Gandy Dancer - Songs and Chants

Songs and Chants

While most southern railroad maintenance workers were African American, gandy dancers were not strictly southern or African American. Section crews were often made up of recent immigrants and ethnic minorities who vied for steady work despite poor wages and working conditions, and hard physical labor. The Chinese, Mexican Americans, and Native Americans in the West, the Irish in the Midwest, and East Europeans and Italians in the Northeast laid and maintained track as well. Though all gandy dancers sang railroad songs, it may be that black gandy dancers, with a long tradition of using song to coordinate work, were unique in their use of task-related work chants.

Rhythm was necessary both to synchronize the manual labor, and to maintain the morale of workers. Work songs and hollers sung in a call-and-response format were used to coordinate the various aspects of all rail maintenance; slower speech-like "dogging" calls to direct the picking up and manipulating of the steel rails and unloading, hauling and stacking of the ties, and more rhythmic songs for spiking and lining (aligning) the rails and tamping the bed of ballast beneath them.

In 1939 John Lomax recorded a number of railroad songs which contain an example of an "unloading steel rails" call, and it is available at the American Memory site. The Lead Belly song "Take This Hammer" (available on YouTube) may be based on railroad chants.

Anne Kimzey of the Alabama Center For Traditional Culture writes: "All-black gandy dancer crews used songs and chants as tools to help accomplish specific tasks and to send coded messages to each other so as not to be understood by the foreman and others. The lead singer, or caller, would chant to his crew, for example, to realign a rail to a certain position. His purpose was to uplift his crew, both physically and emotionally, while seeing to the coordination of the work at hand. It took a skilled, sensitive caller to raise the right chant to fit the task at hand and the mood of the men. Using tonal boundaries and melodic style typical of the blues, each caller had his own signature. The effectiveness of a caller to move his men has been likened to how a preacher can move a congregation." Typical songs featured a two-line, four-beat couplet to which members of the gang would tap their lining bars against the rails until the men were in perfect time and then the caller would call for a hard pull on the third beat of a four-beat chant. Veteran section gangs lining track, especially with an audience, often embellished their work with a one-handed flourish and with one foot stepping out and back on beats four, one, and two, between the two-armed pulls on the lining bars on beat three. Here is a vintage gandy dancer video which demonstrates the singing, the dancing-like rhythm, the lining tool, and a very large crew (note that the ballast has been removed, perhaps allowing a much greater movement of the track than most sources mention):