Two YouTube Examples Of (Railroad) Track Lining Songs That Include The Line "Jack the Rabbit, Jack The Bear"

Alan Lomax Archives, Feb 21, 2014

Retired gandy-dancer and work-song leader George Johnson sings some track-lining verses on the railroad outside Greenville, Mississippi. Shot by Alan Lomax, John Bishop, and Worth Long, August 31, 1978. For more videos from the American Patchwork fieldwork and information about Alan Lomax and his collections, visit: http://research.culturalequity.org . [02.16.08]

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Edited by Azizi Powell

This is Part II of a two part pancocojams series about "Jack the rabbit, Jack the bear" lyrics in early 20th century African American (railroad) track lining song. 

This post showcases a 1978s film clip of retired gandy dancer and work-song leader George Johnson s that include the lyrics "Jack the rabbit. Jack the bear".  A transcription of that song is also included in this post.

This post also showcases a 1969  rendition of a track lining song that includes the lyrics "Jack the rabbit, Jack the bear".  A transcription of that song is also included in this post.

Click https://pancocojams.blogspot.com/2022/12/information-about-two-word-only.html for Part I of this pancocojams series.  That post presents some information bout gandy dancers their track lining songs. That post also presents some information about the fictional folk characters "Jack the rabbit" and "Jack the bear".

The content of this post is presented for historical and cultural purposes.

All copyright remains with their owners.

Thanks to George Johnson and other former gandy dancers for their cultural legacies. Thanks to Alan Lomax for his cultural legacy and thanks to the singer whose rendition of this track lining song is given in Example #2 in this pancocojams post. Thanks also to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
-snip-
Click http://pancocojams.blogspot.com/2013/01/examples-of-up-and-down-road-i-go.html for the 2013 pancocojams post entitled "Examples Of The African American Track Lining Song "Up And Down The Road I Go" (Up & Down This Road I Go)" .That post includes two sound files and lyrics of that track lining song, including a verse with the words "Jack the rabbit/Jack the bear/can't you line 'em just one hair.". 

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INFORMATION ABOUT THE SHOWCASED FILM CLIP THAT IS EMBEDDED IN THIS POST

From https://archive.culturalequity.org/node/1577
"George Johnson: Jack the Rabbit (1978)

Date recorded: August 31, 1978

Contributor(s): Recordist: Bishop, John; Recordist: Long, Worth; Recordist: Lomax, Alan; Performer: Johnson, George

Description: Retired gandy-dancer and work-song leader George Johnson sings some track-lining verses on the railroad outside Greenville, Mississippi. Shot by Alan Lomax, John Bishop, and Worth Long, August 31, 1978.

Subject(s):

Genre: track-lining song, work song

Location: Greenville, Washington County, Mississippi, United States

Track Number: 142

Archive ID: wV9jy3NgiAA

Belongs to: Mississippi Delta and Hill Country (1978)" 

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PANCOCOJAMS NOTES ABOUT THE TRANSCRIPTIONS THAT ARE FOUND IN THIS POST
These lyrics are an amalgamation of YouTube's auto-generated lyrics for these songs and  my transcription from the recorded YouTube example. My transcription for these two songs are informed by some lyrics for track lining songs that are given in Part I of this pancocojams post.  

YouTube's auto-generated lyrics are notoriously faulty. Admittedly, the lyrics for these two songs are difficult to understand, in part because of the singers'  "country" accents. However, instead of using a question mark for words that the auto-generated function didn't understand, that function either presented its "best guess" or used the words "applause" or "music" are given in place of sung or spoken words.  

Here are the faulty lyrics for the auto-generated transcript for the song given as Showcase Example #1 and the words that I replaced them with. 

"no line this track now John ahead" changed to "We gonna line this track now. Join ahead" 

"bell" changed to "bear"

"of" changed to "oh"

"water bank done died" changed to "Walter Banks done died"
-snip-
The auto-generated transcript for the song given as Showcase Example #2 gives the word "music" or "applause" instead of certain words.  I've written those words in italics to the lyrics given below. Those words are based on what I believe I hear in that YouTube video. I've included an editorial note under those lyrics about one of those lines.

In addition to those missing lyrics, I believe the words "heave it" is the correct transcription instead of the words "keep it" that are given in that auto-generated transcript for Example #2.

Additions and corrections are welcome for these lyrics. 

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LYRICS FOR SHOWCASE EXAMPLE #1

Spoken: We gonna line this track now

Join ahead

Begins singing
Alright, alright

Jack the rabbit Jack the bear
Jack the rabbit Jack the bear
Jack the rabbit Jack the bear
Jack the rabbit Jack the bear

Oh, all right
Can’t you move it on
Just one hair
Well, old lady says won’t you calm me down
She put one hand on her hip
And the other on her thigh
Good Lord have mercy
Good Lord have mercy
Good Lord have mercy

All right, Walter Banks done died  
Other side
Yes, oh God
Just died
Other side
Yes, oh God
Other side
Just died
Other side
Just died
The other side

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SHOWCASE VIDEO #2: Alan Lomax: Jack the Rabbit (track-lining song) (1969)

Alan Lomax Archives, Jan 31, 2022

Posted in honor of Alan Lomax's 107th birthday, January 31, 2022. In April 1969, he gave a lecture and performance in Texas City, Texas, which included this spirited "Jack the Rabbit," a song based on track-lining chants by A.B. Hicks and others which he had recorded with Zora Neale Hurston in her hometown of Eatonville, Florida, in 1935
-snip-
I don't know the name of the man who is recorded singing this song.  Please share that information if you know it.

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LYRICS FOR SHOWCASE EXAMPLE #2

Singing
Jack the rabbit and Jack the bear
Oh, can’t your move it on
Just one hair
Heave it over
Hey, baby, can’t you line it.

And ah hey mama can’t you cry
Spoken
This is your cry
Begin singing again
Shaka laka Shaka laka
Shaka laka shaka laka boom
Heave it over. Heave it over
Hey, mama can’t you line it
And ah hey, daddy can’t you cry
Spoken
Let’s start that shaka lacka again.
This time, come on and sing it.
Begins singing again
Shaka laka shaka laka shaka laka
Shacka lacka shacka lacka boom
Heave it over, and ah
Hey, daddy can’t you line it
And heeeey, mama can’t you crrrry. [extends the words "hey" and "cry"]

Oh, Johnny here comes a woman.
She got some real big legs
When she walks it like she walkin
on soft boiled eggs

Heave it over
Hey, mama. Can’t you line it
And hey, daddy can’t you heave it? 
And ah hey, mama can’t you cry
Now shaka laka shaka lakah shakah lakah boom
Heave it over
Hey, baby can’t you line it
and ah Hey, daddy can’t you try
Well, yonder come a woman
comin cross the field
with her pie feet stompin like an automobile
Heave it over
Hey, baby can’t you line it
and a hey mama can’t you cry
shaka laka shaka  laka shaka laka

shaka laka shaka laka boom

Heave it over
Hey, mama can’t you line it
And ah hey daddy
can’t you try
-snip-
Referring to big feet as "pie feet" conforms to my recollection of reading about how Black people would taunt country women who were used to wearing no shoes were taunted by people living in the city as having “pie feet” that spread across the road.

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This concludes Part II of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

"Jack The Rabbit, Jack The Bear" Lyrics In (Railroad) Track Lining Songs (information & examples)

Edited by Azizi Powell

Latest revision - Dec 11, 2022

This is Part I of a two part pancocojams series about "Jack the rabbit, Jack the bear" lyrics in early 20th century African American (railroad) track lining song. 

This post presents some information about gandy dancers their track lining songs and  presents some information about the fictional folk characters "Jack the rabbit" and "Jack the bear".

Three references to track lining songs that include the line "Jack the rabbit Jack the bear" are also included in this pancocojams post.

Click https://pancocojams.blogspot.com/2022/12/two-youtube-examples-of-railroad-track.html for Part II of this pancocojams series.  That post showcases a 1978s film clip of retired gandy dancer and work-song leader George Johnson s that include the lyrics "Jack the rabbit. Jack the bear".  A transcription of that song is also included in this post.

