This pancocojams post showcases the children's movement song "All Around The Kitchen". This song is also known as "All Around The Kitchen Cock A Doodle Doodle Doo".
The general lyrics for this song are included in this post. However, this song's verses are improvisation-children come up with the motions that they want to do after the line "Now you stop right still" and its refrain "Cock a doodle doodle doo".
This post also includes information about the ways that children perform this song.
In addition, this pancocojams post includes selected comments from a Mudcat folk music discussion thread about this song.
The content of this post is presented for folkloric and entertainment purposes.
All copyrights remain with their owners.
Thanks to the unknown composers of this song. Thanks to all those who are featured in this showcased video and thanks to all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
**** LYRICS - ALL AROUND THE KITCHEN (as sung by Pete Seegar in his 1953 record American Folk Songs For Children
All around the kitchen! cocka-doodle-doodle doo
All around the kitchen! cocka-doodle-doodle doo
Now stop right still cocka-doodle-doodle doo
And put your hands on your hips cocka-doodle-doodle doo
And let your right foot slip cocka-doodle-doodle doo (repeat
chorus)
Now stop right still cocka-doodle-doodle doo
And put your hand on your head cocka-doodle-doodle doo
And nd put your other on e on your toe cocka-doodle-doodle
doo (repeat chorus)
Now stop right still cocka-doodle-doodle doo
And put your hand on your knee cocka-doodle-doodle doo
And wave your other hand high cocka-doodle-doodle doo
(repeat chorus)
Now stop right still cocka-doodle-doodle doo
And put your hands on your belly cocka-doodle-doodle doo
And jump up and down cocka-doodle-doodle doo (repeat chorus)
Now stop right still cocka-doodle-doodle doo
And put your hands over your eyes cocka-doodle-doodle doo
And turn all around cocka-doodle-doodle doo (repeat chorus)
Now stop right still cocka-doodle-doodle doo
And put your hands on your shoulders cocka-doodle-doodle doo
And put your foot up in the air cocka-doodle-doodle doo
(repeat chorus)
**** THREE WAYS 'ALL AROUND THE KITCHEN" CAN BE PERFORMED (given in no particular order)
Note: It appears from the YouTube videos of this song that I've come across that groups pf children in the 21st century who perform this song usually are silent while they move to the accompaniment of a record of this song. As a result, the instructions about what movements the group perform after each iteration of the words" stop right still cock a doodle doodle do " come from the record itself.
Here are the three ways that groups perform "All Around The Kitchen Cocka A Doodle Doodle Doo"
1. The group forms a single file behind a person who has been designated as the leader. Without holding hands or touching each other, the group follows the leader in a zig zag, circular manner.
The leader and the rest of the group hold their hands beneath their armpits and begin flapping them (moving them up and down) pretending that they are roosters' wings or chickens wings.
The group immediately stops in place for each iteration of the words "now you stop right still (cock a doodle doodle do) ". After they do the motion that is given in the record (or the motion the leader or one other person in the group comes up with), the leader immediately starts moving again and the group continues to follow her or him around the room while they "flap their wings" as they did before.
2. Children
hold hands and walk in a circle holding hands. The group drops hands while they perform the stop right still movements. (Follow the rest of the description for #1 except that there is no designated leader and after they perform that motion , the group holds hands again and moves in a circle).
** 3. Children move in a random pattern around the area where they are located. (Follow the rest of the direction for #1 except that there is no designated leader and after they perform that motion, the group begins "flapping their wings" again and moving around the room in a random fashion. -snip- For what it's worth, I used the performance style #1 with the two children's game song groups that I founded and led in the early 2000s in Pittsburgh, Pennsylvania and in a nearby Pittsburgh community.
**** SELECTED COMMENTS FROM A MUDCAT DISCUSSION THREAD ABOUT THIS SONG
(Numbers added for referencing purposes only)
1. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: Azizi Date: 13 Aug 07 - 09:09 AM
..."Given its call & response, improvisational, and
open-ended format, I think its of African American origin.
The use of that "let your right foot slip" verse
also leads me to believe that All Around the Kitchen is of African American
origin-or we took adopted it from elsewhere and made it our own."
** 2. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: GUEST,Bob Coltman Date: 14 Aug 07 - 08:54 AM
"Hi all ... here's a little background for the song as far as
I know it.
"All Around In the Kitchen" was its title when
this ring game song was recorded in 1940 by John A. and Ruby T. Lomax in the
countryside near York, Alabama. I believe that is its first appearance, I don't
know of any earlier version.
Ruth Crawford Seeger published it in American Folk Songs for
Children in 1948, and it got into a lot of school music curriculums because
that book was widely circulated among educators. She dropped the word
"In" from the title for whatever reason.
Pete Seeger recorded it in the early 1950s on a Folkways
album for children, also as "All Around the Kitchen." This gave it
even more circulation. That's where I learned it. Hooray for LP records. :)"
Bob"
** 3. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: GUEST,Bob Coltman Date: 14 Aug 07 - 08:58 AM
"And Azizi, I should add that the song was sung by a group of
African-American children, which confirms your opinion. Bob"
** 4. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: GUEST Date: 14 Aug 07 - 09:28 AM
"Bob Coltman wrote:
"Ruth Crawford Seeger published it in American Folk
Songs for Children in 1948, and it got into a lot of school music curriculums
because that book was widely circulated among educators."
Mike & Peggy Seeger have recorded an album (now a 2XCD
set) of the songs in this book, including "All Around The Kitchen".
This is certainly one of my favourite albums - it got us
through so many long-distance car journeys with our son, who now has his own
band. I wonder how many of these songs will eventually crop up in punky-ska
versions?
Norman"
** 5. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: Azizi Date: 14 Aug 07 - 10:23 AM
"Thanks for that info, Bob!
...Here's that second verse that I sing with children, teens, and
adults:
Put your hands on your hips
Cock a doodle doodle do
And let your right foot slip
Cock a doodle doodle do -snip- I know that I've seen that "right foot slip" line
in other 19th or early 20th century African American dance songs {jazz dance
songs?}, but I can't find any now.
Fwiw, that movement didn't appear to be known to children,
teens, adults that I who were participants in the programs I facilitated. Prior
to singing while moving in a processional line, zig zaging all around a large
room-and NOT a kitchen, I demonstrate how to do the "let your right foot
slip" line.
And also fwiw, while the mostly African American female and
male children/teens who participated in the game song sessions I facilitated in
Pittsburgh Pa {1997-2006} knew the word "switch" and its movement
[which I define as females walking in a sexually seductive, butt swaying
manner],they didn't know the word and the movement for "strut"*
[which wordnet.princeton.edu/ defines as a "proud stiff pompous
gait"]. And even after I demonstrated the strutting movement, most of the
girls & boys initially had a difficult time doing it. I think what they
were having difficulty with was walking with a "stiff gait" instead
of moving their hips and/or other parts of their bodies to the beat {and the
off-beat}. Such movements seems to me to be at the core of African American
dance music today-and perhaps to a large degree-way back then "back in the
olden days".
