Brown Collection XIII. Religious Songs
XIII. RELIGIOUS SONGS (contents)
515. The Cumberland Traveller 573
516. The Great Round-Up 573
517. Some of These Days 574
518. Long White Robe 575
519. There's a Little Hand Writing on the Wall 576
520. Ananias 577
521. The Gospel Pool 578
522. A Charge To Keep 579
523. Creation 580
524. Daniel in the Lion's Den 581
525. Departed Loved Onks 583
526. Dark Was the Night 584
527. Don't You Grieve after Me 585
528. Drooping Souls, No Longer Grieve 586
529. The Gospel Train 588
530. Hicks' Farewell 589
531. If You Get There Before I Do 591
532. I'm Boun' to Cross the Jordan 591
533. 1 Am Going to Heaven 592
534. In the Valley 592
535. I've Got a Brother in the Snow-White Fields 593
536. Jacob's Ladder 594
537. Jesus Born in Bethlehem 595
538. John Saw the Holy Number 596
539. John Saw de Hundred and Forty-Four Thousand 597
540. Johnny Was a Baptist 597
541. The Little Black Train 598
542. The Lone Pilgrim S99
543. Mary Wore Three Links of Chain 600
544. Noah's Ark 601
545. Pharaoh's Army 602
546. Oh, They Put John on the Island 604
547. Rock of Ages 605
548. There Is No Place in the Height of Heaven 605
549. Ain't Goin' to Worry My Lord No More 606
550. All God's Chillun Got Shoes 607
551. All My Sins Been Taken Away 608
552. Angels Roll Dem Stones Away 609
553. As I Went Down in the Valley to Pray 610
554. Babe of Bethlehem 612
553. Baptist, Baptist Ls My Name 612
556. Bye and Bye 613
557. Cain and Abel 613
558. Can't Cross Jordan 613
559. Christ Was a Weary Traveler 614
560. City of Refuge 615
561. Come All You Friends and Neighbors 616
562. Come, Thou Fount of Every Blessing 616
563. Dar'll Be No Distinction Dar 617
564. Didn't It Rain? 617
563. An English Orphan 618
566. Down by de Ribberside 619
567. Gwine Down to Jordan 620
568. God Is at de Pulpit 620
569. Going to Heaven by the Light of the Moon 621
570. Go Down, Moses 621
571. Golden Slippers 622
572. Good News — Chariot's Comin' 623
573. Good Lordy, Rocky My Soul 623
574. Good News Coming from Canaan 624
575. Go Wash in the Beautiful Stream 624
576. Gwine Down Jordan 624
577. Hear That Rumbling (I Heard a Mighty Rumbling) 625
578. He Never Said a Mumbling Word 626
579. Heaven Is a Beautiful Place 627
580. Hush, Little Baby 629
581. I Am Bound for the Promised Land 629
582. I Am Going Where the Blood Flows Stronger 630
583. I Belong to That Band 631
584. I Don't Love Old Satan 631
585. I Don't Sing Like I Used to Sing 632
586. I Do Wonder Is My Mother on That Train 632
587. I Got de Key of de Kingdom 634
588. I Have Long Since Been Learned 634
589. I Am Standing in the Shoes of John 635
590. I Don't Know When Old Death's Gwineter Call Me 635
591. I'm Goin' to Ride in Pharaoh's Chariot 636
592. I Mean to Go to Heaven Anyhow 636
593. Indian Song: Ah, Pore Sinner 637
594. I Picked My Banjo Too 637
595. I'se Gwine Land on Dat Shore 638
596. I Shall Not Be Blue 639
597. It's Good fuh Hab Some Patience 640
598. I Wanter Jine de Ban' 640
599. I Was Once in a Dark and Lonesome Valley 641
600. I Wonder as I Wander 641
601. Jekkel Walls 642
602. Jesus Christ I Want to Find 643
603. Jesus Says, 'You Goes and I Goes W'id Vou' 643
604. John He Baptized Jesus 644
605. John Jasper 644
606. Judgment Day Is Comin' 646
607. Lily White Robe 646
608. Little David 647
609. Little David, Play on your Harp 647
610. The Little Family 648
611. Mary Bowed 652
612. Moses Smote the Waters 653
613. And Must I Be to Judgement Brought? 653
614. The New Burying Ground 653
615. Nobody Knows 655
616. No Hidin' Place 655
617. No More! No More! 657
618. Oh, I Used to Drink Beer 657
619. Oh, Lord, I'se Stepping Higher 658
620. Oh, Heavens Shut the Gates on Me 658
621. O Lord, Won't You Come by Here? 658
622. Oh, See My Father Layin' There 658
623. The Old Ship of Zion 659
624. Old Satan's Mad 661
625. One of Tonight 663
626. On a Dark and Doleful Night 664
627. Our Fathers They'll Be There 665
628. Poor Old Lazarus 665
629. Red Sea 666
630. Rolled the Stone Away 666
631. Roll. Jordan, Roll 667
632. Rough, Rocky Road 668
633. Shout Along and Pray Along 668
634. Somebody's All de Time Talkin' 'bout Me 669
635. Somebody's Knockin' at Your Door 669
636. Soon as My Foot Struck Zion 670
637. Standing in the Need of Prayer 671
638. Sweet Heaven 672
639. Talk About Jesus 673
640. That Old Time Religion 674
641. There's a Little Wheel A-Ti'rning 675
642. Through the City Where He Rose 675
643. Tossed and Driven 676
644. Tree in Paradise 676
645. Two White Horses Side by Side 678
646. Way Over in the Promised Land 678
647. We Are Marching On 679
648. We Have Loved Ones Over Yonder 679
649. What You Gon'er Do That Day? 680
650. We'll Roll the Old Chariot Along 680
651. We'll Sail Away to Heaven 681
652. When I Was Lost in the Wilderness 682
653. When the World Is on Fire 682
654. Where My Lord Went to Pray 683
655. What Kind of Crowns Do the Angels Wear? 683
656. Wrestlin' Jacob 684
657. 'Zekiel'll Weep and 'Zekiel'll Moan 685
658. Cherokee Hymn 685
XIII
RELIGIOUS SONGS
THE RELIGIOUS songs gathered by Professor Brown and his
aides are, alone, sufficient in number, variety, and interest to
make a sizable book. For Negro songs he had access to most of
those collected by Professor White from North Carolina for Pro-
fessor White's American Negro Folk-Songs. For those current
among the whites the Collection has drawn from the Adams manu-
script book of songs contributed by Professor W. Amos Abrams and
from several other manuscript collections of mixed songs. Besides
these there were scores of individual contributions, ultimately from
singers of both races. The racial provenience of the songs, then, is
fairly representative of the population of North Carolina. In many
instances, the collector's note indicates whether a given song was
recovered from white or Negro singers.
