Louis Jordan recorded a lot of great songs, but “Choo Choo Ch-Boogie” is clearly a standout. I’ve already paid tribute to Jordan in my post for “Jack, You’re Dead,” and he’s one of my longtime favorites, as well as one of the most fundamental artists of the R&B era. He was a model for so many people — I was recently re-listening to James Brown’s Show Time LP, which includes three Jordan numbers, all played with 
Jordan’s original arrangements, and was pleased when the Brown biopic portrayed him starting out by performing “Caldonia.”
Chuck Berry was another devoted fan, and I would bet anything that he performed and studied “Choo Choo Ch-Boogie” — the writing is a perfect model for the sort of hip, crowded wordplay that became one of his trademarks, as well as the highballing boogie, an obvious precursor of Berry’s flavor of rock ‘n’ roll.
As it happens, the song’s background fits Berry’s early career as a Black hillbilly singer, fusing country and western with blues and jazz. The writers were two New York country performers, Vaughan Horton (who also wrote “Mockingbird Hill” and “Sugar Foot Rag”) and Denver Darling, with a third credit to Milt Gabler, who was Jordan’s producer and may have been added for professional reasons.
I’ve known this song since the 1970s, but only remember performing it on one occasion. That was during my period of busking in Antwerp, which at that time had a socialist city government — a nostalgic memory; the city has since gone over to the neofascist Vlaams Blok. (This is a bit off; correction below.) One of the city councilors was a fan of mine, which may sound odd, since all I was doing was playing for tips on cafe terraces,but Antwerp was that way — 
when I played on a terrace where he happened to be sitting, he would sometimes invite me for a beer afterwards, including once when he was sitting with the mayor.
Another time, he invited me over and asked if I would be available to play for an event the Socialist Party was having. I said sure; he offered a decent fee, though I would happily have done it for nothing. I wasn’t getting a lot of stage time at that point, and it was a nice change from playing the terraces.
As I recall, it was a big dinner, with several hundred people under a tent, and there were also some bands, and I played a couple of songs to no response — it wasn’t a listening crowd, and I was just one guy with a guitar. Or maybe I just assumed that was what would happen; in any case, I asked a couple of the other musicians if they’d be willing to back me, and suggested this as a tune that wouldn’t require any rehearsal. If memory serves, the backing didn’t help me reach the audience, but at least I wasn’t alone onstage and it was nice to have a drummer and some other guys pushing me.
Beyond that, what’s to say? It’s a great lyric, with fourteen separate rhymes for track/Jack, as well as the internal station/transportation/destination/compensation/situation… I can picture the young Chuck Berry chewing over those lines and musing about how to update them from trains to roadsters.
As for the Vlaams Blok, I don’t think I’d yet heard of it by name, but when I was first busking in Antwerp in the late 1970s, people warned me about a couple of bars I shouldn’t try because an American wouldn’t be welcome — not for the reasons I was used to people disliking the US (Vietnam, racism, cultural imperialism), but because the clients were nostalgic for the period when Hitler had liberated them from Francophone domination, and harbored old grudges against the Allies. That was before African immigration had provided new fuel for the Flemish nationalist fires; these days, I wonder if the same bars are welcoming Americans as fellow guardians of white supremacy. Not a pleasant thought, and strange to think it’s been almost fifty years since I was first playing there.
Correction: Joris Baetens writes from Antwerp, “There’s a small inaccuracy in your post : the Vlaams Blok isn’t actually governing our town. Although it doesn’t bring me joy that I must add that N-VA (Nieuw Vlaams Alliantie or New Flemish Alliance) have been in charge here, the last five years, and they have been re-elected recently. This is a party that’s ‘extremely conservative’ rather than overtly racist and fascist. They’re more of the crypto racist kind. Also very Femish separatist rightwing, but just a smidge more respectable than the overtly racist and fascist Vlaams Blok, who changed their name to Vlaams Belang, after being convicted for being racist. They still get a great amount of votes, sadly enough. And this fascist party, founded by former hitlerjugend members and neonazis, managed to get an influential Jewish entrepreneur, David Rosenberg, to join their list during the last elections here in Antwerp… Sad stuff all over the globe, also on our side of the pond!”