I. Dance Rhyme Section

DANCE RHYME SECTION

[This first section has some great songs. I've added some brief music/text analysis which is bracketed and in blue.]

CONTENTS
Jonah's Band Party
Love Is just A Thing Of Fancy
Stillwater Creek
'Possum Up A Gum Stump
Joe and Melinda Jane
Walk Talk Chicken
Tails
Captain Dime
Crossing The River

T-U-Turkey
Chicken in the Bread Tray
Molly Cottontail or Graveyard Rabbit

Juba
On Top of the Pot
Stand Back Black Man
Negroes Never Die
Jawbone
Indian Flea

As I Went To Shiloh
Jump Jim Crow

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JONAH'S BAND PARTY

    Setch a kickin' up san'! Jonah's Ban'!
    Setch a kickin' up san'! Jonah's Ban'!
    "Han's up sixteen! Circle to de right!
    We's gwine to git big eatin's here to-night."

    Setch a kickin' up san'! Jonah's Ban'!
    Setch a kickin' up san'! Jonah's Ban'!
    "Raise yo' right foot, kick it up high,
    Knock dat [1]Mobile Buck in de eye."

    Setch a kickin' up san'! Jonah's Ban'!
    Setch a kickin' up san'! Jonah's Ban'!
    "Stan' up, flat foot, [1]Jump dem Bars!
    [1]Karo back'ards lak a train o' kyars."

    Setch a kickin' up san'! Jonah's Ban'!
    Setch a kickin' up san'! Jonah's Ban'!
    "Dance 'round, Mistiss, show 'em de p'int;
    Dat Nigger don't know how to [1]Coonjaint."

[1] These are dance steps. For explanation read the Study in Negro Folk Rhymes.

["Coonjaint," (a derivative of coonjine) "Mobile Buck," "Karo (Cairo) and "Jump Dem Bars" are African- American dance steps. Talley gives more info on the dance. in the second section: Study in Negro Folk Rhymes: 

". . . The dancers formed a circle, placing two or more of their skilled dancers in the middle of it. . . There was simply patting with the hands and dancing, making a tattoo which might be well represented by the words supplied later on in its existence. Later, I witnessed the same dance, where the patting and dancing were as usual, but one man, apparently the leader, was simply crying out the words, "Setch a kickin' up san'!" and the crowd answered with the words, "Jonah's Ban'!" The words all being repeated in rhythmic harmony with the patting and dancing. ... In some places it was the custom to call on the dancers to join with those of the circle, at intervals in the midst of the dance, in dancing other steps than the Jonah's Band step." Talley 259-260]

LOVE IS JUST A THING OF FANCY

    Love is jes a thing o' fancy,
    Beauty's jes a blossom;
    If you wants to git yo' finger bit,
    Stick it at a 'possum.

    Beauty, it's jes skin deep;
    Ugly, it's to de bone.
    Beauty, it'll jes fade 'way;
    But Ugly'll hol' 'er own.

[It's incredible that there is so much wisdom in these two simple verses. Both are well known folk sayings:

The first appears in Bile Dem Cabbage Down in a version collected by Frank Warner:

"Love it is a killing thing,
Beauty is a blossom,
If you want your finger bit,
Poke it at a possum
."

or

"Love is a funny lookin' thing
Shaped like a blossom;
If you want your finger bitten,
Stick it to a possum
."

or in the song "Mabel":

Love it is a an awful thing and beauty is a blossum,
If you want your finger bit just poke it at a 'possum.

E.C. Perrow collected an earlier vesion from an African-American in Virgina in 1912:

Love it am a killin' thing, beauty am a blossom;
Ef yuh want tuh get yuh finger bit, poke it at a 'possum.


"Beauty's But Skin Deep" is a poem by John Davies of Hereford from 1616. There is also an old jingle, author unknown, which parodies the famous beauty line. It reads:

"Beauty is but skin deep, ugly lies the bone;
Beauty dies and fades away, but ugly holds its own
."]