*Btw, these children/youth didn't know the African American
children's rhyme "Strut Miss Lucy" or anything about the cakewalk
either. But neither did I when I was growing up in Southern New Jersey in the
1950s"
** 6. Subject: RE: Folklore: all around the kitchen cock-a-doodle From: GUEST,Fluxusfrequency Date: 28 Nov 11 - 08:26 PM
"Azizi, Little Sally Water has "let your backbone
slip".
Ol' Dan Tucker From the Second South Carolina String Band.
rosestar77, Uploaded on Feb 19, 2010
Shot in Gettysburg, PA.
-snip-
This YouTube video includes lyrics captions. I believe that some of those lyrics are incorrect, for instance, the word "sucker" instead of the last name "Tucker."
**** Edited by Azizi Powell This is Part II of a pancocojams series on the American minstrel/play party song "Old Dan Tucker" (also given as "Ole Dan Tucker").
This post showcases YouTube examples of the song "Old Dan Tucker." This post also includes some information about and lyrics for versions of that song.
This 2026 post also includes the three comments that were published in that 2013 post as of July 11, 2026.* However, the videos of that song that were included in that 2013 post are now showcased in Part II of this 2026 pancocojams post.
The content of this post is presented for folkloric, historical, and educational purposes.
All copyrights remain with their owners.
**** Thanks to the unknown early composers of this song. Thanks to all those who are quoted in this post. Thanks to the performers & musicians who are featured in these videos, and thanks to the producers of these videos on YouTube.
**** ADDITIONAL VIDEOS OF "OLD DAN TUCKER"
These videos are given in no particular order and are numbered for referencing purposes only.
SHOWCASE VIDEO #2 - Ol Dan Tucker
AMSOMmp, Uploaded on Jul 7, 2009
Andy and Opie sings Ol Dan Tucker [from the American television series "The Andie Griffin Show".]
**** SHOWCASE VIDEO #3 - Mr. Edwards (Victor French) - Old Dan Tucker
SHOWCASE VIDEO #4- Bruce Springsteen with the Sessions Band - Old Dan Tucker
(Live In Dublin)
Bruce Springsteen, Mar 4, 2019
**** SHOWCASE VIDEO #5-Ol Dan Tucker
Mr.Hudspeth's Music Channel, Nov 9, 2017
Old Dan Tucker is a classic American folk song with roots
deep in the 19th‑century oral tradition. The tune circulated widely
before it was ever written down, and many historians connect the earliest
published lyrics to Dan Emmett, a well‑known American songwriter of the
1800s. The first sheet‑music edition appeared in 1843, but the song itself is
older—passed from singer to singer long before
it reached print. Because of its age and traditional transmission, Old Dan
Tucker is firmly in the Public Domain.
This arrangement is created specifically for kids,
classrooms, and elementary music teachers who want a simple, joyful, easy‑to‑sing
version of this beloved folk song. It works beautifully as a sing‑along,
echo song, warm‑up, or folk‑song lesson for grades K–5.
I, David Hudspeth, arranged, recorded, and produced this
entire video. This is my original educational arrangement, created to reflect
how the song might have been sung in its early days—simple, rhythmic, and full
of energy.
đ” What makes this version
kid‑friendly?
Easy melody for young singers
Clear echo‑style phrases for call‑and‑response
Steady beat for movement activities
Folk‑style guitar and voice arrangement
Perfect for elementary music, homeschool, parents, and
classroom teachers
đ¶ Why teach “Old Dan
Tucker”?
It’s a traditional American folk song with strong cultural
and historical value
Great for teaching steady beat, echo singing, call‑and‑response,
and folk‑song form
Works well for music programs, sub plans, warm‑ups,
and sing‑along days
Helps students connect with early American music traditions
đ Song Background (Kid‑Friendly
Summary)
“Old Dan Tucker” has been sung for nearly 200 years. No one
knows exactly who wrote the original version, but it became widely known in the
1840s and has appeared in countless songbooks, school music curriculums, and
folk collections ever since. Because the author is unknown and the song
predates modern copyright, it is Public Domain."... -snip- This "Kid-Friendly" summary doesn't include any information about the Black American origins of early versions of this song. Read Part I of this pancocojams series including this comment that I wrote on July 11, 2026:
For what ever reason, I woke up today with the song "Old Dan Tucker" in my mind. I didn't remember publishing this 2013 pancocojams post, but searched for it on this blog and found this post.
More than five years later, I wish I had expanded upon my response to unknown's comment . Here's my response now:
With regard to my comment that "every person has to make up her and his mind about the use of compositions that are categorized as "minstrel songs", I realize that now (in the 2020s United States if not elsewhere, the school system's administrators determine which subjects are taught in music classes, history classes, and "social studies" classes (if "social studies classes even still exist in the United States since the beginning of the 21st century).
I still believe that the full history of the song "Old Day Tucker" should be taught to older students (i.e students in the 6th grade on up) and to intellectually advanced students. The black faced minstrel history of that song (and of many other American "old time" songs), is part of those song's full histories. Not including that history is "white washing' those songs and therefore not paying homage to their original Black composers, or their early Black composers.
Furthermore, not providing age appropriate information about America's past-including Black faced minstrelsy that was performed by White singers/musicians and by Black singers/musicians robs children and youth of opportunities to learn from this nation's past-including lessons about how people were (and still are) mistreated, treated unequally under the law, and/or ridiculed because of their race, ethnicity, gender, religion etc.
For these reasons, I support the introduction and teaching of old time music to children and youth. However, I believe that prior to university level, students should be informed-in age appropriate language-that they are learning modified versions of these songs. My sense is that those modified versions shouldn't include the n word", Ebonics dialect, and negative references to race and gender when they are sung for entertainment purpose."
**** This concludes Part II of this pancocojams series.
This 2026 post also includes the three comments that have been published in that 2013 post as of July 11, 2026.* However, the videos of that song that were included in that 2013 post are now showcased in Part II of this 2026 pancocojams post.
The content of this post is presented for folkloric, historical, and educational purposes.
All copyrights remain with their owners.
**** Thanks to the unknown early composers of this song. Thanks to all those who are quoted in this post. .
-snip-
*This 2026 post includes the three comments that were published in that 2013 post as of July 11, 2026. One of those comments is from a pancocojams blog reader and one of those comments is my reply written in 2013 . The third comment is my expansion on my 2013 reply that I wrote on July 11, 2026 after reading my 2013 reply.
****
INFORMATION ABOUT THE SONG "OLD DAN TUCKER" From http://en.wikipedia.org/wiki/Old_Dan_Tucker "Old Dan Tucker", also known as "Ole Dan Tucker", "Dan Tucker", and other variants, is a popular American song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period...
The first sheet music edition of "Old Dan Tucker", published in 1843, is a song of boasts and nonsense in the vein of previous minstrel hits such as "Jump Jim Crow" and "Gumbo Chaff". In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known...