This post also showcases a 1969 rendition of a track lining song that includes the lyrics "Jack the rabbit, Jack the bear".  A transcription of that song is also included in this post.

The content of this post is presented for historical and cultural purposes.

All copyright remains with their owners.

Thanks to the gandy dancers for their work on the railroads and for their work songs. Thanks to Alan Lomax for his cultural legacy and thanks to all those who are quoted in this post. 
-snip-
This 2022 series should be considered as companion posts to these two 2012 pancocojams post:
 http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html , Part I of a two part pancocojams series about track lining songs. That post, entitled "Early Versions Of "Can't You Line' Em" ("Linin' Track")", presents three additional examples of track lining songs. Those songs don't include any "Jack the rabbit, Jack the bear" lines.

and http://pancocojams.blogspot.com/2012/10/gandy-dancers-linin-track-sound-files.html for Part II of that 2012 pancocojams post entitled "Gandy Dancers & Linin' Track Sound Files & Videos".

Most of the "Information About Gandy Dancers" section that is presented in this 2022 post was also given in Part I of that 2012 pancocojams series.

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INFORMATION ABOUT GANDY DANCERS
From http://en.wikipedia.org/wiki/Gandy_dancer [retrieved 2019]
"Gandy dancer is a slang term used for early railroad workers who laid and maintained railroad tracks in the years before the work was done by machines...

Most sources refer to gandy dancers as the men who did the difficult physical work of track maintenance under the direction of an overseer.

There are various theories about the derivation of the term, but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.52 m) "lining" bar (which may have come to be called a "gandy") as a lever to keep the tracks in alignment...

Though all gandy dancers sang railroad songs, it may be that black gandy dancers, with a long tradition of using song to coordinate work, were unique in their use of task-related work chants.

Rhythm was necessary both to synchronize the manual labor, and to maintain the morale of workers..."

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From https://en.wikipedia.org/wiki/Gandy_dancer [retrieved Dec. 10, 2022]
"Gandy dancer is a slang term used for early railroad workers in the United States, more formally referred to as "section hands", who laid and maintained railroad tracks in the years before the work was done by machines. ...

In the United States, early section crews were often made up of recent immigrants and ethnic minorities who vied for steady work despite poor wages and working conditions, and hard physical labor. The Chinese, Mexican Americans, and Native Americans in the Western United States, the Irish in the Midwestern United States, African Americans in the Southern United States, and East Europeans and Italians in the Northeastern United States all worked as gandy dancers.

There are various theories about the derivation of the term, but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.5 m) "lining" bar, which came to be called a "gandy", as a lever to keep the tracks in alignment.[1]"...

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Here's a 2007 article which provides information about Gandy Dancers:
From http://www.vre.org/service/newsletter/2007/may31.pdf [volume 3, issue 11] May 31, 2007 program the Manassas Railway Festival, Virginia Railway Express Update
"This year, a special performance by the Birmingham Lining Bar Gang will also be offered, featuring a group of re-enactors who demonstrate the way railroad tracks were aligned and maintained before the advent of mechanized devices in the 1950s and ’60s. In demonstrating track-lining, one group member serves as a “caller”, offering a two-line rhyme in a loud, clear voice that serves to synchronize the movement of other members so that each heaves with his iron lining bar at the same moment. These calls, which “helped the hard work go easy” according to a retired worker and former caller, served an indispensable function by uniting men’s efforts and easing their minds."

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INFORMATION ABOUT "JACK THE RABBIT" AND "JACK THE BEAR" IN SOME  TRACK LINING SONG

Excerpt #1
From https://www.oxfordreference.com/display/10.1093/oi/authority.20110803095526252;jsessionid=6DEECB6AB32CF717F7D9472013CBD56E
"Brer Rabbit

QUICK REFERENCE

Is the archetypal hero-trickster character from African American oral literature. While Brer Rabbit got much exposure in Joel Chandler Harris's Uncle Remus: His Songs and His Sayings (1881), folklorists and literature scholars are well aware of the rich cycle of tales that circulate around this tricky and cunning figure. These tales thrived especially during the pre- and post-slave era up until the mid-1900s. Resembling the two major tricksters of Africa (Anansi, the Ashanti spider, and Ijapa, the Yoruba turtle), “Buh” Rabbit has always seemed to be the most helpless and most afraid of all the animals in the kingdom.

Brer Rabbit is constantly at odds with the likes of Brer Bear, Brer Wolf, and Sly Brer Fox. This trio, singularly or collectively, attempts to humiliate, outsmart, and sometimes even kill Brer Rabbit. In contrast, Brer Rabbit tries to nullify the plans of his stronger archenemies by using his superior intelligence and his quick thinking. He usually gets the better of the bigger and stronger animals.

Since the Brer Rabbit cycle of tales flourished during the time of slavery and almost always involved the weak in a neverending contest with the strong, scholars view these tales as slave expressions of subversive sentiments against the institution of slavery. It was much too dangerous for slaves to reveal to slave owners the harsh realities and cruelties of slavery. But slaves could vent some of their frustrations and hostilities against their masters by participating in the performance of the Brer Rabbit tales.

As time progressed, criticism of slavery became less indirect in Brer Rabbit literature. African American oral literature gave birth to the “John and Ole Boss Tales”. In this group of tales, John (sometimes known as George, Sam, Jack, Efan, or Rastus) now becomes the human analogue to Brer Rabbit. John is always in conflict with Ole Master (“Massa” or “Marse”) and, like Brer Rabbit, attempts to outwit Ole Boss. Most stories show John winning over the master, but there are a sizable number of tales where “Whitey” outsmarts John."...

Joel Chandler Harris, Uncle Remus: His Songs and His Sayings, 1881.Roger D. Abrahams, ed., Afro-American Folktales: Stories from Black Traditions in the New World, 1985.

Elon A. Kulii and Beverly Threatt Kulii

From:  Brer Rabbit  in  The Concise Oxford Companion to African American Literature 
-snip-
*This word is fully spelled out in that summary.

One takeaway from this summary is that "Jack the rabbit" and "Jack the bear" are later names for the African American folk characters Brer [Brother] Rabbit and "Brer Bear". 

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Excerpt #2
From https://www.sandybrownjazz.co.uk/TracksUnwrapped/JimmyBlantonAndJackTheBear.html

Looking for the origin of the name 'Jack The Bear' takes us way back beyond the title of Duke Ellington's tune*.

One explanation is that Jack The Bear was a character of Black stories and rhymed tales, and crops up in a work-chant used by gandy-dancers (railroad workers laying rails) about "Jack-the-Rabbit/Jack-the-Bear". Apparently there are various theories about the derivation of the term 'Gandy Dancer', but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.5 m) "lining" bar, which came to be called a "gandy", as a lever to keep the tracks in alignment.

Jack de rabbit, Jack de bear.

Shake it back, boys, just a hair!"

There is also reference to two characters from folklore where Jack the Bear, called either Jack or John (and sometimes John the Conqueror), was invisible to the white community. He would arrive suddenly to fix things for folks in distress. He was a hero with magical powers.

The Urban Dictionary describes Jack The Bear as a lazy person: "You like Jack the Bear, Cletus, you ain't done sh-t* all day." The Probert Dictionary echoes this: 'Like Jack The Bear Just Ain' Nowhere' - Black-American slang for an expression of disappointment and worthlessness.

In contradiction there are other references to 'Jack The Bear' being the opposite - someone or something that goes really fast or well: "We were like 'Jack the Bear' for the first five laps of a run, but then the car would get real tight real quick and just wouldn't turn when I needed it to." (Tim Sauter AP Performance Racing)."

Writing in allaboutjazz.com in 2010, Dan Bilawsky quotes Mark Tucker's liner notes for Duke Ellington: The Blanton-Webster Band (Bluebird, 1986), which say that the original Jack The Bear " ... was a Harlem bass-player who, as reed-player Gavin Bushell recently recalled, had a tailor shop at the corner of St. Nicholas and Edgecombe Avenues....If Ellington named the tune after the tailor, Jack The Bear's musical association would be with another bass player - Jimmy Blanton"... The latter [Jimmy Blanton's  performance in the Jack The Bear tune] becoming a concert showpiece for his playing during his tenure with Ellington.'…
-snip-
*This word is fully spelled out in this comment.
-snip-
In a Mudcat folk music discussion thread about lining track, I remembering read the comment
Jack the rabbit said to Jack the bear/ Cancha line them just one hair"

I added italics to highlight this line.  "cancha: means "can't you" and "just one hair" means "Just a little bit".

