Folk-Song and Folk-Poetry as Found in the Secular Songs of the Southern Negroes by Howard W. Odum
The Journal of American Folklore, Vol. 24, No. 93 (Jul. - Sep., 1911), pp. 255-29
FOLK-SONG AND FOLK-POETRY AS FOUND IN THE SECULAR SONGS OF THE SOUTHERN NEGROES
BY HOWARD W. ODUM
An examination of the first twenty volumes of the Journal of American Folk-Lore, and a study of the published folk-songs of the Southern negroes, reveal a large amount of valuable material for the student of folk-songs and ballads. Investigation of the field indicates a still larger supply of songs as yet not collected or published. Unfortunately the collection of these songs has been permitted to lapse within recent years, although there is no indication that even a majority have been collected. In fact, the supply seems almost inexhaustible, and the present-day negro folk-songs appear to be no less distinctive than formerly. It is hoped that special efforts will be made by as many persons as possible to contribute to the negro department of American folk-lore as many of the songs of the Southern negroes as can be obtained. That they are most valuable to the student of sociology and anthropology, as well as to the student of literature and the ballad, will scarcely be doubted.
Two distinct classes of folk-songs have been, and are, current among the Southern negroes, — the religious songs, or "spirituals;" and the social or secular songs. An examination of the principal collections of negro songs, a list of which is appended at the end of this paper, shows that emphasis has been placed heretofore upon the religious songs, although the secular songs appear to be equally as interesting and valuable. My study of negro folk-songs included originally the religious and secular songs of the Southern negroes; analysis of their content; a discussion of the mental imagery, style and habit, reflected in them; and the word-vocabulary of the collection of songs. The religious songs have already been published in the American Journal of Religious Psychology and Education (vol. iii, pp. 265-365). In order to bring this paper within the scope and limits of the Journal of American Folk-Lore, it has been necessary to omit the introductory discussion of the songs, for the most part, and to omit entirely the vocabulary and discussion of the mental imagery, style and habits, of the negro singers. In this paper, therefore, only the secular songs are given, which in turn are divided into two classes, — the general social songs, and work songs and phrases.
To understand to the best advantage the songs which follow, it is necessary to define the usage of the word "folk-song" as applied in this paper, to show how current negro songs arise and become common property, to note their variations, and to observe some of the occasions upon which they are sung. Each of these aspects of the Southern negro's songs is interdependent upon the others; the meaning of the folk-songs is emphasized by the explanations of their origin and variations; the singing of the songs by many individuals on many occasions emphasizes the difficulty of confining any song to a given locality or to a single form; and the value of the song is increased as it passes through the several stages.
The songs in this collection are "negro folk-songs," in that they have had their origin and growth among the negroes, or have been adapted so completely that they have become the common songs of the negroes. They are "folk-poetry which, from whatever source and for whatever reason, has passed into the possession of the folk, the common people, so completely that each singer or reciter feels the piece to be his own." [Dr. John Meier, quoted by Professor H. M. Belden, Journal of American Folk-Lore, vol. xxiv. p. 3.]Each singer alters or sings the song according to his own thoughts and feelings. How exactly this applies to the negro songs may be seen from the explanations which follow, and from the study and comparison of the different songs. It is not necessary, therefore, in order to classify the songs as negro songs, to attempt to trace each song to its origin or to attempt to determine how much is original and how much borrowed. Clearly many of the songs are adapted forms of well-known songs or ballads; others, which in all probability had their origin among the negroes, resemble very strongly the songs of other people; while still others combine in a striking way original features with the borrowed. In any case, the song, when it has become the common distinctive property of the negroes, must be classed with negro folk-songs. Variations of negro folk-songs among themselves may be cited as an illustration of this fact. Likewise there is abundant material for comparing with well-known folk-songs or ballads of other origins. One may note, for instance, the striking similarity between the mountain-song —
"She broke the heart of many poor fellows,
But she won't break this of mine"—
and the negro song "Kelly's Love," the chorus of which is, "You broke de heart o' many a girl, But you never will break dis heart o' mine."
Or, again, compare the version of the Western ballad, "Casey Jones," — which begins,
"Come, all you rounders, for I want you to hear
The story told of an engineer.
Casey Jones was the rounder's name,
A heavy right-wheeler of mighty fame,"—
with the negro song, " Casey Jones," which begins,
"Casey Jones was an engineer,
Told his fireman not to fear,
All he wanted was boiler hot,
Run into Canton 'bout four 'clock,"
and, having recited in a single stanza the story of his death, passes on to love affairs, and ends, _
"Wimmins in Kansas [Canton] all dressed in red,
Got de news dat Casey was dead;
De wimmins in Jackson all dressed in black,
Said, in fact, he was a cracker-jack."
Thus Canton and Jackson, Mississippi, are localized; in "Joseph Mica" similar versions are found, and localized in Atlanta and other cities,—
"All he want is water 'n coal,
Poke his head out, see drivers roll;"
and the entire story of the engineer's death is told in the verse,
"Good ole engineer, but daid an' gone."
In the same way comparisons may be made with "Jesse James," "Eddy Jones," "Joe Turner," " Brady," "Stagolee,"of the hero-songs; "Won't you marry me?" "Miss Lizzie, Won't you marry me?" "The Angel Band," and others similar to some of the short Scottish ballads and song-games of American children; and " I got mine," "When she roll dem Two White Eyes," " Ain't goin' be no Rine," and many others adapted from the popular "coon-songs;" together with scores of rhymes, riddles, and conundrums. In any case, the songs with the accompanying music have become the property of the negroes, in their present rendition, regardless of their sources or usage elsewhere.
In the same way that it is not possible to learn the exact origin of the folk-songs, or to determine how much is original and how much traditional, it is not possible to classify negro songs according to the exact locality or localities from which they come. The extent to which they become common property, and the scope of their circulation, will be explained in subsequent discussions of the songs. The best that can be done, therefore, is to classify the songs according to the locality from which they were collected,* and to give the different. [*Such declassification, by numbers, is given at the conclusion of this article.]
Versions of the same song as they are found in different localities. The majority of the songs collected from Lafayette County, Mississippi, were also heard in Newton County, Georgia; and a large number of the songs heard in Mississippi and Georgia were also heard in Tennessee (Sumner County). From many inquiries the conclusion seems warranted that the majority of the one hundred and ten songs or fragments here reported are current in southern Georgia, southern Mississippi, parts of Tennessee, and the Carolinas and Virginia. It may well be hoped that other collections of negro songs will be made, and that similarities and differences in these songs may be pointed out in other localities, as well as new songs collected. The large number of "one-verse songs "and "heave-a-hora's" were collected with the other songs, and are representative of the negro song in the making.