Composition The origin of the music of "Old Dan Tucker" has always been obscure, and no sheet music edition from 1843, its year of its first publication, names a composer. The first performance of the tune (but not lyrics) may have happened as early as 1841.[40] The music may in fact be from the oral tradition or may have been a product of collaboration.[33]
...[Some of the lyrics to “Old Dan Tucker]... seem to partially derive from an earlier minstrel song called "Walk Along John" or "Oh, Come Along John", first published in various songsters in the early 1840s.[46] Some verses have clear echoes in versions of "Old Dan Tucker": Johnny law on de rail road track, He tied de engine on his back; He pair's his corn wid a rail road wheel, It gib 'em de tooth ache in de heel.
Possible slave origin A story dating to at least 1965 claims that "Old Dan Tucker" was written by slaves about a man named Daniel Tucker who lived in Elbert County, Georgia. Tucker was a farmer, ferryman, and minister who appears in records from the late 18th and early 19th centuries. The story, as related by Mrs. Guy Rucker, the great-great-granddaughter of one of Tucker's neighbors, claims that Tucker became quite well liked by the slaves in his area through his ministry to them.[49]
According to this interpretation, the lyrics address Tucker directly. The chorus, "You're too late to get your supper" is a kindhearted taunt to a man who often arrived after dark, forcing his hosts to scrape up a meal for him.[49] The song's occasional lewdness is explained by the natural impromptu nature of its supposed origin.[50]
"Old Dan Tucker" does show evidence of black influence. For example, bizarre imagery in folk versions of the song (e.g., "toothache in his heel") may be a sign of legitimate black input (or of someone poking fun of slaves who had an incomplete knowledge of English).[45] "Old Dan Tucker" most closely resembles African music in its call-and-response refrain.[35]
Daniel Tucker was buried in Elbert County in 1818.[51] The Elbert County Chamber of Commerce today promotes his grave as a tourist attraction due to his possible connection with the character from the song." -snip- Here's another comment about the possible Black American origin of this song and the possible connection between the Egbert County Dan Tucker and the character mentioned in that song from http://mudcat.org/thread.cfm?threadid=27246 "Old Dan Tucker", posted by Bill D, 10 May 03 - 12:14 PM "My wife was just looking thru some old newspapers saved by her aunt in Georgia in 1945 and found an entire article on Rev. Daniel Tucker, with photographs of the gravesite, and of Fiddlin' John Carson. ...I will try to scan the article, which claims the the original song was begun by the local Negroes, who adored Rev. Tucker...the implication being that Dan Emmett merely added to it and popularized it. (not surprising, given the loose way 'ownership' and credit was treated in those days)......THe article in the Atlanta Journal gives a LOT of history of Rev. Tucker and the area and culture
In the meantime, search found this page with this quote in it [hyperlink no longer viable]
"Old Dan Tucker" Rev. Daniel Tucker owned a large plantation on the Savannah River and is buried near his old hometown, "Point Lookout", six miles from here. Born in Virginia, February 14, 1774, Daniel Tucker came here to take up a land grant. A revolutionary soldier, planter and minister, he owned and operated Tucker's Ferry near his home. He died April 7, 1818 - but not "of a toothache in his heel". Esteemed by his fellow planters, he was loved by the Negroes who composed the many verses of the famous ditty, "Old Dan Tucker", a favorite song at corn shuckings and social gatherings. Marker is on GA 72 southeast of Middleton." -snip- Click that Mudcat link for the "original" lyrics that are credited to Daniel Emmett, and other comments that include lyrics for that song. Here's a quote* followed by a comment that was posted by Dicho Date: 04 Jun 02 - 10:53 PM
" "Composed by Dan D. Emmet, and sung by him with unbounded applause in Howe's Amphitheatre of the Republic, New York." Page 622 in "Marsh's Selection, or Singing For the Million, Containing the Choicest and Best Collection of Admired Patriotic, Comic, Irish, Negro, Temperance, and Sentimental Songs Ever Embodied in One Work." Three volumes in one, New York, Richard Marsh, 374 Pearl Street, 1854. Reproduced in Newman I. White, 1928, American Negro Folk Songs, pp. 446-447 (1965 reprint)."
Some verses borrowed from Negro song, some Negro folk song verses were borrowed from Emmett. A complete version of a minstrel song. Note: Spelling preserved." -snip- WARNING: Some verses of early versions of "Old Dan Tucker" include what is now known as "the n word".
****
EXCERPT FROM THE 2015 ONLINE ARTICLE ABOUT THE SONG "OLD DAN TUCKER"
Posted August 11, 2015 by Teresa Lynn in History, Music"... Wilder
Wednesday posts are inspired by the Little House on the Prairie series of books [written by Laura Ingalls Wilder, and much later adapted into a popular American television series.]
..."
The Ingalls family loved music, most often supplied by Pa’s
fiddle. Laura recorded dozens of songs that the family enjoyed. One of these is
Old Dan Tucker, more strongly associated with Little House on the Prairie due
to the character of Mr. Edwards, who sang it often on the TV show.
The song dates from the middle of the nineteenth century. It
is not certain who wrote it, although it is often attributed to Dan Emmett (who
also wrote Dixie). It is certain that his blackface troupe Virginia Minstrels
made it popular.
Wait…did I just say “blackface?” Yes, I did, and that term
should be explained for those unfamiliar with it. Merriam-Webster defines it as
“makeup applied to a performer playing a black person, especially in a minstrel
show; also: a performer wearing such makeup.” What the definition does not say
is that blackface minstrel theater was more than just makeup; it was an
exaggerated, stereotypical portrayal of caricaturized black people, meant to be
humorous. (I’ll discuss minstrel shows, including Pa’s – Pa’s! – participation
in one, more in a future post.)
In the case of Old Dan Tucker, the original words were
written to be performed by a troupe, with some verses sung – and acted out, an
essential ingredient in minstrels – by “Dan” and other verses sung by other
members as observers of Dan’s antics. Despite some claims to the contrary,
there is no doubt that Dan was supposed to be black. The vernacular of the
song, particularly Dan’s own verses, was overplayed Black English (now often
called Ebonics). An early playbill calls the show “a Virginian Refrain, in which
is described the ups and downs of Negro life.”
It was the usual practice for blackface troupes to portray
people of color as ignorant and uncouth, or worse. Old Dan Tucker, according to
the 1843 lyrics (which can be found at the end of this post), was a fighting,
drunken glutton who had no sense of, or didn’t care about, social mores. He
sometimes speaks of himself in the third person, as a child might, which is to
further show his simple-mindedness. Part of the appeal of this portrayal is
that it allowed “lower class” whites to poke fun at the culture of the “upper
class” in an analogous way, as opposed to outright finger-pointing, which would
only further cement their own lesser-mannered class.
