Andrae Crouch - Jesus Is The Answer (Videos & Lyrics)

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Showing posts with label African American spirituals. Show all posts
Showing posts with label African American spirituals. Show all posts

Saturday, 20 September 2014

Five Examples Of "Swing Down Sweet Chariot And Let Me Ride"

Posted on 20:25 by mukhiya
Edited by Azizi Powell

This post presents five examples of African American religious song "Swing Down Chariot And Let Me Ride". This song is also known as "Slow Down Chariot" (Stop And Let Me Ride) and "Low Down The Chariot And Let Me Ride".

The content of this post is presented for historical, religious and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the unknown composers of this song and thanks to the featured vocalists. Thanks also to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.

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COMMENTS ABOUT THIS SONG
http://mudcat.org/thread.cfm?threadid=41800is "Chariot Spirituals" an interesting discussion about "Swing Down Sweet Chariot and Swing Low Sweet Chariot. Here are two of those comments:

posted by Q on June 24, 2003 in response to a guest David Neale's questions about this song and his statement that "Swing Low Sweet Chariot" and "Swing Down Chariot.." were both originally part of the same song, but have somehow become separated in time:
"You are asking a question to which there is no answer.
The chariot was a frequent image in the old 19th and early 20th century spirituals; some of the songs are related and some are not (of course, no authors are known). The Fisk Jubilee Singers were just one of the early groups that sang the song (their choral organization goes back to the 1870s; that of the Hampton Institute started almost as early and they are only the two best known of the early groups singing spirituals). Both groups sang "Swing Low Sweet Chariot" in the 1870s. The Fisk recording date of 1910 thus is not useful since the song was sung by their touring group and other groups long before that.

Many singers have recorded their own versions of these songs. The Cleveland Index does not list a "Swing Down..." in their list of spirituals; it may be fairly recent. It is listed as traditional at this website, but many of these sites have incorrect attributions: Swing Down...

A number of gospel and art versions that are identified with a singer or a group, but identifying the primary source of their particular version is difficult if not impossible. Did they get it from their church? Versions sung by different congregations could vary widely. Did they synthesize it from other versions, either from books or other singers?

**
[posted by masato sakurai on June 28, 2003]:
"H.T. Burleigh arranged "Swing Low, Sweet Chariot," which was published by G. Ricordi in 1917; it was definitely not "Swing Down Sweet Chariot". The sheet music is at Historic American Sheet Music. Fisk University Jubilee Singers didn't record "Swing Down Sweet Chariot"; their version was "Swing Low, Sweet Chariot". According to Blues and Gospel Records 1890-1943, 4th ed. (Oxford UP), the recordings of "Swing Down Chariot (Let Me Ride)" were made by the Mississippi Gospel Singers (1941) and the Golden Gate Jubilee Quartet (1946)."
-snip-
"Swing Down Chariot And Let Me Ride" is referred to as a hymn, a camp meeting song, a Spiritual, and/or an early Gospel song. This s song might be an African American Spiritual - since its likely that only a small number of Spirituals that were sung in the 19th century were collected. However, the way this song was first recorded in the 1940s probably wasn't the way it was sung in the 19th century.

I think it's most likely that "Swing Down Chariot And Let Me Ride" is an early Gospel song with no known composer rather than a Spiritual. (Note: i've read that the term "Spiritual" is not used for African American religious songs with known composersor for religious songs that were composed after the 19th century. But I can't cite that source.

I learned "Swing Down Sweet Chariot And Let Me Ride" in the 1950s (in a Baptist church in Atlantic City, New Jersey), but I remembered the title as "Swing That Chariot (Lord) And Let Me Ride".

"Low Down Chariot" may be the earliest titlee for that religious song. "Low Down" probably means "lower down" as in "Fly down lower."

The title "Slow Down Chariot" may have been sung because the "Low Down" was misheard or misremembered. Or the singer reasoned that if the chariot flying in the sky would slow down, he or she could more easily hop on board and be taken up to the home on the other side (heaven).

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EARLY LYRICS FOR "SWING DOWN CHARIOT" ("LOW DOWN CHARIOT")
Here are two early examples of lyrics for this song. Both were published by Dicho in December 2001 in that Mudcat thread whose link was previously given.

LYR ADD: SWING LOW, CHARIOT

Swing low, chariot, low in de Eas',
Let God's people have some peace,
Gwine to ride in de chariot in de mornin',
Swing low-
Gwine to ride in de chariot in de mornin',
Elijah,
Gwine to ride in de chariot in de mornin'.

Swing low, chariot, low in de Wes',
Let God's people have some rest,
Gwine to ride in de chariot in de mornin',
Swing low- etc.

Swing low chariot, low in de North,
Let God's people have a talk,
Gwine to ride in de chariot in de mornin',
Swing low- etc.

Swing low chariot, low in the South,
Let God's people have a shout,
Gwine to ride in de chariot in de mornin',
Swing low- etc.

First two lines of each verse and Swing low-; Elijah-; were sung solo by the Hampton Singers. Spiritual sung "Moderato con enthusiasma."
N. P. Dett, 1927, Religious Folk Songs of the Negro, p. 100, with music.

**
LOW DOWN CHARIOT

Oh, let-n me ride, oh, let-n me ride,
Oh, let-n me ride, Oh, let-n me ride,
Oh, let-n me ride, oh, let-n me ride,
Oh, low down the chariot, let-n me ride.

Got a right to ride, oh, let-n me ride,
Got a right to ride, oh, let-n me ride,
Got a right to ride, oh, let'n me ride,
Oh, low down the chariot, let me ride.

3. Got a ticket to ride, etc.
4. I'm humble to ride, etc.
5. I'm beggin' to ride, etc.
6. I'm a soldier, etc.
7. My mother done rid, etc.
8. Train's comin', etc.
9. I'm a warrior, etc.
10. I'm prayin', etc.
11. Prayin' to ride, etc.

Vera Hall and Dock Reed, Livingston Al. John A. and Alan Lomax, 1941, Our Singing Country, p. 36, with music.

****
Here's a version of "Swing Down Chariot" as it is more contemporaneously sung (although I believe that the Blind Boys Of Alabama sung this version in the late 1950s)

Swing Down Chariot - (with Blind Boys Of Alabama) Lyrics

Well, well, well, well
I looked over yonder and what I see seems like a chariot coming after me
Swing low, sweet chariot, coming to carry me home

Why dont you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
Ive got a home on the other side

Swing, swing, swing
Well, Ezekiel was out in the middle of the field
He said he saw an angel with a chariot wheel
He wasnt too particular about the chariot wheel
He just wanted to see how a chariot feels

Why dont you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
Ive got a home on the other side

Swing, swing, swing, swing, swing, swing
Well, Ezekiel went down and he got on board
The chariot went bumping on down the road
Zeke wasnt particular about the bumpin of the road
He just wanted to lay down his heavy load

Why dont you swing down chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
Ive got a home on the other side

Well, I got a Father in the promised land and I aint stopping till I shake His hand
Rock me, Lord, rock me, Lord, calm and easy
I got a home on the other side

Swing down, sweet chariot, stop and let me ride
Swing down chariot, stop and let me ride
Rock me, Lord, rock me, Lord, calm and easy
Ive got a home on the other side

Source http://www.metrolyrics.com/swing-down-chariot-with-blind-boys-of-alabama-lyrics-randy-travis.html
-snip-
The words that are sung by The Golden Gate Quartet [Example #1] are very similar to the Blind Boys Of Alabama's lyrics. I don't know which of these Gospel Quartets were the first to record this songeetquartegroup was the first to sung "Swing Down Chariot".

The chorus pf "Swing Down Chariot" that is given above is exactly as I remember it- except that I misremembered the first words as "Swing that chariot". And, unfortunately, I don't remember any other words to this song but that chorus.

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FEATURED EXAMPLES
These examples are presented in chronological order based on their publishing date on YouTube with the oldest dated examples given first.

Example #1: The Golden Gate Quartet - Swing Down Sweet Chariot



SyberkaPL, Uploaded on Apr 7, 2009

Live from Yugoslavia in 1967.
From left: Caleb Ginyard Jr., Orlandus Wilson, Clyde Riddick, Clyde Wright
-snip-
According to a publisher of a soundfile of The Golden Gate Quartet singing this song, that group first recorded this in 1946. recorded in 1946.

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Example #2: Deacon Jessie Phelps Low Down The Chariot Let Me Ride



k phelps Uploaded on Oct 21, 2010

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Example #3: Dr. C.J. Johnson - Slow Down Chariot, Let Me Ride - Gospel



Gospel Experience, Published on Mar 27, 2012

Vos places pour le Gospel Festival de Paris 2013 ici :

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Example #4: Shiloh Quartet - Swing down chariot stop and let me ride



Jeff Mweemba, Published on Apr 6, 2013

Hope you enjoy this one by Shiloh.

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Example #5: Swing Down Chariot -by Dorothy Love Coates and the Gospel Harmonettes (live)



Gail Vaughn, Published on Mar 6, 2014

'Swing down sweet chariot stop and let me ride.... rock me Lord, rock me Lord, calm and easy, I've got a home on the other side'

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Posted in African American Gospel, African American spirituals | No comments

Tuesday, 26 August 2014

Five Examples Of "Guide My Feet While I Run This Race" (lyrics and comments)

Posted on 07:40 by mukhiya
Edited by Azizi Powell

This post showcases five arrangements of the song "Guide My Feet" (While I Run This Race). This song was originally sung as an African American Spiritual, but is also arranged and sung as a Gospel. "Guide My Feet" was also been sung a a United States civil rights protest song in the 1960s.

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thank to all those who are featured in these videos and thanks to all those who are quoted in this post. Thanks also to also to the publishers of these videos on YouTube.

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STANDARD LYRICS FOR "GUIDE MY FEET"
(African American Spiritual, composer unknown)

1. Guide my feet while I run this race.
Guide my feet while I run this race.
Guide my feet while I run this race,
for I don't want to run this race in vain!

2. Hold my hand while I run this race.
Hold my hand while I run this race.
Hold my hand while I run this race,
for I don't want to run this race in vain!

