Appalshop Archive, Nov 2, 2021
excerpt from a concert by Etta Baker and John Jackson at
Seedtime on the Cumberland 1997. Full video here:
https://www.appalshoparchive.org/Deta
****
Edited by Azizi Powell
This pancocojams post presents some information about African American blues guitarist Ella Baker.
This post also presents information and comments about the "Railroad Bill" songs about the African American outlaw/ folk hero. This post also presents lyrics for some "Railroad Bill" songs.
This post is a continuation of a five part pancocojams series about Railroad Bill songs that I published in 2012.
Here are the links to the 2012 pancocojams posts about :
https://pancocojams.blogspot.com/2013/09/riley-puckett-railroad-bill-information.html
Part I provides general information about the man known as "Railroad Bill". That post provides a sound file and lyrics to the version of this song that was recorded in 1924 by Anglo-American vocalist/musician Riley Puckett. An addendum to this post also provides notes about other verses of that song or variants of that song that were collected in the early 20th century.
http://pancocojams.blogspot.com/2013/09/roba-stanley-railroad-bill-information.html
Part II provides lyrics of a 1924 version of "Railroad Bill" by Roba Stanley. Part II also provides general information about the man that was known as "Railroad Bill". Click
http://pancocojams.blogspot.com/2013/09/will-bennett-railroad-bill-information.html.
Part III provides lyrics of a 1929 song by Will Bennett. This is the first version of this song that was recorded by a Black person.
http://pancocojams.blogspot.com/2013/09/frank-hutchison-railroad-bill.html
Part IV provides a sound file & lyrics of this song by Frank Hutchinson.
http://pancocojams.blogspot.com/2013/09/lonnie-donegan-railroad-bill-with.html
Part V provides a sound file and lyrics of this song by Lonnie Donegan, who was a prominent British Skiffle vocalist. Information about Skiffle music is also provided in that post.
****
The content of this post is presented for folkloric, historical, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Etta Baker for her musical legacy and thanks to all those who composed "Railroad Bill" songs, performed "Railroad Bill" songs, and/or collected and wrote about "Railroad Bill" songs. Thanks also to the publisher of this sound file on YouTube.
****
INFORMATION ABOUT ETTA BAKER
From https://en.wikipedia.org/wiki/Etta_Baker
"Etta Baker (March 31, 1913 – September 23, 2006) was an [African American] Piedmont blues guitarist and singer from North Carolina.
[...]
Baker was first recorded in the summer of 1956, after she
and her father happened across the folksinger Paul Clayton while visiting the
Cone mansion, in Blowing Rock, North Carolina, near their home in Morganton.
Baker's father asked Clayton to listen to his daughter playing her signature
"One Dime Blues". Clayton was impressed and arrived at the Baker
house with his tape recorder the next day, recording several songs.[7] Clayton
recorded five solo guitar pieces by Baker, which were released as part of the 1956
album Instrumental Music of the Southern Appalachians, one of the first
commercially released recordings of African American banjo music.[1] Baker was
not monetarily compensated for these early recordings. Only after working with
the Music Maker label later in life was she able to get rights back for this
music.
Awards and honors
Baker received the North Carolina Folk Heritage Award from
the North Carolina Arts Council in 1989, a National Heritage Fellowship from
the National Endowment for the Arts in 1991,[8] and the North Carolina Award in
2003. She was nominated for several Blues Music Awards (formerly the W. C.
Handy Blues Awards): in the Traditional Blues Female Artist category in 1987
and 1989, and her album Railroad Bill in the Acoustic Album category in
2000.[9] Along with her sister, Cora Phillips, she received the Brown-Hudson
Folklore Award from the North Carolina Folklore Society in 1982.[10]"...
****
INFORMATION AND COMMENTS ABOUT "RAILROAD BILL"
These online sources are given in no particular order and are numbered for referencing purposes only.
ONLINE SOURCE #1
From https://balladofamerica.org/railroad-bill/ "Railroad Bill: About the Song" by Matthew Sabatella [no publishing date given; retrieved February 8, 2026
" "Railroad Bill" is a blues ballad that dates to
the 19th century and has been performed and recorded by many folk artists
throughout the 20th century. People have conjectured that the subject of the
song is an African American outlaw named Morris Slater who robbed freight
trains in the 1890s. Slater's nickname was Railroad Bill. Only a few of the
song's dozens of stanzas seem to refer specifically to Slater's activities. The
majority of the stanzas are quite general. Was "Railroad Bill"
written about Slater? Or did Slater get his nickname from what was a
preexisting song, with the verses specific to him being added later?
