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Bible's Being Fulfilled Everyday, The
Spiritual and Gospel Song;
ARTIST: Rev Dwight Gatemouth Moore
CATEGORY: Traditional and Public Domain Gospel;
DATE: 1900s; Rev Dwight Gatemouth Moore 1951
RECORDING INFO: Bible's Being Fulfilled Everyday
Moore, Rev Dwight Gatemouth "The Bible's Being Fulfilled Everyday" Aristocrat c.1951
OTHER NAMES: "Bible's Being Fulfilled"
SOURCES: WFMU; http://www.wfmu.org/playlists/shows/9634
NOTES: "The Bible's Being Fulfilled Everyday," is a spiritual of undetermined origin that was recorded by Rev. Dwight Gatemouth Moore circa 1951.
GATEMOUTH MOORE- is a 1992 documentary directed by Louis Guida which tells the story of the Reverend Arnold Dwight "Gatemouth" Moore, best known for his blues hit, "Did You Ever Love a Woman?" The film explores the links and tensions of the sacred and secular in African-American culture by chronicaling Moore's journey from bluesman to evangelical preacher.
Moore was born in Topeka Kansas in 1913. He sang blues and spirituals as a child and ran off with a carnival featuring Ma Raney when he was a youngster. He joined the Rabbit Feet Minstrels and ended up in Memphis around 1934.
Bio by Billy Vera, 2003: Arnold Dwight Moore was born in Topeka, Kansas on November 8, 1913. His mother, Georgia Moore, suffered the embarrassment of having her water break in church for all to see. The text of the sermon that day is lost to history, but we do know that Georgia gave birth to little Arnold in the wagon which transported her home.
Unknown also to Arnold Dwight Moore was the name of his father, who his mother claimed had left her because of her Baptist fervor. She told the boy his daddy's name was Jesus.
As did many a black and unmarried mother of her time, Georgia Moore kept house for a well-to-do white family, in her case, the Spauldings of Topeka. Arnold and his two sisters lived with her in the Spaulding home and he later attributed his clear and articulate manner of speech to this proximity to his benefactors.
From an early age, his mother's employers encouraged Arnold's singing, entering him in contests and booking engagements for him throughout the state and beyond. It is notable that the songs he chose to sing were not blues, but the sentimental ballads of the day.
By age seventeen, he was working in Kansas City, having run away from home to pursue his dreams of stardom. The next few years saw him singing with the band of Bennie Moten, whose pianist at the time was Count Basie, as well as a singing quartet named the Four Sharps and the minstrel shows and touring revues of Porkchop Chapman, Sammie Green, Sam Dale and Ida Cox. In Cox's Darktown Scandals, he performed as the show's interlocutor, thanks to his clean enunciation and sharp suits.
While appearing with the Cox group at Atlanta's Club 81, a female audience member inadvertently gave him his nom-du-stage. "I was singing Stardust,' he recalled, "and there was a little black woman, short and fat, coming down the aisle, rocking with me as I'm singing. I opened my mouth and she looked up and hollered, "Ah, sing it, you gatemouth son of a bitch."
Arnold-now-Gatemouth traveled the South, still singing his pop tunes, until 1940, when, while with the band of Doug Jenkins, he came to see the fiscal wisdom of adding a few blues to his repertoire.
One year later, he returned to Kansas City to work at the Chez Paree, owned by one, Mrs. Quincy C. Gilmore, wife of the business manager of the Negro Leagues Kansas City Monarchs, the baseball team which gave the world Satchel Paige and Jackie Robinson. To cash in on Gatemouth's local popularity, Mrs. Gilmore recorded him on her own label singing his songs, "I Ain't Mad At You Pretty Baby," "Did You Ever Love A Woman" and two others.
"I Ain't Mad At You Pretty Baby" came about after Moore observed a saxophonist and his wife in a drunken tiff. As the woman repeatedly struck the man's face with her high-heeled shoe, even as she was being dragged away by the local police, the bleeding man cried out those immortal words of a fool's forgiveness which would inspire the song's title.
Gatemouth and his songs came to the attention of National Records and Herb Abramson, who felt that, with National's nationwide distribution, they could become hits. At his first session in Chicago on May 10, 1945, Moore, backed by Dallas Bartley & his Small-town Boys, recorded "I Ain't Mad." Bartley, who would later play bass and write songs for Louis Jordan, Roy Milton and T-Bone Walker, had the horns play the lead Gatemouth Moore by Billy Vera from Count Basie's famous "Jumpin' At The Woodside" behind Gatemouth's vocal.
The resulting record amassed considerable juke box play but did not chart. National owner, Al Green, was a big man in the mob-controlled St. Louis painter's union, so National's placement in Midwestern juke boxes was a forgone conclusion.
Abramson next recorded Moore in New York with top sidemen Dick Vance (trumpet),Jimmy Hamilton (clarinet and tenor sax), Harry Carney (baritone sax), Sammy Benskin (piano), Al Hall (bass) and J. C. Heard (drums), under the leadership of Budd Johnson, who wrote a be-bop influenced arrangement and contributed a blistering tenor solo. Out of this two-day November session came Gatemouth's masterpiece, "Did You Ever Love A Woman," that for which he will be remembered, although it, too, never found its way to the Billboard or Cashbox charts.
Moore's final National session, from October 25, 1946, finds him in the company of the Tiny Grimes Swingtet, featuring the leader's guitar and John Hardee's fine tenor sax. Despite some nice material, nothing clicked commercially and Gatemouth moved on to King Records of Cincinnati, where he, unsuccessfully, cut 27 sides, all issued last year on a CD on the British label West Side. After King, his secular music days were effectively over.
Onstage at Chicago's Club DeLisa one night in January, 1949, Gatemouth opened his mouth and not one sound emerged. He took this as a heavenly sign and quit blues singing for a different kind of show biz, reinventing himself as the Reverend Dwight Moore, under which moniker he's been working the pews ever since and now resides in Yazoo City, Mississippi.
Bible's Being Fulfilled Everyday- Rev. Dwight Gatemouth Moore c.1951
http://www.wfmu.org/playlists/shows/9634
Why this whole world is in rage
Men are living in the restless age
Why the bible's being fulfilled everyday (everyday)
Brotherly love has grow so cold,
Children are wondering about their soul
Cause the bible's being fulfilled everyday (everyday)
CHORUS: I know the bible's being fulfilled everyday
Oh the bible's being fulfilled everyday
You better stop your wicked ways
Lord, you better stop, take time to pray
The bible's being fulfilled everyday
Jesus said I know you would
Boy you've been so misunderstood
The bible's being fulfilled everyday (everyday)
I'm leaning on His arms
And the world can't do me no harm
The bible's being fulfilled everyday (everyday)
CHORUS:
CHORUS:
CHORUS: (major slow down on last line)
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