES
A hero of less criminal intent 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 sub-
ordinates. It is interesting to hear them boasting of
what they would do in emergencies. The song that
follows gives a favorite version of the ballad.
Casey Jones wus engineer,
Told his fireman not to fear.
All he wanted was a 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-bye,
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."
208 The Negro and His Songs
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
portray 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.
JOSEPH MICA
Another version of the song as found in Georgia and
Alabama is sung in honor of "Joseph Mica." Atlanta
and 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.
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.
Examples of Social Songs 209
Why this is, the song does not tell. Brady, however,
must have been a pretty bad fellow, for he did not
stay 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.
FRANK AND JESSE JAMES
While there are still many song fragments current
about the notorious Jesse James, the only song found
which was in any way complete is as follows:
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's children cried for bread.
210 The Negro and His Songs
Went up on the wall, thought I heard a call,
Thought I heard a call 'bout Frank an' Jesse James.
THE NEGRO BUM
"The Negro Bum" is the name of a short song that
is a good exposition of the feelings of the vagrant.
I wus goin' down the railroad, hungry an' wanted to eat'
I ask white lady for some bread an' meat.
She give 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.
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 him-
self on being idle. It is also a term of fellowship.
In the 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.
The modern version with the automobile has not been
found.
Rubber-tired buggy, double-seated hack,
Well, it carried po' Delia to graveyard, failed to bring her
back.
Lawdy, one mo' rounder gone.
Examples of Social Songs 211
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 of mine.
Well, it's one mo' rounder gone.
I'M A NATU'AL BOHN 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 character-
istics. The "Eastman" is kept fat by the women
among whom he is 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 a Eastman on the road again.
212 The Negro and His Songs
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 can 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-ma kin' man done pass yo' gate.
You step out, let money-makin' man step in;
You a natu'al-bohn Eastman, you can come agin.
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.
I was bohn in a mighty bad Ian',
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 battleship,
I make a coon climb a tree.
Don't you never dare slight my repertation,
Or I'll break up this jamberee.
Well, well, I wus bohn in a mighty bad Ian',
For my name — name — is Bad-Man Stone.
In his volume Talley gives several rhymes which
are similarly descriptive of the "bad man," such as
"The Rascal" (p. 106) and "Strong Hands" (p. 167).
Two others are as follows:
Examples of Social Songs 213
WILD NEGRO BILL
(Talley, p. 94)
I'se wild Nigger Bill
Frum Redpepper Hill.
I never did wo'k, an' I never will.
I'se done killed de boss.
I'se knocked down de hoss.
I eats up raw goose widout apple sauce!
I'se Run-a-way Bill,
I knows dey mought kill;
But ole Mosser hain't cotch me, an' he never will!
LOOKING FOR A FIGHT
(Talley, p. 118)
I went down town de yudder night,
A-raisin' san' an' a-wantin' a fight.
Had a forty-dollar razzer, an' a gatlin' gun,
Fer to shoot dem niggers down one by one.
YOU MAY LEAVE, BUT THIS WILL BRING YOU BACK
It will be seen that the Negro loves to sing of trials
in court, arrest, idleness, crime, and bravado. The
tramp and the "rounder," the "Eastman" and the
''creeper" are but typical extremes. The notorious
characters sung are the objective specimens of the com-
mon 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.
214 The Negro and His Songs
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.
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 everyday life? He will get
enough to eat and a place to sleep. The Negro sings
with characteristic humor, "This Mornin', This Eve-
nin', So Soon," and mingles his scenes in such a way
that the singer enjoys them all.
Went up town wid my hat in my han' dis mornin',
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 bodder 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.
Other couplets are sung after the style of the verses
just given:
When you kill a chicken, save me the feet,
When you think I'm workin', I'm walkin' the street.
Examples of Social Songs 215
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.
BRER RABBIT
With the same chorus 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, three of which follow:
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 evenin', 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.
ev'ybody bin down on me
Doleful and gruesome verses are very much in vogue.