Unfortunately, Mudcat discussion forum hasn't been online now for weeks and I add the source of that comment to this pancocojams post. However, the words "said to" provides an explanation for the use of those two folk characters names in those track lining songs.

-snip-  
Click https://www.youtube.com/watch?v=qKD-1YvFjkk for a YouTube sound file of Duke Ellington's "Jack The Bear".

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Excerpt #3
From http://www.toonopedia.com/brerrab.jpg
"Folklore was how Negroes dealt with their world. They identified themselves as the characters in the well-known folk tales similar to how the narrator of Invisible Man identifies himself as characters such as Jack the Rabbit and Jack the Bear. These characters come from the stories known by the name "Uncle Remus tales" and were remade by Walt Disney in the movie "Song of the South".

Folklore in Invisible Man

- Jack the Bear

- Buckeye Rabbit / Br'er Rabbit

- The Tortoise with the Pretty Daughter

Jack the Bear:

Jack the Bear is a slow-moving and slow-thinking character. When the narrator of Invisible Man references Jack the Bear, he is referring to his life in his hole: his "hibernation". The narrator, having escaped the bear's den that is Harlem, now hibernates in his own den in which he is located at the beginning of the novel and at the end."...
-snip-
"Negroes" is an outdated reference for African Americans/Black Americans.

In the United States, rabbits are sometimes referred to as "jack rabbits". In African American folklore, "Jack the rabbit" is probably the same as "Bre [brother] rabbit."

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Excerpt #4
From https://prezi.com/rrxfmz2sjhmh/invisible-man-and-uncle-remus-tales/ Invisible Man and Uncle Remus Tales by Elizabeth Jaggi, Feb 19 2015
..."Bre Rabbit, who is later compared to the narrator, goes on a series of adventures in which he comes across characters like Brer Fox, Brer Bear, Jack the Bear, along with many others. Each character resembles a character from Invisible Man by Ralph Ellison. The stories depict situations that can be linked to the experiences of the narrator.

Jack the Bear

Jack the Bear is a popular figure in American Folklore that is a trickster. He is able to trick through misdirection.

In the beginning, the narrator refers to himself as Jack the Bear because he is in his hole hibernating."...
-snip-
Here's another quote about "Jack the Bear" in reference to African American author Ralph Ellison's 1952 novel Invisible Man:
From https://www.cliffsnotes.com/literature/i/invisible-man/summary-and-analysis/prologue
"In the Prologue[ to Invisible Man], Ellison also prepares us for the numerous allusions to classic works of fiction, nonfiction, and folklore that appear throughout the novel, at times merging elements of fiction and folkloreThe narrator's statement, "Call me Jack-the-Bear" alludes to the opening line of Herman Melville's Moby Dick, "Call me Ishmael." It also alludes to the Br'er Rabbit folktales based on African folklore, featuring characters such as Jack-the-Bear, Br'er Fox, and Br'er Rabbit."...

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TWO TEXT (WORD ONLY) EXAMPLES OF TRACK LINING SONGS THAT INCLUDE "JACK THE RABBIT JACK THE BEAR" LYRICS

Example #1
Warning: This excerpt includes what is now commonly known as "the n word". That pejorative referent is given in this pancocojams post with modified spelling.

https://www.google.com/books/edition/Folk_Visions_and_Voices/YTnsAQAAQBAJ?hl=en&gbpv=1&dq=Jack+the+rabbit,+Jack+the+bear,+can%E2%80%99t+you+line+them,+just+a+hair&pg=PA124&printsec=frontcover  Folk Visions And Voices, "Let’s March Around The Wall"  [chapter] p.124

“Track lining

Told and sung by Brudy ”Doc” Barnes, Athens, Clark County, July 3,1983. Doc remembers the chant of the track lining crew and the musical ring of steel on steel as if it was yesterday.  See Library of Congress, LP AAFSL8 and L52, Botkins, p.746, Hurston , pp322-323

Spoken

You know how people used to work on the railroad track with the steel bars, linin’ the track, you know.
Old Jed Early…he was the line-man, otherwise he was the head of the track. They had a bossman, Cap’n Ball was they bossman.

And them nig-ers-I tell you the truth, I say “nig-ers”-I just say that you know! They had those long steel bars, they had about six or eight of them, you know, and just like this here is the track, and you have to cross-ties ever so far apart…those nig’ get those bars, I tell you the truth, they could play a tune with those iron bars, just as good as you could sing a song with ‘em, Cap’n Ball has a thing, you know, peepin’ through, he’d say “This track is out of line-It gotta be lined!

Chanted
“All right boys, get your bars.”

Spoken

That’s Jed, he’s the lead man….they’d just get them bars, you know, he just start a song, and all of them would get the bars set.

Sung

Ain’t but one train run this track—whah!
Run to Macon an right straight
----back------whah!.

Spoken

Now I’m tellin’ you what I stood and watched!  My daddy’s baby brother, he was with ‘em too  And, man, they could take them iron bars:

Sung

Ain’t but one train run this track

Run to Athens and Macon right

----back------whah!.

Spoken
And  they had some of the prettiest tune.  Wasn’t no music [instruments] round there nowhere, but they could make them iron bars.
right on the edge of that track…I’m tellin’ you what I know.  They could make music with them iron bars, and when they got through, it was lined.

And they had a big ol’ man, Cap’n Ball, he was  about 250, and he’s spy down there, and he’d say “Jed”. And he’d hold up one finger, that’d mean about another inch, you know,

Sung

Jus’ move it, boy

Spoken
And he’d do thataway, that’s mean half.!

Sung

Pick it up, line-man---- whah!
Jack the rabbit, Jack the bear
Boys, can’t you jus’ move it
just another hair?---- Whah!

Spoken

I used to follow ‘em up! In that time ….they was hand cars, you had to pump! Has a handle on this side….

Take fo’ men, when the front would go down, the back would come up, and I’m tellin’ you, they could hustle on that thing!

Now, they got motors on ‘em, but then who osh! Sailin’ too!  You get them fo’ men stout, and got power! Good Godalmighty, they could make thirty miles an hour.  The section gang, with the hand cars, I will never forget that."

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Example #2 
From https://www.google.com/books/edition/Long_Steel_Rail/AY7St4-8x10C?hl=en&gbpv=1&dq=jack+the+rabbit+jack+the+bear&pg=PA646&printsec=frontcover Long Steel Rail: The Railroad in American Folks by Norm Cohen, ‎David Cohen · 2000 · ‎Music
…"Jack the rabbit, Jack the bear, can’t you line them, just a hair

Can’t you line ‘em for the captain, can’t you line ‘em for the straw (i.e. strawboss)

Can’t you line ‘em for the walker, can’t you line ‘em for the boss,

Can’t you line ‘em just a little bit, can’t you line ‘em, to the other side.”…
-snip-
This is the way that this excerpt was written in that article.

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This concludes Part I of this pancocojams post.

Thanks for visiting pancocojams.

Visitor comments are welcome.

African American Folk Song "Mule On The Mount" (information, lyrics, & sound files)

Edited by Azizi Powell

This post provides information about and lyrics for the African American secular folk song "Mule On The Nount".

Two sound files of this song are also showcased in this post.

The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Special thanks to Zora Neale Hurston for her renditions of "Mule On The Mount". Thanks also to the publishers of these examples on YouTube.

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INFORMATION ABOUT THE FOLK SONG "MULE ON THE MOUNT" & LYRIC EXAMPLES
Excerpt #1:
From http://xroads.virginia.edu/%5C~MA01/Grand-Jean/Hurston/LOC/music/mulelyrics.html
"NOTE: The most widely distributed and best known of all Negro work songs. Since folk songs grow by incremental repetition the diversified subject matter that it accumulates as it ages is one of the evidences of its distribution and usage. This has everything in folk life in it. Several stories to say nothing of just lyric matter. It is something like the Odyssey, or the Iliad.