STILL WATER CREEK

    'Way down yon'er on Still Water Creek,
    I got stalded an' stayed a week.
    I see'd Injun Puddin and Punkin pie,
    But de black cat stick 'em in de yaller cat's eye.

    'Way down yon'er on Still Water Creek,
    De Niggers grows up some ten or twelve feet.
    Dey goes to bed but dere hain't no use,
    Caze deir feet sticks out fer de chickens t' roost.

    I got hongry on Still Water Creek,
    De mud to de hub an' de hoss britchin weak.
    I stewed bullfrog chitlins, baked polecat pie;
    If I goes back dar, I sho's gwine to die.

[This song rhyme is mostly derived from minstrel songs, especially Kemo Kimo:

Usually it's:

"Way down yonder on Beaver Creek"
Keemo kitty won't you kymeeo
*Wimmins there grow to be ten feet." (Keemo Kimo)

"And de white cat picked out de black cat's eye." (Jim Along Josie)

*The third line with the "n word" is usually edited. This seems to be a standard edit. Some bluegrass versions use "gals" instead. There's a great version jazz/country version by the Prairie Ramblers from 1940 titled Beaver Creek. Listen:
Prairie Rambler's ]


'POSSUM UP THE GUM STUMP

    'Possum up de gum stump,
    Dat raccoon in de holler;
    Twis' 'im out, an' git 'im down,
    An' I'll gin you a half a doller.

    'Possum up de gum stump,
    Yes, cooney in de holler;
    A pretty gal down my house
    Jes as fat as she can waller.

    'Possum up de gum stump,
    His jaws is black an' dirty;
    To come an' kiss you, pretty gal,
    I'd run lak a gobbler tucky.

    'Possum up de gum stump,
    A good man's hard to fin';
    You'd better love me, pretty gal,
    You'll git de yudder kin'.

[Charles Wolfe, in notes to Thomas Talley's Folk Rhymes (1991), says the first two stanzas of the song below were collected from both black and white sources, although the last two stanzas are rather rare.

This dates back to minstrel era and was mentioned in chronicles before the year 1830 (Mark Wilson).  According to The Harvard Theatre Collection, The Houghton Library:

In 1822, English actor Charles Mathews mounted a one-man show in black-face called "A Trip to America," based on the dialect, songs and dances he observed while in the United States. During a visit to New York's African Theatre, Mathews claimed that an actor performing the role of "Hamlet" was interrupted by calls from the audience for the slave song "Opossum up a Gum Tree," an incident that Mathews used to construct one of the most popular segments of his show [Jump Jim Crow]. The lyrics also found in Zip Coon. Lomax reports this as a "patting chant" -- sung to the accompaniment of hands clapping or slapping against the thighs. It was cited as having been played in a 1914 Atlanta, Ga. fiddlers' contest, and listed in the Northwest Alabamian of August 29, 1929, as one of the tunes likely to be played at an upcoming fiddlers' convention. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. See also related tune family under "Dubuque."

The version by The Hill Billies (east Tennessee) on Vocalation 5118, 1926 (78 RPM) is really a version of Sally Goodin. The tune/song appears in several collections, including Brown (3: 207), White (236-38), Scarborough (173), Randolph (2:361) and Lomax and Lomax (American Ballads and Folk Songs), pg. 238. An early recording is Skillet Lickers: Corn Licker Still in Georgia, Voyager VRLP 303, LP (197?), trk# A.09.]

JOE AND MALINDA JANE

    Ole Joe jes swore upon 'is life
    He'd make Merlindy Jane 'is wife.
    W'en she hear 'im up 'is love an' tell,
    She jumped in a bar'l o' mussel shell.
    She scrape 'er back till de skin come off.
    Nex' day she die wid de Whoopin' Cough.

[The last line is commonly found in minstrel songs.]

WALK, TALK, CHICKEN WITH YOUR HEAD PECKED!

    Walk, talk, chicken wid yo' head pecked!
    You can crow w'en youse been dead.
    Walk, talk, chicken wid yo' head pecked!
    You can hol' high yo' bloody head.