Repetition of lines makes a peculiar effect. The fol-
lowing song, which represents another phase of the
216 The Negro and His Songs
wantonness and simplicity of the Negro, is sung at
length. Each stanza is made to contain six lines by
repeating each line three times.
Ev'y since I lef dat country farm,
Ev'ybody bin down on me.
I killed a man, killed a man,
Nobody to pay my fine.
I went 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.
nobody's bizness but mine
Repeated much in the same way is the song "No-
body's Bizness but Mine." The sentiment is some-
what similar to the song " 'Tain't Nobody's Bizness
but My Own," but is more careless and care-free. The
chorus, which is repeated after each stanza or omitted
at will, is as follows:
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 third or chorus line is repeated
four times, thus doubling their length.
Goin' to my shack,
Ain't comin' back.
Nobody's bizness but mine.
Examples of Social Songs 217
Git up on my bunk,
Look in 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 No'th,
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.
The above song perhaps reaches a climax of the
happy and careless disposition of the vaudeville Negro.
Such pictures as he paints there, he sees vividly and en-
joys. There are many other verses which are sung,
but which will not permit reproduction.
i'm goin' back
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.
218 The Negro and His Songs
Well, some folks do say
Dat it is not a sin
If I takes a little toddy now an' then:
I'm goin' back.
I was born in sweet ole Alabam',
An' I do not give a damn,
Where I takes a little toddy now and then:
Well, I'm goin back.
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."
my babe, my babe, O my babe!
rollin' mill
In the "Rollin' Mill" the singer says there's no
more iron to ship to town. Sometimes he means he
will not 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.
Examples of Social Songs 219
Rollin' mill done shut down,
Ain't shippin' no mo' iron to town.
O babe, O babe!
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!
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 babe!
JULIA WATERS
In the next song the singer tells of his escape from
the county gang while he was supposed to be working
on the rocks. His song is almost as varied as his ex-
periences. He sings in a monotone-like chant:
Julia Waters! do you remember the day,
When we wus drivin' steel in ole rock querry,
1 tried to git away?
'Round de mountain I went skippin',
Thru' de weeds I went fiyin';
Outrun lightning-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" —
220 The Negro and His Songs
"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.
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
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 induce-
ments to Negroes to migrate for permanent work.
These agents went throughout the South, securing
large numbers of laborers. Many a family disposed
of their goods for a trifle in order to accept the flatter-
ing terms offered, for they thought that in the new
environment they would soom 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 money
enough 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 waiting at the station for the train
to carry him back "where he come frum." The song
is pathetic in its appeal.
Examples of Social Songs 221
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! heard whistle when it blow,
Blow lak^she ain't goin' blow no mo'.
(Train has come, now moves away)
Good-bye, 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.
k. c.
Still another version of the song represents a lone
laborer working near the railroad and watching the
222 The Negro and His Songs
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 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 believe 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.
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," or train-song music described in
Chapter V. 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.
Examples of Social Songs 223
Just as sho as train run through L. & N. yard,
I'm boun' to go home if I have, to ride de rod.
So good-bye, little girl, I'm scared to call yo' name;
Good-bye, 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-bye;
Please kiss yo' man, an' tell yo' man good-bye!
I'm goin' tell my mommer, whenever I git home,
How people treated me 'way off from home.
don't never git one woman on your mind
(Knife-Song)
Very much like the railroad-song is the knife-song,
which has also been described previously. Some-
times 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. In the follow-
ing song the verses consist of either a single line re-
peated or a rhyming couplet. Two lines are sung in har-
mony with the running of the knife over the string
of the 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.
224 The Negro and His Songs
'Fo' long, honey, 'fo' long, honey,
'Fo' long, honey, 'fo' long, honey;
L-a-w-d, 1-a-w-d, 1-a-w-d!
'Fo' long, honey, 'fo' long, honey,
'Fo' long, honey, 'fo' long, honey;
L-a-w-d, 1-a-w-d, 1-a-w-d!
Don't never git one woman on yo' min',
Keep you in trouble all yo' time.
L-a-w-d, 1-a-w-d, 1-a-w-d!