3. Stand by me while I run this race.
Stand by me while I run this race.
Stand by me while I run this race,
for I don't want to run this race in vain!

4. I'm your child while I run this race.
I'm your child while I run this race.
I'm your child while I run this race,
for I don't want to run this race in vain!

5. Search my heart while I run this race.
Search my heart while I run this race.
Search my heart while I run this race,
for I don't want to run this race in vain!

6. Guide my feet while I run this race.
Guide my feet while I run this race.
Guide my feet while I run this race,
for I don't want to run this race in vain!

Source: http://www.hymnsite.com/fws/hymn.cgi?2208
-nip-
One of the characteristices of African Amrican Spirituals is that the lyrics the order of verses, and the length of the song's performance weren't fixed. Therefore, every rendition of that song wasn't necessarily the same.

I've also heard choirs sing "Guide my tongue while I run this race" while I run this race."

****
COMMENT ABOUT THIS SONG
From http://wgbhnews.org/post/guide-my-feet-while-i-run-race
"Guide My Feet" is a staple of church choirs, folk and gospel artists because of its message — a humble plea for divine guidance during the race of life...

Some few days after the [Boston, Massachusetts] bombing two local ministers led an informal service at the makeshift memorial in Copley Square. They led the gathering crowd in singing the "Guide My Feet" spiritual. Suddenly I realized that all these years I’ve been singing the wrong words. They sang the right words, “Guide my feet, I don’t want to run this race in vain” versus my version, “Guide my feet, I don’t want to run this race alone.” But, whatever the words, "not in vain" or "not alone," I think both sentiments capture the spirit of this year’s marathoners, focused on the journey and not the destination. So when the runners begin their 26-mile trek, I’ll be singing my song for them in full-throated fervor. And celebrating a Boston Stronger."
-snip-
"Gide My Feeet" is Also listed as a freedom song (a civil rights protest song) in http://www.folkways.si.edu/TrackDetails.aspx?itemid=17300 Lest We Forget, Vol. 3: Sing For Freedom
Various Artists FW05488
"Songs played a large role in the movement to close the racial divide in America during the 1960s, and prayers, chants, sermons, and shouts were also fundamental to this task. This collection of freedom songs was recorded during "The Sing for Freedom Workshop"—a remarkable event that brought together the best of freedom singers to share the history of this tradition, better organize the freedom song movement, and enrich an already powerful repertoire of song.

Year of Release 1980
Record Label: Folkways Records
Source : Archive Smithsonian Center for Folklife and Cultural Heritage
Credits Produced by Guy Carawan ; Produced by Highlander Research and Education Center (Knoxville, Tenn.)"

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FEATURED VIDEOS
These examples are presented in chronological order based on their posting date on YouTube with the oldest dated posts presented first.

Example #1: lord guide my feet while i run this race(mom&sisters)

.

Ronald Dennis, Uploaded on Apr 11, 2008

My two sister and mom,soon to you tube will be my whole family

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Example #2: Guide My Feet


LukusJerrod, Uploaded on Mar 8, 2009

First Presbyterian Church of Brooklyn Choir at NYU, 2009

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Example #4: "Guide My Feet"- MBC Men's Chorus



MBCWorshipService, Uploaded on May 1, 2010

Calvin M. Blackwell, Sr., Michael E. Cundiff, Sr. and Thomas Powell- Soloists; The MBC Music Ministry Honors the Memories of Mrs. Inez M. Holley; Friday, April 30, 2010; Messiah Baptist Church, 210 Congress Street, Bridgeport CT, Jonathan Q. Berryman, Director of Music. Visit us at www.messiahbaptist-ct.org;

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Example #5: Guide My Feet, Lord



Lyric Fest, Published on Nov 12, 2013
Guide my feet, Lord - Arr. Jacqueline Hairston

Lisa Daltirus with Laura Ward, Piano

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Posted in African American Gospel, African American spirituals, protest songs | No comments

Tuesday, 12 August 2014

Spirituals "Blow Gable Blow" & "Blow Your Trumpet, Gabriel"

Posted on 10:55 by mukhiya
Edited by Azizi Powell

This is Part III of a three part series that showcases three examples out of a number of African American Spirituals that mention the angel Gabriel blowing his trumpet.

This post provides a text example of the Spiritual "Blow Gable Blow" as well as two text examples of the Spiritual "Blow Your Trumpet, Gabriel."

Click http://pancocojams.blogspot.com/2014/08/in-that-great-gettin-up-mornin-gabriels.html for Part I of this series. Part I showcases the Spiritual "In That Great Gettin' Up Mornin'".

Click http://pancocojams.blogspot.com/2014/08/ill-hear-that-trumpet-sound-lyrics-and.html for Part II of this series. Part II showcases the Spiritual "I'll Hear That Trumpet Sound".

The content of this post is provided for historical, cultural, religious, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to those who composed this song and thanks to all those who collected this song. Thanks also to all those who are quoted in this post, and thanks to the performers in these videos and the publishers of these videos.

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Editor's Comment:
The song "Blow Gabriel Blow" is featured in the award winning musical "Anything Goes" which was first produced in 1934. It seems obvious to me that idea for that song- if not the lyrics- comes from the earlier Spirituals "Blow Gable Blow" and "Blow Your Trumpet, Gabriel." Click http://en.wikipedia.org/wiki/Anything_Goes
for information about that play. Also, click http://www.stlyrics.com/lyrics/anythinggoes/blowgabrielblow.htm for the lyrics to the "Blow Gabriel Blow" (from "Anything Goes").

"Blow Your Trumpet, Gabriel" is also the name of a Rock song that has nothing to do with the Spiritual except its title.

****
COMMENTS ABOUT AND LYRICS FOR THE SPIRITUAL "BLOW GABLE BLOW"
From https://archive.org/stream/negrohissongsstu00odum/negrohissongsstu00odum_djvu.txt The Negro and His Songs: A Study Of Typical Negro Songs In The South, edited by Howard W. Odum (Oxford University Press, 1925, pp. 85-87)[Digitized by the Internet Archive in 2011]
"The "hallelujah" so common among the old songs is less frequently heard now; it will be found to some degree in the shouting songs and songs of heaven.

BLOW, GABLE, BLOW

Not least among the warnings to the sinner were to be reckoned the times when "Gable" should blow
his horn. "Gable" has been proverbial among the Negroes; Gabriel and the trumpet are, however,
significant in the same way among the whites in the vulgar reference. Many ideas of "Gable's" trumpet have appeared in the Negro songs. Sometimes it is "blow louder," Gable!" "How loud mus' I blow?"
The song "Blow, Gable, Blow" has changed considerably from the old plantation songs of the same
name.

Blow, Gable, at the judgment,
Blow, Gable, at the judgment bar,

For my God is a talkin' at the judgment,
For my God is a talkin' at the judgment bar.

Now won't you blow, Gable, at the judgment?
For my God is a preachin' at the judgment bar.

Now won't you blow, Gable, at the judgment bar?
Well, I’m goin' to meet my preacher at the judgment bar

In the same manner, making a four-line stanza of each one, are sung, "Goin' to meet brother," (mother, sister, etc.) and also, "My God is a walkin' (tryin', etc.) at the judgment bar." So, too, it is "prayin' time (mournin' time, singin' time, shoutin' time, tryin' time, etc.) at the judgment bar." This song may be given as the last one of the class peculiar to warnings and admonitions to sinners. It closes with still other verses that give vivid pictures of the judgment bar.

Well, sinners, keep a prayin' at the judgment bar.

Well, it's too late to pray at the judgment bar.

Why didn't you take heed at the judgment?

Some come crippled at judgment.

O, I look for my mother, (brother, sister) at de judgment."
-snip-
"The judgment bar" is most often given now as "the judgment seat" or the "judgment table".

****
COMMENTS ABOUT AND LYRICS FOR THE SPIRITUAL "BLOW YOUR "
From http://mudcat.org/thread.cfm?threadid=79284
From: Q
Date: 20 Jan 07 - 10:18 PM

Surprised I couldn't find "Blow Your Trumpet, Gabriel," which appears in Allen, 1867, and a fine arrangement for low voice in "Seventy Negro Spirituals," 1926, William Arms Fisher.

Lyr. Add: BLOW YOUR TRUMPET, GABRIEL

De talles' tree in Paradise,
De Christian call de tree of life;
And I hope dat trump might blow me home
To de new Jerusalem.
Blow your trumpet, Gabriel,
Blow louder, louder;
And I hope dat trump might blow me home
To de new Jerusalem.
2.
Paul and Silas, bound in jail,
Sing God's praise both night and day;
And I hope, etc.

As sung Port Royal Islands. Variant from Virginia:

2.
Paul and Silas, bound in jail,
Christians pray both night and day.
And I hope dat trump might blow me home
To my new Jerusalem.
So blow de trumpet, Gabriel,
Blow de trumpet louder,
And I hope dat trump might blow me home
To my new Jerusalem.

Score provided for both variants. Allen, William Francis, "Slave Songs of the United States"* 1867, no. 4, p. 3. http://docsouth.unc.edu/church/allen/allen.html

**
Lyr. Add: BLOW YOUR TRUMPET, GABRIEL
Arr. G. A. Grant-Schaefer, 1926

De talles' tree in Paradise,
De Christian call de tree of life,
An' I hope dat trump will blow me home
To my New Jerusalem.
De talles' tree in Paradise,
De Christian call de tree of life,
An' I hope dat trump will blow me home
To my New Jerusalem.

So blow de trumpet, Gabriel,
Blow de trumpet,
An' I hope dat trump will blow me home
To my New Jerusalem.

O Paul and Silas, bound in jail,
Sing God's praises night and day,
An' I hope dat trump will blow me home
To my New Jerusalem.
O Paul and Silas, bound in jail,
Sing God's praises night and day,
An' I hope dat trump will blow me home
To my New Jerusalem-

So blow de trumpet, Gabriel,
Blow de trumpet,
An' I hope dat trump will blow me home
To my New Jerusalem.

Pp. 8-11, full score for low voice. Edit. William Arms Fisher, "Seventy Negro Spirituals," Oliver Ditson Company, 1926.