    You's whooped dat Blue Hen's Chicken,
    You's beat 'im at his game.
    If dere's some fedders on him,
    Fer dat you's not to blame.

    Walk, talk, chicken wid yo' head pecked!
    You beat ole Johnny Blue!
    Walk, talk, chicken wid yo' head pecked!
    Say: "Cock-a-doo-dle-doo--!"

["Walk Talk Chicken With Your Head Pecked" might be a misheard lyric. It could be "Walk Chalk Chicken With Your Head Pecked."  "Walk Chalk Chicken" is found in few fiddle tunes, as I remember, Melvin Wine did a fiddle tune. Walk Chalk Line is a type of obscure dance step.]

TAILS

    De coon's got a long ringed bushy tail,
    De 'possum's tail is bare;
    Dat rabbit hain't got no tail 'tall,
    'Cep' a liddle bunch o' hair.

    De gobbler's got a big fan tail,
    De pattridge's tail is small;
    Dat peacock's tail 's got great big eyes,
    But dey don't see nothin' 'tall.

[See also Talley's BEDBUG which is a comparison song that uses the well-known "she get's there just the same" line. This line and Talley's first verse is commonly used in the bluegrass/old-time song, "Charming Betsy." TAILS is fairly well know and is used in "Bushy Tail," "Bile Dem Cabbage" and other songs.

As I remember it comes from "Do Come Along, Ole Sandy Boy," 1846, more directly "Uncle Gabriel" 1854 and other minstrel songs.

T.J. Booth's Kentucky minstrels UNCLE GABRIEL from Marsh's Selection 1854:

Mr. Coon is a mighty man,
He carries a bushy tail.
He steals ole Massa's corn at night,
And husks it on a rail.

CHORUS: Den cum along ole Sandy boy
Oh do cum along, oh do.
What did Uncle Gabriel say?
Jenny won't you cum along too.

De squirrel hab a bushy tail
Stumpy grows de hair.
De Coon's tail am ring'd all 'roun',
De possum's tail am bare.

De Peacock's tail am berry high,
It reach up to de moon,
He cast his eye upon his foot,
Tail drop bery soon.]

CAPTAIN DIME

    Cappun Dime is a fine w'ite man.
    He wash his face in a fry'n' pan,
    He comb his head wid a waggin wheel,
    An' he die wid de toothache in his heel.

    Cappun Dime is a mighty fine feller,
    An' he sho' play kyards wid de Niggers in de cellar,
    But he will git drunk, an' he won't smoke a pipe,
    Den he will pull de watermillions 'fore dey gits ripe.

[Most everyone recognizes this is as a version of Old Dan Tucker circa early 1830s attributed to Dan Emmett. I also remember this line:

Old Dan Tucker (Cappun Dime) is a mighty fine feller,
An' he sho' play kyards wid de *mens in de cellar,

I think this is usually now; "And he plays cards with the boys in the cellar"... maybe from Bob Wills.

It's also found in Brown Collection; Circa 1930

C. 'Old Dan Tucker.' Contributed by Katherine Bernard Junes of Raleigh. Not dated.

1. Old Dan Tucker was a fine old fellow
But he would play cards with the *men in the cellar.

*edited]
 
CROSSING THE RIVER

    I went down to de river an' I couldn' git 'cross.
    I jumped on er mule an' I thought 'e wus er hoss.
    Dat mule 'e wa'k in an' git mired up in de san';
    You'd oughter see'd dis Nigger make back fer de lan'!

    I want to cross de river but I caint git 'cross;
    So I mounted on a ram, fer I thought 'e wus er hoss.
    I plunged him in, but he sorter fail to swim;
    An' I give five dollars fer to git 'im out ag'in.

    Yes, I went down to de river an' I couldn' git 'cross,
    So I give a whole dollar fer a ole blin' hoss;
    Den I souzed him in an' he sink 'stead o' swim.
    Do you know I got wet clean to my ole hat brim?

[These are some great and humerous lyrics. Versions of these lyrics can be found in minstrel songs, jug band songs and blues (Step It Up And Go). Off hand I know there are earlier lyrics in Perrow and also Brown.]