In studying the negro's songs, three important aids to their interpretation should be kept in mind,— first, facts relating to the manner of singing, and the occasions upon which they are sung; second, the general classes of negro songs, and the kinds of songs within each class; and, third, the subject-matter, methods of composition, and the processes through which the songs commonly pass in their growth and development. The majority of songs current among the negroes are often sung without the accompaniment of an instrument. The usual songs of the day, songs of laborers, of children, and many general care-free songs, together with some of the songs of the evening, are not accompanied. In general, the majority of the songs of the evening are accompanied by the "box" or fiddle when large or small groups are gathered together for gayety; when a lonely negro sits on his doorstep or by the fireside, playing and singing; when couples stay late at night with their love-songs and jollity; when groups gather after church to sing the lighter melodies; when the "musicianers," "music physicianers," and "songsters" gather to render music for special occasions, such as church and private "socials," dances, and other forms of social gatherings. Special instances in which a few negroes play and sing for the whites serve to bring out the combined features of restrained song and the music of the instrument. The oldtime negro with his "box" (a fiddle or guitar), ever ready to entertain the " white folks " and thus be entertained himself, is less often observed than formerly. The majority of younger negroes must be well paid for their music. In the smaller towns, such negroes not infrequently organize a small "ochestra," and learn to play and sing the new songs. They often render acceptable music, and are engaged by the whites for serenades or for occasions of minor importance. They do not, however, sing the negro folk-songs.
Of special importance as makers and mediums for negro folk-songs are the "music physicianers," "musicianers," and "songsters." These terms may be synonymous, or they may denote persons of different habits. In general, "songster" is used to denote any negro who regularly sings or makes songs; "musicianer" applies often to the individual who claims to be expert with the banjo or fiddle; while "music physicianer" is used to denote more nearly a person who is accustomed to travel from place to place, and who possesses a combination of these qualities; or each or all of the terms may be applied loosely to any person who sings or plays an instrument. A group of small boys or young men, when gathered together and wrought up to a high degree of abandon, appear to be able to sing an unlimited number of common songs. Perhaps the "music physicianer "knows the " moest songs." With a prized "box," perhaps his only property, such a negro may wander from town to town, from section to section, loafing in general, and working only when compelled to do so, gathering new songs and singing the old ones. Negroes of this type may be called professionals, since their life of wandering is facilitated by the practice of singing. Through their influence, songs are easily carried from place to place. There are other " music physicianers " whose fields of activity are only local. In almost every community such individuals may be found, and from them many songs can be obtained. From them and from promiscuous individuals, a "musicianer" may be influenced to obtain songs new to himself, which he, in turn, will render to the collector. Finally, a group of young negroes, treated to a "bait" of watermelons or to a hearty meal, make excellent" songsters" in the rendering of the folk-songs. In addition to these special cases, it is a constant source of surprise to the observer to learn how many songs the average negro knows; and they may be heard during work hours, or, in some cases, by request.
The great mass of negro songs may be divided into three general classes, the last of which constitutes the folk-songs as commonly used, — first, the modern " coon-songs " and the newest popular songs of the day; second, such songs greatly modified and adapted partially by the negroes; and, third, songs originating with the negroes or adapted so completely as to become common folk-songs. The first class of songs is heard more frequently by the whites. All manner of "ragtimes," " coon-songs," and the latest "hits," replace the simpler negro melodies. Young negroes pride themselves on the number of such songs they can sing, at the same time that they resent a request to sing the older melodies. Very small boys and girls sing the difficult airs of the new songs with surprising skill, until one wonders when and how they learned so many words and tunes. The second class of songs easily arises from the singing of popular songs, varied through constant singing or through misunderstanding of the original versions. These songs appear to be typical of the process of song-making, and indicate the facility of the negroes in producing their own songs from material of any sort. The third class of negro songs is made up of the " folk-songs" proper; and while the variations of the songs of the first and second classes would constitute an interesting study, they are in reality not negro songs. Accordingly, only those that have become completely adapted are given in this collection. In all of these the characteristic music and manner prevail, and the principal characteristics may be enumerated simply. The music may be reduced to a few combinations. The harmonies are made up mostly of minor keys, without reference to studied combinations or movement toward related keys. There is much repetition in both words and music. The song and chorus are adapted to an apparent mood or feeling. Verses are sung in the order in which they occur to the singer, or as they please the fancy. The great majority of the songs are made up of repetitions, but they do not tire the singers or the hearers. The negro song often begins with one conception of a theme, and ends with another entirely foreign to the first, after passing through various other themes. This may be explained by the fact that when the negro begins to sing, he loves to continue, and often passes from one song to another without pausing. In time he mingles the two or more songs. Most of the groups and "socials," and especially the dance, require continuous music for a longer period of time than the average song will last. It thus happens that the negro could sing the great majority of his songs to a single tune, if the necessity called for it; although it is likely that the last part of his melody would scarcely be recognizable as that with which he began. In words, as in music, variation seems unlimited. As is pointed out subsequently, and as was true in the case of the religious songs, there is no consistency in the use of dialect. Perhaps there is less consistency in the social songs than elsewhere. It is common for the negro to mingle every kind of song into one, or to transpose the one from its usual place or origin to any other position. Thus "coon-songs," "rag-times," "knife-songs," "devil-songs," "cornsongs," "work-songs," — all alike may become love-songs or dancing "breakdowns." The original names given to such songs serve to distinguish them in the mind of the negro, rather than to indicate their separateness. However, the distinctions are often made clearly enough for a definition of what the negro means to be made.
The "musicianer" will play many "rag-times," which he carefully names, and calls off with pride. Usually they are not accompanied by words, but are represented on the fiddle or guitar. When he is through with these, he will offer to play and sing " some song." This he does to precisely the same music as the "rag-time." With the words, it is a song; without the words, it is a "rag-time," in which case the negro puts more life into the music. Likewise the "knifesong " is by origin instrumental only, but it is regularly associated with several songs of many verses. Its name is derived from the act of running the back of a knife along the strings of the instrument, thus making it " sing " and " talk " with skill. Instead of the knife, negroes often carry a piece of bone, polished and smooth, which they slip over a finger, and alternate between picking the strings and rubbing them. This gives a combination of fiddle and guitar. The bone may also serve as a good-luck omen. The knife, however, is more commonly used. The "musicianer" places his knife by the side of the instrument while he picks the strings and sings. He can easily take it up and use it at the proper time without interrupting the harmony. In this way the instrument can be made to "sing," "talk," "cuss," and supplement in general the voice and the ringing of the fiddle or the tinkling of the guitar. It is undoubtedly one of the negro's best productions, and defies musical notation to give it full expression.
The " train-song" derives its name from its imitation of the running train. The most popular name for it is "The Fast Train." The negro's fondness for trains and railroad life has been observed. In the railroad-songs that follow, the extent to which the train appeals to the negro may be seen. In no way is this spirit better portrayed than in the train-songs, which picture to the vivid imagination the rapidly-moving train. This imitation is done by the rapid running of the fingers along the strings, and by the playing of successive chords with a regularity that makes a sound similar to that of the moving train. The train is made to whistle by a prolonged and consecutive striking of the strings, while the bell rings with the striking of a single string. As the negroes imagine themselves observing the train, or riding, the fervor of the occasion is increased; and when "she blows for the station," the exclamations may be heard, "Lawd, God, she's a-runnin' now!" or, "Sho' God railroadin'!" with others of a similar nature. The train "pulls out" from the station, passes the road-crossings, goes up grade, down grade, blows for the crossing, blows for smaller stations, blows for the operators at the stations, rings the bell for crossings and for stopping the train; this train meets the "express" and the mail-train, blows for the side-track, rings the bell; the mailtrain in turn whistles, rings the bell, passes; both bells ring, and they continue on their run; the wheels are heard rolling on the track and crossing the joints in the rails. If the song is instrumental only, the man at the guitar announces the several stages of the run. If the song is one of words, such as the railroad-songs cited subsequently, the words are made to heighten the imagination, and between the stanzas there is ample time to picture the train and its occupants.