It is important to note that both black and white performers
used blackface. Black minstrel performers often satirized the behavior of
whites, including their racist attitudes, and promoted abolition. By the 1870s,
white minstrel shows were giving up blackface (often incorporating other ethnic
stereotypes, such as the blarney-filled, drunken Irishman, or greedy, conniving
Jews, instead) and black performers were taking over blackface theater. Some
African Americans saw it as a means of spreading their own culture, while
others realized that it was a much easier way to earn a living than most
avenues available to them (which was mostly menial labor). This does not, of
course, excuse the caricaturizations of black people by white minstrel
performers in blackface.
Old Dan Tucker was immediately successful and became a
popular song across the country. In fact, it was one of the top 3 most popular
songs in 1843, thanks in large part to the Virginia Minstrels.
However, its lyrics did not remain static. Performers added,
deleted, and changed verses as it suited them. Hundreds of different versions
have been recorded. Some of these promoted specific causes; for example, in
1844 a group called the Hutchinson Family Singers turned it into “a song for
emancipation” with abolitionist lyrics. Other versions were designed to
eliminate the racist portrayal of blacks and convert it into a generic, fun
tune.
That is how we today think of Old Dan Tucker. Its history
should not make us shun the song, but learn from it. Let its modernized verses
bring to mind Mr. Edwards and his helpfulness and neighborliness – to everyone,
regardless of their race or color – and enjoy it as an entertaining bit of
Americana”… -snip- This article includes the lyrics for the 1843 version of "Old Dan Tucker" that were sung by the Virginia Minstrels.
This 2015 article is the only content in this pancocojams post that isn't included in the 2013 pancocojams post on this song.
**** "OLD DAN TUCKER" PERFORMED AS A PLAY PARTY SONG
From http://en.wikipedia.org/wiki/Play_party "A play party is a social event in which people gather to sing and dance. Play parties began in the 1830s in the United States as a route around strict religious practices banning dancing and the playing of musical instruments. The areas most influenced by the practice were the Southern and Midwestern parts of the United States. Folk songs, many of European and English origin, were used as means to give the attendants choreographed movements for each phrase. No instruments were played at the events, as they were banned by the religious movements of the area. Singing and clapping were used to convey each song. Because dancing was banned, the movements took on the quality of children's games. Though the performance of play parties dwindled in the 1950s, music educators use them as ways to incorporate music and dance in their classrooms.
Some traditional examples of play-parties are: Skip to My Lou, Coffee Grows on White Oak Trees, Shoot the Buffalo, Buffalo Gals, Won't You Come Out Tonight, B.I.N.G.O., Pop Goes the Weasel, Old Dan Tucker." -snip- From http://mudcat.org/thread.cfm?threadid=27246 posted by Dicho, 29 Apr 02 - 09:36 PM "...here is a "playparty" version from Missouri.
OLD DAN TUCKER "In this game all the players choose partners and form a big circle, holding hands. An odd boy is called "Old Dan," and he stands alone in the center. Everybody sings lustily: Old Dan Tucker down in town, Swingin' the ladies all a-round, First to the right and then to the left, An' then to the one that you love best.
At the words "first to the right" it is "Old Dan's" privilege to pull a girl out into the ring by her right hand, turn her around once, and thrust her back into her place again. When they sing "then to the left" he takes another girl out by the left hand and swings her as before. At the words "then to the one that you love best" every boy swings his own partner. It is at this moment that "Old Dan" tries desperately to grab a girl for himself, and if he succeeds, the man who has lost his partner must be the next "Old Dan."
The following stanza is a sort of chorus, used to keep "Old Dan" in the ring as long as possible, since he has no opportunity to get a partner while it is being sung.
Git out of the way for old Dan Tucker, He's too late to git his supper, Supper's over and breakfast a-cookin', An' Old Dan Tucker standin' a-lookin'.
If "Old Dan" really wishes to expedite matters he can use one girl for all three movements of the game, and thus be sure of getting himself a partner, but this is not considered the sporting thing, and is not often done- usually not unless "Old Dan" loses his temper. Several other verses are used as filler in this game:
Old Dan Tucker down in town, A-ridin' a goat and leadin' a hound, The hound gives a howl an' the goat gives a jump, An' throwed Old Dan a-straddle of a stump.
Old Dan Tucker he got drunk, Fell in the fire and kicked out a chunk, Fire coal got in Dan's old shoe, Oh my golly how the ashes flew!"
From Mr. Carl Durbin, Missouri, 1927. Found in minstrel shows as early as 1841. Often credited to Dan D. Emmett. A related piece, "Get Out of the Way, Old Johnny Tucker" (Negro Minstrel's Song Book, 1850), and many other citations.
"Old Dan Tucker's still in town, Swinging the ladies all around, First to the East and then to the West, Then to the one that you love best.
Chorus Get out of the way of Old Dan Tucker! He's too late to get his supper. Supper's over and breakfast's cooking, Old Dan Tucker's stands a-looking.
Old Dan Tucker's a fine old man, Washed his feet (or face) in the frying pan, Combed his hair with a wagon wheel And died with a tooth-ache in his heel.
[version collected from] Mrs. Leslie Beall, Versailles, Indiana] Get out o' the way for Old Dan Tucker, He's too late to get his supper. Some are black and some are blacker, Some are the color of a chew a' terbacker.
Ripley County [Indiana] variants. Swing three ladies, Old Dan Tucker [3 times] Down in the valley. Promenade round Old Dan Tucker [3 times] Down in the valley"
**** COMMENTS FROM THE 2013 PANCOCOJAMS POST ON "OLD DAN TUCKER"
I am curious on the author opinion about it is still permissible for one to continue using a song that its original intentions were about slave expressing their suffering and oral history. However, I feel that once the minstrel had a hold of the song it tainted and sour the song and take away the slave experiences.
For what ever reason, I woke up today with the song "Old Dan Tucker" in my mind. I didn't remember publishing this 2013 pancocojams post, but searched for it on this blog and found this post.
More than five years later, I wish I had expanded upon my response to unknown's comment . Here's my response now:
With regard to my comment that "every person has to make up her and his mind about the use of compositions that are categorized as "minstrel songs", I realize that now (in the 2020s United States if not elsewhere", the school system's administrators determine which subjects are taught in music classes, history classes, and "social studies" classes (if "social studies classes even still exist in the United States since the beginning of the 21st century.
I still believe that the full history of the song "Old Day Tucker" should be taught to older students (i.e. students in the 6th grade on up) and to intellectually advanced students. The black faced minstrel history of that song (and of many other American "old time" songs, is part of those song's full histories. Not including that history is "white washing' those songs and therefore not paying homage to their original Black composers, or their early Black composers.
Furthermore, not providing age appropriate information about America's past-including Black faced minstrelsy that was performed by White singers/musicians and by Black singers/musicians robs children and youth of opportunities to learn from this nation's past-including lessons about how people were (and still are) mistreated, treated unequally under the law, and/or ridiculed because of their race, ethnicity, gender, religion etc.
For these reasons, I support the introduction and teaching of old time music to children and youth. However, I believe that prior to university level, students should be informed-in age appropriate language-that they are learning modified versions of these songs. My sense is that those modified versions shouldn't include the n word", Ebonics dialect, and negative references to race and gender when they are sung for entertainment purpose.
