There is another Dillon Bustin song in the DT as well. I believe I found them by entering steamboat or river boat in the DT. His are new songs, as are most, if not all, in the DT. Even Steamboat Bill only dates to 1910, after the railroads had killed the old steamboat lines.

Here are two more fragments from Newman L. White, "American Negro Folk Songs," both collected about 1915:

Roll dat bale, roll dat cotton,
De Lord is good, your sins will be forgotton.

Carry dat load on your head,
De Lord will bless your good corn bread.

Also from White, coll. 1915, this one sung on Tennessee River boats.

The boat's up the river
And she won't come down;
I believe to my soul
She must be water bound.

The boat's up the river
And she won't come down;
One long-lonesome-blow
And she's Alabama bound.

(Reported separately, about the railroad). There are many verses to "Alabama Bound," the song changed through time and visited several topics:
She is a long tall yellow gal,
She wears a Mary Jane,
She wears a Mary Jane.
If that train don't leave dat rail
I am Alabama bound.

Much like the sailors in the days of sail, the rousters had different types of song for different jobs. Unfortunately, these have been lost.
Stowing cargo required a different meter from working the plank boards. "When the stowed bales [of cotton] in the hold are in contact with the upper deck, another layer has to be forced in. This is effected, bale by bale, by powerful jack screws, worked by four men. ... The men keep the most perfect time by means of their songs. These ditties, nearly meaningless, have much music in them, and as all join in the perpetually recurring chorus, a rough harmony is produced, by no means unpleasing. I think the leader improvises the words...he singing one line alone, and the whole then giving the chorus, which is repeated without change at every line, till the general chorus concludes the stanza..." Gosse, P. H., Letters from Alabama, 1859, p. 306; quoted in Epstein, Dena J., "Sinful Tunes and Spirituals," 1977, p. 185.

As Stan Hugill noted in his "Shanties from the Seven Seas," steamboat crews included blacks (many slaves, many free including West Indian) in a mixed crew with Irish, English and others. Some slave holders hired out their slaves, the slave receiving about ten per cent of the pay, the owner the rest.
Another specialized job was that of fireman, nearly all black. They would sing as they fed wood into the furnaces, again of the lead line type with following chorus: "keeping time most exquisitely, hurled one piece of firewood after another into the yawning fiery gulf." F. Bremer, describing her experiences aboard a river steamboat in 1850. "America of the Fifties: Letters of Fredrika Bremer," selected and ed. A. B. Benson, 1924, American-Scandanavian Foundation.

Most riverboat towns has a "roustabout neighborhood" close to the docks. At Natchez, this area was beneath the bluffs with the town high above. There were the "Shinbone Alleys" where the roustabouts could relax. A favorite fiddle tune, dating back at least to the 1830s, was "Natchez Under the Hill," or simply "Natchez." American Memory has an audio of Henry Reed playing the tune on the fiddle. It is included in Knouff, 1839, Virginia Reels v. 1, # 11, as Natchez on the Hill.
Perhaps Richie will give us a thread on this tune. These tunes were heard by several who wrote about the steamship days, but, unfamiliar with the music, lumped them together as Zip Coon or Turkey in the Straw.