Historical Background
Stories about Morris Slater began to surface in newspapers in 1895. Slater robbed freight trains, primarily in Alabama and western Florida along the Louisville & Nashville Railroad line. His method was to throw merchandise off moving railroad cars and pick it up later. Slater allegedly killed at least two sheriffs as they, and a succession of detectives and railroad officers, tried to apprehend him. He was shot to death in Tidmore and Ward's General Store in Atmore, Alabama, by Constable McGowan and storekeeper Bob Johns on March 7, 1897.
While most people condemned Slater's crimes, a minority of African Americans in Alabama admired him and turned him into a folk hero. Like the legend of Jesse James, they said he gave the food he stole to poor blacks. Also like the legend of Jesse James, no one has found evidence of this. Some people even attributed supernatural powers to Slater, claiming that he could change form into an animal to escape capture or that he could only be killed by a "solid silver missile."
That Slater could be viewed as a hero and a martyr is not surprising, considering the racial and economic divide in the post-Reconstruction Deep South.
Song History
The song "Railroad Bill" seems to be related to
other 19th century songs of African American origin about characters named
Bill, including "Roscoe Bill," "Shootin' Bill," and
"Buffalo Bill." Some lyrics are shared among these songs. This type
of common "floating" stanza is a characteristic of blues ballads and
other types of folk songs."...
****
ONLINE SOURCE #2 [This excerpt is included in Part I of the 2012 pancocojams "Railroad Bill" series whose link is given above]
From From http://www.encyclopediaofalabama.org/face/Article.jsp?id=h-1258
"The legend of Railroad Bill arose in the winter of 1895, along the Louisville and Nashville (L&N) Railroad line in southern Alabama. Based loosely on the exploits of an African American outlaw known as "Railroad Bill," tales of his brief but action-filled career on the wrong side of the law have been preserved in song (see lyrics), fiction, and theater. He has been variously portrayed as a "Robin Hood" character, a murderous criminal, a shape shifter, and a nameless victim of the Jim Crow South. He was never conclusively identified, but L&N detectives claimed he was a man named Morris Slater, and some residents of Brewton believed him to be a man called Bill McCoy who was shot by local law enforcement.
Stories about Railroad Bill began to surface in early 1895, when an armed vagrant began riding the L&N boxcars between Flomaton and Mobile. He earned the nickname "Railroad Bill," or sometimes just "Railroad," from the trainmen who had trouble detaining the rifle-wielding hitchhiker...
Railroad Bill was a symbol of the racial and economic divide in the post-Reconstruction Deep South. During this period of increasing legal segregation in Alabama and the rest of the South, the hunt for Railroad Bill became a theatrical white supremacist saga in local newspapers. The outlaw's legacy has been passed down through generations in many cultural representations. Railroad Bill blues ballads began circulating in the early twentieth century; one was recorded by Riley Puckett and Gid Tanner in 1924. Musicologist Alan Lomax recorded a version of Railroad Bill by Payneville native Vera Ward Hall in 1939. Blues singers have used "Railroad Bill" as a stage name, and the popularity of the ballads exploded during the folk revival of the 1950s and 60s. In 1981, the Labor Theater in New York City produced the musical play Railroad Bill by C. R. Portz”."...
****
ONLINE SOURCE #3
From https://mudcat.org/thread.cfm?threadid=21456
[These comments were given in response to the question "Does anyone know the song "Railroad Bill?"...Numbers for these comments are added for referencing purposes only.
The comment that is given as #2 below is from a man who indicates that he is a great-grand child of the man who was called "Railroad Bill".
Also, I wrote the last two comments that I'm quoting from this discussion thread in 2005.]