I. GENERAL SOCIAL SONGS
A study of the social songs current among the Southern negroes shows that they have arisen from every-day life, and that they portray many of the common traits and social tendencies. The majority may be said to have sprung up within comparatively recent years. For the subject-matter of his songs, the negro has drawn freely upon his favorite themes; and the growth and development of his songs have been spontaneous and natural. The singers are often conscious that they are singing folk-songs, and they attempt to pose as the authors; others give interesting stories to show how they learned the songs; while many negroes are averse to singing or collecting such songs for those desiring them. The accounts given by negroes concerning the origin and authorship of their songs, while most interesting, are quite misleading, for the most part. One negro affirmed that he had heard a song " played by a white lady in New York," and that, from hearing it there, he had learned to reproduce the music on his guitar and sing the song to accompany it. Another affirmed that he got the same song from a neighboring town, and that he had been forced to pay dearly for it (therefore he should be rewarded accordingly). The song was one of the widest known of the negro songs. So, too, negro singers may often purposely mislead the investigator by misquoting the song, or by giving verses which they have got from books or papers, or heard from " coon-songs." Many negroes maintain that they are the original authors of the songs they sing, and they are able to give apparent good evidence to substantiate the statement. Even if one were inclined to accept such testimony, it would be a difficult matter to select the author from a number who thus claim to have composed the song. This is well illustrated by the young negro who wished to call out his name before each song which he was singing into the graphophone. "Song composed by Will Smith of Chattanooga, Tennessee," he would cry out, then begin his song; for, he maintained, these songs would be sung all over the world, and he deserved the credit for them. His varied song furnished excellent material for getting the characteristic notation of the music. Once or twice he hesitated before giving his name as the author, and several times said he guessed that the song was composed by some other person whose name he wished to give. This person was a " partner rounder " of his acquaintance; and when told that the origin of a song which he was singing was not that which he gave, but was well known, he begged to have his name taken away, adding that he only meant to say, "Song sung by Will Smith." This may be cited as an illustration of the difficulty of getting at the origin of a song through the negroes. In no case could the general testimony be accepted for any purpose other than to give an insight into the negro's own conception of the possible origin of songs.
The negroes have many songs which they call "one-verse songs." By this they mean a single line, repeated again and again, constituting the entire song. Usually the line is repeated with regularity, so that it makes a stanza of two, four, or six lines, sometimes three and five. In such cases the last repetition adds some word or exclamation, as "oh," "my," "yes," "well," "and," "so," and others. The great majority of negro songs which are current now are "one-verse songs," and almost all have arisen and developed along the one-verse method. A close examination of the songs that follow in subsequent pages will show the processes. In this way the origin of song is simple and natural. Any word may lead to a phrase which itself becomes a one-verse song, and naturally calls for a rhyme and additional verses. A negro is driving a delivery-wagon; the weather is cold, and the wind is blowing with a drizzling rain. He pulls his coat around him, and says, "The wind sho' do blow." Not having any special song which he wishes to sing at the moment, he sings these words and others: "Sho' God is cold dis mornin'," "Ain't goin' to rain no mo'," "Goin' where chilly win' don't blow." In the same way he sings whatever happens to be foremost in his mind. Perhaps it is, " I bin workin' so long — hungry as I kin be;" "Where in de worl' you bin?" "I'm goin' 'way some day;" "Jus' keep a knockin' at yo' do';" "Had a mighty good time las' night;" or as many others as there are common scenes in the negro's life. The examples given in the list of one-verse songs will serve to illustrate further this common origin of many of the negro songs. In the same general way the prose or monotone songs have arisen. The negro often talks to himself; his singing is simply a musical " thinking out loud." His monologues uttered in a monotone manner lead to song. Perhaps he will talk to himself a while, then sing the same words that he has been uttering. Pleased with this effect, he may then introduce his chant into a group. Such a song is given farther on.
1. DONY GOT A HOLE IN DE WALL
"A girl was luvin' a coon," so the story goes, "an' she thought he did not go to see any other girl; she found out he did, an' she made a hole in the wall of her house so she could watch an' see did her lover go to see any other coon. Her luvin' man found this out an' it made him laugh; an' he wus sorry, too." Thus is given the origin of a bit of song. The lover makes a song, and says, —
"Dony got a hole in de wall,
Dony got a hole in de wall,
Dony got a hole in de wall,
Oh, my Dony got a hole in de wall.
"Baby weahs a number fo' shoe,
Baby weahs a number fo' shoe,
Baby weahs a number fo' shoe,
Oh, my baby weahs a number fo' shoe."
In this way the negro makes a story back of the song. If it is a lover's song, he tells of a particular man and his woman. If it is Railroad Bill, he tells when and where he lived and what he did, then sings the song. If it is another "bully boy," the same is true. If the song be that of the wanderer, he tells of the adventures; if it is of a murder, he narrates the story of arrest and trial. A study of the songs reveals the immense possibilities for stories back of the song. No song is enjoyed so much as when the singer has told his story before singing it. In theory at least, then, the negro song is based on incident; in practice it develops through the common events of negro life. Indeed, one may accept the statement that many of their songs are actually derived from story; but there may be as many variations to the song and story as there are negroes who sing it.
Individuals among the negroes take pride in making secular songs, as they do in claiming the composition of religious songs. Enough has been- said to indicate this habit. But undoubtedly the negro has a consciousness of power or ability to create new songs when he wishes to do so. This very feeling enables him to make his boasts true. Most negroes are bright in composing songs of some kind. Besides being led to it by their own assertions, they enjoy it. It matters little what the theme is, the song will be forthcoming and the tune applied. Nor would one suspect that the song was a new one, were it not for its unfinished lines and the lack of characteristic folk-song qualities. In the examples here given it will be seen that the lines do not have the finished form of the older songs. In time they too may become good folk-songs.
2. MULE-SONG
The negroes have much to say about the mule in their work, and have much to do with him in actual life. Their songs also contain references to him. A mixture of parts of song added to experience and imagination produced the following " mule-song:"
"I went up Zion Hill this mornin' on a wagon,
I went on a wagon up Zion's Hill this mornin',
The durn ole mule stop right still this mornin', this mornin', so soon.
"I got out an' went 'round to his head this mornin',
I got out an' went 'round to his head this mornin',
The durn ole mule was standin' there dead, this mornin', so soon.
"Yes, I hollow at the mule, an' the mule would not gee, this mornin',
Yes, I hollow at the mule, an' the mule would not gee,
An' I hit him across the head with the single-tree, so soon."
The negro expected that his song would be a humorous one, as indeed it is. Such songs lack the rhyme and more regular measures, and employ words at random to fill out the lines.
3. THE NEGRO AND HIS MULE
In the following song the same characteristics may be observed:
"Say, look here, Jane!
Don't you want to take a ride?"—
"Well, I doan care if I do."