T-U-TURKEY

    T-u, tucky, T-u, ti.
    T-u, tucky, buzzard's eye.
    T-u, tucky, T-u, ting.
    T-u, tucky, buzzard's wing.
    Oh, Mistah Washin'ton! Don't whoop me,
    Whoop dat Nigger Back 'hind dat tree.
    He stole tucky, I didn' steal none.
    Go wuk him in de co'n field jes fer fun.

[This is an obscure African-American fiddle tune with silly lyrics. It's found in Eldred Kurtz Means- Biography & Autobiography- 1919:

"He teached me a song 'bout de turkey-buzzard when I wus jes' a little shaver. It went like dis:

"Tu tucky, tu ti, Tu tucky-..."

and History of the University of North Carolina - Page 90 by Kemp Plummer Battle, 1907:

"A cotton picking, according to Kemp Plummer Battle is "analagous to quiltings, corn-shuckings, and log-rollings, providing toothsome refreshments. The cotton was placed in the middle of the room, parties would pick against each other, and amid good-humored rivalry and rustic merriment the work would soon be finished. Then the floor would be swept and the neighborhood fiddler [. . .] would strike up 'Molly put the Kettle on,' or 'T-u Turkey, Ty Tie, T-u Turkey Buzzard's Eye' or 'Crow He Peeped at the Weasel,' or 'Old Molly Hare'."

From Uncle Remus: "WHY THE BUZZARD'S HEAD IS BALD?":

T-u, Turkey, t-u, ti,
T-u, Turkey Buzzard's eye!
You kin see her a-sailin' way up in de sky!
Ef she wuz ter shet her wings an' fall
You'd see fer yo'se'f dat 'er head is bal';

P-o, Peter, P-o, pan!
Her head des ez bal' ez de pa'm er yo' han',
An' a mighty good reason but dat's a tale,
Ez de 'possum said ter de slippery rail. 

Brown Collection has this short fragment:

T-U turkey, T-Y tie
T-U turkey buzzard's eye.

Contributed by Sarah K. Watkins. Reported in both Anson and Stanly counties.

Curiously, a country version was recorded in 1951 as "Tu-Turkey Ty." It was recorded by swing recording artist Les (Carrot Top) Anderson on Decca released June 30, 1951. If anyone know more about this let us know. Here's a bio:

Les (Carrot Top) Anderson
Born: February 20, 1921; Died: October 4, 2001;
Western Swing Society Hall of Fame (1990); Town Hall Party

"Carrot Top" was one of the featured acts on the Town Hall Party that originated in Compton, California. He was also a star performer with many top name bands in the Western field for many years and was on many radio and television shows.]


CHICKEN IN THE BREAD TRAY

    "Auntie, will yo' dog bite?"--
        "No, Chile! No!"
    Chicken in de bread tray
        A makin' up dough.

    "Auntie, will yo' broom hit?"--
        "Yes, Chile!" Pop!
    Chicken in de bread tray;
        "Flop! Flop! Flop!"

    "Auntie, will yo' oven bake?"--
        "Yes. Jes fry!"--
    "What's dat chicken good fer?"--
        "Pie! Pie! Pie!"

    "Auntie, is yo' pie good?"--
        "Good as you could 'spec'."
    Chicken in de bread tray;
        "Peck! Peck! Peck!"

[This is a version of the fiddle/dance tune, "Granny Will your Dog Bite" or "Chicken in the Bread Tray"

The song is connected to these branches and connected song groups:

1)"Hog-Eye" songs
2)"Betty Martin; "Tip Toe Fine" "Johnny/Chippy Get Your Hair Cut" songs
3)"Fire on the Mountain" songs
4)"Sally in the Garden" songs  

The oldest related song is Betty Martin, which should be considered the parent song.]

MOLLY COTTONTAIL, OR, GRAVEYARD RABBIT

    Ole Molly Cottontail,
    At night, w'en de moon's pale;
    You don't fail to tu'n tail,
    You always gives me leg bail.[2]

    Molly in de Bramble-brier,
    Let me git a little nigher;
    Prickly-pear, it sting lak fire!
    Do please come pick out de brier!