But differences of racial provenience do not make much differ-
ence in the character of the texts, however great the differences in
music may be. The whole body of songs in this part of the Col-
lection suggests the original unity of religious experience and wor-
ship among the two races. The probable priority of most of the
so-called "spirituals" in the worship of the whites, demonstrated by
Professor White and confirmed by Professor George Pullen Jack-
son and other scholars whose books are cited in this collection,
indicates that the spirituals are the common property of the two
races. The notion of a fundamental dift'erence is due to ignorance
or forgetfulness of the fact that changes in fashions of worship by
singing have taken place more rapidly among the whites than among
the blacks. Many songs in this collection suggest, and a visit at
camp-meetings, revivals, or back-country church services would
show, that what seems strange about the singing of an unsophisti-
cated (not a city) Negro congregation today is largely due to the
fact that Negroes are simply continuing, in their own way. an old
song tradition once observed without distinction by whites and
blacks and later abandoned by most whites. This strangeness is
also partly due to an undeniable difference of racial psychology
and musical habits which early gave Negro singing and religious
behavior a peculiar flavor — and which have given to some of the
Negro spirituals their uniciue glory. Yet the texts common to both
races exhibit few important differences due to race — often not even
K K I. 1 C I () U S S O N C S 5/1
in dialect — tliough the soii,t,'s recovered from white people arc more
likely to retain verbal features of the old hymns.
An interesting group of texts would seem, from known proveni-
ence and from comparison with other printed recordiniL^s, to have
been better preserved anions tlu' whites tlian anHini^- llie blacks.
Most of these arc pieces of some length and some pretense to liter-
ary style, often printed in such older hymnals as the Zioii Songster,
Harmony, or Sacred Harp and taught in the old-fashioned singing-
schools described by Professor Jackson in U^liitc Spirituals in the
Southern L ' plands. Such books, once common among the whites,
were rarely owned by Negroes. Thus, though the songs became
traditional, the learning of them had support by print.
Among this group are two old ballads based on scriptural story —
'Daniel in the Lion's Den' and "'rhe Little Family,' both redolent
of ancient piety and (|uaint expression. Similarly, 'Babe of Bethle-
hem,' 'Jesus. Born in Bethlehem,' and 'In the Valley' recall the old
English carols; two of them have been printed in old hymnals and
have been generally known among mountain whites. 'Hicks' Fare-
well,' 'The Cumberland Traveler,' and 'The Lone (or White) Pil-
grim' describe the hardships and perils suffered by pioneer preachers
and testify to the faith that sustained servants of the Word. The
funeral song is well exemplified by such pieces as 'Departed Loved
Ones,' 'Dark Was the Night,' 'Drooping Souls,' and 'Lily White
Robe,' most of which had printings in one or another of the Har-
mony hymnals. Accompanying the last-named text is Mrs. Sutton's
description of an occasion on which it was sung. 'As I Went Down
in the Valley to Pray' is a foot-washing song, with the same col-
lector's vivid little picture of the ceremony and the singing — a scene
that transports the reader into a setting of primitive faith and cus-
tom. 'Old Satan's Mad,' a brisk banjo spiritual, sounds as if it
might certainly be a Negro song, but it was actually sung by a wild
mountaineer with a keener eye for the location of moonshine stills
than for romantic scenery. "1 Am Bound for the Promised Land'
("On Jordan's Stormy Banks'), 'Old Ship of Zion,' 'The Lonesome
Dove,' and 'Way Over in the Promised Land' are other traditional
survivals of old spirituals printed in The Sacred Harp and other
old square-note hynmals.
Of songs recovered from Negro singers, several ordinarily re-
garded as "Negro spirituals" (whatever their original history may
be ) are classics of their kind. The noblest in the Frank C. Brown
Collection are 'Go Down Moses' and 'He Never Said a Mumbling
Word,' the latter recovered from a Negro congregation about the
time of the First World W^ar by a North Carolina jurist and
writer who wrote a few words testifying to the strange power of
the singers' treatment of it. In this "classic" tradition, too, are such
pieces as 'Jacob's Ladder,' "Pharaoh's Army," "Noah's Ark,' and
'All God's Chillun Got Shoes.'
5/2 NORTH CAROLINA FOLKLORE
Aniong^ the many other reHgious types described by Professor
White in his American Negro Folk-Songs and by other collectors in
this field, several may be illustrated from the Frank C. Brown Col-
lection. One group, containing such pieces as 'Oh, I Used to Drink
Beer,' 'I Don't Sing Like I Used to Sing,' "The Gospel Pool,' and
'I Picked My Banjo Too' belong to the "experience" phase of a
religious revival, in which converts and penitents testify to changes
in their moral conduct and spiritual outlook. A second group draw
their imagery from analogies to travel by railway, such as 'The
Gospel Train,' 'The Little Black Train,' and T Do Wonder Is My
Mother on That Train.' Preoccupation with the terrors of the
Last Day, transition to the Other World, and the joys of Heaven
provide themes for numerous songs. 'Rock of Ages' raises the
question, to those who have "heard a mighty rumblin'," "What you
goin' to do when the world's on fiyer ?" 'Ain't Goin' to Worry My
Lord No More' announces, "I's gwine to heaven on eagles' wings,"
and another song begins with "We'll sail away to Heaven like a
feather in the wind." "Heaven," it is asserted in still another, "is
a beautiful place," and 'Down by de Ribberside' specifies three ex-
emptions from worldly worries there : "Ain' goin' study 'bout war
no more. . . . Ain' goin' study 'bout peace no more. . . . Ain'
goin' study 'bout nothin' no more." 'One of Tonight' seems to be
a robust specimen of the "shout song," an early and very primitive
type well illustrated by Lydia Parrish's Sla7'c Songs of the Georgia
Sea Islands. The informant's note and the text of 'Good Lord,
Rocky My Soul' give a snapshot of an old Negro plowman, doubt-
less in a voice as monotonous as his plodding up and down the
furrows of a North Carolina field, singing an old spiritual all day
long. Thus many of the religious songs serve the human needs of
lonely hours as well as the raptures of communal worship.
The literary interest attaching to most of the religious songs,
whether from Negroes or from whites, is of course slight. Their
themes, their structure, and their development are usually rudi-
mentary. Most of them are the detritus of older hymns, or are
repetitions, with slight variations (for example, the father-mother-
brother-sister type of progressive iteration), of some scriptural
passage, homiletic phrase, or revival catchword. Two of the sort
in the Frank C. Brown Collection, however, are noteworthy. Both
of them are of Negro origin. 'Ananias' is a funeral song alleged
to have been made by comnmnal composition for the occasion.
'John Jasper' piquantly characterizes one of the most remarkable
personalities produced in the South during the last century. A
third song, 'Cherokee Hymn.' is, incongruously enough, about the
sole reminder, in all our collection of ballads and songs, of the
great but unhappy race that once inhabited a large part of North
Carolina.
R 1-. 1. 1 (i 1 O US S N C! s 573
515
TiiK Cumbi-:rland Traveller
■The I'unibeiiand Traveller' is here included as a liistorical
curiosity.