1. Subject: Railroad Bill
From: Stewie
Date: 15 May 00- 10:17 PM
| "I don't know much about it except that it was a favourite in both the black and white traditions. The Traditional Ballad Index gives its earliest date (printed or recorded) as 1927. The writer of the note for the Ballad Index rejects as 'unproven' the theory that it related to a notorious badman by the name of Morris Slater (also known as Railroad Bill) who terrorised Florida and Alabama in the 1890s. However, Stephen Calt, in his notes to 'The Late Bill Williams: Blues, Rags and Ballads' Blue Goose 2013, had no hesitation in saying that it was 'a salute to a once-notorious Alabama train robber and one of the most famous pieces in black folk tradition'. Bill Williams' recording of the song is splendid - he was first discovered and recorded in 1970 in Kentucky when he was in his 70s! In 'American Ballads and Folk Songs' the Lomaxes give a text and tune of the song from the black tradition. They assert that Railroad Bill was a completely legendary character. They point out that it is interesting that, in the song, he is captured by another black after eluding white law officers. The song has verses like: Railroad Bill mighty bad man The entry in the DT refers to versions by white singers such as Cisco Houston and Ramblin' Jack Elliott. The earliest recording by a white artist was that by the great bluesman from West Virginia, Frank Hutchison. Frank recorded his version at his last recording session in 1929. It has been reissued on CD 'Old-Time Music from West Virginia' Document DOCD 8004." Morris Slater is Railroad Bill's real name. I do not know anything about his family origin, but I do know that he came from out West before he showed up in the Alabama/Florida area. He was bi-racial having one white parent, but I do not know which parent. He claimed to have traveled with a circus for seven years and was a performer. He was friend and traveling companion to Charlie Smith, an ex-slave from Texas. There is a book written and a movie about this Charlie Smith and his life, titled "Charlie Smith and the Fritter Tree". In this movie, Morgan Freeman portrays Railroad Bill. Morris Slater ended up living in West Florida near the Bama line. He worked in the woods as a turpentine worker. Slater met my grandmother as he roomed at her boarding house. Even though Slater was half white and light skinned, it was against the law for a "colored person" to marry a "white". Never the less, my grandfather was conceived. It is passed down to me that Morris Slater was a gentle, compassionate person with a lot of self pride. After my grandfather was born, Slater moved on in order to protect my great grandmother and her child because their relationship had been in secret. Slater was an educated man and I have learned that when he would write letters and mail them, he always painted a black bird on the envelope. Slater always carried his riffle in his pant leg where ever he went. A new sheriff came into town one day and told Slater he would have to pay money to register his gun or give it up. Slater was very poor at the time and did not have the money to pay and he also felt that he had as much right as the "white" man to carry his gun. He simply refused, saying that he had a right and did not have to register his gun. Because of this incident, the law started badgering him. Eventually, the law went after him along with a posse and the intention of taking his gun one way or another. Slater told them to just leave him alone, but they shot at him and he shot back. Afterwards, Slater had to go on the run after becoming a wanted man dead or alive. He was shot at many times and he returned fire in defense, killing a deputy. He then figured what the hey, he had nothing to lose. He began jumping freight cars, stealing the loot, food, money, whatever he could grab. He threw the food off to the poor people along the tracks and delivered food and money to poor people's doors during the night. He was known to the black and poor white communities as "Railroad Bill" and sometimes called "Wild Bill McCoy" or the "Black Robin Hood." He was a master at eluding the law. All sorts of legends grew about Railroad Bill. He was said to be able to jump a river and could jump from tree to tree. Legend has it that many times an unknown bloodhound would appear out of nowhere when the law was on track of Bill. It is said that Railroad Bill turned himself into a bloodhound and ran with the pack of hounds who were chasing himself. He could disappear at the blink of an eye. Even today local folk, especially in the African American communities, believe that the spirit of Railroad Bill still roams about and when good things happen to the poor people it is Railroad Bill still looking out for the less fortunate. I suppose after a few years of running with no hope in site,
Railroad Bill became exhausted. It was about 1897 when Railroad Bill took his
last walk into town one day to a local store. He purchased some cheese and
crackers, ate, got up and walked out knowing what was about to happen. Several
groups of men were stalking around waiting for their prey. He was shot in the
back numerous times until he fell to the ground dead, gun along his side and
peace at last. Sheriff McGowan of Atmore, Alabama stands tall in a photo taken
of him with Railroad Bill laying dead on back of a wagon. Photo's were sold,