    Molly in de pale moonlight,
    Yo' tail is sho a pretty white;
    You takes it fer 'way out'n sight.
    "Molly! Molly! Molly Bright!"

    Ole Molly Cottontail,
    You sets up on a rotten rail!
    You tears through de graveyard!
    You makes dem ugly [3]hants wail.

    Ole Molly Cottontail,
    Won't you be shore not to fail
    [4]To give me yo' right hin' foot?
    My luck, it won't be fer sale.

[2] Leg bail = to run away.

[3] Hants = ghosts or spirits.

[4] This embraces the old superstition that carrying in one's pocket the right hind foot of a rabbit, which has habitually lived about a cemetery, brings good luck to its possessor.

[The American wood rabbit (Lepus sylvaticus) is also called Molly cottontail.

Here's a an explanation of Molly Cottontail by a former African American slave:

"His old granny done told him to try it and he did. He conjures hisself by takin' a good, soapy bath so de dogs can't smell him and den say a hoodoo over he rabbit foot, and go to de creek and git a start by wadin'. Dey didn't miss him till he clear gone and dat show what de rabbit foot done for him.

"O, Molly Cottontail,
Be sho' not to fail,
Give me you right hind foot,
My luck won't be for sale."

De graveyard rabbit am de best, kilt by a cross-eyed pusson. De black folk all 'lieved Gen. Lee carried a rabbit foot with him. To keep de rabbit foot's luck workin', it good to pour some whiskey on it once in a while.

If you has a horseshoe over you door, be sho' it from de left, hind foot of a white hoss, but a gray hoss am better'n none."

Patsy Moses, enslaved in Texas.

Molly Cottontail is an African American folk tale. In the story Molly Cottontail is able to outsmart Mistah Fox and Hungry Billy by playing a little trick. Molly eats all of Mistah Fox's butter and ends up passing the blame onto Hungry Billy. In the end there is a separation in the fox family all because of a crock of butter.

Here's a peom about "The Graveyard Rabbit" from Edmund Clarence Stedman, ed. (1833–1908); An American Anthology, 1787–1900. 

1288. The Graveyard Rabbit By Frank Lebby Stanton

IN the white moonlight, where the willow waves,
He halfway gallops among the graves—
A tiny ghost in the gloom and gleam,
Content to dwell where the dead men dream,

But wary still!         
For they plot him ill;
For the graveyard rabbit hath a charm
(May God defend us!) to shield from harm.

Over the shimmering slabs he goes—
Every grave in the dark he knows;         
But his nest is hidden from human eye
Where headstones broken on old graves lie.

Wary still!
For they plot him ill;
For the graveyard rabbit, though sceptics scoff,         
Charmeth the witch and the wizard off!

The black man creeps, when the night is dim,
Fearful, still, on the track of him;
Or fleetly follows the way he runs,
For he heals the hurts of the conjured ones.      

Wary still!
For they plot him ill;
The soul's bewitched that would find release,—
To the graveyard rabbit go for peace!

He holds their secret—he brings a boon         
Where winds moan wild in the dark o' the moon;
And gold shall glitter and love smile sweet
To whoever shall sever his furry feet!

Wary still!
For they plot him ill;         
For the graveyard rabbit hath a charm
(May God defend us!) to shield from harm.]

JUBA [5]

    Juba dis, an' Juba dat,
    Juba [6]skin dat Yaller Cat. Juba! Juba!

    Juba jump an' Juba sing.
    Juba, [6]cut dat Pigeon's Wing. Juba! Juba!

    Juba, kick off Juba's shoe.
    Juba, dance dat [6]Jubal Jew. Juba! Juba!

    Juba, whirl dat foot about.
    Juba, blow dat candle out. Juba! Juba!

    Juba circle, [6]Raise de Latch.
    Juba do dat [6]Long Dog Scratch. Juba! Juba!

[5] This peculiar kind of dance rhyme is explained in the Study in Negro
Folk Rhymes.