So he hitch up his mule an' started out.
Well, it's whoa, mule, git up an' down,
Till I say whoa-er, mule.
Well it's git up an' down
Jus' fas' as you can,
Fer I goin' to buy you
All of de oats an' bran.
An' it's whoa-er mule, git up an' down,
Till I say whoa-er mule:
Ain't he a mule, Miss Jane — 'm — huh.
4. POOR JOHN
In the next song may be observed a peculiarly mixed imagery. Quite a number of phrases are borrowed from other songs, but the arrangement is new. "Poor John" is a common character with the negro; stabbing and running are common accomplishments with the criminal. The other scenes, losing his hat, falling down the steps, the cry of murder, and the policemen, all appeal to the imagery of the negro. He sings, with a combination of vaudeville rhyme,—
"Yes, he caught poor John with his hawk-tail coat,
An' he stab him to the fat;
He ran the race an' he run so fas',
Till he bust his beaver hat.
"Poor John fell down them winding steps,
Till he could not fall no further;
An' the girls all holler murder;
Go tell all policemen on this beat to see,
Can't they catch that coon.
"'What coon am you talkin' about?'
'The coon that stab po' John;
I'm goin', I'm goin', to the shuckin' o' de corn,
I'm goin' jus' sho's you born.' "
5. AT THE BALL
An adopted form of an old song, "Won't you marry me," but equally as true in its representative features, is the song " At the Ball." Here the rhyming effort is clearly felt, and the picture is definitely portrayed. The negro's idea of courtship may here be hinted at, as it has been in many of the songs that follow.
Yes, there's going to be a ball.
At the negro hall;
Ain't you goin'?
Lizzie will be there,
Yes, with all her airs;
Don't you want to see the strolling?
Ha, ha, Miss Lizzie, don't you want to marry me — marry met
I will be as good to you as anybody — anybod-e-e,
If you'll only marry me.
Yes, I goin' to the negro hall,
Have a good time, that's all,
For they tell me Miss Lizzie will be there;
An' you bet yo' life,
I goin' win her for my wife,
An' take her home to-night.
Well, Miss Lizzie could not consent,
She didn't know what he meant,
By askin' her to marry him;
Well, Miss Lizzie couldn't consent,
She didn't know what he meant,
By askin' her to marry him.
So he got down on his knees,
"O Miss Lizzie, if you please,
Say that you will marry me;
An' I'll give you every cent,
If I git you to consent,
If you'll only marry me."
6. WHEN HE GITS OLD — OLD AN' GRAY
There are apparently a good many sayings current among the negroes about the whites. Few of these, however, are heard by any save the negroes themselves. Likewise the songs of this nature would scarcely be sung where the whites could hear them. Two of these are here given. The first is a reply to the accusation that the negroes are nothing more than apes or monkeys. As the story goes, it is likely that the song originated with a bright negro's retort behind the back of a white who had called him an ape. "That's all right," said the negro in the preverbial phrase; but
When he gits old,
old and gray,
When he gits old,
old and gray.
Then white folks looks like monkeys,
When dey gits old, old an' gray.
It is needless to say that the song struck a responsive note as well as appealed to the negro as a very bright song for the occasion. In fact, it must be admitted to be a good rejoinder. The subtle and sulky manner in which it is sung is a powerful comment on the negro's growing sense of race feeling. Whether there are other verses to this comment on the aged whites has not been ascertained.
7. AIN'T IT HARD TO BE A NIGGER
The second song which is now well known is composed of two popular rhymes about the negro and the white man, together with other verses composed to make an agreeable song and to make suitable rhymes and combinations. The effort to make a complete song is easily felt as one reads the words. The tune may be one that the singer happens to think of; it matters little which he chooses. The theme " Ain't it Hard?" is one that is common in negro life and song. He sings, —
"Ain't it hard, ain't it hard,
Ain't it hard to be a nigger, nigger, nigger?
Ain't it hard, ain't it hard,
For you can't git yo' money when it's due.
"Well, it make no difference,
How you make out yo' time;
White man sho' bring a
Nigger out behin'.
"Nigger an' white man
Playin' seven-ups;
Nigger win de money—
Skeered to pick 'em up.
"If a nigger git 'rested,
An' can't pay his fine,
They sho' send him out
To the county gang.
"A nigger went to a white man,
An' asked him for work;
White man told nigger,
'Yes, git out o' yo' shirt.'
"Nigger got out o' his shirt
An' went to work;
When pay-day come,
White man say he ain't work 'nuf.
"If you work all the week,
An' work all the time,
White man sho' to bring
Nigger out behin'."
The above song illustrates the method of making song out of rhymes, fragments, sayings, and improvised rhymes. The song as heard in its present form was collected in Newton County, Georgia. In a negro school in Mississippi, at a Friday afternoon "speaking," one of the children recited for a "speech" the stanza "Nigger an' white man playin' seven-ups," etc., exactly as it occurs in the song. The stanza ending "white man sho' bring nigger out behin'" incorporates the exact sentiment of an old ex-slave who maintained that in slavery and out of slavery the white man always brought the nigger out behind. So also it is a most common saying among the negroes that "if nigger git 'rested, he sho' be sent to gang." The other two stanzas are clearly made to order in the effort to make song and rhyme. However, this mixed assortment of verses and sentiments made a most attractive song when sung to a common tune.
Just as in the religious songs many verses are composed with the avowed intention of contributing a song, so in the secular songs original "poems" are turned into songs. One thrifty teacher wrote verses on the sinking of the " Maine," to be sung to the tune of" John Brown's Body," etc.; another, called "Hog-killin' Time," to be sung to the tune of "The Old Oaken Bucket." While such songs do not ordinarily become standard folk-songs, they illustrate the ease with which any sort of song may arise and become current. Thus the " songster" closes his description of a day's ploughing in the hot month of June:
"Dem skeeters dey callin' me cousin,
Dem gnats dey calls me frien',
Dem stingin' flies is buzzin',
Dis nigger done gone in."
Enough has been pointed out to show something of the environment of the negro songs. Further explanations and analysis must be made in connection with the songs themselves. It was pointed out that the negro's religious songs did not lend themselves to exact classification. The social songs can be classified with no more exactness than can the spirituals. The best that can be done is to arrange the songs according to a partial analysis of the subject-matter; but any such classification must be considered entirely flexible, just as, for instance, work-songs may be sung on occasions where no work is done, and just as any popular song may be adapted to become a work-song. Themes are freely mingled; verses, disjointed and inconsequential, are sung to many tunes and variations. Repetition of words and thought is thus most common. Each song may consist of a number of themes, which in turn are sung to other songs of other subject-matter. Thus it happens that it matters little what the song is called, provided it is given its proper setting. In the songs that follow, not infrequently a song is reported as having only three orfour stanzas, whereas stanzas already reported are included by the singer until his song is as long as desired. The effort is made to avoid as much repetition 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 generally be omitted 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 connectives, assyndeton in its freest usage, mark many negro verses, while the insertion of interjections and senseless phrases go to the other extreme. Such peculiarities may be best noted when the songs are studied. In the songs that follow, the words of the chorus are italicized. It should be remembered that in addition to beginning and ending the song with the regular chorus, 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; but here the negro sings of woman, and the desire for pity and love, as the accompanying feelings of the wanderer. These references must be added to those songs of the next division which tell of woman, sweetheart, and love. In no phases of negro life do the negro's self-feeling and self-pity manifest themselves more than in the plaintive appeals of the wandering negro. With his characteristic manner, he appeals to both whites and blacks for pity and assistance. As the tramp invents many ingenuous stories in order to arouse the pity of those whom he meets; as the cook tells of many misfortunes in the family, thinking thus to secure more provisions, — so these songs portray the feelings of the negro vagrant. He especially appeals to his women friends, and thus moves them to pity him. His appeals to their sympathy are usually effective; and the negro thus gets shelter, food, and attention. The wandering "songster" takes great pride in thus singing with skill some of his favorite songs; then he can boast of his achievements as "a bad man" with his "box." As he wanders from negro community to community, he finds lodging and solace. So the negroes at home take up the songs, and sing them to their companions, this constituting perhaps 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.