From the Adams MS hook owned by Professor W. Amos Al)rams,
formerly of Boone, N. C (now of Raleigh). The book dates from
1824-25 and lias nt'ver been out of western North Carolina. Stanzas
2-7 are largely intlecipherable. but deal first with the writer's present
state and departure from home, followed i^y three stanzas on his journey
to and reception in Cumberland. Stanza 8, a little more legible, adjures
the wife to teach the children virtue and "good holy word," and is
dated 1830 in the margin in a different hand. The signature at the end
of the pt)em is in a ditferent hand.
I Dear wife I hope this you will f. . .
In health of body and of mind
xAnd my dear babes whom I adore
I live in hopes to see once more.
9 Protect and guide me O my God
That rules the nation with the Rod
Guide them against that savage land
And smile with peace on Cumberland.
10 Good lord of murcy stay thy hand
Keep me from falling into they savage h. . .
Let the earth drink no more the blood of m. . .
WHiilst I return from Cumberland.
1 1 ( ) if you want for to noe the time
These Hues was Rought in 89
April was the second day
These Hnes was rote and sent away.
finis Moses Adams. Jr.
516
The Great Round-Up
Reported from Mississippi (JAFL xxxix 170-1, FSM 227) and
from Texas (CS 44-8, FB 101-3). Not the same as the piece by
the same title in the first edition of Cowboy Songs nor as the
'Cowboy's Meditation' in the 1938 edition, but is substantially the
same as "The Cowboy's Dream' in the first edition. Perhaps long
nights under the stars were favorable to the sort of religious senti-
mentality expressed here.
'The Great Round-Up.' From the John Burch Blaylock Collection.
I Last night as I lay on the prairie
Looking up at the stars in the sky,
How I wondered if ever a cowboy
Was carried to that sweet bye and bye.
X.C.F., Vol. TIT, f39)
574 NORTH CAROLINA FOLKLORE
Chorus:
Oh, they say there will be a great round-up
When the cowboys, like cattle, shall stand
To be roped by the riders of judgment —
Oh. 1 hope they will know every brand.
2 The way to that bright, happy region.
It is narrow and dim, so they say.
But the road that leads down to perdition,
It is broadest and blazed all the way.
3 I wonder if there will be many
Wlio will be at the oreat final sale ?
4 I hope there will be some stray cowboy
Who'll be claimed by someone that is nigh.
And be roped by the rider of judgment.
And be carried to that sweet bye and bye.
517
Some of These Days
A Negro spiritual. See J. W. Work's A)iicricaii Negro Songs
166, White's ANFS 120-1 and 89; a form of it is reported from
the singing- of South Carolina Negroes (JAFL xliv 424) ; a song
similar in content but not the same is known in Kentucky (BKH
208). Cf. Sixty-Tzi'o Southland Spirituals (Winona Lake, Ind.,
1946), No. 48. Our two texts differ not a little but arc certainly
forms of one song.
A
'Some of These Days.' Collected by Julian P. Boyd of Alliance, Pam-
lico county, in 1927 from Jeannette Tingle, one of his pupils there.
1 I'm a-gonna walk on de streets of glory,
I'm a-gonna walk on de streets of glory,
Hallelujah, I'm a-gonna walk on de streets of glory,
I'm a-gonna walk on de streets of glory, some of these
days!
2 I'm a-gonna see my a-sainted mother,
I'm a-gonna see my a-sainted mother,
Hallelujah, I'm a-gonna see my a-sainted mother,
I'm a-gonna see my a-sainted mother, some of these days!
3 I'm a-gonna sing and shout for glory,
I'm a-gonna sing and shout for glory.
Hallelujah, I'm a-gonna sing and shout for glory,
I'm a-gonna sing and shout for glory, some of these days !
R K I. 1 C 1 <) r S S O N G s 575
4 I'm ;i-!L;i>nua .sec in_\- l)k'ss(.'(l S;i\itii",
I'm a-gi»nna sec my blessed Savior.
I'm a-ij:()nna see my blessed Savior, (hallelujah)
I'm a-i^onna see my blessed Savior, some of these days!
B
"Some uf These Days.' Tliis text also comes b-oin Mr. IJoyd at .\lli-
ance, with tlie music, "done by one of my seniors." ICach stanza con-
sists of a line three times repeated and the refrain line. Only the first
is so printed here.
1 I'm soing to cross the river Jordan,
I'm i^oing' to cross the river Jordan.
I'm going- to cross the river Jordan,
Some of these days, some of these days!
2 I'm going to see my blessed Jesus
3 I'm going to shake his kjvely hand
4 I'm going to see my dear ole mudder
5 I'm goin" to tell her how I suffered
6 I'm goin' to try on my golden slippers
7 I'm goin' to shout the houses over
8 Oh. I'll .shout and never get tired
518
Long White Robe
This seems to be a Negro spiritual mixed in the last stanza with
a more mundane element. "Cotton-eyed Joe" figures in various
songs, mo.stlv sung by Negroes; see ANFS 359, TNFS 69-70.
JAFL xxvii'i 190, AMS 67, BTFLS v 25— this last a play-party
song.
'Long White Robe.' Contrilnited l)y A. J. and J. H. Ikn-rus of W'eaver-
ville, Buncombe county, in 1922.
CJlorHS:
Can't you hand down that long white robe?
Can't you hand down that l<)ng white robe?
Can't you hand down that hmg white robe?
Can't you hand down that long white robe?
I Old Satan thought he had me fast,
Can't you hand down that long white robe?
But I broke his old chain and I come at last.
Can't you hand down that long white robe?
5/6 NORTH CAROLINA FOLKLORE
2 If ever I reach that mountain top,
Can't you hand down that long white robe?
I pray to ni}- Lord I may never stop,
Can't you hand down that long white robe?
3 Oh. I'd 'a' been married twenty-seven years ago,
Can't you hand down that long white robe?
If it had not 'a' been for cotton-eyed Joe.
Can't you hand down that long white robe?
There's a Little Hand \\'riting on the \\'all
This sounds as though it might be a fragment from a spiritual ;
but I have not found it in that or any other context.
'There's a Little Hand Writing on the Wall." Reported hv George D.
Harmon of Union Mills, Rutherford county, from "Uncle Frank."
There's a little hand writing on the wall.
There's a little hand writing on the wall.
All I say and all I do,
That hand writing on the wall.
520
Ananias
There are two slightly different variants of this song in our
collection.
a
'Funeral Song of Uncle Ananias.' From Airs. Jacques Busbee, Raleigh;
MS and typed versions dated November 1907 and January 1915. re-
spectively, with one or two trivial variations. The tune is given as 'The
Old Time Religion.' but, adds Dr. White, "does not fit the tune I know."
There is a picture of Uncle Ananias, and the letter giving the story of
the song follows :
108 Park Avenue
January 22, 191 5
Mv DEAR Mr. Brown:
I have been waiting to find an accommodating musician
before answering your letter. As soon as one is found, I'll
mail you the air of the Funeral Song. The air is very sim-
ple and plaintive. I wish I could sing it for you.