****
This concludes Part I of this two part pancocojams series on the song "Old Dan Tucker".
This pancocojams post showcases nine videos of the United States play party song "Alabama Gal".
This post provides lyrics, performance instructions for and information about the origin and history of the play song "Alabama Gal",
In addition, this pancocojams post presents definitions about some terms that are used for this play party songs and explanations for some of this song's lyrics.
The content of this post is presented for folkloric, historical, cultural, and recreational purposes..
All copyrights remain with their owners.
Thanks to the unknown original composers of this song, and thanks to those who collected examples of this song. Thanks also to all those who are quoted in this post and all those wo are featured in these embedded videos. Thanks also to the producers and publishers of these videos on YouTube. -snip- This 2026 post is a complete reprint of the updated 2014 pancocojams post with a similar title. That post is still available on this blog. As of June 1, 2026 it doesn't have any visitor comments.
**** ORIGIN OF THE PLAY PARTY SONG "ALABAMA GAL" From AI Overview [This write-up is a result of my June 1, 2026 query "What is the origin of the play party song "Alabama Gal"?]
"The play party song "Alabama Gal" is a regional variation of the 1844 minstrel song "Lubly Fan" (later popularized as "Buffalo Gals"). Its earliest documentation comes from 19th-century oral tradition. The tune and dance were adapted by pioneer settlers during the 1850s westward expansion to bypass community bans on dancing.
Origins and Early Documentation Because "Alabama Gal" began as folk tradition, it was initially passed down orally rather than recorded in print.
Mid-1800s: "Play parties" became popular in rural American communities. Because many religions and communities viewed instrumental dancing as sinful, people gathered for parties where they sang and clapped to accompany their movements instead of playing instruments.
Localization: Traveling minstrel shows and pioneer families would change the lyrics to fit local areas, altering names to "Boston Gals," "Chicago Gals," or "Alabama Gals" to appeal to the local crowds
1949: The first widely documented written instructions and formalized arrangements for the dance appeared. It was taught at the University of the Pacific Folk Dance Camp and later documented in American folk dance anthologies like The Chimes of Dunkirk by the New England Dancing Masters.
1959: Folklorists Pete Seeger, Mika Seeger, and Rev. Larry Eisenberg released one of the first widely distributed audio recordings of the song on the Smithsonian Folkways album American Playparties."...
**** LYRICS AND PERFORMANCE INSTRUCTIONS: "ALABAMA GAL" These online write-ups are presented in no particular order and are numbered for referencing purposes only.
Posted bymrshalesharmonies, June 3, 2021Posted in2nd Grade, 3rd Grade, 4th Grade, 5th Grade, Folk Dance, Play-Party, Singing Game
[…]
…History:
This is a true southern American gem. This folk dance appeared in the mid-1800s and was specifically referred to as a play-party. Many communities believed that some activities, like dancing, were too dangerous and would corrupt the morals of young people. So rather than having am immoral dance celebration, people decided it was more appropriate to come together for “play-parties” where they sang instead of playing instruments. Now people of all ages are able to participate in this enjoyable social dance.
Formation: There are 4 verses/sections of this dance.
Verse 1: “Come through in a hurry!“
Have children form two lines facing each other. The head couple (use the language “pair” or “partners” to avoid complaints/silliness) will link hands and sashay down the center of the lines and then back up to their original spots. (16 beats total)
Verse 2: “I don’t know how, how.”
Partners move forward and hook elbows for a right elbow turn (8 beats) and then switch for a left elbow turn (8 beats). By the end, they must return to their original spots. (16 beats total)
Verse 3: “I’ll show you how, how!”
The head partners cast-off and lead their line in a circle. They will stop at the original end of the line and create an arch for the rest of the partners to go under. (16 beats total)
Verse 4: “Ain’t I rock candy?”
The first set of partners to go under the arch will stop at the top of the line. Everyone else follows and recreates the lines from the beginning. The original head partners are now at the end of the line and a new head partners are leading the sashay at the front.
Repeat as many times as you’d like!
Classroom Applications:
–Really good folk dance if you need your kids MOVING
–Great way to teach dance terminology (ex. sashay, cast-off/”peel the banana”, right/left elbow turn, arch, etc.)
–Song has syncopation in each verse
–Pentatonic scale
–Historical discussions about what used to be appropriate in dance and entertainment"...
**** Source #2 From AI Overview [This write-up is a continuation of the result of my June 1, 2026 query "What is the origin of the play party song "Alabama Gal"?]
"How the Play Party Game is Played The game is played in a longways set where two lines of partners face each other. As the group sings, they execute specific movements:
The Sashay: The head couple joins hands and sashays down the center of the lines and back.
Elbow Turns: Partners hook right elbows and turn, then switch to left elbows.
The Bridge: The head couple leads the lines in a loop to the end, forming a bridge out of their arms, while the rest of the lines pass through.”…
**** EXPLANATION OF TERMS 1. Play party songs From https://grokipedia.com/page/play_parties_in_song_and_dance "Play parties in song and dance refer to traditional American social gatherings characterized by group singing accompanied by simple, non-instrumental movements and games, serving as a form of recreational entertainment that emphasized community bonding and physical activity without formal dancing.[1][2] Emerging in the 19th century among rural settlers and pioneer families during westward expansion, these events provided wholesome alternatives to instrumental dances, which were often prohibited by religious groups such as Methodists and Mormons due to associations with sinfulness; participants framed the activities as "play" to align with moral standards, hosting them in homes, barns, or fields with vocal-only music and actions like circling, clapping, and partner swinging.[1][2].
[...]
History Origins in Early America
Play parties emerged in early America as non-instrumental singing games designed to imitate the movements of traditional dances while avoiding physical partnering between individuals, thereby circumventing Puritan and other Protestant prohibitions against "worldly" or lascivious dancing viewed as sinful and promiscuous.[3][2] These activities allowed communities to engage in rhythmic, social recreation without violating religious strictures that equated partnered dancing with moral corruption, particularly in regions dominated by Calvinist influences where even instrumental music was often condemned.[1]
The historical roots of play parties trace back to European folk traditions imported by settlers, including English country dances, Scottish and Irish reels, and other communal forms that were adapted into acapella song structures to fit American religious contexts.[1] These adaptations transformed partnered dances into group-oriented singing games, preserving the energetic motions and social bonding of their Old World predecessors while aligning with New World piety. Oral transmission played a crucial role in their preservation, especially among rural populations with limited access to musical instruments, as families and communities passed down the songs and movements informally through generations without written notation.[1]
Play parties emerged in the early to mid-19th century, particularly during the 1830s in regions like the Midwest and Appalachia, where they featured prominently at community gatherings such as barn raisings and quilting bees that combined labor with leisure.[1][2] These events provided opportunities for young people to participate in structured yet joyful activities that fostered social ties without contravening local religious norms. By the early 19th century, play parties evolved into more formalized expressions amid broader cultural shifts"...