8. PO' BOY LONG WAY FROM HOME
In the following song, which is sometimes sung with the knife instrumental music described elsewhere, each stanza consists of a single line repeated three 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.
|: 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. :|
My mother daid an' my father gone astray,
You never miss yo' mother till she done gone away.
|: Come 'way to Georgia, babe, to git in a home. :|
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.
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.
In the same way the following " one-verse" songs are added:
|: Shake hands an' tell yo' babe good-by. :|
Bad luck in de family sho' God fell on me.
Have you got lucky, babe, an' then 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 rais'.
9. ON A HOG
Very much like the above song is "On a Hog," which means the condition of a " broke ho-bo " or tramp. By " broke" he means the usual state of being without money, or place to sleep, or food to eat. The song, 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, :| {three times)
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."
10. FRISCO RAG-TIME
Even more disjointed and senseless is the song called, for convenience at the moment, " Frisco Rag-Time," "K. C," or any other railroad name that happens to be desired. The song may be sung by man or 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 viewpoint be indicated in the reference to man. Such is sometimes the case; but usually the negro sings the 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 will be portrayed with clear vision by the negro singer.
|: Got up in the mornin', couldn't keep from cryin', :| {three times)
Thinkin' 'bout that brown-skin man o' mine.
|: Yonder comes that lovin' man o' mine, :| {three times)
Comin' to pay his baby's fine.
|: Well, I begged the jedge to low' my baby's fine, :| {three times)
Said de jedge done fine her, clerk done wrote it down.
|: Couldn't pay dat fine, so taken her to de jail. :| {three times)
|: So she laid in jail back to de wall, :| {three times)
Dis brown-skin man cause of it all.
|: No need babe tryin' to throw me down, :| {three times)
Cause I'm po' boy jus' come to town.
|: But if you don't want me, please don't dog me 'round, :| {three times)
Give me this money, sho' will leave this town.
|: Ain't no use tryin' to send me 'roun', :| {three times)
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.
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 given 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 serve to add concreteness to the song. So instead of Birmingham, the negro may sing Atlanta, Chattanooga, or any other city that ranks as a favorite among the negroes. Besides the feeling of the wayward wanderer, the scenes of court and jail are here pictured. Another division of song will group these scenes together. The difficulty of any sort of accurate classification of such a song is apparent. In addition to the words of the wandering man, this song gives also an insight into the reckless traits of the negro woman, which are clearly pictured in many of the negro love-songs.
11. LOOK'D DOWN DE ROAD
Mixed in just the same way, and covering a number of themes, utterly without sense-connection, 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.
Look'd 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. :|
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 Police S. creeps.
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.
Here, again, the local policeman is always spoken of as creeping around the bedside. It makes an interesting comparison 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. So in the last stanza the negroes sing, " If my good man quit me, my main man throw me down." 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.
12. 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. He sings, —
"If I die in Arkansa',
Oh, if I die in Arkansa',
If I die in Arkansa',
Des ship my body to my mother-in-law.
|: "If my mother refuse me, ship it to my pa. :|
|: "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 wonderful rhyme and sentiment, the singer merges into plaintive appeal, and sings further, —
|: " Pore ole boy, long ways from home, :|
Out in dis wide worl' alone."
Suppose he should die! Suppose he has no friends! How he pities himself! Indeed, he is a forlorn being, and his emotions might well be wrought up.
13. GOT NO WHERE TO LAY MY WEARY HEAD
Another song, also called "Po' Boy 'way from Home," repeats much the same sentiment; and besides many verses of other songs, the singer adds, —
|: "I want to see do my baby know right from wrong, 0 babe! :|
|: "Well, I got no where to lay my weary head, O babe! :|
|: "Well, a rock was my pillar las' night, O girl!" :|
Thus repetition makes a long song of a short one.
14. BABY, YOU SHO' LOOKIN' WARM
So in the next song, "Baby, You sho' lookin' Warm," three lines are alike, while the fourth 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, : | (three times)
O my babe! you sho' lookin' warm.
| : Baby, I'm feelin' so tired, : | (three times)
O my babe! I'm feelin' so tired.
| : Got no whar' to lay my weary head, : | (three times)
O my babe! got no whar' to lay my weary head.
| : Sometimes I'm fallin' to my face, : | (three times)
O my babe! sometimes I'm fallin' to my face.
I'm goin' whar' de water drinks like wine, (as before)
Gwine whar' I never been befo'. (as before)
Baby, I love the clothes you wear, (as before)
Whar' in de worl' my baby gone? (as before)
Gone away never come back no more, (as before)
15. TAKE YOUR TIME
"Take your Time" represents the negro in a more tranquil and independent state of mind. It matters little what the circumstances may be, he does not care: there's no hurry, so "take your time." And these circumstances are varied enough: from the home to the court he is rambling aimlessly about.
Baby, baby, didn't you say,
You'd work for me both night and day?
Take your time, take your time.
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 me?
Take yo' time, take yo' time.
Went down country 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 court-house 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 dere 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.
I'm goin' back to de sunny South,
Where sun shines on my honey's house,
Take yo' time, take yo' time.
16. 'TAIN'T NOBODY's BIZNESS BUT MY OWN
Jingling rhymes are sought at the sacrifice of meaning and the sense of the song. Rhymes are thus more easily remembered. If the sentiment of the subject of the song appeals to a negro, he may take it and make his own rhymes, departing from the original 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.
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'm goin' to happy Hollow,
Where I can make a dollar,
'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,
So I wear my shirt an' collar,
'Tain't nobody's bizness but my own.
17. 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 victuals, 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."
18. O BABE!
Thus he visualizes and grows boisterous. He begins again the life of the "rounder," whose adventures are sung in other songs. In anticipation of his future adventures, the negro continues, —
"Late every evenin' 'bout half pas' three,
I hire smart coon to read the news to me.
0 babe, O my babe, O my babe!
"O babe, O babe, O my babe! take a one on me,
An' my padhna', too, that's the way sports do,
O babe, O my babe, O my babe!
"Well vou talk 'bout one thing, you talk 'bout another,
But 'f you talk 'bout me, gwine talk 'bout yo' mother.
O babe, o my babe, o my babe!"
19. SWEET TENNESSEE
But this is not all the easy times he is going to have. To be sure, he 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.