Cap'n got a mule, mule on the Mount called Jerry
Cap'n got a mule, mule on the Mount called Jerry
I can ride, Lawd, Lawd, I can ride.
(He won't come down, Lawd; Lawd, he won't come down, in another version.)

I don't want no cold corn bread and molasses,
I don't want no cold corn bread and molasses,
Gimme beans, Lawd, Lawd, gimme beans.

I don't want no coal-black woman for my regular,
I don't want no coal-black woman for my regular,
She's too low-down, Lawd, Lawd, she's too low-down.
I got a woman, she's got money 'cumulated,
I got a woman, she's got money 'cumulated,
In de bank, Lawd, Lawd, in de bank.

I got a woman she's pretty but she's too bulldozing,
I got a woman she's pretty but she's too bulldozing,
She won't live long, Lawd, Lawd, she won't live long.

Every pay day, pay day I gits a letter,
Every pay day, pay day I gits a letter,
Son come home, Lawd, Lawd, son come home.

If I can just make June, July and August,
If I can just make June, July and August,
I'm going home, Lawd, Lawd, I'm going home.
Don't you hear them, coo-coo birds keep a'hollering,
Don't you hear them, coo-coo birds keep a'hollering,
It's sign of rain, Lawd, Lawd, it's sign of rain.
I got a rain-bow wrapped and tied around my shoulder,
I got a rain-bow wrapped and tied around my shoulder,
It ain't goin' rain, Lawd, Lawd, it ain't goin' rain
-snip-
For the purpose of this post, I've assigned these lyrics as Lyric Example #1.

Click http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html for a pancocojams post about gandy dancers. Here's a portion of one excerpt about "gandy dancers" that is found in that post:
From http://en.wikipedia.org/wiki/Gandy_dancer
"Gandy dancer is a slang term used for early railroad workers who laid and maintained railroad tracks in the years before the work was done by machines.

...most sources refer to gandy dancers as the men who did the difficult physical work of track maintenance under the direction of an overseer.

There are various theories about the derivation of the term, but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.52 m) "lining" bar (which may have come to be called a "gandy") as a lever to keep the tracks in alignment...

Though all gandy dancers sang railroad songs, it may be that black gandy dancers, with a long tradition of using song to coordinate work, were unique in their use of task-related work chants."

****
Excerpt #2
From http://mudcat.org/thread.cfm?threadid=135990
Subject: RE: Origins: Timber Jerry the Mule
From: GUEST,Bob Coltman
Date: 26 Feb 11 - 06:06 PM

"Well, the song "Jerry" ("Mule on the Mountain") is somewhat older, a work chant. First collected I think by Zora Neale Hurston, who published it in her Mules and Men, 1935, p. 327, as "Mule On De Mount." First vrse:

Cap'n got a mule, mule on the Mount called Jerry (2)
I can ride, Lawd, Lawd, I can ride.
[OR He won't come down, Lawd, Lawd, he won't come down.]

Hurston calls it "The most widely distributed and best known of all Negro work songs." Subsequent collecting has not borne out that verdict, but the song is very widespread all the same, related to "Corn Bread and Molasses," "Coal-Black Woman" and other songs like "I Got a Bulldog." Some like the latter have penetrated into white tradition as well.

I have not heard the Josh White version, so I don't know how closely it resembles the above. But the name "Jerry" is usually associated with the above song. My guess, absent other evidence, is that Josh White may have derived his song from that source. At least it's a good place to start looking.

Bob

**
Subject: RE: Origins: Timber Jerry the Mule
From: GUEST,Bob Coltman
Date: 26 Feb 11 - 06:11 PM

Re copyright, Hurston quite honorably does not assert specific copyright in the song. Thank goodness for the early folklorists who knew better than to try to control traditional songs!

However her book is Mules and Men, Lippincott, Copyright 1935 by Zora Neale Hurston (my edition was reprinted 1970 by Harper Perennial paperbacks.)"

****
LYRICS- MULE ON THE MOUNT
[Version #2, as sung by Zora Neale Hurston in the video given as Example #2 below]

Cap'n got a mule, mule on the mount called Jerry
Haa!
Cap'n got a mule, mule on the mount called Jerry
Gonna ride him down, Lawd, Lawd gonna ride him down.


I got a woman shake like jelly all over
Haa!
I got a woman shake like jelly all over
Haa!
Her hips so broad, Lawd, Lawd her hips so broad.

My little woman, she had a baby this morning
Haa!
My little woman , she had a baby this morning
Haa!
He had blue eyes, Lawd, Lawd, he had blue eyes

I outa had told her
He musta be the hell fired captain’s
Hmm
I outa had told her
He must be the hell fired captain’s
Haa!
He had blue eyes, Lawd Lawd he had blue eyes

Oh don’t you hear them
A coo coo bird a keep on hollerin
Haa!
Oh don’t you hear them
A coo coo bird a keep on hollerin
Haa!
It looks like rain, Lawd, Lawd, it looks like rain.

I got a rain-bow wrapped and tied around my shoulder,
Haa!
I got a rain-bow wrapped and tied around my shoulder,
Haa!
It ain't goin' rain, Lawd, Lawd, it ain't goin' rain

Oh hand me down two, three cans of tomatoes
Haa!
Oh hand me down two, three cans of tomatoes
Haa!
And a can of corn, Lawd Law a can of corn

I got a woman she's pretty but she's too bulldozing,
I got a woman she's pretty but she's too bulldozing,
She won't live long, Lawd, Lawd, she won't live long.

-snip-
*transcribed by Azizi Powell from; Additions & corrections are welcome.

Notes about some of the words in this song:
Mount = mountain

**
Cap'n [captain] = the White boss

**
The sound "Haa!" is a sound approximation used by the gandy dancers [railroad laborers] to indicate a particular movement. Read this excerpt about another gandy dancer song:
From http://www.traditionalmusic.co.uk/folk-song-lyrics/Linin_Track.htm
Excerpt from notes for the African American song “Linin’ Track
"Tie shuffling' is the lining or straightening out of the railroad track. To understand the work-rhythm that forms the chant it will be necessary to describe Henry Trevelyan's section gang as it worked to the tune. Henry, the foreman, stooped over and squinted off down the shining rail; then stood up and bawled out directions to his gang in the impossibly technical language of the railroad. They, with heavy bars
off down the track, jammed their lining bars down under the rail on the inner side, and braced against them. One of their number, a handsome yellow man, when he was sure they were ready to heave, threw back his head and sang. On the first and next to last beat of every verse, each man threw his weight against his bar; the refrain was repeated until Henry, who had kept his eye on the rail meanwhile, shouted his directions about the next 'johnnyhead'. At that signal, the song was broken off , the gang stopped heaving, and the whole scene was repeated a few yards on down the track."
-snip-
I think that the sound "Haa" in Lyric Example #2 pf "Mule On The Mount" rhymes with the musical note "faa" and is the beginning sound in the word "laugh". I've also seen that sound given as "hah".

**
"too bulldozing" = "too bossy".

Additional notes about this song are included in the showcase examples that are found below.

****
SHOWCASE EXAMPLES
Example #1: African American Folk Music (FL): Mule on the Mount



Voices in Time, Published on May 6, 2016

Title: Mule on the Mount, Other Title: Poor Lazarus Hiking Jerry Every Mail Day Stewboy Captain's Mule Lord, Lord,

Contributor Names: Kennedy, Stetson (Collector)Halpert, Herbert, 1911-2000 (Collector)Hurston, Zora Neale (Speaker)Halpert, Herbert, 1911-2000

(Speaker)Hurston, Zora Neale (Performer),
Created / Published: Jacksonville, Florida,

Subject Headings: - African Americans- Work songs- Songs- United States -- Florida -- Duval County -- Jacksonville, Genre: Songs,

Notes: - Zora Neale Hurston, originally of Eatonville, Florida, was already a published novelist and folklorist when she took a job with the Federal Writers' Project in Florida.- [Zora Neale Hurston said that “Mule On The Mount” was] The most widely-distributed work song in the United States, with a consistent tune but varying verses. Zora Neale Hurston originally learned "Mule on the Mount" from George Thomas in Eatonville, Florida. Sung here in track-lining rhythm, it is also sung in other work sites, such as the lumber camps, and in recreational venues such as the "jooks."