pictures were taken along side the body for fifty cents and a person could view
his remains for fifty cents. The body was on display for weeks, taken from town
to town. I am sure these "Law men" and other "good
citizens" were proud of their catch, not to mention a little richer to
boot. I know that many legends, songs and tales were made up about Railroad
Bill, most highly exaggerated. There is currently mention of a movie in
progress about the legend of Railroad Bill." Standin' on the corner, didn't mean no harm, Policeman grab me by my arm, Says I'm lookin' for Railroad Bill. Talk about your bill, your ten-dollar bill, You never seen a bill like Railroad Bill, He'll lay your
poor body down. Railroad Bill, mighty bad man, Shot them lights out the brakeman's hand, They's lookin'
for Railroad Bill. Railroad Bill, mighty bad man, Shot all the lights off of the stand, That bad
Railroad Bill. Railroad Bill, got no wife, Always lookin' for somebody's life, That bad… Railroad Bill, he did not know That Jim MacMillan had a forty-fo', Laid his poor
body down. Railroad Bill, comin' home soon, Killed MacMillan by the light of the moon, That… Railroad Bill cut a mighty big dash, Killed MacMillan like a lightnin' flash, He'll lay your poor body down. First on the table, next on the wall, Old corn liquor is the cause of it all, That bad… Railroad Bill, ridin' on the train, Tryin' to act big like Cuba and Spain, That bad… Get up, old woman, you sleepin' too late, Railroad Bill's come knockin' on your gate, That bad… Railroad Bill, he's got sore eyes, Won't eat nothin' but apple pies, That bad… Railroad Bill, eatin' crackers an' cheese, Long come the sheriff, chipper as you please, Says, ain't
you that Railroad Bill. Railroad Bill, might big spo't, Shot all the buttons off the Sheriff's coat, You bad
Railroad Bill. Sheriff he got him a special train, When he got there, was a drivin' rain, He's lookin'… Ten policemen, all dressed in blue, Comin' down the avenue, two by two, They's lookin'… Everybody told him, you better go back, Bill is a-comin' down the railroad track, That bad… Ol' Culpepper went up on Number Five, Goin' bring him back, dead or alive, That bad… Railroad Bill lyin' on the grocery floor, Got shot two times, they shot him two times more, They shot down
old Railroad Bill. Railroad Bill said before he died, Fit all the trains so the rounders can ride, Didn't it
rain, rain, rain, rain, rain." NOTES: For my own singing I've tended to vary the chorus as above, but the original versions stick rigidly to the refrain of "Lookin' for Railroad Bill." This makes me wonder if the song was first composed during, or immediately after, the manhunt...that would date it to c. 1897-98. Note borrowings from "Crawdad Song" and from "Natural-Born Eas'man" / "Jay Gould's Daughter" / "Casey Jones."
"Thomas W. Talley's 1922 collection "Negro Folk Rhymes" has a rhyme he calls "Wild Negro Bill" {p. 94 of Kennikat Press edition. The verses Talley presents contain the N word {represented in my post as "N---"} I'se wild N----- Bill From Redpepper Hill. I never did wo'k an' I never will I's done killed de Boss. I'se knocked down de hoss. I'se eats up raw goose widout apple sauce! I'se Run-a-way Bill, I knows dwy mought kill; But old Mosser hain't cotch me, an' he never will! --- Talley wrote that many of his songs were generations old..Since sneaking into railroad cars was often used by runaways, could 'Wild N--- Bill' be the source of "Railroad Bill?
"In her 1925 collection 'On The Trail Of Negro Folk Songs" Dorothy Scarborough writes: I's Looking Fer Railroad Bill Railroad Bill mighty bad man, Shoot dem lights out o' de brakeman's hand- It's lookin' fer Railroad Bill. Railroad Bill mighty bad man, Shoot the lamps all off the stan'- An it's lookin' fer Railroad Bill. First on table, next on wall, Ole corn whiskey cause of it all- It's looking fer Railroad Bill. Ole McMillan had a special train, When he got there wus a shower a rain- Wus lookin' fer Railroad Bill. Ev'body tole him he better turn back, Railroad Bill wus goin' down the track- An it's lookin' fer Railroad Bill. Well, the pilicemen all dressed in blue, Comin down sidewalk two by two, Wus lookin' fer Railroad Bill. Railroad Bill he 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 the light o' the 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 the corner, did n't mean no harm, Policeman grab me the arm- Wus lookin' fer Railroad Bill." end of quote Scaborough {Odum} writes 'It's lookin' fer Railroad Bill.' but I wonder if this was a mis-hearing of "I'se lookin fer Railroad Bill".. Scaborough also includes this verse: Railroad Bill got so fine He shot a hole in a silver dime Railroad Bill, Railroad Bill Railroad Bll got sore eyes, An' won't eat nothin' apple pies. (p. 253 Folklore Associates edition, 1963} --- Needless to say, to African Americans of that time 'Railroad
Bill' was an anti-hero, a man with attitude who didn't take no stuff, who
challenged the system and won {at least for a while}. "Coon" was used as an informal referent for
African Americans by both Black Americans and others. Though it is now, then it
was not necessarily a negative term. The only positive use of 'coon' that I
have ever heard among African Americans {though it's very rarely used now} is
the internal rhyme "ace boon coon" as in "You're my ace boon
coon". Ms. Azizi"
|