[6] The expressions marked [6] are various kinds of dance steps.

[Talley adds:

Let us glance at the Dance Rhyme "Juba" with its Supplement, "Juba! Juba!" to illustrate this special use of the Supplement. "Juba"  itself was a kind of dance step. Now let us imagine two dancers in a circle of men to be dancing while the following lines are being patted and repeated:

"Juba Circle, raise de latch,
Juba dance dat Long Dog Scratch,
Juba! Juba!"

While this was being patted and repeated, the dancers within the circle described a circle with raised foot and ended doing a dance step called "Dog Scratch." Then when the Supplement "Juba!  Juba!" was said the whole circle of men joined in the dance step "Juba" for a few moments. Then the next stanza would be repeated and patted with the same general order of procedure.

The Supplement, then, in the Dance Rhyme was used as the signal for all to join in the dance for a while at intervals after they had witnessed the finished foot movements of their most skilled dancers.

Juba is a group dance, of West African origin, characterized by complex rhythmic clapping and body movements and found in the southern United States as early as the 18th century. "Patting Juba" is rhythmic rapid slapping of thighs and hips found in African-American dances.

One early printed reference I know to "patting Juba" is found in chorus of Limber Jim (Hearns 1876). It uses the same call and response as Talley #1:

Limber Jim,
[All] Shiloh!
Talk it agin,
[All] Shiloh!
Walk back in love,
[All] Shiloh!
You turtle-dove,
[All] Shiloh!

The familiar rhyme for the Juba songs is the old children's rhyme:

Juba dis, Juba dat,
Juba kill a yaller cat.
Juba up, Juba down
Juba runnin' all aroun'.

Juba patting even made it to the professional stage and was part of the Golden and Grayton vaudeville stage act in a dance they called Patting Rabbit Hash. You can hear Billy Golden's 1905 recorded on the interenet archive: http://www.archive.org/details/BillyGolden ]

ON TOP OF THE POT

    Wild goose gallop an' gander trot;
    Walk about, Mistiss, on top o' de pot!

    Hog jowl bilin', an' tunnup greens hot,
    Walk about, Billie, on top o' de pot!

    Chitlins, hog years, all on de spot,
    Walk about, ladies, on top o' de pot!


STAND BACK, BLACK MAN [7]

    _Oh!_
          Stan' back, black man,
          You cain't shine;
          Yo' lips is too thick,
          An' you hain't my kin'.

    _Aw!_
          Git 'way, black man,
          You jes haint fine;
          I'se done quit foolin'
          Wid de nappy-headed kind.

    _Say?_
          Stan' back, black man!
          Cain't you see
          Dat a kinky-headed chap
          Hain't nothin' side o' me?

[7] In a few places in the South, just following the Civil War, the Mulattoes organized themselves into a little guild known as "The Blue Vein Circle," from which those who were black were excluded. This is one of their rhymes.


NEGROES NEVER DIE

    Nigger! Nigger never die!
    He gits choked on Chicken pie.
    Black face, white shiny eye. Nigger! Nigger!

    Nigger! Nigger never knows!
    Mashed nose, an' crooked toes;
    Dat's de way de Nigger goes. Nigger! Nigger!

    Nigger! Nigger always sing;
    Jump up, cut de Pidgeon's wing;
    Whirl, an' give his feet a fling. Nigger! Nigger!

[This old saying (first verse) was quoted in Story of the Destroying Angel by Robert Louis Stevenson Published In Collection: The Dynamiter: More New Arabian Nights London: Longmans, Green, 1885.

The "Pidgeon wing" is a dance step.]

JAWBONE

    Samson, shout! Samson, moan!
    Samson, bring on yo' Jawbone.

    Jawbone, walk! Jawbone, talk!
    Jawbone, eat wid a knife an fo'k.

    Walk, Jawbone! Jinny, come alon'!
    Yon'er goes Sally wid de bootees on.

    Jawbone, ring! Jawbone, sing!
    Jawbone, kill dat wicked thing.