Performance Note: "Mule on the Mount" (vocals) performed by Zora Neale Hurston at Federal Music Project Office, Jacksonville, Florida, on June 18, 1939., Medium: Sound disc : analog ; 12 in., Call Number/Physical Location: AFC 1939/005: AFS 03136 B01, Source Collection: Herbert Halpert 1939 Southern States Recording Expedition (AFC 1939/005), Repository: American Folklife Center, Digital Id: http://hdl.loc.gov/loc.afc/afcflwpa.3...

Photographs in this collection are from the Library of Congress Florida category, 1930-39, including Farm Security Administration/Office of War Information Black-And-White Negatives. Please see channel description for copyright statement. The videos on this channel feature uncensored historical documents, which may on occasion contain offensive material.
-snip-
This summary is reformatted for this post to enhance its readability.

“track lining songs” = songs that are sung by Black American workers who built [lined] the railroad tracks
-snip-
This song begins at 1:25 of this sound file.

In the beginning of this sound file Zora Neale Hurston says that she is going to sing a "lining rhythm" [meaning "a song that was sung by railroad workers "lining (railroad) track". Hurston said that she is going to call it "Mule On The Mount" although you can start with any verse that you want".

The lyrics for this song are given as Lyric Example #2.

****
Example #2: Zora Neale Hurston Fieldwork 1928



Andrew Rasmussen, Published on Aug 11, 2013

I do not claim anything original from this video.
-snip-
Click http://pancocojams.blogspot.com/2017/03/heres-fantastic-find-1928-film-clip-of.html for a pancocojams post about the segment of this showcased film clip that shows children playing a ring game (with a boy in the middle dancing) - from 3:24 to 4:50 in this YouTube video.

The lyrics for this song are given as Lyric Example #2.
****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Examples Of The African American Track Lining Song "Up And Down The Road I Go" (Up & Down This Road I Go)

Edited by Azizi Powell

Latest Update: Dec. 10, 2022

This post presents lyrics of three African American folk songs that contain a verse beginning with the line "Up and down this road I go" and which also include the verse "Got a letter from [insert name] town"/East Saint Louis is burning down".

A sound file of one of these songs is included in this post. Unfortunately, I've not been able to find an online sound file or online video of the other two examples.

The content of this post is presented for historical, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

FEATURED EXAMPLES
Example #1: Blind Arvella Gray Arvella's Work Song



Yamit Motek, Published on Jul 18, 2012

Blind Arvella Gray Arvella's Work Song - uploaded via http://www.mp32u.net/
-snip-
This sound file is probably from Arvella Gray's 1972 vinyl record Blind Arvella Gray- The Singing Drifter. That record was reissued in 2005 by Conjuroo Recordings.

Information about Arvella Gray's record can be found at http://www.stlblues.net/reviews_uj_blindarvella.htm
-snip-
Lyrics: Arvella's Work Song

[Arvella Gray talking]

Every morning, Captain Bo Bobbin would say to his foreman,
He say “Yeah ah when them boys sang them ah,
those lonesome songs, you’d betta watch ‘em,
but when they sang them happy songs, they alright.

[Arvella Gray begins singing and accompanies himself with handclaps.]
Verse #1
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.
Little by little as the day grow long,
We gonna sing some happy song.

Verse #2
One of these mornings, it won’t be long
Captain gonna call me and I’ll be gone.
One of these mornings, and it won’t be long
Captain gonna call me and I’ll be gone.
Don’t you let the gator to the pond*

Verse #3
Do he give you more trouble than the day are long.
Don’t you let that gator to the pond
Do he give you more trouble than the day are long.

Verse #4
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.
I went to the river and I couldn’t get across.
I jumped on an alligator, I thought he was a horse.

Verse #5
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.
I caught him by the ear I speared him in the flank
You oughta see that alligator gettin to the bank.

Verse #6
Up and down the road I go
Skippin and a dodgin from a 44.
Up and down that road I go
A skippin and a dodgin from a 44.

Verse #7
I gotta letter from a-Haggintown
East Saint Louey is burnin down.
I gotta letter from a-Haggintown
East Saint Louey is burnin down.

Verse #8
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.
A newborn baby born last night
A-walkin and a-talkin ‘fore day light.

Verse #9
Waterboy bring your water 'round.
Don’t like your job, set your bucket down
Waterboy bring your water 'round.
Don’t like your job, set your bucket down.

Verse #10
Jack the rabbit, Jack the bear
Can’t you line ‘em, just a hair.
Jack the rabbit, Jack the bear
Can’t you line the track a hair.

Verse #11
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.
Down in the wilderness a-preachin to the poor.
Gonna make this ten a six and a four.

Um! Um!
-snip-
This is my transcription from the video. Any additions or corrections are appreciation.

TEXT ANALYSIS OF SOME VERSES OF "ARVELLA'S WORK SONG"
Introductory Comments: The Captain's comments are interesting from a sociological standpoint since the nature of the workers' songs was felt to predict whether they would cause trouble or not. Further discussion of this point is beyond the scope of this post.

Verse #2: This is a floating verse from Spirituals (Floating verses" are found in a number of other songs or rhymes). In this verse, the "Captain" replaces God, Jesus, or "My Lord".

Verse #3: This line probably means "don’t you let that gator get to the pond."

Verse #4: This is a floating verse that is found in a number of African American folk songs & rhymes. Click http://www.gutenberg.org/files/27195/27195-h/27195-h.htm Project Gutenberg EBook [EBook #27195] version of Thomas W. Talley's 1922 compilation Negro Folk Rhymes: Wise And Otherwise for the examples "Crossing The River" and "Gray and Black Horses.

Verse #6 &7 are the two central verses that appear in each of the three songs in this post. Notice the sllght differences in these verses in the both of the other two song examples featured on this page.

A .44 is a type of gun.

Verse #7 refers to the East St. Louis [Illinois] Riot of 1917 in which much of the Black section of the town was burned to the ground by White residents, and many people were killed. For information about that tragedy, click http://en.wikipedia.org/wiki/East_St._Louis_Riot

I recall seeing the first line given as "Got a letter from Hagerstown". The versions of that line here and in the other examples are probably folk etymology forms of that name (though I'm not sure of the currect spelling of that location.)

That first line is also given as "Got a letter from Charlottetown" or "Got a letter from Shiloh town". And it's very likely that there are other versions of this line.

This verse is also found in the folk song "Sail Away Ladies".

Verse #10: Notice that Ella Jenkins (Example #2) indicated that she learned her clip of this song from Arvella Gray. Also, notice that the author of Ella Jenkin's record (citation below) wrote that "Mr. Gray had worked on the railroad when he was younger." It seems likely to me that Arvella Gray learned most if not all of these verses from lining track.
-snip-
For what it's worth, my guess is that the name "Arvella" is a form of the name "Orville".

****
Example #2: Ella Jenkins - "Up And Down This Road I Go"



Ella Jenkins Topics, Nov. 8, 2014
-snip-
Here's information about Ella Jenkins' performance of this song from

http://lfs.alexanderstreet.com/liner/bae2560124e9cecb81df4eb2c77d66e3/SFW45003.pdf
Smithsonian Folkways music notes for Ella Jenkins And The Goodwill Spiritual Choir Of Monumental Baptist Church
African American Folk Rhythms Record
Curator- Anthony Seeger, Smithsonian Folkways Collection, August 1988

Ella Jenkins learned this song from Arvella Gray, a blind street singer who played and sang on street corners as well as in music clubs on the South Side of Chicago in the 1950s. His street side audiences preferred to hear spirituals. Every year before the Kentucky Derby, he would take a train to Louisville and make a lot of money playing to the racegoers. Mr. Gray had worked on the railroad when he was younger and said that a bullet from a .44 had blinded him. His song carried a bit of his life as well as his music with it.

Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Slippin and a doggin
From a 44.

Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.
Jack the rabbit. Jack the bear
Won’t you line it
Just one hair.

Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down

Got a letter from Hag in town
East St Louis is burnin down
Got a letter from Hag in town
East St Louis is burnin down

****
Example #3: Excerpt from Blues from the Delta by William Ferris, Da Capo Press; Revised edition (1988) page 34
From http://books.google.com/books?id=BUQA69Dpi6EC&pg=PA34&lpg=PA34&dq=east+saint+louis+is+burning+down+song&source=bl&ots=z-tVyDc5TP&sig=6OMIGZbsr0STDZoo54InsK6sveM&hl=en&sa=X&ei=g9oBUcfGIILC0QHXuYCwAg&sqi=2&ved=0CEQQ6AEwBA#v=onepage&q=east%20saint%20louis%20is%20burning%20down%20song&f=false

When you linin track you say

Up and down this road I go
Slippin and a doggin
From a 44.
Up and down this road I go
Skippin a
nd a divin for my 44.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!
Then we might say for the next track:

Oh, I got a letter from Haggis town
East St Louis is burnin down
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!

There’s a lot more verses for track lining, but most of them have bad stuff in ‘em. If you don’t care, I’ll put them on here too.

Oh talkin ‘bout a pretty girl, you oughta see mine.
She got big titties and a broad behind.
Ha Ha, way over.
Ha Ha, way over.
Poor boys, pull together.
Track line much better.
Whoa!

****
RELATED LINKS

http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html Early Versions Of "Can't You Line' Em" ("Linin' Track")

http://mudcat.org/thread.cfm?threadid=97649#1923691 Origins: Sail Away Ladies; Mudcat Cafe; "East Saint Louis is burnin down" verse [letter from Shiloh town]

****
ACKNOWLEDGEMENT AND THANKS
Thanks to the unknown composer/s of these songs. Thanks also to Arvella Gray for his musical legacy. My thanks also to the authors of the articles that are quoted in this post, and the uploader of this featured sound file.

Also, thank you for visiting pancocojams.

Viewer comments are welcome

Gandy Dancers & Linin' Track Sound Files & Videos

Edited by Azizi Powell

This pancocojams post is Part II of a two part series on the African American work song "Can't You Line 'em ("Linin' Track", "Tie-Shuffling Chant"). "Can't You Line 'em is an African American work song that was composed by "Gandy Dancers" (men who worked on the railways "linin' track".)

Part II of this series features a YouTube sound file of several lining track songs as performed by former Gandy Dancers. That sound file includes video of a re-enactment of lining track as well as photographs of lining and video clips of a re-enactment of lining track.

Part II of this series also showcases one sound file & transcription of a version of that song as performed by Blues/Folk artist "Leadbelly, and three renditions of the song "Linin' Track" as performed by contemporary vocalists & musicians. My transcriptions of those songs as performed by those contemporary artists are also included in this post

The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Click http://pancocojams.blogspot.com/2012/10/early-versions-of-cant-you-line-em.html Early Versions Of "Can't You Line' Em" ("Linin' Track") for Part I of this series. Part I of this series features early versions of this song & provides general information about Gandy Dancers.

Also, click https://pancocojams.blogspot.com/2023/05/boom-shakalaka-and-chakalaka-food.html  for a May 2023 pancocojams post entitled "Boom Shakalaka" And "Chakalaka" Food (Information & YouTube Videos). Part I of that post presents some other uses of the vocables "boom shakalaka" (or closely sounding words) included the 1981 comedy film Stripes when boom shakalaka" is used in a military cadence,  the 1992 British Reggae song "Boom Shakalak" by Apache Indian, the 1992 Da Lynch Mob song "Guerilas In The Midst", and the NBA Jam video games 

 ****
FEATURED SOUND FILES & VIDEOS

Example #1: Gandy Dancers



Uploaded by folkstreamer on Jun 23, 2008

Musical traditions and recollections of eight retired African-American railroad track laborers whose occupational folk songs were once heard on railroads that crisscross the South.
-snip-
This video's visuals & narratation are a historical treasure. The video producer includes excerpts of Gandy Dancer songs as text superimposed on the screen.

****
Example #2: Can't You Line 'Em - Lead Belly



Uploaded by maolchalium on Sep 12, 2008

Classic Leadbelly number. Unknown recording date.
-snip-
From what I’ve read online, this Leadbelly performance was recorded sometimes between 1940 to 1943

LYRICS: LININ' TRACK
[traditional]

Ho, boys, is you right?
I done got right
All I hate about linin' track
These ol' bars 'bout to bust my back

Chorus:
Ho, boys, cancha line 'em –track
Ho, boys, cancha line 'em -track
Ho, boys, cancha line 'em -track
Here we go linin track

If I could I surely would
Stand on the rock where Moses stood
Ho, boys, cancha line 'em –track
Ho, boys, cancha line 'em –tracka lack
Ho, boys, cancha line 'em –tracka lack
Here we go linin track

Moses stood on the Red Sea shore
Smotin that water with a two-by-four
Ho, boys, cancha line 'em –tracka lack
Ho, boys, cancha line 'em –tracka lack
Ho, boys, cancha line 'em –tracka lack
Here we go linin track

[Transcription from the sound file by Azizi Powell, 10/22/2012]
**
This same version is also on YouTube at http://www.youtube.com/watch?v=GpGtnxQl05s "Leadbelly - Line Em'"
-snip-
"Smotin that water with a two by four" = hitting that water with a board [to cause the sea to separate and yield dry land as indicated in the Bible]

**
The words "track" and "trackalack" aren't clearly pronounced.

As an aside, I believe that the word "shakalaka" in the phrase "boom shakalaka" has its earliest source in the "trackalack" (and similarly sounding) phrases from the Gandy Dancer's track linin' songs. However, a more direct source for "boom shakalaka" is the "Boom shaka-laka-laka" riff that is found in Sly & The Family Stone's 1969 hit song "I Wanna Take You Higher". Here's an excerpt of that song's lyrics:
[Freddie:] Feeling's gettin stronger
[Larry:] Music's gettin longer too
[Rose:] Music is flashin me
[Sly:] I want to take you higher
Baby baby baby light my fire

[All:] Boom shaka-laka-laka Boom shaka-laka-laka"....

Source: http://www.azlyrics.com/lyrics/slythefamilystone/iwanttotakeyouhigher.html

**
Click https://en.wikipedia.org/wiki/Shakalaka for other examples of the use of the vocalization "shakalaka" (boom shakalaka).

**
In Lead Belly's rendition of Can't You Line 'Em" that is given above, it's clear that he is singing “here we go linin track”. His renditions of this song where that line is given as “See Eloise gonna linin track” are from other performances.

From http://www.mudcat.org/thread.cfm?threadid=28408 "Who was Eloise in Leadbelly's Linin'", posted by Roger in Baltimore, Jun 05 - 01:06 PM
"Document released a CD in September of 2004 called Leadbelly Live: New York 1947 and Austin, Texas 1949. On it, he does a spoken introduction of Linin' Track that talks about Ella Louise as a woman who is calling out the lead, directing the other workers how to line the track... I, too, suspect that Lead Belly's story may be apocryphal..."
-snip-
The "Related Links" section of Part I of this series contains an additional hyperlink to a Mudcat Folk/Blues forum discussion about the meaning of the name "Eloise" in the "Linin' Track" song.
**
Here's a pertinent quote from commenter "12-stringer" on the Mudcat Blues/Folk discussion forum:
Date: 30 Jan 06 - 05:25 PM http://www.mudcat.org/thread.cfm?threadid=19043 Lyr Add: Linin' Track
[It's] "Not remotely likely Leadbelly wrote it ['Linin Track"]from scratch," though he standardized and popularized it. I suspect at least some of his songs were picked up while he was chauffeuring John Lomax on various field trips after he got out of Angola [prison]..."

****
Example #3 - LYRICS: LININ' TRACK*
[traditional]

Ho, boys, is you right?
I done got right.