About the origin : I have done much illustrating for
magazines and have rather specialized on our old-time
darkey — Uncle .Ananias was one of my most delightful
models. Several years ago he died. His wife. Aunt Mitty
Ann, urged me to attend the funeral. Needless to say, 1
went. They were Baptists, but as -Xunt Mitty had heard
that the Methodist preacher preached the "prettiest funeral
R E I, I C I U S S N c. s 57"
in tdwn, witli ninri' ri'lij^imi in it," she had lu-r luishaml's
funeral cunducUd I'runi the MethcxHst Chunli. I wisli 1
could tell you all this — my right hand won't C(Mivey my
knowledge of that wonderful orgy.
The sermon was astounding. This song was made up
then and there hy the preacher, and was lined out to the
congregation, who moaned and sang it with every possihle
Methodist quaver (I'm one myself). There were many
more verses. 1 wrote down all that I could rememher, at
the time. I have some very good pictures of tiie old man
They're yours if you want them.
Yours very cordially,
Juliana R. Busbee
(Mrs. Jacques Busbee)
1 Ananias wuz er-la}in' in his bed,
Ananias wuz er-layin' in his bed,
Ananias wiiz cr-layin" in his bed,
An' er knockin' came at de do'.
2 Ananias he say. 'Who dat?'
Ananias he say, 'Who dat ?'
Ananias he say. 'Who dat?'
An' de Lord he say, 'Hit's me.'
3 De Lord say, 'Whar yo' 'hgion?'
De Lord say, 'W'har yo' 'Ugion?'
De Lord say, 'Whar yo' 'Hgion?'
Ananias say: 'Search me.
4 'Look in de bureau,
Look bin' de washstand,
Pull down de bed-clothes,
An' see what you kin fin'.'
5 De Lord say, 'Lay down yo' rheumatism,'
De Lord say, 'Lay down yo' rheumatism,'
De Lord say, 'Lay down all yo' ailments,
An' come along wid me.'
6 Ananias he say. 'Yes. Lord,'
Ananias he say, 'Yes, Lord,'
Ananias he say, 'Yes, Lord,
ril go along wid you.'
B
'Ananias.' It is not entirely clear whether the following is a real
variant or a careless copy of 'Funeral Song of Uncle .Ananias.' At any
rate, when Mrs. L. D. Latta, Wilmington, N. C, in Novcmher 1927,
requested a copy Dr. Brown sent iier a typescript ; and this typescript
corresiKinds to an anonymous copy in the Collection which may have
been sent by an informant different from Mrs. Busbee, who sent 'Funeral
5/8 NORTH CAROLINA FOLKLORE
Song.' On tile other hand, huth the 1927 typescript copy and tlie un-
dated anonymous copy may have come from Mrs. Busbee's 1907 MS ver-
sion and the typescript version made in 191 5. Whatever the facts may be,
the following version shows differences not only in the representation
of the dialect but also in wording.
1 Ananias was a-layin' in his bed,
Ananias was a-layin' in his bed,
Ananias was a-layin' in his bed,
When a knockin' hit come at de do'.
2 Ananias he say, 'Who dat?"
Ananias he say, 'Who dat?'
Ananias he say, 'Who dat ?'
And de Lord he say, 'Hit's me.*
3 De Lord he say, ' Whar yo' "ligion ?'
De Lord he say, 'W'har yo' 'ligion ?'
De Lord he say, 'W'har yo' 'ligion?'
And Ananias he say: 'S'arch me.
4 'Look 'hind the wardrobe.
Take down the bed clo's,
S'arch in the washstan'.
And see what you kin find.'
5 And de Lord he say, 'Lay down yo' rhetunatiz,'
And de Lord he say, 'Lay down yo' rheumatiz,'
And de Lord he say, 'Lay down yo' rheumatiz.
And come an' go 'long wid me.'
6 Ananias he say, 'Yes, Lord,'
Ananias he say, 'Yes, Lord,'
Ananias he say, 'Yes, Lord,
I sho will go 'long wid you.'
521
The Gospel Pool
This song, from the same informant, appears in White ANFS
111-12, with the following note: "This song parallels the custom I
have seen practised in white revival meetings of the telling of re-
ligious 'experiences' by recent converts, to encourage waverers.
Lines 4, 5, and 8 are probably based on the pool of Bethesda, John
V, 3, 4 (the moving of the water) and numerous other Biblical
passages less directly applicable. Cf. Zioi Songster, second edition,
1827, p. 141, 'The Gospel Pool.' " The note also points out tlie
occurrence of 1. 8 or its cciuivalent in other spirituals.
A
No title. From MS of W. A. Ellison, Jr., Durham, N. C. December
1919, with note by contributor : "Heard from an old Negro man."
R K I. I C 1 () U S S N G S 579
'brother, how did yon ivv\ dat day
When yo' los' yo' gniU and hurden?'
'I felt like de Lord (iod done freed my soul
An' de holy water moved on,
brethren, de holy water moved on.'
1 run all about, brethren, I run all al)out.
1 felt brand new. brethren, 1 felt brand new.
My hands lonked new. brethren, dvy looked new;
And de green trees bowed, lirethren,
De green trees bowed.'
B
No title. From MS of R. B. Edwards, December 4, 1919. White ANFS
III notes this as "Reported from Durham, N. C," and points out dif-
ferences between it and A, but does not print it.
'Brother, how did you feel that day,
\\'hen you lost your guilt and burden?'
'I felt like the Lord God freed my soul.
And the healing waters move.
I run all about, brethern, I run all about.
I felt brand new. brethern, I felt brand new.
i\Iy hands looked new, brethern, my hand looked new.'
'How did you feel that day,
When you lost your guilt and burden?'
'I felt brand new that day, brethern,
I felt brand new.
Well, the green trees bowed that day,
Brethern, the green trees bowed.'
522
A Charge to Keep
Under the title 'Carolina,' Jackson DESO 158 reprints a hymn
of four stanzas, of which the first corresponds to the following,
and says that the hymn appears in Southern and Western Pocket
Harmonist, compiled by William Walker, of .Spartanburg, S. C,
and printed in Philadelphia in 1846. "The text is by Charles Wes-
ley." Under the title 'Kentucky,' the hymn appears in Songs of
Zion. A Manual of the Best and Most Popular Hymns and Tunes,
for Social and Private Dci-otion (New York, 1851 ), p. no.
Contrit)uted by Geora^e D. Harmon, Union Mills, Rutherford county,
as from "Uncle Frank"; without date (Mr. Harmon attended the
Trinity College Summer School in 1921 and 1922).
' This line does not appear in the White ANFS version, Init does
appear in the Ellison MS.
580 NORTH CAROLINA FOLKLORE
A Charge to keep I have,
A God to glo-ri-fy,
A never ly-ing^ soul to save
And fit it for the sky.