"Come an' go to sweet Tennessee,
Where de money grows on trees,
Where the 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."
As woman occupies a prominent place in the songs of the wanderer, so woman and sweetheart occupy the most prominent part in the majority of negro social songs. The negro's conception of woman as seen in his songs has been observed. There are few exalted opinions of woman, little permanent love for sweetheart, or strong and pure love emotions. Woman and sensual love, physical characteristics and actions and jealousy, are predominant. The singer is not different from the wanderer who figured as the hero in the class of songs just given. Woman here is not unlike woman there. The negro sings, —
20. I AIN'T BOTHER YET
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 thus sings, and who does not support her properly, or has failed to please her in some trifle,
I got a husband, a sweetheart, too,
Ain't goin' to rain no mo',
Husband don't love me, sweetheart do,
Ain't goin' to rain no mo'.
21. I'M ON MY LAST GO-ROUND
But the negro lover sometimes gets more or less despondent, after which he assures himself that he does not care. The theme of rejected love is strong, but the sorrow lasts only a short time. While this feeling lasts, however, the lover, in his jealousy, will do many things for his sweetheart, and often is unwilling to be out of her presence. Sometimes 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.
| : I'm on my last go-round, : | {three times)
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.
22. LEARN ME TO LET ALL WOMEN ALONE
The negro is constantly singing that woman will get him into trouble; and such is the case. 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 then claims that she will turn from him as soon as she has got all he has. Such is, in fact, true. 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 anoder 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.
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.
23. 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," 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,
O my babe! won't you come home!
"Some people give you nickel, some give you dime;
I ain't goin' give you frazzlin' thing, you ain't no girl o' mine.
O my babe! won't you come home!
"Remember, babe, remember givin' me yo' han';
When you come to marry, I may be yo' man.
O my babe! won't you come home?
"Went to the sea, sea look so wide,
Thought about my babe, hung my head an' cried.
O my babe! won't you come home!
24. MAKE ME A PALAT ON DE FLO'
Perhaps the lover is again turned out of doors, and pines around the house. He studies up various means to regain the affections of his lady-love, but finds it difficult. "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-by:" 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 lan',
Made me a palat on de flo'.
"Oh, de reason I love Sarah Jane,
Made me a palat on de flo'."
In another strain the lover sings promiscuously, —
"O Jane! love me lak you useter,
O Jane! chew me lak you useter,
Ev'y time I figger, my heart gits bigger,
Sorry, sorry, can't be yo' piper any mo'."
So, too, he sings " Ev'y time I dodge her, my heart gits larger."
25. CAN'T BE YOUR TURTLE ANY MO'
Somewhat like it is the song " Can't be your 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'.
Goin' up town, goin' hurry right back,
Honey got sumpin' I certainly lak',
Sorry, sorry, can't be yo' warbler any mo'.
26. NO MORE GOOD TIME
While there is much repetition in thought in the songs of woman and sweetheart, they are very true to actual life, and depict with accuracy the common scenes and speeches of the negroes. The morals of the negro are also reflected. Some of his ideals of love and "a good time" are indicated. "No More Good Time" tells of a common scene.
No more good time, 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 depot, woman, when the train comes down;
For I goin' back 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.
The negro adds much zest and fun to his song when he introduces local characters. In the above line it is " Police Johnson, woman, knockin' at de do'," or in other localities it is the name of the most dreaded officer. The negroes sing these and laugh heartily, boasting now and then of fortunate escapes.
27. DIAMON' JOE
Very much like the above in general tone, but sung by a woman, "Diamon' Joe" typifies the usual custom common in every 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.
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'.
28. BABY, WHAT HAVE I DONE?
"Baby, what have I done?" introduces the various scenes of negro love-life. The same wail of "knockin' at de do' " is heard again and again, — a hint at infidelity, which is so often sung in the next few songs. The simple life and simple thought appear primitive. What if this poetry means as much to him as any other? No other ideals would satisfy him, or even appeal to him.
Late las' night an' night befo',
Heard such a knockin' at my do',
Jumped up in stockin' feet, skipped across the Ho',
Baby, don't never knock at my do' no mo'.
|: Oh me, oh 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? : | (Four times)
Other verses of one long line are divided into two short lines or repeated each four times to make the stanza. The art of negro singing is brought out best in his repetition.
It's ninety-six miles from Birmingham
I tramped it day by day.
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.
29. THINGS AIN'T SAME, BABE, SINCE I WENT 'WAY
Both men and women appear changeable in their affections. A husband and wife may quarrel the first of the week, separate, vow that they will never speak again; the latter part of the week may find them as loving as ever. This does not happen one week, 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 in turn 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.
30. BABY, LET ME BRING MY CLOTHES BACK HOME
Another appeal of the husband to his wife is a little more forceful. It is the present moment that counts with the average negro: he will easily promise to do anything to get out of an emergency or to get into favor. So the negro often makes promises of fidelity, if only he will be given another chance. The picture of the big, brawny negro thus whining before his "woman's" door is an amusing one. It is, however, characteristic in its adaptation of the "coon" song into a negro song:
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, s
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!
31. LONG AND TALL AN' CHOCOLATE TO THE BONE
One of the most common descriptions, and one of the most complimentary to the negro woman, as found in negro songs, is " chocolate to the bone." The negro often makes trouble for. the meddler in his home. Here arises many of the capital crimes of the negroes. Jealousy runs riot among both men and women. In the following song a hint is given of the boasting spirit of the negro:
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.
I : 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.
32. GOIN' BACK TO SWEET MEMPHIS, TENNESSEE
In much the same way, now the woman, now the man, sings back at each other. In the first stanza of the song " Yo' Man," the woman is supposed to be talking; the man often sings the song, however, as he does all of them. It is also interpreted to be the words of one man to his wife, and also of one woman to another. The song is well mixed.
| :Well, if that's yo' man, you'd better buy a lock an' key, O babe! :|
An' stop yo' man from runnin' after me-e-e.
| : Well, I goin' back to sweet Memphis, Tennessee, O babe! : |
Where de good-lookin' wimmins take on over me — make a fuss over me.
Now, a good-lookin' man csgit a home anywaher' he go,
The reason why is, the w'mmins tell me so.
She change a dollar an' give me a lovin' dime,
I'll see her when her trouble like mine.
33. 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 song is noticeable. Says the negro, "Yes,
"I'm goin' 'way, 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."
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. But the negro again sings, —
"Well, I started to leave, an' got 'way down the track,
Got to thinkin' 'bout my woman, come runnin' back, O babe!
"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."
34. I COULDN'T GIT IN
Thus, although the singer begins, as he often does, with the better thoughts of the woman, he ends with the usual abuse and distrust. This spirit of infidelity is unfortunately common among the negroes. With some it is a matter of no concern, for what does it matter to them? with others it is a matter of anger and revenge; while still others are jealously troubled about it. What has already been 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', (or let you know)
Got my all-night trick, baby,
An' you can't git in."
I keep a 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.
"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."
In the same way other verses are sung: "Keep a knockin', can't come in, I got company an' you can't come in," or " You can't come in dis do'."