Don't never git one woman on yo' min',
Keep you in trouble all yo' time.
L-a-w-d, 1-a-w-d, 1-a-w-d!
Don't never let yo' baby have her way;
Keep you in trouble all yo' day.
Don't never take one woman for yo' frien';
When you out 'nuther man in.
I hate to hear my honey call my name;
Call me so lonesome an' so sad.
I got de blues an' can't be satisfied;
Brown-skin woman cause of it all.
That woman will be the death o' me,
Some girl will be the death o' me.
Honey, come an' go with me.
When I'm gone what yer gwine ter say?
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. Be-
sides, the knife adds zest.
I'm goin' 'way, won't be long,
I'm goin' 'way, won't be long;
L-a-w-d, 1-a-w-d, 1-a-w-d!
Examples of Social Songs 225
Went up town to give my troubles away,
Went up town to give my troubles away;
L-a-w-d, 1-a-w-d, 1-a-w-d!
Too good a man to be slided down.
Slide me down — I'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 whar 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.
GrVE ME A LITTLE BUTTERMILK
The Negro nearly always sings when he dances.
Many of his songs are easily converted into dance
songs, but some are especially adaptable to the rhythm
and swing of the dance, although their themes are
often very irrelevant. The instrument is more in-
centive to the dance than the song, but would be far
less effective without the singing.
Give me a little buttermilk, ma'am,
Give me a little buttermilk, ma'am,
Give me a little buttermilk, ma'am,
Please give me a little buttermilk, ma'am.
226 The Negro and His Songs
Ain't had none so long, so long,
Ain't had none so long, so long,
Ain't had none so long, so long,
Oh, I ain't had none so long!
The repetition is not unpleasant, but adds whatever of
charm there is to the line. The singer continues —
Cow in de bottom done gone dry.
Sister got so she won't churn.
Goin' to tell auntie 'fo' long.
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 —
Greasy greens!
Sister goin' pick them —
Greasy greens!
I goin' eat them —
Greasy greens!
Examples of Social Songs 227
LOST JOHN
Still other dance songs 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,
then another will be taken up.
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,
yes! come an' go with me.
1 got a honey here,
Yes, I got a honey here.
Goin' away to leave you,
Well, I goin' 'way to leave you.
228 The Negro and His Songs
LILLY
This song, sometimes called respectively "Pauly,"
"Frankie," "Lilly," has many versions both among
the whites and the Negroes. 1 It is the story of a
murder and the conviction of the murderer. 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 rec-
ognize verses common to Negro songs in general.
The song is an unusually strong portrayal of Negro
life and thought.
Lilly was a good girl evy'body 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 forty-fo' 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.
L See Cox, J. H., Folk Songs of the South, Harvard University Press,
1924, for several of these.
Examples of Social Songs 229
"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 infirmary.
He told the doctors he'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.
230 The Negro and His Songs
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 excursions with new red shoes;
An' it's one mo' rounder dote 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 cemetery, 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 got's daid an' gone."
BABY, LET THE DEAL GO DOWN
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,
Baby, let the deal go down,
Baby, let the deal go down.
I gamble all over Kentucky,
Part of Georgia, too.
Everywhere I hang my hat
Is home, sweet home, to me.
I lose my watch an' lose my chain,
Lose ev'ything but my diamon' ring.
Come here, all you Birmingham scouts!
Set down yo' money on number six.
Examples of Social Songs 231
When I left Kansas City, Missouri, had three hundred
dollars;
Soon as I struck Birmingham, put cup on me.
GET THAT MONEY
In this song, which has the same refrain line as the
preceding song, the Negro woman talks to her "man"
and tells him to go and get the money from that
"nigger up-stairs." To be sure of his safety, she asks
him what he would do if the fellow offered trouble.
This song also reflects the vaudeville adaptation.
It is sung in a sort of monotone.
"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 Ian'.
ODD FELLOWS HALL
Odd Fellows Hall, in most Negro communities, is
a general meeting place. So it happens often that
informal meetings like the one here mentioned are
held.
232 The Negro and His Songs
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 money,
'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."