523
Creation
In ANFS 83-5, Wliite, who prints several versions, states that
this appears in several printed collections of Negro songs (which
he cites), that it is often sung by whites as a picnic song, and
that the refrain is apparently based on Ezekiel 2i7- Cf. Sandburg
ASb 470-1.
A
No title. With music. From an anonymous MS, without date and
address.
The Lord He thought he'd make a man,
A little bit of dirt, a little bit of sand.
These old bones gwine-a rise again.
Chorus:
I know it, indeed, I know it,
These old bones gwine-a rise again.
'Dese Bones Gwine to Rise Again.' Text given in June 1948 to A. P.
Hudson by Miss Marjorie Craig. Brevard, Transylvania county, with
note: "Version by Gene Carter, Mrs. Lucille Reid's cook in Went-
worth, N. C. Recorded by Miss Nancy Withers." Wentworth is in
Rockingham county.
1 De Lord thought he'd make him a garden so fair,
Dese bones a-gwine to rise again.
Thought he'd put him a man in there.
Dese bones a-gwine to rise again.
2 Took a little sand, took a little clay.
Dese bones, etc.
Out of these Uncle Adam he made.
Dese bones, etc.
3 Thought he'd make him a woman to squeeze.
Dese bones, etc.
Snatched out a rib and he made Miss Eve.
Dese bones, etc.
' .A scribal error for "dy-ing."
R E L I c; 1 O L' S SONGS 581
4 In that garden was an ai)ple tree.
Dese bones, etc.
De Lord tole 'em to let 'em apples be.
Dese bones, etc.
5 Up come Satan with a skip and a jump.
Dese bones, etc.
At Miss Eve one eye he wnnk.
Dese bones, etc.
6 Eve took a look, then she took a pull.
Dese bones, etc.
Den she filled her apron full.
Dese bones, etc.
7 De Lord called out in a mighty voice.
Dese bones, etc.
Shook dem heavens from joist to joist.
Dese bones, etc.
8 Turned 'em out and give "em a plow.
Dese bones, etc.
That's the reason we're ploughing right now.
Dese bones, etc.
524
Daniel in the Lion's Den
In a miscellaneous untitled collection of American broadsides in
the Houghton Library of Harvard University there is a broadside
of 'Daniel in the Lion's Den.' undated and without indication of
printer or publisher. It is in sixteen stanzas and begins, "Among
the Judith captives, one Daniel there was found."
'Daniel in the Lion's Den' appears (without music or indication
of authorship) in Peter D. Myers's The Zion Songster: A Collec-
tion of Hymns and Spiritual Songs, Generally Sung at Camp and
Prayer Meetings, and in Rez'ii'als of Religion (New York, 1829,
1834, 1844), pp. 304-6 (1844 ed.). The same ballad also appears,
with a "Second Part" relating the fate of Daniel's enemies, in
The Camp-Meeting Chorister: or, A Collection of Hymns and
Spiritual Songs, for the Pious of All Denominations to Be Sung
at Camp Meetings, etc. (Philadelphia. 1852). pp. 173-6. SharpK
II 2/^ prints one stanza with music. The Library of Congress
Check-List lists two songs with this title, both from South Caro-
lina. Davis FSV 311-12 lists two texts by title.
Between the Zion Songster and the Blades texts (eleven stanzas
in each) there are verbal differences in every stanza, twenty-six
in all; e.g.: stanza i, Zion "nations" for Blades "captives," and
"Thev say him" for "He was": stanza 6, "Now when Darius" for
"When King Darius," "soul" for "heart," "The Prince then" for
582 NORTH CAROLINA FOLKLORE
"His Nobles all." These indicate copying from memory. There
are similar differences from The Camp-Mccting Chorister text.
'Daniel in the Lion's Den.' From Camden Charles Blades. Elizabeth
City, Pasquotank county, ^larch 25, 1916; with the note: "The words
to this were sent to my Grandfather by his sister in a letter she wrote
sometime between 1845- 1854. It is not known where she got them
from. This was found in his scrapbook."
1 Among the Jewish captives one Daniel there was foimcl.
Whose unexampled piety astonished all around.
He was so very pious and faithful to his Lord,
Three times a day he howed to supplicate his God.
2 Amongst the King's high princes this Daniel was the
first —
The King preferred the spirit this Daniel did possess.
His unexampled piety sustained a jealousy;
The princes sought his ruin, obtained a firm decree :
3 'Should any man or woman a supplication bring
For thirty days ensuing, save to thee, O King —
Or any Lord or Master or any other man —
They should without distinction fall in the lion's den.'
4 But soon as Daniel heard it, straight to his home he went :
To beg his God's protection, it was his whole intent.
His windows being open, before his God he bowed.
The princes were assembled and saw him worship God.
5 They came to King Darius and spoke of his decree.
Saying, 'This Hebrew Daniel doth nothing care for thee —
Before his God he boweth three times in every day.
With all his windows open — and we have heard him pray.'
6 W^ien King Darius heard it, his lieart did so relent ;
He set his heart on Daniel his sentence to prevent.
His Nobles all assembled and to the King they said,
'Remember you great honor, likewise the law you made.'
7 Then King Darius ordered that Daniel should be l)rought
And cast into the lion's den because the Lord he sought.
The King then said to Daniel, 'The God whom you adore
Will save you from the lions and bless vou evermore.'
8 The King went to liis palace and fasted all the night.
He neither ate nor drank, nor in music took delight.
So early the next morning he stole along the way
And came unto the lion's den where this l)ol(l I lei)rew lav.
9 And with a voice of mourning the King he cried aloud,
Saying, 'O Daniel, Daniel — the servant of the Lord —
R K L I (■ I O U S S N t; S 583
Is iKil llu' (i()(l suiricic'iit l(ir to (K'li\c'r llicc —
'\\\c ( i()(l in \\h(ini tlimi iruslcst, and saxes continually?'
10 "My liod has sent His angel and shut the liun's jaws,
So that they have not hurt nie — my enemies He saw.'
Straightway the King commanded to take him out the
den —
Because in (iod he trusted no harm was found in him.
11 See how this faithful Daniel feared not the face of clay.
'1\\as not the King's commandment could make him cease
to pray,
lie knew that (lod was ahle to save his soul from death.
I le trusted in Jehovah — he [)rayed at every ])reath.
525
Departed Loved Ones
Marie Campbell, in "Funeral Ballads of the Kentucky Moun-
lains," SFLQ iii 112, prints a text of this hymn, obtained in 1933
from the singing of an eighty-one-year-old woman, who "said she
could not remember when her family had not 'knowed that air
ballet pine-blank like I done sung hit.' "
'Departed Loved Ones.' From MS book of songs lent to Dr. Brown in
August 1936 by Miss Lura Wagoner, Vox, Alleghany county. Several
of the songs were dated, some 1911, some 1913.
1 Is it wrong to wish to meet them
\\ ln) were dear to us in life?