** 2. "Head couple" The couple that is standing at the head (the top) of two lines facing each other. Traditionally, there was one line for females and one line for males.
Here's an excerpt from the results of a June 1, 2026 AI Overview about the differences between "sashay" and "strut": " While both words describe a highly confident, attention-getting walk, a sashay features exaggerated hip movements and a fluid, gliding motion, whereas a strut is defined by a stiff, upright, and chest-out stride that projects authority and pride.
Key Differences: Sashay Style: Fluid, flouncing, and often side-to-side Primary Focus The hips (swaying and gliding) Vibe/Attitude - Seductive, casual, or playfully flashy
Strut: Style: Upright, rigid, and forward-marching Primary Focus: Proud, arrogant, or authoritative Vibe: Proud, arrogant, or authoritative"...
** 5. "Come through in a hurry" = "Hurry up and join me where I am". ** 6. "Ain't I rock candy" = Aren't I as sweet as candy. In the United States, "rock candy" is commonly referred to as "hard candy".
** 7. "Peel the banana" "Peel the banana" is an informal, contemporary (2015 or later) United States term that some elementary school music teachers in the United States use to explain the movement in "Alabama Gal" when the words "I'll show you how" is sung. This occurs when the two lines separate and each couple travels to the arch and under the arch that is formed by the head couple. These couples move to the top of their separate lines and the play party song continues until every couple has had a turn as the "head couple". Another (contemporary?) term that is used for this "peel the banana" movement is "cast off" (as in the students cast off -travel to the arch in their separate lines".) **** ADDITIONAL SHOWCASE VIDEOS These examples are presented in chronological order based on their publishing date on YouTube with the oldest date given first.
Example #1: Alabama Gal
Laurie Rocconi, Uploaded on Mar 27, 2009
school dance -snip- Here's a comment from this video's viewer comment thread: http://www.youtube.com/watch?v=29OtTyHZrSM Shanalikefergie. 2009 "Aw this is cute! I did this in 4th grade. Ha ha me and one boy were the only ones who understood the dance. Hahaha. Run through the hurry, Run through the hurry. Run through the hurry, Alabama Gal. I dont know how how I dont know how how I dont know how how Alabama Gal. I'll show you how how, I'll show you how how. I'll show you how how Alabama Gal..."
**** Example #2: Mountain Folk Festival, 1993 Alabama Gal
John M Ramsay, Uploaded on Feb 12, 2011
Alabama Gal is an American play party game or dance. It is a traditional dance form which, in the old days, was popular among teenagers. The dancers supply their own music.
**** Example #3: Alabama Gal
Vincent Bates, Published on Apr 5, 2012
**** Example #4 - Alabama Gal- School Folk Dance
Lauren Holum, Dec 6, 2021
At our Fall 2021 Gratitude Assembly at Bay Harbor, 3rd Grade
students performed the play party to go along with the song Alabama Gal. It was
taught to students by our music sub, Emily Mauro during my maternity leave.
**** Example #5 -Alabama Gal - 3rd Grade Music Program at LPE
Remi Vlogs, Sep 16, 2022
**** Example #6 - Alabama Gal folk dance from The New England Dancing Masters
Bow Tie Music, Nov 2, 2022
This video features a group of third graders taught by William C Doublestein at Boone Meadow Elementary. "Alabama Gal" can be found in The New England Dancing Masters book/album by the same title, available here: https://dancingmasters.com/product/al... -snip- Notice that the children aren't singing but are following the directions in a recorded version of this play party song.
**** Example #7 - ALABAMA GAL đŹ Longways Set Partner Folk Dance for Elementary Concert #orffschulwerk#folkdance
@StephanieDykeman, May 21, 2024
"Alabama Gal" Folk Dance Performance from New Dancing Maters at Outdoor Elementary School Spring Concert
**** Example #8- Alabama Gal Tutorial
Here's Jean Ritchie- Jubilee. I couldn't find it anywhere on
YouTube so I made my own. Enjoy!
No copyright infringement intended.
**** Edited by Azizi Powell
Latest update - April 20, 2026*
This is Part III of a four part pancocojams series on the word "jubilee" .
This post showcases a YouTube audio file of folk singer Jean Ritchie singing the Appalachian play party song "Swing And Turn Jubilee" (also given as "Jubilee").
This post also presents information about (White) American singer Jean Ritchie as well as general information about play party songs, information about the song "Swing And Turn, Jubilee" and information about the word "Jubilee" in this song.
This information is provided from selected comments from a Mudcat folk music discussion thread (in which Jean Ritchie provides a comment), selected comments from the discussion thread of this post's showcase YouTube sound file, as well as from Wikipedia, from two AI Overview write-ups, and from other websites.
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Jean Ritchie for her musical legacy. Thanks to the unknown composer of this song and thanks to all those who are quoted in this post. Thanks also to the publisher of this sound file on YouTube.
**** PANCOCOJAMS EDITOR'S NOTES This post may depart from this pancocojams blog's mission of showcasing the music, dances, language practices, & customs of African Americans and of other people of Black descent throughout the world.
I wrote "may" because the composer of this Appalachian play party song is unknown.
I'm aware that Jean Ritchie was a White American woman from the state of Kentucky and Kentucky is part of the Appalachian region of the United States. However, contrary to widely held beliefs in the United States, Black people historically have lived in Appalachia and Black people still live in Appalachia.
Furthermore, contrary to the beliefs of some folklorists and others who know this play party song "Swing And Turn Jubilee" Jean Ritchie publicly indicated that neither she nor her family composed this play party song. Read comment #7 Mudcat Selected Comments" in this pancocojams post. In that comment, Jean Ritchie wrote that she got "Swing And Turn Jubilee" from someone in her community and that it was well known in that community. Whether or not there were any Black people in Ritchie's community, my point is that "Swing And Turn Jubilee" could have originated with a Black person. and/or "Swing And Turn Jubilee" could have been part of the cross racial music composing and music performances that occurred in Appalachia and elsewhere in the United States at that time and later.
Be that as it may, I'm showcasing "Swing And Turn Jubilee" because I'm interested in learning more about and sharing information and examples of play party songs.
**** TWO AI OVERVIEW WRITE-UPS ABOUT THE WORD "JUBILEE" IN THE PLAY PARTY SONG "SWING AND TURN JUBILEE"
from AI Overview #1 [These AI write-ups are the results of my April 19, 2026 query on this subject. I numbered these write-ups for referencing purposes only. I asked the question two times to see if there were any differences to the results.]
"In the folk song and singing game "Swing and Turn/Jubilee," Jubilee represents a joyful, high-energy dance celebration, often signaling a time of release, fun, and communal togetherness. Rooted in Appalachian tradition, the term implies a festive, chaotic "whirlwind" dance reel rather than just a formal anniversary.
Musical/Dance Meaning: "Jubilee" functions as a vibrant refrain in the singing game, encouraging dancers to swing partners with energy.