Not in "African-American Heritage Hymnal," GIA Publ., Gen. Ed., Dolores Carpenter, 2001. Not in Cleveland and Nix, "Songs of Zion," Abingdon Press, 1981.

*Slave Songs of the United States edited by William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison (published in 1867)

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RELATED LINK
http://pancocojams.blogspot.com/2014/08/why-i-dont-like-use-of-19th-century.html
"My Opinion About Using 19th Century Dialect While Singing Spirituals"

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Posted in African American spirituals, Spirituals about Gabriel's Trumpet | No comments

I'll Hear That Trumpet Sound (lyrics and information)

Posted on 09:26 by mukhiya
Edited by Azizi Powell

This is Part II of a three part series that feature Spirituals that mention the angel Gabriel blowing his trumpet.

This post showcases a text version of the African American Spiritual "I'll Hear That Trumpet Sound". Two videos of that Spiritual are also featured in this post.

Click http://pancocojams.blogspot.com/2014/08/in-that-great-gettin-up-mornin-gabriels.html for Part I of this series. Part I showcases the Spiritual "In That Great Gettin' Up Mornin'".

Click http://pancocojams.blogspot.com/2014/08/spirituals-blow-gable-blow-blow-your.html for Part III of this series. Part III showcases the Spiritual "Blow Gable Blow" and the Spiritual "Blow Your Trumpet, Gabriel".

The content of this post is provided for historical, cultural, religious, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to those who composed this song and thanks to all those who collected this song. Thanks also to all those who are quoted in this post, and thanks to the performers in these videos and the publishers of these videos.

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INFORMATION ABOUT THE ANGEL GABRIEL AND HIS TRUMPET
From http://en.wikipedia.org/wiki/Gabriel
"In Abrahamic religions, Gabriel (Hebrew: Gaḇrîʼēl, God is my strength; Arabic: جبريل, Jibrīl or جبرائيل Jibrāʾīl) is an angel who typically serves as a messenger sent from God to certain people...

In the Bible, Gabriel is mentioned in both the Old and New Testaments...

The trope of Gabriel blowing a trumpet blast to indicate the Lord's return to Earth is especially familiar in Negro spirituals. However, though the Bible mentions a trumpet blast preceding the resurrection of the dead, it never specifies Gabriel as the trumpeter. Different passages say different things: the angels of the Son of Man (Matthew 24:31); the voice of the Son of God (John 5:25-29); God's trumpet (I Thessalonians 4:16); seven angels sounding a series of blasts (Revelation 8-11); or simply "a trumpet will sound" (I Corinthians 15:52)."...

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Here's information about the original version of the Spiritual entitled "In That Great Getting Up Mornin'":
"The Negro student who brought this spiritual to his instructors at Hampton University shortly after the civil war reported that he had heard it sung at one of the secret midnight meetings held by the slaves in the pre-war days. The student states “I have heard my uncle sing this hymn and he told me how it was made. It was made by an old slave who knew nothing about letters or figures. He could not count the number of rails he would split when his master tasked him with splitting 150 a day. But he tried to lead a Christian life and he dreamed of the Great Judgment, and told his fellow-servants about it, and then made a tune to it and sung it in his camp-meetings. -From Religious Folk Songs Of The Negro As Sung In Hampton Institute (Originally published in 1874)reprinted in Album: Hootenanny Tonight [1959 Folkways Record album No 2511; Notes on the record by Irwin Silber]
http://media.smithsonianfolkways.org/liner_notes/folkways/FW02511.pdf

Recorded at two hootenannies in New York City in the Spring of 1959.
Side 1 Band 3; Sung by Leon Bibb with Laura Duncan, Betty Sanders, and Pete Seeger

****
From http://mudcat.org/thread.cfm?threadid=79284, posted by Q, 14 Mar 05 - 05:47 PM
...[The book] "Fisk Singers" says George L. White, Civil War veteran, song collector and first director of the Fisk Singers, collected "I'll Hear the Trumpet Sound]" from Jennie Jackson, a former slave. I'll Hear the Trumpet Sound"...

[LYRICS] First strain:
You may bury me in the East,
You may bury me in the West,
But I'll hear that trumpet sound
In that morning.

1. Father Gabriel in that day
He'll take wings and fly away,
For to hear the trumpet sound
In that morning.
You may bury him in the East,
You may bury him in the West;
But he'll hear the trumpet sound
In that morning.

Chorus:
In that morning, my Lord,
How I long to go,
For to hear the trumpet sound
In that morning.

2. Good old Christians in that day,
They'll take wings and fly away,
For to hear the trumpet sound
In that morning.
You may bury them in the east,
You may bury them in the West;
But they'll hear the trumpet sound
In that morning.

You may bury me in the East,
You may bury me in the West;
But I'll hear the trumpet sound
In that morning.

Chorus:
In that morning, my Lord,
How I long to go,
For to hear the trumpet sound
In that morning.

3. Good old preachers in that day,
They'll take wings and fly away, etc.

First strain and chorus:

4. In that dreadful judgement day,
I'll take wings and fly away, etc.

First strain and chorus:

Other 19th c. spirituals with mention of the trumpet are "In the Morning" ... and "Where Shall I Be When de Firs' Trumpet Soun'?" ...
-snip-
Masato Sakurai, another blogger in that same discussion thread wrote on 14 Mar 05 - 10:41 PM that this song is "Sometimes titled "You May Bury Me in the East," as in Johnson & Johnson, The Book of American Negro Spirituals, vol. 1, pp. 181-82 ["You May Bury Me in de Eas'"] .

Lyrics for the Spiritual "In The Morning" and for some other "Gabriel blow your trumpet" Spirituals are also found in that discussion thread.

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FEATURED VIDEOS
Example #1: Walter Arties - Hear the Trumpet Sound



VoiceOfProphecy, Uploaded on Oct 5, 2009

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Example #2: Myra Tate - I'll Hear De Trumpet Sound.mov



gradyrayam, Published on Apr 8, 2012

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"In That Great Gettin' Up Mornin' (Spiritual lyrics, information, and video)

Posted on 08:01 by mukhiya
Edited by Azizi Powell

This is Part I of a three part series that showcases three examples out of a number of African American Spirituals that mention the angel Gabriel blowing his trumpet.

This post showcases lyrics to what may be the earliest version of "In That Great Gettin' Up Mornin'". This post also provides explanations of the meanings of "that great gettin[g] up morning[g]" and "fare thee well". An explanation of the words "the moon a-bleeding" which is also included in this post. In addition, a video performance of a later version of "In That Great Gettin' Up Mornin'" is presented in the Addendum to this post.

Click http://pancocojams.blogspot.com/2014/08/ill-hear-that-trumpet-sound-lyrics-and.html for Part II of this series. Part II showcases the Spiritual "I'll Hear That Trumpet Sound".

Click http://pancocojams.blogspot.com/2014/08/spirituals-blow-gable-blow-blow-your.html for Part III of this series. Part III showcases the Spiritual "Blow Gable Blow" and the Spiritual "Blow Your Trumpet, Gabriel".

The content of this post is provided for historical, cultural, religious, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those unknown people who composed these songs and thanks to those who collected these songs. Thanks also to all those who are quoted in this post and thanks to the performers of this song and the publisher of this video on YouTube.

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INFORMATION ABOUT THE ANGEL GABRIEL AND HIS TRUMPET
From http://en.wikipedia.org/wiki/Gabriel
"In Abrahamic religions, Gabriel (Hebrew: Gaḇrîʼēl, God is my strength; Arabic: جبريل, Jibrīl or جبرائيل Jibrāʾīl) is an angel who typically serves as a messenger sent from God to certain people...

In the Bible, Gabriel is mentioned in both the Old and New Testaments...

The trope of Gabriel blowing a trumpet blast to indicate the Lord's return to Earth is especially familiar in Negro spirituals. However, though the Bible mentions a trumpet blast preceding the resurrection of the dead, it never specifies Gabriel as the trumpeter. Different passages say different things: the angels of the Son of Man (Matthew 24:31); the voice of the Son of God (John 5:25-29); God's trumpet (I Thessalonians 4:16); seven angels sounding a series of blasts (Revelation 8-11); or simply "a trumpet will sound" (I Corinthians 15:52)."...

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INFORMATION ABOUT THE ORIGINAL VERSION OF IN THAT GREAT GETTIN' UP MORNIN'"
Here's information about the original version of the Spiritual entitled "In That Great Getting Up Mornin'":
"The Negro student who brought this spiritual to his instructors at Hampton University shortly after the civil war reported that he had heard it sung at one of the secret midnight meetings held by the slaves in the pre-war days. The student states “I have heard my uncle sing this hymn and he told me how it was made. It was made by an old slave who knew nothing about letters or figures. He could not count the number of rails he would split when his master tasked him with splitting 150 a day. But he tried to lead a Christian life and he dreamed of the Great Judgment, and told his fellow-servants about it, and then made a tune to it and sung it in his camp-meetings. -From Religious Folk Songs Of The Negro As Sung In Hampton Institute (Originally published in 1874)reprinted in Album: Hootenanny Tonight [1959 Folkways Record album No 2511; Notes on the record by Irwin Silber]
http://media.smithsonianfolkways.org/liner_notes/folkways/FW02511.pdf

Recorded at two hootenannies in New York City in the Spring of 1959.
Side 1 Band 3; Sung by Leon Bibb with Laura Duncan, Betty Sanders, and Pete Seeger

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LYRICS: IN THAT GREAT GETTIN' UP MORNIN'
(African American Spiritual: composer unknown)

In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well

When you see the moon a’bleedin
Fare ye well, fare ye well
When you hear the rumblin’ thunder
Fare ye well, fare ye well

In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well

Oh pick up your golden trumpet
Fare ye well, fare ye well
Oh blow you trumpet, Gabriel
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well

Lord, how loud can I blow it?
Fare ye well, fare ye well
Blow it so the people will know it.
Fare ye well, fare ye well

In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well

Blow one blast calm and easy
Fare ye well, fare ye well
To wake my people that are sleeping
Fare ye well, fare ye well

In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well

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WHAT DOES "THAT GREAT GETTIN UP MORNING" MEAN IN THE SPIRITUAL WITH THAT NAME?
"That great getting up mornin[g]" is a Biblical reference [Revelations] to "Judgment Day", last day of earth, when Jesus comes back. According to Revelations, on Judgment day all the dead are raised up, and those who were formerly dead and those who are living are judged by God and go to heaven or hell depending on that judgment.