Shall we check the rising sadness
Since they're free from toil and strife?
2 I've a mother up in heaven,
And oh. tell me if you will.
Will my mother know her children
\\ hen to glory they will go ?
3 Does she watch me from those wind(jws
While I'm on this distant shore?
Will she know when I am going?
\\ ill she meet me at the door?
4 I've a father, too, in glory,
And oh. tell me if you know.
Will my father know his children
\\'hen we n.ieet on Canaan's shore?
5 In that land are saintly children
Who are happy now and free.
Shall we ever reach those mansions,
All those darling: ones to see?
5^4 NORTH CAROLINA FOLKLORE
526
Dark Was the Night
The original hymn, of which there are three traditional versions
in our collection, has been ascribed to Thomas Haweis. The first
three stanzas appear in A Collection of Hymns for Public, Social,
Olid Domestic ITorsliip (Nashville, Tenn., 1859), P- 88; the whole,
in Basil Manly and B. Manly's The Baptist Psalmody (Charleston,
S. C, 1850 J, p. 124. White ANFS 105-6 prints songs containing
the first stanza, with other references. Cf. Jackson WNS 199 (No.
Ixxiv). A Negro version of this song, from Alabama, appears in
Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 31.
A
No title. Contributed by Julian P. Boyd, from Mary Price, a student
in the school at Alliance, Pamlico county; c. 1927-28. The copy of the
song bears this note by Dr. Brown : "Many of the white people along
the coast write and speak as do the Negroes : notice 'de' for 'the' ; hence
one cannot conclude that the songs are of Negro origin just because of
the idioms." But see text B.
1 Dark was the night and cold was the ground
On which de Lord was laid ;
De sweat like drops of blood run down ;
In agony he prayed.
2 'Father, remove this bitter cup.
If 'tis thy sacred will.
If not, content I'll drink it up.
Thy pleasure I'll fulfill.'
3 Go to the garden, sinner, see
Those precious drops that flow.
The heavy load he bore for thee.
For thee he laid so low.
4 Then learn of him the cross to bear.
Thy Father's will obey.
And when temptations press too near,
Awake to watch and pray.
B
'Dark Is the Niglit.' Provenience the same as that of the A text,
except that it was olitained from Rosebud West. It is described as
"Negro fragment."
Dark is the night,
And cold is the day
On which niy Lord was laid.
He sweat drops of blood,
Rut never told a soul.
KE 1, ItilOUS SONUS 503
b'athcr w ill remove
This bead of blood from you
If you will bear bis call.
Oh, God will remove ibis bead of blood,
Oh, God will remove ibis bead of blood,
If you will hear his call.
Oh. go to God and be saved
From this bead of blood.
( )b. ves, God will remove this bead of blood!
c
No title. From Miss Jennie Ik'lvin, Dnrliam ; nndated, Init i)n>l)al)ly
1920-21. Plmnograph recording, undated.
1 The sweat like drops of blood run down;
in agony he prayed,
In agony he prayed.
2 I heard my blessed Savior say,
'Come unto me and rest.
Come unto me and rest.'
3 He bid me come to Him and rest.
My head upon his breast.
My head upon his breast.
527
Don't You Grieve after Me
Though related in xA. and B versions to 'Jacob's Ladder' (q.v.),
this seems to be a different song. Cf. W. A. Fisher. Sez'eiity Negro
Spirituals (Boston. 1926). pp. 198-9; J. Rosamond Johnson, Rolling
Along in Song (New York, 1937), pp. /O-i.
'Climbin" Up Jacob's Ladder.' From typescript copy of a MS copy
contributed by Miss Mary Morrow. Greensboro, Guilford county. Jan-
uary 29, 1928. (The MS copy was returned.) A plionograph rccord-
ingof the song was made at Greensboro in 1928.
1 Old Si.ster Susan, don't ycju grieve after me.
( )ld Si.ster Su.san, don't you grieve after me.
(Jld Sister Susan, don't you grieve after me,
'Case I don't want you to grieve after me.
2 When Fm daid and buried, don't you grieve after me.
When Fm daid and Iniried. don't you grieve after me.
When Fm daid and buried, don't you grieve after me,
'Case I don't want you to grieve after me.
586 NORTH CAROLINA FOLKLORE
3 Climbin' up Jacob's ladder — don't you grieve after me ;
Climbin' up Jacob's ladder — don't you grieve after me ;
Climbin' up Jacol)'s ladder — don't you grieve after me ;
'Case I don't want you to grieve after me.
4 Old Brotber Epbraim. don't you grieve after me.
Old I brother Epbraim, don't you grieve after me,
Old Br(jtber Epbraim, don't you grieve after me,
'Case I don't want you to grieve after me.
B
'Jacob's Ladder.' Contributed by Julian P. Boyd, c. 1927-28, as col-
lected from Catberine Bennett, a student in the school at Alliance,
Pamlico county.
Climbin' up Jacob's ladder — don't you grieve after me ;
Climbin' up Jacob's ladder — don't you grieve after me.
I don't want you to have to grieve after me !
c
Contributed by William C. Cumming, Brunswick county (?); undated.
"Another of Uncle Billie's songs, but one we didn't like nearly as well."
The first line and refrain are repeated in stanzas 2 and 3 as in stanza i.
1 Jobn on the island, don't you grieve after me,
John on the island, don't you grieve after me,
John on the island, don't you grieve after me,
For I don't want you to grieve after me.
2 Long neck bottle, don't you grieve after me, etc.
3 When I get married, don't you grieve after me, etc.
528
Drooping Souls, No Longer Grieve
From the Adams MS book (western North Carolina, 1824-25),
owned by Professor W. Amos Abrams. The MS spellings, lines,
and stanzas have been followed verbatim et literatim.
Jackson SFSEA 98-9 and DESO 95 give versions of this hymn
and say it appeared in several of the early American hymnbooks,
among them The Knoxville Harmony (1838). which prints the first
line "Mourning souls," and in The Southern and Western Poeket
Harmony (compiled at Spartanburg, S. C, and printed in Phila-
delphia, 1846). In the latter, the first line begins "Drooping souls."
It appears, too, in The Camp-Meeting Chorister . . . (Philadelphia,
1852), pp. 69-70. The Adams text indicates coi)ying from mem-
ory; e.g., "balsam" in stanza 2, reads "lotion" in the printed texts.
See Annabel Morris Buchanan's Folk Hymns of America (New-
York, 1938), p. 58, for a text recovered from oral tradition in
Tennessee. For a North Carolina text taken from oral tradition,
see Chappell FSRA 167.