Cultural Context: In Appalachian folklore, it signifies a lively party or community gathering where "swingin' in the true love's arms" is the "easiest work".
Alternative Significance: While in some contexts, "Jubilee" in African American folk traditions refers to freedom from hardship or slavery, in the context of "Swing and Turn," it is primarily a term for joyful, often impromptu, celebration.
**** AI Overview #2
"In the Appalachian folk song "Swing and Turn, Jubilee," the word Jubilee serves as a euphemism for a dance or a joyous celebration.
Historically, this term was used to bypass religious restrictions on dancing in Kentucky mountain communities.
Key Meanings in the Song
The "Play-Party" Euphemism: In many strict Appalachian religious communities, dancing to instruments like fiddles was considered sinful. To get around this, communities created "singing games" or "play-parties" where participants sang the music themselves while performing dance movements like "reeling" or "swinging". Calling the event a "Jubilee" made it socially and religiously acceptable.
A Biblical Reference to Freedom: The word originates from the biblical "Year of Jubilee" (Leviticus 25), a time every 50 years when slaves were freed and debts were forgiven. In the context of folk music—especially African American spirituals and later Appalachian music—it symbolizes a time of deliverance, future happiness, and communal joy.
Musical Style: In a broader folk context, "jubilee" also refers to a specific style of up-tempo, rhythmic performance, often associated with spirituals or quartets that emphasize celebration and exultation.
Origin and Popularity
The song is a traditional "gamesong" famously recorded by Jean Ritchie in 1952. It describes a reel where dancers face each other in lines and "swing" down the length of the formation, with the word "Jubilee" acting as a rhythmic call for the dancers to move."
**** INFORMATION ABOUT PLAY PARTY SONGS From https://en.wikipedia.org/wiki/Play_party_(United_States) "A play party is a social event in which toddlers gather to
sing and dance. Play parties began in the 1830s in the United States as a route
around strict religious practices banning dancing and the playing of musical
instruments. The areas most influenced by the practice were the Southern and
Midwestern parts of the United States. Folk songs, many of European and English
origin, were used as means to give the attendants choreographed movements for
each phrase. No instruments were played at the events, as they were banned by
the religious movements of the area. Singing and clapping were used to convey
each song. Because dancing was banned, the movements took on the quality of
children's games. Though the performance of play parties dwindled in the 1950s,
music educators use them as ways to incorporate music and dance in their
classrooms.[1]
Some traditional examples of play-parties are: Skip to My
Lou, Buffalo Gals, Bingo, Pop Goes the Weasel, Old Dan Tucker, Coffee Grows on
White Oak Trees, and Shoot the Buffalo."
**** INFORMATION ABOUT JEAN RITCHIE From https://en.wikipedia.org/wiki/Jean_Ritchie "Jean Ruth Ritchie (December 8, 1922 – June 1, 2015) was an
American folk singer, songwriter, and Appalachian dulcimer player,[1] called by
some the "Mother of Folk".[2] In her youth she learned hundreds of
folk songs in the traditional way (orally, from her family and community), many
of which were Appalachian variants of centuries-old British, Scottish and Irish
songs, including dozens of Child Ballads.[3][4] In adulthood, she shared these
songs with wide audiences,[5] as well as writing some of her own songs using
traditional foundations.[4]
She is ultimately responsible for the revival of the
Appalachian dulcimer, the traditional instrument of her community, which she
popularized by playing the instrument on her albums and writing tutorial
books.[4]
She also spent time collecting folk music in the United
States and in Britain and Ireland,[6][7] in order to research the origins of
her family songs and help preserve traditional music.[4]
She inspired a wide array of musicians, including Bob Dylan,
Joan Baez, Shirley Collins, Joni Mitchell, Emmylou Harris and Judy
Collins.[5][2][8]"
1. Subject: Swing and Turn Jubilee From: banjogal Date: 10 Mar 01 - 11:26 AM
"Anyone know the history of this tune? Who wrote it or if
it's traditional, any other verses, where it came from....
Thanks"
** 2. Subject: RE: Help: Swing and Turn Jubilee From: Sandy Paton Date: 10 Mar 01 - 12:21 PM
"It's from Jean Ritchie, and is probably under copyright.
She's an occasional Mudcatter, so she can answer your question better than
anyone else! Come on in, Kytrad!"
** 3. Subject: RE: Help: Swing and Turn Jubilee From: GUEST,Roll&Go-C Date: 10 Mar 01 - 01:05 PM
"Looks to me from the DT like there are a number of floating
verses from Shady Grove, Get Along Home, Cindy, I'm Goin' Down to Lynchburg
Town et al; my favorite verse of this type is:
Love it is a killing thing,
Beauty is a blossem,
If you want your finger bit,
Poke it at a possum.
But then there's also:
I'm gonna get some sticks and stones,
Build my chimney higher,
So when that old tom cat comes by,
He won't put out my fire." -snip- "The DT" is the "Digital Tradition", a repository of folk song lyrics that is housed on the online Mudcat folk music forum.
** 4. Subject: RE: Help: Swing and Turn Jubilee From: Pinetop Slim Date: 10 Mar 01 - 01:48 PM
"Sandy, from her last postings, I'd guess Jean Ritchie still
has another week or so on her 50th anniversary Caribbean cruise. Alan Lomax, in
Folk Songs of N. America, says she recorded it for him in 1949. "A
composite of stanzas from many play-party and square dance songs. Last two
verses added from the record Southern Singing Games, Elektra EKLP 2."
** 5. Subject: RE: Help: Swing and Turn Jubilee From: Sandy Paton Date: 10 Mar 01 - 03:22 PM
"I haven't looked, but isn't the song included in her Singing
Family of the Cumberlands? Granted, it's a "zipper verse" type
of song, but if Alan included it in Folk Songs of North America, you can bet
your boots that someone has this particular version copyrighted.
I remember Frank Warner singing the "get your finger
bit" verse in one of his songs. True, too!" -snip- "Zipper verse type of song" = a song that has some floating verses from other songs that can be added to [zippered into] its lyrics. ["Floating verses" are song/rhyme verses that are found in more than one song or rhyme.]
** 6. Subject: RE: Help: Swing and Turn Jubilee From: Joe Offer Date: 10 Mar 01 - 04:03 PM
"It's not in "Singing Family," Sandy, but it is in
Jean Ritchie's Folk Songs of the Southern Appalachians, which I think is still
in print. Jean says the song was copyrighted in 1939 by Lynn Rorhbough. Jean
says her mother and father used to sing and play this party game when they were
courting. I'll send Jean a personal message and ask what she can post about the
song."
** 7. Subject: RE: Help: Swing and Turn Jubilee From: kytrad (Jean Ritchie) Date: 10 Mar 01 - 06:05 PM
"Hello all, and welcome, Banjoperson! Well, Jubilee IS a
Ritchie Family gamesong, but I never did a "protective" copyright on
it because it was collected from another source in the community- everyone
around knew it. A lady named Marian Skein wrote it down at Ary, KY, and it was
published by (Mr.) Lynn Rohrbough, Cooperative Recreation Service, Delaware, OH
in 1939. Now has become World Around Songs and has a different address (will
look it up if anyone REALLY wants to know!).