What I hate about linin' track
These ol' bars 'bout to bust my back
Singin

Chorus:
Ho, boys, can’t you line 'em –trackalack
Ho, boys, can’t you line 'em -track
Ho, boys, can’t you line 'em
See how Eloise go linin' track*

Woman and I'se lyin in the shade
Talkin 'bout the money that I ain't made
Sayin

Chorus

Moses stood on the Red Sea shore
Smote that water with ah two-by-four

Chorus

If I could I surely would
Stand on the rock that ah Moses stood

Chorus

????
The bosses ain't hot I pray to die [?]

Chorus

Mary Martha Luke and John
All of the disciples are dead and gone.

Ho, boys, can’t you line 'em –trackalack
Ho, boys, can’t you line 'em -track
Ho, boys, can’t you line 'em

[instrumental]
Ho, boys, can’t you line 'em –trackalack
Ho, boys, can’t you line 'em -track
Ho, boys, can’t you line 'em
See Eloise gonna linin' track*

I may be right. I may be wrong.
But you sure gonna miss me when I'm gone.

Chorus [sung multiple times with other another singer joining in.]

-snip-
Transcription by Azizi Powell from the video Austin Walkin' Cane - Linin' Track (Tie-Shuffling Chant). This video doesn't appear to be on YouTube anymore.

*This line might be "See how wese gonna linin' track".

??? I'm not sure about this verse's lyrics. [from 1:40 - 1:44]

Additions & corrections for this transcription -and all other transcriptions on this page - are very much appreciated.

****
Example #4: Linin' Track - The Johnny Possum Band



Uploaded by johnnypossum on May 22, 2009

….The Johnny Possum Band performing 'Linin' Track'. Recorded live at the Harbour Light Theatre in Lyttelton, New Zealand….

LYRICS: LININ' TRACK
(Traditional)

Ho, boys, is you right?
[We right]
I done got right

All I hate about linin' track
These ol' bars 'bout to bust my back

Chorus:
Ho, boys, can’t you line 'em –trackalack
Ho, boys, can’t you line 'em -trackalack
Ho, boys, can’t you line 'em -trackalack
Let's see how wese gonna linin' track

Mary and the baby were settin' in the shade
Thinkin' of the money that I ain't made
Mary, Marthy, Luke and John
Well all them 'ciples now they're dead and gone

Chorus

Moses stood on the Red Sea shore
Battin' at the waves with a two-by-four
[Hey, boy]
Well if I could I surely would
Stand on the rock where Moses stood

Chorus

Down in the holler below the field
Angels are workin' on my chariot wheel
I told my Lord I was ready to go
He sent me down way below.
Chorus

Ho, boys, is you right?
[We right]
I done got right

All I hate about linin' track
These ol' bars 'bout to bust my back

[Transcription by Azizi Powell from video, 10/22/2012]
-snip-
Explanations for selected words
'ciples = disciples

battin = hitting

Down in the holler (hollar)= a geographic formation similar to a valley, or a ravine

He sent me down way below – to hell

****
Example #5: The Dream Blues Team - Lining Track (2011)



Uploaded by AlruneRod2811 on Aug 14, 2011

Svante Sjöblom: mandolin - Olav Poulsen: slideguitar - Peter Nande: harp - Paul Banks: vocal & guitar - Mik Schack: washboard - Hugo Rasmussen: bass - Tim Lothar: drums - An amateur footage shot at Huset in Aalborg, Denmark - August 2011

LYRICS: LININ' TRACK
[traditional]

Hey, boys, is you right?
I done got right
All I hate about linin' track
These ol' bars 'bout to bust my back

Chorus:
Hey, boys, don’t you 'em
Hey, boys, don’t you line 'em
Hey, boys, don’t you line 'em
See Eloise go linin track


Well if I could I surely would
Stand on the rock where Moses stood
I don’t know but I’ve been told
Streets of heaven are paved with gold.
saida

Chorus
Yeah-ah!

[instrumental]

Hey, boys, don’t you 'em
Hey, boys, don’t you line 'em
Hey, boys, don’t you line 'em
See Eloise go linin track

Hey, boys, don’t you 'em
Hey, boys, don’t you line 'em
Hey, boys, don’t you line 'em
See Eloise go linin track

And if I could I surely would
Stand on the rock where Moses stood
Yeah, I don’t know but I’ve been told
Streets of heaven are paved with gold

Said ah
[chorus] 2x
-snip-
[Transcription by Azizi Powell from the video, 10/22/2012]

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ACKNOWLEDGEMENT AND THANKS
Thanks to all who composed this song, thanks to the early performers of this song, and thanks to those performers of this song that are featured in this post. My thanks also to John & Allan Lomax for collecting & recording this song. Thanks to all those whose comments I reposted and thanks to the producers and publishers of these featured sound clips and videos.

Thank you for visiting pancocojams.

Visitor comments are welcome.

Early Versions Of "Can't You Line' Em" ("Linin' Track")

Edited by Azizi Powell

Latest update - Dec. 10,2022

This pancocojams post is Part I of a two part series on the African American work song "Can't You Line' em ("Linin' Track", "Tie-Shuffling Chant"). This post showcases three early text versions of "Can't You Line 'em".

For background purposes, this post also provides information & comments about the traditional way that these songs were sung.

This post is not meant to be a comprehensive presentation of early versions of this song.

Click http://pancocojams.blogspot.com/2012/10/gandy-dancers-linin-track-sound-files.html for Part II of this series.

Part II of this series features a YouTube sound file of several lining track songs as performed by former Gandy Dancers. That sound file includes video of a re-enactment of lining track as well as photographs of lining and video clips of a re-enactment of lining track.

Part II of this series also showcases one sound file & transcription of a version of that song as performed by Blues/Folk artist "Leadbelly, and three renditions of the song "Linin' Track" as performed by contemporary vocalists & musicians. My transcriptions of those songs as performed by those contemporary artists are also included in this post.

The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT GANDY DANCERS
From http://en.wikipedia.org/wiki/Gandy_dancer [retrieved 2019]
"Gandy dancer is a slang term used for early railroad workers who laid and maintained railroad tracks in the years before the work was done by machines.

...most sources refer to gandy dancers as the men who did the difficult physical work of track maintenance under the direction of an overseer.

There are various theories about the derivation of the term, but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.52 m) "lining" bar (which may have come to be called a "gandy") as a lever to keep the tracks in alignment...

Though all gandy dancers sang railroad songs, it may be that black gandy dancers, with a long tradition of using song to coordinate work, were unique in their use of task-related work chants.

Rhythm was necessary both to synchronize the manual labor, and to maintain the morale of workers..."

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From https://en.wikipedia.org/wiki/Gandy_dancer [retrieved Dec. 10, 2022]
"Gandy dancer is a slang term used for early railroad workers in the United States, more formally referred to as "section hands", who laid and maintained railroad tracks in the years before the work was done by machines. ...

In the United States, early section crews were often made up of recent immigrants and ethnic minorities who vied for steady work despite poor wages and working conditions, and hard physical labor. The Chinese, Mexican Americans, and Native Americans in the Western United States, the Irish in the Midwestern United States, African Americans in the Southern United States, and East Europeans and Italians in the Northeastern United States all worked as gandy dancers.

There are various theories about the derivation of the term, but most refer to the "dancing" movements of the workers using a specially manufactured 5-foot (1.5 m) "lining" bar, which came to be called a "gandy", as a lever to keep the tracks in alignment.[1]"...

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Here's a 2007 article which provides information about Gandy Dancers:
From http://www.vre.org/service/newsletter/2007/may31.pdf [volume 3, issue 11] May 31, 2007 program the Manassas Railway Festival, Virginia Railway Express Update

"This year, a special performance by the Birmingham Lining Bar Gang will also be offered, featuring a group of re-enactors who demonstrate the way railroad tracks were aligned and maintained before the advent of mechanized devices in the 1950s and ’60s. In demonstrating track-lining, one group member serves as a “caller”, offering a two-line rhyme in a loud, clear voice that serves to synchronize the movement of other members so that each heaves with his iron lining bar at the same moment. These calls, which “helped the hard work go easy” according to a retired worker and former caller, served an indispensable function by uniting men’s efforts and easing their minds."