R i: 1. I c 1 () u s SONGS 587
1 Drooping souls no longer grive
Heaven is propitions
If on Christ you can believe
You shall find him ])rt'ci()us
Jes\is he is passing hy
Calls the mourners to him
It was for mourners lu- did die
Now look up and view him
2 l^'rom his hand his feet his side
I'dowes the healing balsam
Be [ ?] the consolating tide
Boundless as the ocean
Se the loveing current move
For the sick and dieing
I am Resolv'd to gain his love
( )r to perish trying
3 lioundless mercy, rich &: free
Weary souls to gladen
Jesus calls Come unto me
\\'eary heavy-laden
Though your sins like mountains high
Arise and reach to heaven
Soon as you on him relye
All shall be forgiven
4 Now me thinkes 1 hear one say
I will go & prove him
If [ ?] he takes my sins away
Shurely I shall love him
Yes I se the Savior smile
Smileing [ ?J moves my burden
O rich "[ ? sick?j I am for I am ville
Yet it seals [ ?] my pardon
5 Boundless mercy how it flowes
Now I hope I feel it
It has never yet ben told
Still I want to tell it
Jesus he has heal'd my wounds
the wounders story
1 was lost but now 1 am found
Glory Glory ( ilory
6 (dorv to my Saviours name
Saints T noe you lo\'e liim
Sinners you may do the same
588 NORTH CAROLINA FOLKLORE
Only come & prove him
Wilkes County C W C W C W
Hasten to a saviours blood
Feel it and declare it
that I could sing so loud
That all the world could hear it
7 If no greater joys was known
In this [? these?] uper regions
1 would try to travel on
By this pure religion
Heaven here & heaven there
Glory here & younder
Brightest seraphs shout amen
And all the angels wonder
finis M. L. Adams
529
The Gospel Train
Tlie iron road and horse made a great impression on the minds
of Americans — especially, it would seem, of American Negroes —
in the nineteenth century. The imagery of the "Gospel Train' takes
a variety of forms. See White's note on it in ANFS 64. Our
song has already been reported from North Carolina (FSRA
145-6), and others like it but not the same from Kentucky (JAFL
XLi 560), South Carolina (TNFS 254), Alabama (ANFS' 64), the
lower South (JAFL xl 299), and the Bahamas (JAFL xli 460).
No title. Manuscript in tlie hand of Dr. Brown, undated.
1 Select de proper train,
Select de proper train,
Select de proper train
When de bridegroom comes.
2 Git on boa'd de train.
Git on boa'd de train,
Git on boa'd de train
W'hen de bridegroom comes.
3 Gwine to trabbel wid mah Sabuh,
Gwine to trabbel wid mah Sabuh,
( jwine to trabbel wid mah Sabuh
When de bridegroom comes.
Gwine to trabbel home to glory,
Gwine to trabbel home to glory,
K E L I H I O l' S SONGS 589
(Iwiiie to tral)l)cl home to glory
W lien de l)ri(lei>rt)oni comes.
*lt Ain't No Harm to Trust in Jesus.' Reported from Durham. Decem-
ber 5, lyiy. MS of Austin L. Elliott. White, who prints this as a
version of "That (iospel Train Is Coming," ANFS 64-5, cites numerous
collections containing the song and says of the following version, "Every
line is found in printed versions of other songs, but the combination is
original." For a good musical setting, see VV. A. Fisher, Sci'cnty Negro
Spirittuils (Boston, 1926), pp. 52-5; and Rodeheaver, Sixt\'-T7>.v South-
cm Spirit mils (Winona Lake, Ind., 1946), No. 42.
1 ( )h, (Icjii't you hear that whistle IjIo'h',
L)h, don't you hear that whistle hlo'n'.
Oh, don't you hear that whistle hlo'n' ?
(let on hoard, get on board.
2 Uh, it ain't no harm to trust in Jesus,
Oh, it ain't no harm to trust in Jesus,
Oh, it ain't no harm to trust in Jesus ;
Get on board, get on board.
3 Jesus is the conductor,
Jesus is the conductor,
Jesus is the conductor ;
Get on board, get on board.
4 Oh ! have you got your ticket ready,
Oh ! have you got your ticket ready,
Oh ! have you got your ticket ready ?
Get on board, get on board.
c
No title. From Misses Hallie and Jean Holeman, Durham, 1922.
Chorus only.
O, git on de board, de board, little childun,
O, git on de board, de board, little childun,
O, git on de board, de board, little childun,
Dere's room fer many a mo'.
530
Hicks' Farewell
William Walker, who compiled The Southern Harmony, and
Musical Companion (printed at Philadelphia, 1847), says (p. 19)
in a footnote to this son^ that it "was composed by the Rev. B.
Hicks, (a Baptist minister of South Carolina,) and sent to his wife
while he was confined in Tennessee by a fever of which he after-
wards recovered." A version entitled 'The Dying Father's Fare-
x.r.F.. V(,i. in, (40)
590 NORTH CAROLINA F L K L R K
weir is included among songs published by Emma AI. Backus in
JAFL XIV 288-9, "taken . . . from the lips of elderly reciters, who
have given them as current and popular in Central North Carolina
in the days of their youth, about the first quarter of the nineteenth
century." Jackson W'SSU 202 and SFSEA 31 contain other texts
and information. Davis FSV 299 lists three \'irginia texts by
titles and first lines.
No title. From the Adams MS book (western North Carolina, 1824-25),
owned by Professor W. Amos Abrams. The MS spellings, lines, and
stanzas have been followed verbatim ct literatim. Bracketed words have
been supplied by the editor from The Southern Har)U(m\ version where
the Adams' reading is defective.
1 The time is swiftly rolling on
That [When J I must faint iS: die
My body to the dust return
And there forgotten lie
2 Let persecution rage around
And unto Christ [Anti-Christ] appear
My silent dust beneath the groimd
Shall no disturbance heare
3 Through cold and heat I oft times went
And wandered through distress [in desi)air|
To call on siners to repent
And seek there saviors face
[And seek the Saviour dear]
4 My brother preachers boldly speak
And stand on Zions wall
Revive the weak [strong], confirm the weak
And oft times [after] sinners call
5 ^ly breathren all I bid adieu
[My brother preachers, fare you well]
Your fellowship I love
In time I never se you more
[In time no more I shall you see]
We soon shall meet above
6 My little babes lies near my heart
[My little children near my heart]
For nature bind
[And nature seems to bind]
It greaves me strong for to dejjart
And leave them all behind
7 C) lord to them a father be
And sheald them from all harm
R K K 1 C, 1 U S S N C S 591
That they may noc to worship the
And dwell upon thy charms
8 My loveiiig wife, my hosom friend
the ohject of my heart
So sweet the time with you Ive spent
My sweet iJv; harmliss dove
9 M\- love yon oft times lood'd |look'd?J for me
And oft times se me come
But now 1 must depart from you
And nevermore return
10 My loveing- wife weep not for me
Niether lament nor morn
for you will cjuickly come to me
for we shall never part finis amen
M. L. Ada MS
531
If You Get There Before I Do
No title. From MS of R. B. Edwards, Durham, December 4, igig.
Printed by White in ANFS iii, with notes and references, in particular
pointing out that lines i and 3, with different refrains, are found in
several songs, among them 'Swing Low, Sweet Chariot.'