35. WHAT, STIRRIN', BABE
The singer uses the common slang "Tallin' den" for his bed. As he has sung of his love and jealousies, so he sings of varied affection and infidelity, but with little serious regret.
"Went up town 'bout four o'clock,
What, stirrin' babe, stirrin' babe?
When I got there, door was locked:
What stir'd babe, what stir'd babe?
"Went to de window an' den peeped in:
What, stirrin' babe, stirrin' babe?
Somebody in my fallin' den —
What, 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 — : | (three times)
He'll kill you dead jus' sho's you born.
36. HOP RIGHT
It will thus be seen that the songs of the most characteristic type are far from elegant. Nor are they dignified in theme or expression. They will appear to the cultured reader a bit repulsive, to say the least. They go beyond the interesting point to the trite and repulsive themes. Nor can a great many of the common songs that are too inelegant to include be given at all. But these are folk-songs current among the negroes, and as such are powerful comment upon the special characteristics 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!
The negro does not mind that his comment may not be undignified, or that it may be injurious to personal feelings or race opinion. Sings he,
"I wouldn't have 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."
37. IF YOU WANT TO GO A COURTIN'
More original and satisfying in sentiment and rhyme and sensuous pictures is the following:
If you want to go a courtin', I sho' 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.
38. IF YOU WANT TO MARRY
Another that sounds like 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 rhymes, " If you will marry, marry, marry; If you will marry me," or "For I want to marry, marry, marry, you;" " Soldier, will you 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."
39. HONEY, TAKE A ONE ON ME
A variation of the well-known little song, " Honey, take a One on Me," has a great number of verses that have become popular, and 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!
40. DON'T HIT THAT WOMAN
One other illustration may be given, to show this mental attitude toward a woman:
Don't hit that woman, I tell you why:
Well, she got heart-trouble an' I scared she die.
That shot got her, how do you know?
For my woman she told me so.
Now, if you hit that woman, I tell you fine,
She will give you trouble all the time.
41. I LOVE THAT MAN
More serious and of much better sentiment is the lover's song, ordinarily sung as the appeal of a woman.
| : I love that man, O 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 to-day; : |
| : 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. : |
42. KELLY'S LOVE
In "Kelly's Love" the note of disappointed love is sounded:
| : Love, Kelly's love, : | (three times)
You broke de heart o' many a girl,
You never break dis heart o' mine.
| : When I wo' my aprons low, : | (three times)
Couldn't keep you from my do'.
| : Now I weahs my aprons high, : | (three times)
Sca'cely ever see you passin' by.
| : Now I weahs my aprons to my chin, : | (three times)
You pass my do', but can't come in.
| : See what Kelly's love have done. : | (three limes)
See what Kelly's love have done.
| : If I had listened to what my mamma said, : | (three times)
I would a been at home in mamma's bed.
43. MY LOVE FOR YOU IS ALL I KNEW
Nearer the simple longing of a sincere affection is the chorus " Farewell." This conception has been found in the common fixed song that is current:
| : My love for you is all I knew, : | {three times)
Hope I will see you again.
| : Farewell, my darling, farewell! : | {three times)
Hope I will see you again.
44. THOUGHT I HEARD THAT K. C.
The negro grows imaginative when he thinks of things absent. In his religious song it is Heaven and the angels that bring forth his best expressions. He is an idealist, and utopianism is perhaps only the childlike imagery of fairy fancies. So in his social songs he tells of the good times he has had and is going to have. He does not sing so much of the present: he sings of dangers he has escaped. In the same way he longs to see his sweetheart while he is away from her. Says he, "My honey might be far from home; ask central to gi' me long-distance phone."
Thought I heard that K. C. whistle blow,
Blow lak she never blow befo'.
How long has Frisco train been gone?
Dat's train carried my baby home.
Look down de Southern road an' cry,
Babe, look down de Southern road an' cry.
45. SWEET, FORGET ME NOT
The negro looks longingly for the train and the time when he will have money enough to go back "home." Pay-day will come, and for a time he will be happy. Sometimes he thinks of all good times in the future. Sometimes, however, he sings plaintively that they are gone.
| : O girl, O girl! what have I done?
Sweet, forget me not. : | {three times)
I've 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.
Nowhere is the negro more characteristic than in his wanton and reckless moods. Nothing pleases this type of negro fancy more than deeds of bravado and notoriety. He loves to tell of them and hear them recited. He is apparently at his best on such occasions. His self-feeling in its positive state is given gratification, and his vivid imagination easily makes him the hero of the hour. The feeling of rowdyism is thus encouraged. The notorious character is thus sung as the hero of the race: his deeds are marvelled at. Perhaps he is the most interesting figure within the whole field of activities. Certainly he is a distinct character, and has a tremendous influence upon the conduct of his people. He is admired by young and old; and those who do not approve of his deeds or example marvel at his powers.
46. STAGOLEE
"Stagolee" must have been a wonderful fellow! Though not so much dreaded as "Railroad Bill" and some others. Here the negro sings in his best vein.
Stagolee, Stagolee, what's dat in yo' grip?
Nothin' but my Sunday clothes, I'm goin' to take a trip,
O 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,
O dat man, bad man, Stagolee done come.
Stagolee was a bully man, an' ev'y body knowed,
When dey seed Stagolee comin', to give Stagolee de road,
O dat man, bad man, Stagolee done come.
The refrain "O 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 narration, adding the refrain to each stanza, —
Stagolee started out, he give his wife his han',
"Good-by, 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 smokin' 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 hav' to be hung.
Stagolee cried to de jury an' to de judge: Please don't take my life,
I have only three little children an' one little lovin' wife,
0 dat man, bad man, Stagolee done come.
47. STAGOLEE
The above 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. The negro sings, —
I got up one mornin' jes' 'bout four o'clock;
Stagolee an' big bully done have one finish' fight:
What 'bout? All 'bout dat raw-hide Stetson hat.
Stagolee shot Bully; Bully fell down on de flo',
Bully cry out: "Dat fohty-fo' hurts me so."
Stagolee done killed 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 giv' a nickel, some giv' a dime,
I didn't give a red copper cent, 'cause he's no friend o' mine,
Stagolee done kill dat Bully now.
Carried po' Bully to cemetary, people standin' 'round,
When preacher say Amen, lay po' body down,
Stagolee done kill dat Bully now.
Fohty dollah coffin, eighty dollah hack,
Carried po' man to cemetary but failed to bring him back,
Ev'y body been dodgin' Stagolee.
The scenes of Stagolee's activities are representative of this type of negro life. From the home to the cemetery he has gone the road of many a negro. 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.
48. RAILROAD BILL
But Stagolee has his equal, if not his superior, in the admiration of the negro. "Railroad Bill " has had a wonderful career in song and story. The negro adds his part, and surpasses any other in his portrayal of this hero of the track. One must take all the versions of the song in order to appreciate fully the ideal of such a character. In the first song that follows, the reader will note that after the theme is once in the mouth of the singer, it matters little what the song is. The effort is to sing something about " Bill," and to make this conform to the general idea; and at the same time it must rhyme. Here is the song, and a wonderful picture it is:
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'ything 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.
49. 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' for 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.
An' jus' as I caught that Number Fo',
Somebody shot at me wid a fohty-fo'.