WHT DOES FARE THEE WELL MEAN IN THE SPIRITUAL "IN THAT GREAT GETTIN' UP MORNIN'"?
"Fare thee well" is an old fashioned way of saying "farewell" ("goodbye"). It means that you hope that good things happen to the person who is leaving. In the context of the Spiritual, "fare thee well" may just mean goodbye or it may also mean that the singer hopes that on judgment day she or he hopes that people will fare well , i.e. they will go to heaven instead of hell.

Another also archaic [18th or 19th century meaning of "fare thee well" is "to a fare-thee-well", meaning "a condition of utmost perfection". For example: "He played the part of the martyr to a fare-thee-well."

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WHAT DOES THE MOON A'BLEEDING MEAN IN THE SPIRITUAL "IN THAT GREAT GETTIN' UP MORNIN'"
The first verse of the Spiritual "In That Great Gettin Up Mornin'" which a young Hampton Institute student shared with his instructors in 1874 contains a reference to "the moon a’bleedin". I wonder if that enslaved man who composed that song did so during the United States civil war purposely included that reference to the blood moon so that the song would refer to the last days of slavery as well as the last days of earth. Singing that song with that coded meaning would have helped those slaves endure the difficulties of their life knowing that a better day was coming.

Here's some information about the meaning of the blood moon:
From http://en.wikipedia.org/wiki/Blood_Moon_Prophecy "The idea of a "blood moon" serving as an omen of the coming of the end times comes from the Book of Joel, where it is written "the sun will turn into darkness, and the moon into blood, before the great and terrible day of the LORD comes."[1] This phrase is again mentioned by Saint Peter during Pentecost, as recorded in Acts.

As with most eclipses, the moon appeared red during the April 15 [2014] eclipse.[4][5] The red color is caused by Rayleigh scattering of sunlight through the Earth's atmosphere, the same effect that causes sunsets to appear red."
-snip-
http://en.wikipedia.org/wiki/Rayleigh_scattering "Rayleigh scattering (pronounced /ˈreɪli/ RAY-lee), named after the British physicist Lord Rayleigh,[1] is the (dominantly) elastic scattering of light or other electromagnetic radiation by particles much smaller than the wavelength of the light."

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ADDENDUM: BONUS VIDEO
GOSPEL - In that Great Gettin'up Morning - by London Adventist Chorale



tedMEDIA Published on Oct 29, 2012
-snip-
Although "In that Great Gettin' Up Mornin'" is considered to be a Spiritual. The term "Gospel" usually doesn't refer to religious songs until after the Civil War, and particularly in the beginning of the 20th century. However, Spirituals can be sung in the manner of Gospel songs. For example, it has become a common practice to sing a verse or verses of “In That Great Gettin' Up Morning “ with gospelized versions of the Spiritual "Ride On King Jesus". Click http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for an example of that song.

Also, here's a link to an arrangement of "In That Great Gettin' Up Morning" that is sung by Mahalia Jackson: http://www.metrolyrics.com/great-gettin-up-morning-lyrics-mahalia-jackson.html.
Notice that the editor of that page indicates that "In That Great Gettin' Up Morning" was written by Mahalia Jackson. While this version of that Spiritual may have been written by Mahalia Jackson, the earliest version of that song was collected in 1874 and its composer was an unknown enslaved African American man.

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Sunday, 10 August 2014

Singing Spirituals Using 19th Century Black Dialect

Posted on 07:50 by mukhiya
Edited by Azizi Powell

[Title revised 8/13/2014]

I acknowledge that there are different opinions among African Americans and non-African Americans about the appropriateness of using 19th century "Negro dialect"* while singing Spirituals. For some people the question is one of preserving the authenticity of these Spirituals and not "watering them down". However, I'm much more concerned about how 19th century dialectic words may be interpreted as a reflection of the lack of respect for the intelligence and the literacy of African Americans in the past, and in the present. Perhaps if racism wasn't still so very much a factor in the present, I wouldn't be as concerned about how Black people are depicted in our songs.

The main reason why I don't like to hear Spirituals or any other songs in 19th century Negro dialect is because that dialect reminds me of black-faced minstrel songs. Those minstrel songs are heavy on Negro dialect and are full of highly offensive depictions of Black people. I admit that Hearing songs that include 19th century Negro dialect-particularly when sung by non-Black people- makes me cringe.

Furthermore, not all Black Americans way back in the 19th century and the early 20th century used dialect. And the earliest Black touring groups who introduced Spirituals to the world didn't use dialect.

From www.jstor.org/stable/4145494
"The Use Of Dialect In African- American Spirituals, Popular Songs, and Folk Songs" by J Graziano - ‎ Black Music Research Journal © 2004 Center for Black Music Research - Columbia College Chicago - ‎ p. 261
"The presence of vocal works that use dialect in African American culture has been a controversial and difficult area of inquiry for those investigating the phenomenon. Dialect was first heard in the minstrel shows that toured the United States and Europe* before the Civil War (Mahar 1999). They continued to be performed as well after the Civil war, although not as frequently by professional groups. Textually, many minstrel songs presented derogatory caricatures of African Americans and slave culture known from its depiction of southern plantations. By the 1870s African American dialect was still heard, most often in minstrelsy, although probably also in some sacred repertory as well. While spirituals and jubilees sung in church may have used dialect, existing evidence suggest that touring college groups such as the Fisk Jubilee Singers and the Hampton Students avoided the use of dialect when they performed spirituals as part of their programs…Undoubtedly the use of standard English in these publications and public performances reflected a desire to demonstrate that African Americans were educated and could sing and speak in standard English.”
-end of quote-
Here's another quote on this topic from "American Negro Folk-Songs" by Newman Ivey White - 1928 [Page 27 - Google Books] books.google.com/books?isbn=0674012593
"Dialect may be considered a characteristic of the spirituals and the older ... but Negro dialect was never so standard or consistent as dialect writers have made it and it is now so obviously on the wane and so obviously (where it exists at all) merely a mixture of ordinary illiterate English with a few dialect survivals that it is no longer a very significant element, except in a few localities such as eastern South Carolina*.
-snip-
*Eastern South Carolina is where African Americans known as "Gullahs" people are from.
-snip-

I believe that when it comes to 19th century "Negro dialect", less is best. In my opinion, it's better (and more politically correct) to convert old time dialectic words which are no longer used in conversational speech to the forms that are now commonly used by African Americans and non-African Americans. For example, words such as "de", "dem", "dose", heb'n", "chillun” and "gwine" should be changed to "the", "them", "those", "heaven", "childen", and "gonna" or "going to". Also, "dis" should be changed to "this", "der" to "there", "dor" to "door", "jes" to "just". I believe that the word "mammy" and "massa" are highly offensive to Black people and should be changed in songs to "mother" and "Master" [note the custom of capitalizing words that refer to God and Jesus.) Furthermore, the words "Lawd" and "Lawdy" should be changed to "Lord".**

However, it's appropriate and preferable to continue to sing dialectic or informal English words which are still used in general conversation. For instance, the word "ain't" shouldn't be changed to "am not", for example in the line "I ain't gonna study war no more". Also, the word "got" shouldn't be changed to "have" ("I got shoes" shouldn't be changed to "I have shoes". And the word "'round" shouldn't be changed to "around" in Spirituals. Notice that that word isn't changed in the folk song "She'll be comin' round the mountain when she comes."

Furthermore, I believe that singers should retain the "a" that is added for rhythmical purposes to words such as "a-turnin'". And singers can continue to drop the final consonant in the words such as "turning" and "morning", although it seems to me that is optional. If the final letter is dropped, that line would be "There's a little wheel a-turnin in my heart." and not "There's a little wheel a-turning in my heart".

With regard to pronunciation, I believe that it's not only appropriate, but preferable to pronounce the "a" as "ah" as this is the way that most African Americans informally pronounce that word. Therefore, "There's a little wheel a-turnin' in my heart" would be pronounced "There's ah little wheel ah-turnin in my heart".

To each his or her own, but these are my opinions on this subject. And I believe that a number of African Americans agree with me regarding these suggestions for using and not using 19th century Negro dialect while singing Spirituals. It's my direct & indirect experience as an African American that we (African Americans) rarely use such dialetic language in our performances of Spirituals. I'm interested to read what you think about this subject.

*It's also important to note that since the 1960s, the word "Negro" is no longer an acceptable referent for African Americans (Black Americans). Also, for various reasons, most African Americans consider "Negro" spelled with a lower case "n" to be highly insulting. However, "negro" may be purposely used by African Americans to refer to another Black person who is always seeking White favor, and/or otherwise talking and acting in ways that aren't in the best interest of Black people (i.e. "an Uncle Tom").

**That said, under certain circumstances, in online conversations and otherwise, some African Americans consciously "code switch" to long retired forms of "downhome" (Southern) speech including "dis" for this and "dat" for "that" and "Lawd" for "Lord". I refer to this conscious use of African American dialect as "Putting On The Black". Click http://pancocojams.blogspot.com/2012/03/puttin-on-black-viewer-comments-about.html for a post that I published on that topic.

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Tuesday, 8 July 2014

"I'm Bound For Mt. Zion" (comments, lyrics, examples)

Posted on 02:36 by mukhiya
Edited by Azizi Powell

This is Part II of a two part series on the Gospel songs "Surely I Will" and "I'm Bound For Mt. Zion". This post showcases examples and lyrics of the song "I'M Bound for Mt. Zion".

This post features lyrics and videos/sound files of examples of the song "Surely I Will". Example #2 given below could have been posted to the companion pancocojams post on the song "I'm Bound For Mt. Zion".