I GOT MINE
A version of the once-popular song "I Got Mine"
has been adapted by the Negro 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'ything 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.
FALSE ALARM
Very much like the above is a scene given in a col-
loquy which may have been between two Negroes,
Examples of Social Songs 233
but more likely between four. They are playing a
game; and, being in constant fear of being apprehended,
they hear sounds that do not exist. They picture it
\vith 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 and 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.
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. What a description
he gives of himself and his environment, mingled
with absurdities, in the following song!
Nigger be 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.
234 The Negro and His Songs
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, Lawd, you shall be free!
Shout, mourner, Lawd, you shall be free!
Shout when de good Lawd 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, Lawd, you shall be free.
Nigger an' rooster had a fight,
Rooster knock nigger clean out o' sight,
Nigger say "Rooster, dat's all right,
Meet you at hen-house do' tomorrow night,
Singin' high-stepper, Lawd, you shall be free."
Two barrels apples, three barrels cheese;
When I git to heaven, goin' shout on my knees.
Shout to glory, Lawd, 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, Lawd, you shall be free.
When de good Lawd 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 Lawd shall set you free!
Examples of Social Songs 235
PANS O BISCUIT
For simplicity and exuberance of expression com-
bined one ought to see a crowd of small Negroes sing-
ing the following verses. With mouths open and
teeth shining, bodies swaying, they make a most in-
comparable 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!
WHEN DE BAND BEGINS TO PLAY
In the song "When the Band Begins to Play" the
Negro is at his best in clownish portrayal of unusual
scenes. The chorus, always sung after each stanza,
serves to unify the song, while the two-line refrain
gives a hilarity to the singing.
When de ban' begins to play,
When de ban' begins to play,
When de ban' begins to play.
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 de sleigh!
236 The Negro and His Songs
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 de 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.
Each of the following stanzas (sung with emphasis
and pause as if four short lines), is closed with the
"whoa-mule" refrain, while the original chorus, "When
the band begins to play," follows each stanza.
If you want to see dat mule kick,
If you want to hear him holler,
Tie a knot in his tail,
An' poke his head through a collar.
Went runnin' down to turkey-roose,
Fell down on his knees;
Liked to killed hisself a-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 small.
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.
Examples of Social Songs 237
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 Massa he raise a cow,
He knowed de day she was bohn.
Hit took a jay-bird seventeen years
To fly from ho'n to ho'n.
Ole Massa raised ole gray mule,
He knowed de day he wus born.
Ev'y tooth in his head
Would hold a barrel o' corn.
Ole Massa 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'.
"When the Band Begins to Play" is full of animal
lore. These stanzas or variations of them are sung by
the Negroes all over the South. In this connection
it might be stated that Talley's work contains at
least sixty songs or rhymes which may be classed under
animal lore. Interesting variations of some of the
above stanzas are found in his work, two of which are
as follows :
FRIGHTENED AWAY FROM A CHICKEN ROOST
(Talley, p. 95)
I went down to de hen-house on my knees,
An' I thought I heard dat chicken sneeze.
238 The Negro and His Songs
You'd oughter seed dis Nigger a-gittin' 'way frum dere,
But 'twusn't nothin' but a rooster sayin' his prayer.
How I wish dat rooster's prayer would en',
Den perhaps I mought eat dat ole gray hen.
SIMON SLICK'S MULE
(Talley p. 47)
Dere wus a liddle kickin' man,
His name wus Simon Slick.
He had a mule wid cherry eyes;
Oh, how dat mule could kick.
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. The music does not change as
much as in the case of the spirituals. The song
itself often becomes amusing because of its para-
phrases. "Goo-goo Eyes" was sung as 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 pinched
If you lay 'roun 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 Collins jail.
Den he rolled dem two white eyes.
Examples of Religious Songs 239
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 de biz,
Well, jus' 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,
Jus' 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, wan't he cheap! well, wan'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.
climbin' up the golden stairs
This song is thoroughly mixed with the old spirituals
and bears a slight resemblance to "In the Evening
by the Moonlight." 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.