It's that bad Railroad Bill.
I went back on Number Five,
Goin' to bring him back, dead or alive.
Lookin' for Railroad Bill.
When I come up on Number Six,
All the peoples had done got sick,
Lookin' for Railroad Bill.
When I went down on Number Seven,
All the peoples wish'd they's in heaven,
A-lookin' for Railroad Bill.
I come back on Number Eight,
The folks say I was a minit too late,
It's lookin' for 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.
50. IT'S LOOKIN' FOR RAILROAD BILL
But that was not the last of Railroad Bill; for the singer had only imagined that he was the hero to "down him." 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.
Railroad Bill mighty bad man,
Shoot the lamps all off the stan',
An' it's lookin' for Railroad Bill.
First on table, nex' 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 wus a 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.
Ole Culpepper went up on Number Five,
Goin' bring him back, dead or alive,
Wus lookin' fer Railroad Bill.
Standin' on corner didn't mean no harm,
Policeman grab me by my arm,
Wus lookin' fer Railroad Bill.
The negroes sing different forms of these verses, as they are suggested at the moment; so they add others or omit parts. Also are sung:
MacMillan had a special train,
When he got there, it was spring.
Two policemen all dressed in blue
Come down street in two an' two.
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' the moon.
51. RIGHT ON DESPERADO BILL
It is not surprising that a song so popular as "Railroad Bill " should find its way into others of similar type. Another version of the same song has a separate chorus, to be sung after each stanza. This chorus, of which there are two forms, adds recklessness to the theme. Another achievement is given the desperado; and he combines gambling, criminal tendencies, and his general immorality, in one. The following version is somewhat mixed, but is known as " Railroad Bill:"
Railroad Bill was mighty sport,
Shot all buttons off high sheriff's coat,
Den hollered, "Right on desperado Bill!"
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.
Honey babe, honey babe, where have you been so long?
I ain't been happy since you been gone,
Dat's all right, dat's all right, honey babe.
Honey babe, honey babe, bring me de broom,
De lices an' chinches 'bout to take my room,
O 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?
1 wants a nuther nickel to git a glass o' beer,
Dat's all right, honey babe, dat's all right.
Some of the verses just given are far from elegant; others still less elegant must be omitted. Some conception of popular standards of conduct and dress, social life and the home, may be gained from the song, in addition to the now familiar character of " Railroad Bill."
52. LOOLIN' FOR THAT BULLY OF THIS TOWN
In most communities there is 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 characters, 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 the 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' fer that bully of this town.
Oh, the gov'ner of this State offer'd one hundred dollars reward,
To any body's arrested that bully boy,
I sho' lookin' for dat bully of this town.
Well, I found that bully on a Friday night,
I told that bully I's gwine to take his life,
I found dat 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.
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. What satisfaction he gets from it! Perhaps he too will be a bully. The scene of the shooting, the reaching for the pistol, and the "laying-down" of the bully's body,— these offer unalloyed satisfaction to the singer. Every word becomes pregnant with new meaning and feeling; and invariably he must remember that his deeds are lauded, and he is the hero among the "wimmins" from the country round about. His picture would never be complete without this. Altogether it is a great song, and defies a superior picture.
53. 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 look'd 'round an' said,
"Man that kill'd me won't have no luck."
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 " ladies," if they be present, and sings, —
You want me to do like Eddy Jones?
You ''jus' want me to lay down an' die for you.
JOURNAL OF AMERICAN FOLK-LORE Vol. XXIV. —OCTOBER-DECEMBER, 1911—No. 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 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.
| : 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 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, however, 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 notorious 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 ev^ry-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.
| : 0 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.
65. EV'YBODY BEEN DOWN ON ME
Doleful and gruesome verses are very much in vogue among the negroes. Repetition of such lines makes a peculiar effect. The following 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 careless 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'm 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 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 compelled to commit the crime; he often fights because he has an advantage, 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 numbers 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 " musicor 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 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 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 irrelevant 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 limes)
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 t1me 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 dou-n.
"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,
75 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 got's daid an' gone."
81. 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 permanent impressions upon him. He is y6t 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 : | {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."
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 jxiay have been between two negroes, 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 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."
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 incomparable 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 I 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. Fragments 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 paraphrases. "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'lof his days,
He's de bes' dey is, an' dey need him injiey 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,
0 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 happiness. He himself admits that this would make a good heaven. Formerly 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.*
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 r6le 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 Pennsylvania 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 1 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. Whoever 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 cottonpickers 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 reecho 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 designated. 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 caesural 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 presented 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 characteristic chord; but, as usual, the negro comes out victorious without giving further details. Happily works the dusky figure while he and his companions sing, —
That she never — whuk — love 'nuther man — whuk.
The rhythm of the workers may easily be seen from the metrical scheme of the lines. The caesural 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.
1— V * N / ^ l 1— V ✓ 1— /
_i_ _ _L w A I— —L w A
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 perhaps 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, —
The day I lef — huh — my mother's hous' — huh—
Was the day I lef — huh — my home — huh.
O bitin' spider, — huh, — don't bite me — huh!
O bitin' spider, — huh, — lawdy, don't bite me!
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 workmen, 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 Win';
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 restlessness 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 conception 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 received, 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 workman 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, 0 Lord!
If you have any good things, save me some.
107. WORKMEN'S SONG
There are many short songs which the workmen employ. Sometimes they are stanzas from other songs. All of the "one-verse" songs arc 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 renewed 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.
0 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 secondary 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 following. 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 — hack.
All right — all right.
Draw — back — adraw — back.
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-1-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 "Gitoutof de way dere!" "Git'cross de way!" "Gittoyo' place!" "Talk to me-e!" "Oh, yes! time ain't long," "O-h-h cross over, young man!" "0-0 me-babe!" and other exclamations differing only slightly from the common laborers' phrases. The negro specializes 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. jdx, 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. xxjd, pp. 807-828). A number of songs with music.
Coleridge-taylor. Twenty-four Negro Melodies. Boston, 1905. Fknner, 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. Gu1al, 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. zlv, 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 Almstbd. Song Games of Negro Children in Virginia (vol. iii, pp. 288-290). Nine song-games and rhymes.
Tmanet, Octave. Cradle Songs of Negroes in North Carolina (vol. vil, p. 310), Two cradle songs.
Negro Hymns of the Judgment Day (vol. be, p. 21o). 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. P1ke, 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 *71
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 aho' lookin' Warm 274
15. Take your Time »74
16. 'Tain't Nobody's Bizness but my own 275
17. I'm going 'way 275
18. O Babel 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 Babel 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 1. >82
33. Started to leave .. . 282
34. I couldn't git In /.. 283
35. What, stirrin'. Babe? 284
36. Hop right .. 284
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-Ian'Stone 355
62. You may leave, but this will bring you back 355
63. This Mornin', this Evenin', so soon 355
64. Brer Rabbit 35°
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'-MiU 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 37
87. Pans o' Biscuit. 371
88. When the Band begins to Play 37*
89. "One-verse" Songs 373
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 let' my Home 380
97. Early in de Mornin' 381
98. Grade-Song 381
99. Lawdy, lawdy, lawdy 1 383
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 3g6
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, 99, 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, III.
(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 1n
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