Click http://pancocojams.blogspot.com/2014/07/surely-i-will-comments-examples-lyrics.html for Part I of this series. Part I features lyrics and videos/sound files of examples of the song "Surely I Will". Example #2 given in that post could have been featured on this post.

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composer of this song and thanks to all the vocalists/musicians those who are featured in these examples. Thanks also to the publishers of these examples on YouTube.

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EDITORIAL COMMENT:
The lyrics to the songs "Surely I Will" and "I'm Bound For Mt. Zion" have so many similarities that it seems obvious to me that one song was the source of the other. The composer of "Surely I Will" is Albert E. Brumley, (1905–1977) http://mudcat.org/thread.cfm?threadid=75990

http://en.wikipedia.org/wiki/Albert_E._Brumley indicates that Albert E. Brumley was an American shape note gospel music composer and publisher. As no racial identification is given for this composer in his Wikipedia article or elsewhere, I gather that he was Anglo-Anglo-American. Brumley is said to have composed 800 songs. Some of his songs that are favorites for Gospel singers (regardless of race) are "I'll Fly Away," "Turn Your Radio On," "If We Never Meet Again (This Side of Heaven)," "I'll Meet You In The Morning," and "He Set Me Free

In contrast , I can find no information on the composer/s of the song "I'm Bound For Mt Zion" or when that song was first recorded. While it's possible that Albert E, Brumley based his song on an earlier song or a contemporaneous song, it seems more likely that the "I'm Bound For Mt. Zion" songs are adaptations of the Brumley's song "Surely I Will".

It's interesting that there are YouTube examples of "Surely I Will" by Anglo-American and African American singers while the YouTube examples of "I'm Bound for Mt Zion appear to be only of African American singers.

If "I'm Bound For Mt. Zion" is an adaptation of "Surely I Will" and not its source for that Albert E. Brumley song, then the different versions of that song demonstrate how African Americans change the tempo and lyrics of songs to make them more consistent with African American aesthetics.

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LYRIC
The lyrics to "I'm Bound For Mt Zion" may change with each choir's rendition. However, read this response to a request for the lyrics for that song from http://www.learngospelmusic.com/forums/index.php?topic=3024.0 by newgreaterlover
May 17, 2004

i dont know which version you are looking for but the one i know goes like this.

(Lead) I'm bound for mt zion, (response) way out on the hill
(lead) i'm bound for mt zion, (response) way out on the hill
well i'm bound for mt zion, (response) way out on the hill
(all) well if any body dont' make it surely I will

down through the years the lords been good to me
Down through the years the lords been good to me
Down through the years the lords been good to me
well if anybody don't make it surely i will

If my mama dont make it (response) surely I will
Surely i will (response) surely I will
If my daddy don't make it (response) surely I will
Surely i will (response) surely I will
if the preacha don't make it (response) surely I will
Surely i will (response) surely I will
(all) well if any body dont make it surely i will
-snip-
In religious songs "Mt. Zion" is a referent for Heaven.

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FEATURED EXAMPLES
These examples are presented in chronological order based on their posting date on YouTube, with the oldest examples given first etc.

Example #1: AMERICAN unknown great gospel singer "Bound for Mount Zion" Elizabeth Evans and sctc



FILMMAKER, Uploaded on Jun 5, 2007

world unknown great gospel singer from a small church in cincinnati LIVE IN CINCINNATI, OHIO! CHURCH CHOIR OF SECOND COMMUNITY TRUTH MISSIONARY BAPTIST CHURCH 3662 READING ROAD 45229 513-861-0799 [SUN ONLY]CHOIR DIRECTOR ELIZABETH EVANS. bio: millions seen this traditional church choir and 'that singing lady' elizabeth evans and our national award winning series 'second community hour' the most likeable religious cable access series in america in the late 80s and 90s . cincinnati greatest kept secret in the world is this sweet singing lady [no microphone needed] elizabeth evans, she been singing gospel since the tender age of 8yrs old...

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Example #2: I'm Bound for Mt. Zion- sung by Bishop N. Dupree



CSlo3000, Uploaded on Apr 14, 2011

The Church of the Holy City

4824 Davis St. Emporia, Va. 23847...

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Example #3: BOUND FOR MT ZION (SURELY I WILL)



JabariO1AUploaded on May 15, 2011

Jabari Wade and a part of On 1 Accord Ministries opening up for John P Kee at Diamond Day festival on May 13th, 2010. His father Pastor Sammy Wade does a little singing with the ministry...showing where Jabari gets his swag from....lol....Leading in the beginning, Carl Chambers, Mary Katio & Sharon Turner

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Example #4: WMBC Hymn Choir Vol 1



TrueLegacyVideo Uploaded on Aug 13, 2011
-snip-
This rendition of "I'm Bound For Mt. Zion" begins at 3:46.

I'm not sure where this church is located or what "WMBC" stands for here. However, I think that this type of singing is called "shape note" singing and the type of songs that are sung this way are usually called "Dr. Watts" songs.

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Example #5: I'm bound for mount zion



Lawrence Lyles, Published on Feb 24, 2013

An old Baptist spiritual
-snip-
This video focuses on the gospel organist.

Notice how the publisher categorizes this song as "an old Baptist spiritual". It seems to me that there is a tendency among many African Americans to categorize religious songs from the 1960s and older as "spirituals". However, for what it's worth, I only consider African American religious songs that are composed before the end of the Civil War to be Spirituals. I consider other African American religious songs that may fit the call & response pattern of Spirituals to be early Gospel (post 1865 through the 1930s), old school Gospel (1940s through the 1960s), or contemporary Gospel (1970s to date, depending on when those songs were documented as being sung or were first recorded. It seems to me from my reading that a number of other people agree that the designation of "African American Spirituals" is only given to African American religious songs that were composed prior to the end of the United States Civil War. However, it also appears that some people consider "contemporary" Gospel to be the 1990s to date).

Also, I believe that the general practice is not to consider a song to be a Spiritual if the composer is known. In the case of "I'm Bound For Mt. Zion", it's likely that the source song was composed by Albert E. Brumley. That said, even if "I'm Bound For Mt. Zion" is an adaptation of Albert E. Brumley's "Surely I Will, Lord", someone had to be the first person to change the standard words of "Surely I Will" to the standard words of "I'm Bound For Mt. Zion". I don't know who that person was.

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Example #6: Margaret Allison & The Angelic Gospel Singers - "I'm Bound For Mt. Zion"



malacomg, published on Mar 14, 2014

Margaret Allison & The Angelic Gospel Singers - "I'm Bound For Mt. Zion" from the DVD 50 Years "LIVE" In Birmingham.

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Monday, 9 June 2014

Five Additional "Ride On King Jesus" Spirituals

Posted on 04:40 by mukhiya
Edited by Azizi Powell

This post provides several lyric, audio, and video audio examples of African American Spirituals with the words "Ride On King Jesus" in addition to the examples that are found in these two previous pancocojams posts:

http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for examples of "Ride On King Jesus" (second line: "No man can hinder me" or "No man can hinder Thee").

http://pancocojams.blogspot.com/2014/06/two-examples-of-ride-on-king-jesus-ride.html for two examples of "Ride On King Jesus" (with the second line "Ride On King Emmanuel").

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks also to all of the vocalist and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos and other audio files.

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FEATURED EXAMPLES
I've attempted to present these examples in chronological order with the oldest examples presented first.

Example #1:
From http://mudcat.org/thread.cfm?threadid=39229
Subject: Lyr Add: RIDE IN, KIND SAVIOUR
From: Dicho
Date: 21 Sep 01 - 05:54 PM
Higginson (1867) has a Civil War time version.

RIDE IN, KIND SAVIOUR

Ride in, kind Saviour !
No man can hinder me (we).
O, Jesus is a mighty man !
No man can hinder me (we).

2 We're marching through Virginny fields,
No man etc.
And he has his sword and shield,
No man etc.
O, old Secesh done come and gone !
No man can hinder me (we).

Higginson states the use of "done" suggests Virginia. "Been" would suggest South Carolina (farther south). He suggests that "we" is more in keeping with "the usual head-over-heels arrangement of their pronouns."
-snip-
Although this Spiritual is titled "Ride In, Kind Savior", its lyrics are close enough to versions of "Ride On, King Jesus" that this may be an early version of that song.

"Secesh" means rebel soldiers.
From http://www.merriam-webster.com/dictionary/secesh
"a U.S. secessionist; Origin of SECESH by shortening & alteration from secession & secessionist"

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Example #2:
From http://mudcat.org/thread.cfm?threadid=39229
Subject: RE: Lyr Add: RIDE ON KING JESUS/NO MAN CAN HINDER
From: masato sakurai
Date: 22 Sep 01 - 03:08 AM

"There's a recording of "Ride On, King Jesus" by William Brown, Terrel Conley, Eugene Blacker, and Alvin Brown (rec. State Penitentiary, Huntsville, Walker Couty, Texas, 5/13/1939) in The John and Ruby Lomax 1939 Southern States Recording Trip. This seems to be a different song. Their performance is much more different from concert spiritual singers' style.
-snip-
Here are information about and a link to an audio file of that song:
From http://lcweb2.loc.gov/diglib/ihas/loc.afc.afcss39.2603b1/default.html

Title: Ride On, King Jesus [Field recordings]
Performance Note: "Ride On, King Jesus" performed by Eugene Blacker, Alvin Brown, Terrell Conley and William Brown (vocals) at State Penitentiary ("The Walls"), Huntsville, Texas, on May 13, 1939…
Exhibitions: Also included in The John and Ruby Lomax 1939 Southern States Recording Trip.
-snip-
LYRICS*

Chorus [2x]
Oh won’t you ride on, ride on, King Jesus [3x)
Cause I want to go to heaven in the morning

If you see my mother
Oh yes
Please tell her for me
Just to ride her horse
on the battlefield
Cause I want to go to heaven in the morning

Chorus (2x)
If you see my father [etc]

Chorus [2x]
-snip-
Transcription by Azizi Powell, from the recording. Additions and corrections are welcome.
This song was sung in a slow tempo. The way that the song is sung sounded to me like an old time locomotive chugging up the tracks with the last line at the end evoking how a train whistle sounds.