The verses we sing are pretty well set, as we sang just the
number to get us through one turn of the game (circle for as many as will, but
our living rooms would hold just about six or seven couples). There's a reel
down between the lines at the end, then another couple leads out, as in the
Virginia Reel. If anyone needs my verses, holler.
Folk Songs of the Southern Appalachians was reissued last
year by University Press of KY; this year they reissued, The Swapping Song
Book. It's like having a second family, very pleasing."... -snip- The remainder of this comment refers to the cruise that she had just gotten home from.
** 8. Subject: Origins: Swing and Turn Jubillee From: lefthanded guitar Date: 26 Dec 12 - 04:22 PM
"Recently added this song to my playlist and I'm wondering if
anyone knows its origins. And what the title is referencing?
There's more than one version of the song btw, I do the one
that starts
All Along the Old Railroad."
** 9. Subject: Origins: Swing And Turn, Jubilee From: MickyMan Date: 20 Jan 17 - 02:02 PM
"Anybody have some info about the background of this song? Is
it traditional or composed?
I've always been
under the impression that it was written by Jean Ritchie, and the version on
the digitrad looks like hers in every way. It's not listed with credit for Jean
Ritchie, however, but it also doesn't say "Traditional"
The other day I
heard a nice Youtube version by Alyson Kraus on Youtube that was much slower
(listed simply as "Jubilee"). It used the same refrain as Ritchie's
"Swing and turn, Jubilee Live and
learn, Jubilee. The verses were different, however.
Are they both
writing new verses to an earlier traditional refrain? What's up?"
** 10. Subject: RE: Origins: Swing and Turn Jubilee From: Joe Offer Date: 20 Jan 17 - 02:58 PM
"Hi, MickyMan-
I've moved you over to the existing origins thread. See the
message above (click) from kytrad (Jean Ritchie). She says it's from her
community and her family - not her composition."
** 11. Subject: ADD Version: Swing and Turn Jubilee (Ritchie) From: Joe Offer Date: 08 Dec 20 - 12:53 AM
JUBILEE
All out on the old railroad, ’S’all out on the sea, ’S’all out on the old railroad Far as eye can see.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
Hardest work I ever done Working on the farm, Easiest work I ever done Swinging my true love’s arm.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
Coffee grows on the white-oak tree, Sugar runs in brandy, Boys as pure as a lump of gold, Girls as sweet as candy.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
If I had me a needle and thread Fine as I could sew, Sew my true love to my side, And down this creek I’d go.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
If I had no horse to ride, I’d be found a-crawling, Up and down this rocky road Looking for my darling.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
All out on the old railroad, ’S’all out on the sea, ’S’all out on the old railroad Far as eye can see.
Swing ’n’ turn,
Jubilee! Live ’n’ learn,
Jubilee!
Copyright 1940 by Lynn Rohrbough (Cooperative Recreation
Service)
From Jean Ritchie's Swapping Song Book (1952 & 1999),
page 26"
** 12. Subject: RE: Origins: Swing and Turn Jubilee From: cnd Date: 19 Oct 22 - 02:01 PM
"From American Square Dance (Dec 1979, p. 15), the dance
seems to be "similar" to that of the Virginia Reel. Recall that any
"flirtatious" movements like swinging.
"Coffee grows on a White Oak tree, Sugar runs in Brandy.
Girls as sweet as a lump of gold, Boys as sweet as candy."
The coffee from the White Oak tree in these lyrics from the
play party "Jubilee" refers to the pioneers making coffee from
acorns. One verse of "Jubilee", the steps of which bear considerable
resemblance to the Virginia Reel, tells of the delight taken in the games.
Haven't been able to find any videos or anything more
direct, but that's at least a start."
** 13. Subject: RE: Origins: Swing and Turn Jubilee From: cnd Date: 19 Oct 22 - 02:02 PM
... "flirtatious" movements like swinging were not
allowed." -snip- This is cnd's complete comment.
** 14. Subject: RE: Origins: Swing and Turn Jubilee From: cnd Date: 19 Oct 22 - 02:06 PM
"Here's something a little more concrete:
This play party game comes from Jean Ritchie’s family
tradition.
Children stand facing a partner in two lines holding hands.
The ends of the lines also hold hands so they can circle to the left until back
in their original position in two lines. Hands are dropped and the pair at the
head of the line skips sideway to the bottom of the set as the others clap.
Once they reach the foot the game continues as before.
1. @morrigankasa570, 2016 "this song is very catchy and makes me think of a square
dance"
** Reply 2. @sandramorey2529, 2021 "Morrigan KASA: not a square dance, but close. It is a Play Party song. Not allowed to dance, but you could sneak in
a dance to it. Sung at parties."
** 3.@reynardinegreencastl, 2017 "This was the first song I ever heard her sing. It was
broadcast on a folk song program when I was a kid, some six decades back...
(Yes, radios had tubes back then!)"
** 4.@spillthatwine, 2020 "It's all out on the old railroad,
It's all out on the sea,
All out on the old railroad,
Far as I can see.
chorus:
Swing and turn, Jubilee,
Live and learn, Jubilee.
Swing and turn, Jubilee,
Live and learn, Jubilee.
Hardest work I ever done,
Workin' on the farm,
Easiest work I ever done,
Swingin' my true love's arm.
If I had a needle and thread,
As fine as I could sew,
I'd sew my true love to my side
And down this creek I'd go.
If I had no horse to ride,
I'd be found a-callin'
Up and down this rocky road
Lookin' for my darlin'.
Some will come on a Sat'day night,
Some will come on Sunday;
If you give 'em half a chance
They'll be back on Monday.
I won't have no widder man
Neither will my cousin,
You can get such stuff as that
For fifteen cents a dozen.
Coffee grows on a white oak tree,
Sugar runs in brandy,
Girls are sweet as a lump of gold,
Boys as sweet as candy."
** 5. @sandramorey2529, 2021 "Great play party song.
I've been teaching my singing class this song for 49 years in the SF Bay
Area. Now on Zoom. Jean Ritchie was a source singer having
learned her songs within her family and Kentucky community. Thanks for posting"
** 6. @midnightcasino,2024 "Randomly remembered tihs, they had us sing this in 2nd grade
music class lol"
** Reply 7. @jshowers01, 2024 "Shout out to your music teacher"
** 8. @bigcountryV, 2025 "I picked up an old time banjo a few months ago. Now I've been going down the rabbit hole. I
am in love with this stuff. This is the
first song I've ever heard of hers. Im
definitly gonna listen to more."
**** This completes Part II of this pancocojams series.
I am curious on the author opinion about it is still permissible for one to continue using a song that its original intentions were about slave expressing their suffering and oral history. However, I feel that once the minstrel had a hold of the song it tainted and sour the song and take away the slave experiences.
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