240 The Negro and His Songs
If you think he is a fool,
Climbin' up the golden stairs;
He will treat you mighty rude,
Climbin' up the golden stairs.
CARVE 'iM TO DE HEART
"Carve Dat 'Possum" smacks with good times for
the Negro. His recipe is quite appetizing. This is a
well-known song, and much quoted.
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 Ian'.
Carve 'im to de heart.
Examples of Social Songs 241
Talley gives the words and music of a slightly dif-
ferent version of this song.
AN OPOSSUM HUNT
(Talley, p. 23)
'Possum meat is good an' sweet
I always finds it good to eat.
My dog tree, I went to see.
A great big 'possum up dat tree.
I retch up an' pull him in,
Den dat ole 'possum 'gin to grin.
I tuck him home an' dressed him off,
Dat night I laid him in de fros'.
De way I cooked dat 'possum sound,
I fust parboiled, den baked him brown.
I put sweet taters in de pan,
'Twus de bigges' eatin' in de Ian'.
CROSS-EYED SALLY
The Negro's tendency to put everything into song
is well illustrated by the following monotone song. The
singer appeared to be making it as he sang, all the while
picking his guitar in the regular way; but he repeated
it in the exact words except for the usual variations in
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 relation to man, it gives
splendid insight into Negro characteristics in the role
of the clown who has mixed his thought, wit, bits of
song and burlesque with the crude jokes he has heard.
242 The Negro and His Songs
Had ole gal one time, name was Cross-eyed Sally.
She was the blackest gal in Paradise Alley.
She had liver lips an' kidney feet.
Didn't know she was so black
Till I took a fire-coal one morning
An' make a white mark on her face.
An' I didn't know she was so cross-eyed
Till one morning 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 gal so bad when I tole her this
That she cried; an' in crying 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 hole 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 nothin'.
We looked in de trees an' yard
An' couldn't find nuthin'.
So my girl got oneasy, thought
Dere was no chickens 'round dere.
'Long 'bout 'leven or twelve 'clock dat night
I heard ole rooster crow in hollow
Back of de hen-house. I says,
"Look here, girl' dere's chickens here."
He couldn't set up an' not crow
For midnight nor mornin' neither.
Examples of Social Songs 243
So me 'n' her goes down, an'
Chickens was 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:
Bootlegs, 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 must a clam tree lak I did."
I reached 'round an' got ev'ry 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 was a cedar tree.
But Shanghai pullets kind o' eye I talkin' 'bout.
I got ever' kind o' freeze I seen but de weather,
An' it was hot when I went up dere. But
Freezlin' chicken what I'm talkin 'bout.
An' I got ever' kind o' leg I seen but thousand leg,
An' dey tells me dat's a worm, an' I didn't need him.
Bootlegged roosters — dem's de kind o' legs I got.
My girl say, "You better make haste
An' come down 'way frum 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, an' if dey do,
Times sho will be hard wid you."
I say, "Wait a minit! Here's sumpin. I don't know
Whether it's a bird or a chicken." I say,
"He mighty little, but he got feathers on.
I ketchin' ev'rything what got feathers on him."
244 The Negro and His Songs
Come to find out it wus little ole banter rooster.
I grabbed him an' jobbed into my sack.
I says, "Look out, girl, here dey comes."
She says, "Naw, don't throw dem chickens down here.
You may break or bruise or kill some uv them."
She say, "How in de worl' you goin'
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
Through de 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 like 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 foun' her de nex' evenin'. You know I tole you
She was so black I could take a fire-coal
An' make a white mark on her face. Well,
She was settin' up courtin' a great big nigger
Twice as black as she wus.
He look jes precise lak black calf
Lookin' through 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.
He look lak horse wid blin' bridle on.
So I goes up an says, "Good evenin', Lulu."
She wouldn't say a word.
I says, "How are you, mister?" An'
He wouldn't say a word neither.
Examples of Social Songs 245
I goes out-doors an' gits me a brick.
"Say! How do 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 reached up an' got my hat an' hollered,
"Good-bye, Miss Lulu, I'm gone — I'm gone."