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Example #3:
Here are the lyrics that I posted in 2005 in that same Mudcat thread whose link is given above.
This is the version of "Ride On King Jesus" that I learned in the 1950s or early 1960s at Union Baptist Church, Atlantic City New Jersey: (given with minor spelling corrections)

Ride on, King Jesus
Ride on King Emmanuel
Ride on King Jesus
No man can-a* hinder Thee.

Ride on, King Jesus
Ride on King Emanuel
Ride on King Jesus
No man can –a* hinder thee.

King Jesus rides a milk wide horse
No man cannot hinder Thee
The Jordan river He did cross
No man can-a* hinder Thee

chorus

I went to the valley but I didn't go to stay
No man can-a*t hinder Thee
My soul got happy and I stayed all day
No man can-a* hinder Thee

If you don't believe I been redeemed
No man can-a*t hinder Thee

Just follow me down to Jordan stream
No man can-a*t hinder Thee

Chorus

(Add other floating verses that fit this pattern. This is an uptempo song.)
*The line that I remember singing is “No man cannot hinder Thee”. However, that meaning doesn’t fit the implied unconquerable power of Jesus. Therefore that was probably an example of folk etymology- me changing the unfamiliar word “can-a” [that is found in many online transcriptions of this song] to the familiar word "cannot".

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Example #4:
From http://www.people.carleton.edu/~lburnett/2011_MISSOTA_MUSIC_FESTIVAL_SELECT_CHOIR_REHEARSAL_NOTES.htm

Composer
Moses George Hogan [March 13, 1957 – February 11, 2003], best known for his arrangements of concert spirituals, was an internationally renowned pianist, conductor and arranger. Born in New Orleans, Louisiana, he studied at the New Orleans Center for Creative Arts, the Oberlin Conservatory, the Juilliard School of Music, and Louisiana State University. In 1993, he was appointed Artist-in-Residence at Dilliard University in New Orleans.

...He began his exploration of the choral music idiom in 1980 when he formed the Moses Hogan Chorale to perform for a Black History Month concert with the New Orleans Symphony Orchestra. Later downsized to the Moses Hogan Singers, his choral groups preformed extensively throughout the United States and recorded most of his settings of African American spirituals....

Composition and Historical Perspective:
Ride On, King Jesus is an African-American spiritual (formerly called Negro Spiritual) that can be traced to enslaved blacks prior to the Civil War. It is in the category called jubilee because it contains a text whose purpose is to be uplifting with the words [Jesus] "died for the rich and He died for the poor" and “no man can a-hinder me.”

Commissioned and premiered by the Spelman College Glee Club, the original setting was for women’s voices. The arrangement for mixed voices soon followed and has become a standard for high school, college and university, church, community and professional choirs around the world. Hogan’s arrangement takes on gospel music characteristics with the inclusion of a piano accompaniment.

Text and Translation:
Ride on King Jesus,
Ride on, the conquering king.
Ride on King Jesus,
No man can hinder thee.

I was but young when I begun.
No man can hinder thee.
But now my race is almost done.
No man can hinder thee.

King Jesus rides a milk white horse.
No man can hinder thee.
The river Jordan he did cross.
No man can hinder thee.

He’s the king and the Lord.
No man can hinder thee.
He’s the first and the last.
He’s the Lord of Lords.

Jesus is the Prince of peace.
No man can hinder thee.
Oh, ride on, King Jesus.
No man can hinder thee.

****
Example #5: Kathleen Battle 1982 "Ride on King Jesus"



Opera Buff Published on Jun 13, 2013

Kathleen Battle - Soprano
James Levine - Piano

Lyrics*
Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
Ride On
No man can-a hinder me

For He is King of Kings
He is Lord of Lords
Jesus Christ, the First & Last
No man works like Him

[repeat chorus]

King Jesus rides a milk white horse
No man works like Him
The River Of Jordan He did cross
No man works like Him

For He is King of Kings
He is Lord of Lords
Oh Jesus Christ, the first & last
No man works like Him

Oh King Jesus in the middle of the air
No man works like Him
Oh he saw the people coming from everywhere
No man works like Him

Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
Ride On
No man can-a hinder me

Ride on, King Jesus, ride on

Oh He is King Jesus
He is the Lord
Oh Jesus Christ the first and last
No man works like Him

Ride on, oh-
Ride on, oh
Ride on Jesus
-snip-
*Transcription by Azizi Powell from this video. Additions & corrections welcome.
This arrangement combines the Spiritual Ride On King Jesus with the Spiritual "He Is King Of Kings

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Sunday, 8 June 2014

Two Examples Of "Ride On King Jesus" (Ride On King Emmanuel)

Posted on 15:17 by mukhiya
Edited by Azizi Powell

This post provides two examples of arrangements of the African American Spiritual "Ride On King Jesus" (with the second line: "Ride On King Emmanuel").

Click http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for examples of "Ride On King Jesus" (second line: "No man can hinder me" or "No Man can hinder Thee").

Also, click http://pancocojams.blogspot.com/2014/06/five-additional-ride-on-king-jesus.html for historical versions of this Spiritual.

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks also to all of the choir directors, vocalists, and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos.

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FEATURED EXAMPLES
Example #1: "Ride On King Jesus" - The Roberta Martin Singers feat, Roberta Martin



Emmanuel Jones, Uploaded on Jul 21, 2011

The Roberta Martin Singers
Ride On King Jesus
With the one and ONLY Roberta Martin on Lead
-snip-
I believe that Example #1 (which was recorded in 1947) is the oldest recording of this gospelized arrangement of "Ride On King Jesus" (second line "Ride On King Emmanuel").

"Gospelized Spirituals" is my term for Spirituals which are performed in a "gospelized" style. Contrast these "old school" gospelized styles with the much more contemporary styles of the arrangements that are showcased in the "Ride On King Jesus" renditions that are found in the pancocojams post whose link is given above.

Here are the lyrics to this arrangement*:

Chorus:
Lead: Ride On
Group- Ride On
Lead: King Jesus
Group-King Jesus
Lead- Ride On
Group- Ride On
Lead: King Emmanuel
Group-King Emmanuel
Lead- Ride On
Group- Ride On conquering King
Lead-I wanna go to heaven
Group - I wanna go to heaven in the morning

[repeat 2x]

Lead- Oh You're coming one day to carry me home
Group & Lead - I wanna go to heaven in the morning
Lead- When my trials are finished, no longer here I'll roam
Group & Lead - I wanna go to heaven in the morning

Lead- Well you came by one day and took my mother away
Group & Lead - I wanna go to heaven in the morning
Lead- And I promised I'd meet here on the resurrection day
Group & Lead - I wanna go to heaven in the morning

Chorus

Group- Ride on
Lead- I got a mother there
Group- Ride on
Lead- And a father there
Group- Ride on
Lead- And a sister there
Group- Ride on
Lead- I got to see them there
Group & Lead - I wanna go to heaven in the morning

Lead- Some times I'm up
Group -Ride on
Lead - Some times I'm down
Group- Ride On
Lead- Some times I'm almost
Group- Ride On
Lead- To the ground
Group & Lead - I wanna go to heaven in the morning

Lead- Some times sick
Group -Ride on
Lead - So distressed
Group- Ride On
Lead- Some times I'm so weary
Group- Ride On
Lead- I cannot rest
Group & Lead - I wanna go to heaven in the morning

Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- I wanna go to heaven in the morning

Lead: [Yes] Ride On
Group- Ride On
Lead: King Jesus
Group-King Jesus
Lead- Ride On
Group- Ride On
Lead: King Emmanuel
Group-King Emmanuel
Lead- Ride On
Group- Ride On conquering King
Lead-I wanna go to heaven
lead and group - In the morning
-snip-
*Transcription by Azizi Powell from this video. Additions & corrections welcome.

Here's a comment about the photograph that was used in this YouTube sound file:
Ronald Greer, 2013
"The photo is a 1947 photo [of the Roberta Martin Singers] prior to the passing of Sadie Durrah-Nolan. TOP: Roberta Martin, Willie Webb and Delois Barrett BOTTOM: Norsalus McKissick, Sadie Durrah Nolan, Bessie Folk and Eegene Smith"

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Example #2: St. James Mass Choir - Ride On King Jesus, Ride On King Emmanuel



Marcel West, Uploaded on Dec 12, 2008

Mass Choir singing Ride On King Jesus, Ride On King Emmanuel.
-snip-
This arrangement is given without transcription

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African American Choir Directing Styles In Arrangements Of "Ride On King Jesus"

Posted on 08:21 by mukhiya
Edited by Azizi Powell

This post provides five examples of the African American Spiritual "Ride On King Jesus" with a special focus on the differences between the styles of the choir directors and the different arrangements of the renditions.

Click http://pancocojams.blogspot.com/2014/06/two-examples-of-ride-on-king-jesus-ride.html for two examples of "Ride On King Jesus" (with the second line "Ride On King Emmanuel").

Also, click http://pancocojams.blogspot.com/2014/06/five-additional-ride-on-king-jesus.html for historical versions of this Spiritual.

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks also to all of the choir directors, vocalists, and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos.

****
FEATURED EXAMPLES
In my opinion, arrangements of "Ride On King Jesus" with the combination of lyrics from the Spiritual "In That Great Gettin' Up Morning (perhaps also with perhaps lyrics from other Spirituals) are examples of what I call "Gospeled Spirituals". I define "Gospeled Spirituals" as African American Spirituals that are performed in a Gospel style. I'm not sure when these particular arrangements were first performed, but I think that it was probably in the 1980s.

These examples are presented in chronological order based on their posting date on YouTube, with the oldest examples given first.

Example #1: In HIS Presence Gospel Choir - "Ride On King Jesus"



myfleshdiesdaily Uploaded on May 6, 2007

One of our or should I say the crowds favorites. We originally got this from Stoneybrook but we rock it. Harder? Well, you be tha judge lol...sing yall!!!
-snip-
Here's the beginning lyrics:
Lyrics:
Ride on King Jesus
No man can-a hinder Thee*
Ride on King Jesus
No man can-a hinder Thee (repeat multiple times)
-snip-
This line may be "No man can-a hinder me".
"No man can-a hinder Thee" means "No man (no one) can stop You (meaning "Jesus").
"No man can-a hinder me" means "No man (no one can stop me (from following Jesus).