[The "jaw-bone" which was an instrument the end-men of a minstrel show shook like a tambourine. It was made from the actual jaw-bone of a horse or donkey. When the bone was thoroughly dried the teeth became so loose that they rattled and produced a sound as loud as that of a pair of castanets.

The earliest published version was by Silas Sexton Steele (1844) "Walk, Jaw Bone" (written expressly for Cool White).

The origins and branches of Jawbone/Jawbone Walk are numerous. The lyrics seem to be somewhat interchangeable. I have separated "Jawbone" into three main branches- each having a different melody.]

INDIAN FLEA

    Injun flea, bit my knee;
    Kaze I wouldn' drink ginger tea.

    Flea bite hard, flea bite quick;
    Flea bite burn lak dat seed tick.

    Hit dat flea, flea not dere.
    I'se so mad I pulls my hair.

    I go wild an' fall in de creek.
    To wash 'im off, I'd stay a week.


AS I WENT TO SHILOH

    As I went down
    To Shiloh Town;
    I rolled my barrel of Sogrum down.
    Dem lasses rolled;
    An' de hoops, dey bust;
    An' blowed dis Nigger clear to Thundergust!

[The word "Shiloh" is an African- Ameican slang expression. It appears in Limber Jim (Lafcadio Hearn's An American Miscellany, vol. 1;) in 1876:

Limber Jim,
 [All.] Shiloh!
 Talk it agin,
 [All.] Shiloh!
 Walk back in love,
 [All.] Shiloh!
 You turtle-dove,
 [All.] Shiloh!

["Shiloh" also appears in Ruth Crawford Seeger's American Folk Songs For Children, pp. 96-97 "Scraping Up Sand In The Bottom Of The Sea". The chorus goes:

Scraping up sand in the bottom of the sea, Shiloh, Shiloh,
Scraping up sand in the bottom of the sea, Shiloh, Liza Jane.

Seeger says that this comes from "The Missouri Play-Party" by Mrs. L.D.Ames, Vol. 24 of the Journal of American Folk-lore. There is a verse in this song that goes:

Black those shoes and make them shine,
Shiloh, Shiloh,
Black those shoes and make them shine,
Shiloh, Liza Jane.

Talley's song, above, is a version of Lynchburg Town named instead- Shiloh Town.]

JUMP JIM CROW

    Git fus upon yo' heel,
    An' den upon yo' toe;
    An ebry time you tu'n 'round,
    You jump Jim Crow.

    Now fall upon yo' knees,
    Jump up an' bow low;
    An' ebry time you tu'n 'round,
    You jump Jim Crow.

    Put yo' han's upon yo' hips,
    Bow low to yo' beau;
    An' ebry time you tu'n 'round,
    You jump Jim Crow.

[This song and dance was created by Thomas ("Daddy") Rice in the 1820’s and is the earliest and one of the most popular minstrel songs both in the US and abroad. The chorus connects it to “Uncle Joe/Hop High Ladies” family of songs (tune of McLeod's Reel) but I consider them different songs (see notes from Traditional Ballad Index). The song is also important as a source of lyrics for other minstrel songs and bluegrass songs. Here’s some info about Jim Crow from The Harvard Theatre Collection, The Houghton Library:

In 1822, English actor Charles Mathews mounted a one-man show in black-face called "A Trip to America," based on the dialect, songs and dances he observed while in the United States. During a visit to New York's African Theatre, Mathews claimed that an actor performing the role of "Hamlet" was interrupted by calls from the audience for the slave song "Opossum up a Gum Tree," an incident that Mathews used to construct one of the most popular segments of his show.

Thomas Dartmouth "Daddy" Rice popularized the black-faced minstrel on the American stage with his 1828 caricature of a crippled plantation slave, dancing and singing the words:

"Weel about and turn about and do jus' so,
Eb'ry time I weel about, I jump Jim Crow."

After touring American cities, Rice took his immensely popular act to London in 1836. By then "Jim Crow" had proliferated in prints and sheet music, and he became a stock character in minstrel shows, along with his counterparts Jim Dandy and Zip Coon.