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FEATURED LYRICS OF CAN'T YOU LINE' EM (includes other titles of that song)
(These versions are posted in chronological order with the earliest examples posted first)

VERSION #1 [excerpt]
(John 'Black Sampson' Gibson in 1933 and other African American male inmates)

Leader: Ho, boys, is you right?
Gang: I done got right!
Leader: If I could I sholy would, [sholy = surely]
Stand on de rock where Moses stood.

Chorus: Ho, boys, cancha line ‘em? [cancha = can you]
Ho, boys, cancha line ‘em?
Ho, boys, cancha line ‘em?
See Eloise go linin’ track.
-snip-
From American Ballads and Folk Songs(Dover Books on Music, John A. Lomax (Author), Alan Lomax (Author)
Publication Date: October 21, 1994 | Series: Dover Books on Music , pps 14, 15 [Google books]
Note: Other verses from John "Black Sampson" Gibson's rendition and other renditions are found on those pages.]
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-snip-
Comments about the lines "Is you right?"/ Done got right:
One interpretation of the line "Is you right?" is the religious meaning of "Are you right [with the Lord]?" or "Are you living right?" (according to the church's religious beliefs & tenets. In those interpretations, the word "right" means righteous". "I done got right" means "I've gotten right" (I'm living the right way now although in the past I wasn't.) That interpretation is based on this Biblical scripture:
"New American Standard Bible (©1995)
"You have no part or portion in this matter, for your heart is not right before God."
-Acts 8:21"

The Christian hymn "Is Your Heart Right With God" was composed in 1899 by Elisha Albright Hoffman. That hymn has been included in various Christian hymnals since 1921.

Notice that the "Linin' Track" song includes religious verses mixed with secular verses. It's very likely that the "...your heart is not right with God" Biblical verse was known to the African American men who composed the "Linin Track" song.

As an aside, I recall singing "Is Your Heart Right With God" in my New Jersey African American Baptist church from the 1950s on. And judging from its mention on the Internet, it appears that this song is still sung today in American Christian churches and in Christian churches elsewhere.

In contrast, I didn't become familiar with the song "Linin' Track" until this year as a result of surfing YouTube.
"surfing YouTube = somewhat randomly clicking on videos and sound files of specific subject/s]

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Comment about the name "Eloise" in the "Linin' Track" song:
I belong to the school of thought that believes that the line "See Eloise go linin track" was a mishearing of the line "See how wese go linin' track". In standard American English that line is "See how we are lining [railroad] track."

One alternative theory which originated with a spoken introduction by Blues & Folk artist Leadbelly in one or several (but not all) of his performances of "Linin' Track" was that a female named "Ella Louise" was the one who first led laborers who sung this song. Given that there weren't any female gandy dancers, I very much doubt Leadbelly's story about why the female name "Eloise" is found in that song.

Additional comments about the name "Eloise" in the "Linin' Track" song are found in the entry for Leadbelly in Part II of this series. Also, hyperlinks to Mudcat discussion forum "threads" (series of comments) on the meaning of "Eloise" in this song are found below in the "Related Links" section.

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VERSION #2
("sung by Allen Prothero, (a railroad man) State Penn. Nashville. Tenn 1933")

Hey, boys joint ahead
I'm gonna tell something now
Oh, all I want, my navy beans
A big fat woman & a wheeler team

Hi,hi.won't you line em
Hi, hi won't you line em
Ho, ho won't you line em
See Eloise go lining track
-snip-
Collected by John & Allan Lomax and included in their book Railroad Songs & Ballads reposted from http://www.mudcat.org/thread.cfm?threadid=28408 "Lyr Req: Who was Eloise in Leadbelly's Linin'" by Barry Finn, Date: 13 Apr 03 - 03:01 PM
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Notice that there's no phrase such as "trackalack" at the end of this version's chorus lines. Nor is there any such phrase in Version #1. I wonder if that phrase wasn't sung or if the Lomaxes didn't think it was important enough to include. The "trackalack" (or similar sounding phrase) is also often omitted from online lyrics that I've read for this song. That’s unfortunate because that phrase is a crucial part of the song as it was actually performed by Gandy Dancers, a referent for railroad workers who lined track, most of whom were African Americans.

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VERSION #3 [with some transcription corrections Dec. 10, 2022] 
(Sung by Henry Hankins at Tuscumbia Alabama, 1939)

I. God told Noah about the rainbow sign,
No more water but a fire next time.
Hey boys, can't you line,
hey boys, just a hair,
Hey boys, can't you line,
hey boys, just a hair.
All right, we're movin' on up the joint ahead.

2. Capt'n keep a-holletin' 'bout the joint ahead,
Ain't said nothin' about the hog and bread.
Hey boys, can't you line, hey boys, just a hair,
Ho boys, line them over, hey boys, just a hair.

Better move it on down to the center head.

3. Capt'n keep a-hollerin' about the joint ahead,
Ain't said nothin' 'bout the bowl and bread.
Hey boys, can't you line, hey boys, just a hair,
Ho boys, line them over, hey boys, just a hair.
0l’ soul, let's move ahead children.
All right, is you right? Yes we're right.

4. Gone to town, gain' to hurry back,
See Corinna when she ball the jack.
Hey boys, can't you line, hey boys, just a hair.

5. All right, Capt'n keep a-hollerin' about the joint ahead.
All right, children will you move?
Move on down 0l' soul,
Is you right children? Yes we're right.

6. Gain' to town, gonna hurry back,
See Corinna when she ball the jack.
Hey boys, can't you line, ho boys, just a hair

http://www.loc.gov/folklife/LP/AFS_L61_opt.pdf
[These lyrics and the comments that follow are reposted as they are found in that pdf]
Song -A-4
Sung by Henry Hankins at Tuscumbia Alabama, 1939 recorded by Hebert Halpert

"Fortunately, Negro construction railroad songs are well known through recordings and print collections. The building of any roadbed section involved myriad skills: timber failing, brushing, blasting, grading, tie and steel unloading, track laying and lining, spike driving, tie tamping. Each detailed function called for a characteristic rhythm that drew to itself hundreds of floating lyrics. Henry Hankins' "Lining Track," which mentions the Biblical Noah as well as a worldly Corinna, is but one example of hundreds of Library of Congress field recordings for this gente. Excellent analogs by Henry Truvillion are found on LC recordings L8 and L52. A reoent article by Ambrose Manning leads to earlier readings. I cite but two commercial 78 rpm discs to note material which preceded field recordings.

Texas Alexander, "Section Gang Blues," Okeh 8498.
T.C.1. Section Crew, "Track Linin'," Paramount 12478.
Ambrose Manning, "Railroad Work Songs," Tennessee Folklore Society Bulletin, 32:41-47 (June 1966).
-snip-
"just a hair" might mean "just a little bit" and/or it might have been a phrase that served the same purpose as the "trackalack", "rackalack", or other such phrases at the end of lines in the chorus of other versions of this song.

The very similar refrain "shaka laka" is found in a number of 20th century R&B songs.

**
Ol’ = old
**
"ball that jack" = the name of an African American originated Blues dance

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RELATED LINKS
The words to a 1927 recording of "Track Linin'" by an African American choral group are found on page 646 of the book Long Steel Rail: The Railroad in American Folksong (2d ed.) by By Norm Cohen. [Google books]

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Additional lyrics for "Can't You Line 'em" ("Linin' Track") are found in http://www.mudcat.org/thread.cfm?threadid=6591 "Eloise?" That same post includes other theories about the meaning of the female name "Eloise" in that song.

Other Mudcat threads that provide lyrics and comments about the name "Eloise" in that song are http://mudcat.org/thread.cfm?threadid=28408
"Who was Eloise in Leadbelly's Linin' Track?" and "http://www.mudcat.org/thread.cfm?threadid=19043#192986 Lyr Add: Linin' Track

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ACKNOWLEDGEMENT AND THANKS
Thanks to all who composed this song, and thanks to the early performers of this song - those featured here and others. My thanks also to John & Allan Lomax for collecting & recording this song. And thanks to all those whose comments & transcriptions I reposted.

Finally, thank you for visiting pancocojams.

Viewer comments are welcome.