I've always believed that "No man can-a hinder Thee" is the earlier version of that line as its meaning fits with the first line, but that may be because that is the way I learned this song. Lyrics to a 19th century version of this song or a closely related song are found in the Addendum to this post. In that song the line is given as No man can hinder me (we).

The "a" [pronounced "ah) at the end of certain words is just a rhythmic addition which has no meaning.

This arrangement combines "Ride On King Jesus" with the African American Spiritual "In That Great Gettin' Up Morning".

This arrangement of "Ride On King Jesus" also includes these floating verses:

When I get to heaven I’m gonna wear a robe
No man can a hinder me*
Walk all over those streets of gold
No man can a hinder me

See King Jesus sittin on the throne
No man can a hinder me
Goin to a land where I never grow old
No man can a hinder me
-snip-
Other floating verses from African American Spirituals that have been sung in renditions of this song:

One of these mornings and it won’t be long
Look for me and I’ll be gone

Goin up to glory gonna sing and shout
Ain’t nobody there gonna put me out
-snip-
"It has become a common practice to sing a verse or verses of “In That Great Gettin' Up Morning" with "Ride On King Jesus".

Here's a link to an arrangement of "Great Gettin' Up Morning" that was sung by Mahalia Jackson: http://www.metrolyrics.com/great-gettin-up-morning-lyrics-mahalia-jackson.html.
Note that this page indicates that "In That Great Gettin' Up Morning" was written by Mahalia Jackson. While this version of that Spiritual may have been written by Mahalia Jackson, the earliest version of that song was collected in 1874, its composer being an unknown enslaved African American man.

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Example #2: Apostolic Tabernacle Mass Choir sings Ride on King Jesus



dvejendla, Uploaded on May 7, 2007

Merced Apostolic Tabernacle Mass Choir singing Ride on King Jesus on Easter Sunday Morning '07
-snip-
This arrangement of "Ride On King Jesus" includes the same two floating verses that were sung in the rendition given as "Example #1"

Notice the number of women in that congregation who are wearing hats. Although it had long been traditional for females to wear hats during church services in many African American churches, that custom is dying or is rarely followed. This is even the case in many African American churches during the Easter church service, although probably more females wear hats on that Sunday service than during any other church service.

Click http://pancocojams.blogspot.com/2014/04/why-fewer-african-american-women-wear.html for a pancocojams post on that subject.

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Example #3: Voices Of Testimony Ride On King Jesus



VoicesofTestimony, Uploaded on Jan 16, 2009

The Voices of Testimony minister during the Throw Back 80's Era with this favorite Ride on King Jesus!!!!

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Example #4: Wilmington Chester Mass Choir- Ride On King Jesus



FreLi77, Uploaded on Feb 17, 2008

This is a classic clip of the late Rev. Ernest Davis Jr.'s Wilmington Chester Mass Choir sing "Ride On King Jesus" back in 1988. This was recorded by a local Philly TV station for an annual show called "Gospel Extravaganza".
-snip-
This arrangement combines the Spiritual "Ride On King Jesus" with the Spirituals "In That Great Gettin' Up Morning" and The Spiritual "Ain't That Good News". Here are my transcription of the lyrics for that arrangement with the optional words given in brackets:

Lyrics:
Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
[Ride on]
No man can-a hinder me (4x)

In that great gettin’ up morning
Fare thee well Fare thee well
In that great getting up morning
Fail thee well fair thee well

(repeat this verse multiple times)

No man can-a hinder me
No man can-a hinder me
No man can-a hinder me
No man can-a hinder me

I got a crown up in-a God’s kingdom
Ain’t-a that good news
I got a crown up in-a God’s kingdom
Ain’t-a that good news
I’mma gonna lay down this world*
[Gonna] Shoulder up my cross
Take it home to [my] Jesus
Ain’t-a that good news.
Take it home to my Jesus
Ain’t-a that good news.

(vamp)

*I think that the end of that line is usually sung as “this burden”.

The words "fare thee well" mean "farewell". "Farewell" is "used to express good wishes on parting." https://www.google.com/webhp?sourceid=navclient&ie=UTF-8&gws_rd=ssl#q=farewell+meaning

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Example #5: Ride On King Jesus - Rev. Ernest Davis, Jr. & the Wilmington/Chester Mass Choir



Kadeem Graves, Published on Jun 21, 2012

This is from their 1991 video "He's Preparing Me: Live In Atlanta".

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Sunday, 18 May 2014

Five Video Examples Of "I'm So Glad Jesus Lifted Me"

Posted on 13:51 by mukhiya
Edited by Azizi Powell

This post showcases five video examples of the African American religious song "I'm So Glad Jesus Lifted Me". The title for this song is also given as "I'm So Glad" and as "Jesus Lifted Me". Comments about "I'm So Glad Jesus Lifted Me" and standard lyrics for this song are also included in this post.

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composers and arrangers of this song. Thanks also to all those who are featured in these videos and thanks to the publishers of these videos on YouTube and thanks to all those who are quoted in this post.

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COMMENTS ABOUT THIS SONG
"I'm So Glad Jesus Lifted Me" is categorized as an African American Spiritual (formerly known as "Negro Spirituals"). However I wonder if this song is in fact an early African American Gospel song and not a Spiritual. I've not yet found any information online as to when this song was collected, from whom (although the presumpti0on is that it was first sung by African Americans)besides , and where (although the presumption is that it was first sung in the Southern region of the United States).

A 2007 Mudcat Folk & Blues discussion thread that I participated in provided comments about and lyrics for the African American Spiritual "I'm So Glad Trouble Don't Last Always" (http://mudcat.org/thread.cfm?threadid=39217). That thread includes the comment from Q, a White Canadian male blogger that "I'm so glad" is used in several spirituals". Q posted the lyrics to the African American Spiritual "I'm So Glad (There's No Dying There)" and cited his sources as "Noble, G. C., 1911, "The Most Popular Plantation Songs," p. 63 with score [and] (Gibbs, W. J.), nd (1920s), "Negro Spirituals or The Songs of the Jubilee Singers," no. 32. Verses 1, 3, 5, with score." Q also wrote "Not known if this was included in the volume with songs of the original Jubilee Singers." The lyrics that are cited for that song can be sung using a call & response pattern.

Unfortunately, Q didn't identify any other titles of "I'm So Glad" African American Spirituals besides the featured song in that post and the "There's No Dying There" song. I wonder if that was one of the songs that Q referred to and if that song was included in those books that Q cited. It's also unfortunate that I've not been able to find a midi, sound file or video or anyone singing the song "I'm So Glad (There's No Dying There)".

In that same discussion thread I added comments about and lyrics for the song "I'm So Glad Jesus Lifted Me". Following Q's comment I cited the titles of three "I'm So Glad" "Spirituals": "I'm so Glad I Got My 'ligion In Time", "I'm So Glad Trouble Don't Last Always", and I'm So Glad Jesus Lifted Me". However, I misspoke as instead of it being a separate song, I believe that "I'm So Glad I Got My Religion In Time" is often sung as a verse to "I'm So Glad Trouble Don't Last Always".

I also wrote that each of those songs "I'm So Glad Trouble Don't Last Always" and "I'm So Glad Jesus Lifted Me" are both up-tempo but they have different tunes. Click https://www.youtube.com/watch?v=hI5IODB1W_w for a video example of "I'm So Glad Trouble Don't Last Always" by Sam Cooke & The Soul Stirrers.

I consider African American Spirituals to be those religious songs that are composed by African Americans which are documented to have been sung in the 19th century. Furthermore, African American Spirituals are usually call & response songs. "I'm So Glad Jesus Lifted Me" and "I'm So Glad Trouble Don't Last Always" don't have a call & response pattern - at least they haven't had that pattern since at least the 1950s the earliest date that I remember those songs. However, like [other?] Spirituals, the lyrics to many of the verses to those songs aren't fixed and the verse order is also not fixed. Although I posted an example of "standard lyrics for "I'm So Glad Jesus Lifted Me" in that above mentioned Mudcat thread and in this post, other lyrics can be substituted for those words, and/or other verses can be added to those verses I gave. The same relative flexibility for its lyrics is true for "I'm So Glad Trouble Don't Last Always."

I wonder if people have categorized "I'm So Glad Trouble Don't Last Always" and "I'm So Glad Jesus Lifted Me" as African American spirituals because, like [other] Spirituals (it appears) that those two songs don't have any known composers. For the reasons I've mentioned I use quotation marks around the word "Spiritual" when I categorize both of those songs to reflect my questions about whether that categorization is really accurate.

Note that the video given as Example #4 below indicates that Gospel legends are singing "I'M So Glad Jesus Lifted Me. However, that doesn't necessarily mean that this song isn't a Spiritual, since a number of Spirituals and Hymns have been gospelized (sung in a Gospel style).

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STANDARD LYRICS FOR "I'M SO GLAD JESUS LIFTED ME"

1. I'm so glad, Jesus lifted me,
I'm so glad, Jesus lifted me,
I'm so glad, Jesus lifted me,
singing glory, hallelujah,
Jesus lifted me.

2. Satan had me bound, Jesus lifted me,
Satan had me bound, Jesus lifted me,
Satan had me bound, Jesus lifted me,
singing glory, hallelujah,
Jesus lifted me.

3. When I was in trouble, Jesus lifted me,
when I was in trouble, Jesus lifted me,
when I was in trouble, Jesus lifted me,
singing glory, hallelujah,
Jesus lifted me.

Source: http://www.hymnsite.com/fws/hymn.cgi?2151
That website categorizes this song as an African American Spiritual.

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FEATURED EXAMPLES OF "I'M SO CLAD JESUS LIFTED ME"
These videos are posted in chronological order with the videos with the oldest dates posted first.

Example #1: I'm So Glad Jesus Lifted Me- Hamilton Landrum, song leader



pkteemax, Uploaded on Nov 23, 2009

Sunday morning worship at Kings coC in Brooklyn, NY.
-snip-
"coC" is probably the "Church Of Christ" denomination. I don't know if this is the same denomination as the Church of God In Christ (COGIC) or the United Church of Christ (UCC).

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Example #2: I'm So Glad Jesus Lifted Me- Liberty City church of Christ



pkteemax, Uploaded on May 26, 2010

Sunday morning during offereing time.Church located in Detroit, Michigan.

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Example #3: Chris Turner - I'm So Glad (Jesus Lifted Me)



humbleisdaway, Published on Aug 13, 2012

chris leading songs at the new golden heights anniversary celebration.

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Example #4: Donald Vails/Claude Timmons Live/The Gospel Legends/I'm So Glad!



TrueGospelMan, Published on Feb 5, 2013

The gospel legends singing: I'm So Glad & Bye and Bye. Brief Horace Boyer Interview
-snip-
This video clip is actually a medley that includes the song "Bye And Bye (Everyday will be Sunday Bye And Bye)". Notice the polyrhythmic clapping.

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Example #5: Pastor HB Charles Jr. 'I'm So Glad Jesus Lifted Me/Glory Glory Halleujah' Medley



BrothaRollins Published on Aug 22, 2013
After Sermon & Benediction Medley
-snip-
A commentor (MrG, 2013) identified this church's denomination by writing "This is straight up Missionary Baptist Church." ("This is straight up" means "This is very characteristic of".

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Monday, 7 April 2014

"My God Is So High" & "You Must Come In At The Door" (lyrics & examples)

Posted on 06:48 by mukhiya
Edited by Azizi Powell

This post presents the standard lyrics for the African American Spiritual "My Lord Is So High" (also known as "My Lord Is So High") as well as standard lyrics for the African American Gospel song "You Must Come In At The Door" which is based on that song. YouTube examples of these two religious songs are also included in this post.

The content of this post is provided for cultural, religious purposes and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the unknown composers of this song. Thanks also to those who are featured in these sound files & videos and thanks to the publishers of these videos on YouTube.

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STANDARD LYRICS FOR "MY GOD IS SO HIGH"
My God Is So High

My God is so high
So high -
You can’t get over Him;
So wide -
You can’t get around Him;
So low -
You can’t get under Him,
You mus’ go through the door.

Verses

1
One day as I was walking along the heavenly road
My Savior spoke unto me
An’ He fill’ my heart with love.

2
I’ll take my gospel trumpet an’ I’ll begin to blow,
An’ if my Savior help’ me,
I’ll blow wherever I go.

3
Come on everybody, stand up and praise the Lord;
Because if you don’t praise Him,
You can’t go through the door.

Source: http://myzeez.com/lyrics2.html
-snip-
I learned the last line of the chorus as "You must come in at the door". Notice that in the examples given below that last line is given as "You must come in by and through the Lamb" -"the Door" and "the Lamb" are both references for Jesus.

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FEATURED EXAMPLES FOR "MY GOD IS SO HIGH"
Example #1: Dillard University Choir "My God Is So High" arr. Moses Hogan



tdavidray, Uploaded on Aug 18, 2009

The Dillard University Concert Choir performs Moses Hogan's arrangement of "My God Is So High" during their 1999-2000 touring season. The soloist is Alvarez Kennedy. The concert was at the Ben Hill United Methodist Church

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Example #2: Kathleen Battle, Jessye Norman: "My God Is So High" 20 / 22



Opera Buff, Published on Mar 30, 2012

Spirituals in Concert
Amazing performance by two Opera Greats:
Kathleen Battle & Jessye Norman
Both shine throughout the concert and it should leave no doubt to anyone that Kathleen Battle and Jessye Norman are indeed two of the finest sopranos.
James Levine (Conductor)
Live from Carnegie Hall
March 18, 1990
-snip-
Notice that Kathleen Battle sings "My Lord Is So High" instead of the words "My God Is So High". That's the way that I learned that song.

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STAMDARD LYRICS AND FEATURED EXAMPLES OF "YOU MUST COME IN AT THE DOOR"
Example #1: You Must Come In At The Door - Rev. Timothy Wright



GospelMusicTV, Uploaded on Apr 3, 2008

CHORUS:
God's got a way (that you can't go over)
God's got a way (that you can't go under)
God's got a way (that you can't go around)
You must come in at the door
You Must come in at the door

REPEAT CHORUS TWICE

VAMP:
He's the way (He's the way the truth & the light)
If you wanna see Jesus (if you wanna see Jesus you've got to live right)
You must be saved (you must be saved from all of your sins)
You must be saved (you must be saved from all of your sins)
Marvel not (you must be born again)
You must come in at the door
You must come in at the door

REPEAT VAMP TWICE or as directed

You must come in at the door (follow lead to end
-snip-
The song "You Must Come In At The Door" is an example of what I call a “gospelized Spiritual”. "Gospelized Spirituals" are religious songs that are based on African American Spirituals and are performed in a Gospel style.

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Example #2: You Must Come In At The Door - COGIC Heritage Mass Choir (Praise Break)



matthew5and9, Uploaded on Dec 23, 2008

COGIC Heritage Mass Choir, C.H. Mason Memorial Choir
-snip-
"COGIC" = Church Of God In Christ

"I Am Saved" is the name of the song that the man at the rostrum leads near the end of this video. Click http://pancocojams.blogspot.com/2014/04/ricky-dillard-new-g-i-am-saved-gospel.html for a performance of this song by Ricky Dillard & New G.

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Friday, 4 April 2014

"Darling Omega" Song & Two Other Omega Psi Phi Fraternity, Inc. Songs From The 1970s

Posted on 21:53 by mukhiya
Edited by Azizi Powell

This post showcases two 2009 videos of three Omega Psi Phi Fraternity, Inc. songs from the 1970s as sung by new members of that historically Black Greek lettered fraternity. My transcription of the lyrics to those songs are also included in this post. Information and speculation about some of the sources and possible sources for two of these songs are found in the comment section of this post.

The content of this post is provided for folkloric, historical, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the members of this fraternity who composed these songs. Thanks also to those who are featured on these videos and thanks to KingJames432 for publishing these videos on YouTube.

EDITOR'S NOTE:
I believe that fraternity and sorority chants and songs are folkloric products. As such they are worthy of being documented and studied. However, I recognize and respect the position that only persons associated with those specific organizations have the right to perform the songs and chants that are associated with their organization and I strongly believe that people who aren't associated with those organizations should be mindful of this restriction.

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SHOWCASE VIDEO #1: Darling Omega - Omega Psi Phi Songs - Terrible x3 Tau Lambda Lambda Chapter



KingJames432, Uploaded on Nov 17, 2009

www.SouthernMDQues.org
Songs taught by 1-'78'Bloody Mu Psi... Darling Omega. The '70s Bruhs would always woo the women with their vocal abilities... passing down the tradition. Again, sorry for the hoarse voices...
-snip-
LYRIC TRANSCRIPTION

DARLING OMEGA
(Omega Psi Phi Fraternity, Inc. song from the 1970s)

[Chorus hummed]

Chorus sung in unison:
Oh, Omega
Darling Omega
I will always love you so.
Oh, Omega
One person – My darling, my darling
Group - My darling Omega
I will never let you go

Verse:
Oh, I look in the sky
the colors fill my soul
Oh it was Omega’s purple and gold

Chorus

Verse:
Oh, some frats think they are better than Q
But deep down in their heart
They know that that isn’t true

Chorus
-snip-
[The sound of Ques doing their signature bark is heard at the end of this song.]

Transcription by Azizi Powell from the video. Additions and corrections are welcome.

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SHOWCASE VIDEO #2: Omega Psi Phi Songs - Terrible x3 Tau Lambda Lambda Chapter



KingJames432, Uploaded on Nov 17, 2009

Neos setting owt some songs on their initiation... and NO.. they will never wear that much 'nalia at the same time again lol. Their voices were a bit hoarse.
-snip-
LYRIC TRANSCRIPTION

Song #1:
LYRICS: WHEN WE CROSS THE BURNING SAND*
(Omega Psi Phi Fraternity, Inc. song from the 1970s]

Lead- When we cross the burning sand
Group- When we cross the burning sand
Lead- Into Omega land
Group- Into Omega land
Lead- Oh what a joy it will be
Group - What a joy it will be
Lead – To be in this fraternity
Group- To be in this fraternity
Lead – Well, purple or gold, well, purple or gold
Group -Well, purple or gold, well, purple or gold
Lead - Will be the only colors we know
Group- Will be the only colors we know
Lead and group- And we gonna be workin, workin
all our lives
We gonna be workin for Omega Psi Phi.

[Repeat the entire song.]
-snip-
*I'm not sure if this is the actual title of this song.

Transcription by Azizi Powell from the video. The word "well" is given in italics because I'm not sure if that transcription is correct. Additions and corrections are welcome.

Note that this video begins with the group singing "Omega Psi Phi." I think those words are the end of another song as other lines of this song begin with the lead singing.

****
Song #2 [begins at 1:46]

LYRICS: WE LOVE OMEGA*
Lead – Well, we love
Group- We love Omega
Lead – Oh we love
Group- We love Omega
Lead- Ooh we love
Group- We love Omega
Lead and Group - Because it’s deep down in our heart
We said it’s deeper, deeper, deeper, deeper
down, down down ,down
Deep down in our hearts
We said it’s deeper, deeper, deeper, deeper
Down, down down down
Deep down in our hearts
Lead – Omega’s so high
Group- So high you can’t get over it
Lead- Omega’s so low
Group- so low you can’t get under it
Lead &Group- Omega’s so
Lead and Group – wide
Lead & Group -You must go through that door

[This video shows the entire song being repeated two times. This moderately uptempo song is accompanied by the singers' clapping their hands and later in the song raising their hands for the words "Omega's so high" and dancing/stepping down to the words "deeper" and "down".

*I'm not sure if this is the actual title of this song.

Transcription by Azizi Powell from the video. Additions and corrections are welcome.

****
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mukhiya
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