If you get there hefore I do, all right, all right.
Jesus will make it all right.
Just tell them that I am coming too, all right, all right.
If you get there before I do, all right.
Just scratch a hole and pull me through, all right, all right.
532
I'm Boun' to Cross the Jordan
From K. P. Lewis, West Durham, 1915, as set down by Dr. Kemp P.
Battle, Chapel Hill, November 1910.
Chorus:
I'm houn' to cross the Jordan,
I'm boun' to cross the Jordan,
I'm boun' to cross the Jordan,
I'm boun' to cross the lordan,
I'm boun' to cross the Jordan,
Hallelujah !
I Oh, brothers, wc^n't you join me?
Sisters, won't you join me?
592 NORTH CAROLINA FOLKLORE
Sinners, won't you join me ?
For I'm boun' to cross the Jordan,
Hallelujah !
2 Oh, my brothers over Jordan,
]\Iy sisters over Jordan,
]\Iy neighbors over Jordan,
And I'm boun' to cross the Jordan,
Hallelujah !
533
I Am Going to Heaven
No title. From Mrs. Mattie Southgate Jones, Durham, July 26, 1922.
The alternative reading of line 4 of the chorus appears on the copy of
the song.
Chorus:
I am going to Heaven,
I am going to Heaven,
I am going to Heaven,
I an' the bleeding Lamb
[To see the bleeding Lamb].
1 Come, my loving Father,
And don't you want to go ?
Come go with me to glory
To see the bleeding Lamb.
2 Come, my loving Mother, etc.
3 Come, my loving Brother, etc.
4 Come, my loving Sister, etc.
534
In the Valley
The theme and the metrical pattern of this sonj? resemble those
of 'Babe of Bethlehem,' No. 554. which has been identified as one
of the old Harmony favorites.
From Mrs. Leander Wilson, Zionville, Watauga county, witliout date.
The peculiarities of MS spelling are retained. According to the Library
of Congress Check-List, a song with this title from the same informant
was recorded by John A. Lomax on July 16, 1936.
I It was in Judies land by God's Femortal [Immortal?!
hand
That Jesus Christ was bi)rned in the valley.
In the valley, in the valley,
That JesiLs Christ was horned in the \alley.
R E L I C I U S S O N c. s 593
2 The news was spread abroad that he was the son of CJod,
And now he makes his start in the valley,
In the valley, in the valley.
And now he makes his start in the valley.
3 It was bv his mother's hand he was clotlu-d in Suadland
[swaddlinj,^?] band.
In the man^a-r lade him down in the valley.
In the valley, etc.
4 It was in the gloom of night when Mary look her flight
Into h^gypt. Slie did light in the \alley,
In the valley, in the valk-y.
Into Egypt she did light in the valley.
5 Well did the prophets say that the time would will the day
When God would call him away from the valley,
From the valley, etc.
6 He goes into the town to cast away the gloom,
To prepair for us a home from the valley,
From the valley, etc.
7 The storm clouds hanging low, I to glory then will go,
Iv [I've?] inquired every fo from the valley.
From the valley, etc.
8 The Christian people sing hosanna to their king
And will make their music ring from the valley.
From the valley, etc.
9 When in heven we would be we would have a Jublen
I Jubilee? J
To all Eaturnety from the valley,
From the valley, etc.
535
I've Got a Brother in the Sxovv-White Fieeds
The tirst stanza corresponds to a song of four lines in White
FS 119, also from Nortli Carolina. Several phrases, White
notes, appear in other songs, which he cites. Cf. 'Want to (io to
Heaven When I Die' in A. E. Wier, Songs of tin- Sunny South
(New York, 1929), p. 99.
No title. From Lucille Cheek, Chatham county, wlio was a student at
the Duke University Sunuuer Scliool in 1923.
1 I've got a brother in the snow-white fields,
Praying all night long.
I want to go to Heaven when 1 die.
ANFJ
594 NORTH CAROLINA FOLKLORE
Oh, my Lawcl ! Oh. my Lawd !
I want to go to Heaven when I die.
2 I want to go to Heaven and I want to go right.
Oh. how I long to be there !
I want to go to Heaven all dressed in white,
Oh. how I long to be there !
3 I want to go to Heaven at my own expense,
Oh. how I long to be there. (Etc.)^
Jacob's Ladder
Genesis 28.12 records that Jacob "dreamed, and behold a ladder
set up on the earth, and the top of it reached to heaven: and be-
hold the angels of God ascending and descending on it." The
passage provided the theme of one or more of the early spirituals,
sung by whites and blacks. 'Climb Jacob's Ladder' was one of
three songs rejected by Allen (Slaz'c Songs, 1867) because it was
found in Methodist hymnbooks. Of the songs on the theme in our
collection, one is briefly narrative with a chorus; the others are
choral, with several variations of the idea of climbing a ladder.
For general reference, see White ANFS 59-60, Allen SS 96, Combs
FSMEU 224. SharpK 11 295. The C version below is fairly close
to 'We Are Climbing, Climbing Jacob's Ladder' in Emily Hallowell,
Calhoun Plantation Songs (Boston. 1901). p. 33. Cf. 'Don't You
Grieve after Me.'
A
'Jacob's Dream.' From R. S. Russell, Roxboro. Person county ; undated.
Jacob drempt he seed a ladder.
Climbing up the sky.
Angels gwine up and down it,
Climb up, children, climb.
CJionts:
Climb up, ye little children.
Climb up, ye older people ;
Climb up to the sky.
Go up in six and sebens.
Now am your chance for heben.
Climb up. children, climb.
B
'Climb Up Jacob's Ladder.' With music. From Walter J. Miller, a
student in Trinity College. December 5. iQKj; learned from bis father,
"as sung in the 1830's." Printed, without music, by White in ANFS 60.
^ The "(Etc.)" appears in the informant's MS, implying tliat there is
further repetition — perhaps anotlier stanza, after the pattern of i and 2:
but no more is given.
R K 1. 1 c; 1 (I r s s N (". s 595
Cliinl) up Jacob's ladder, hi^lier and hii;hcr,
■\\av in dc Kiiii^doni.
Satan is a liar .and you needn't d'pend upon luni.
'Way in de Kinj^dom.
c
'Jacob's Ladder." Gmtriluitod hv Miss (ii-rtrudr Allen, Taylorsvillc,
Alexander county (later Mrs. VauRht) ; undated hut pn.hahly c. 1922-23.
1 We are clinil)in,ij^ Jacob's ladder.
We are clinibini,^ Jacob's ladder.
We are climbing Jacob's ladder.
And our work is done.
2 Every little round gets bigber and bigber.
Every little round gets bigber and bigber,
Every little round gets bigber and bigber ;
Lord, I can't stay bere.
3 Going be in Heaven witb Paul and Silas,
Going be in Heaven witb Paul and Silas,
Going be in Heaven witb Paul and Silas ;
Lord, I won't stay bere.
D
"Negro Fragment." From G. B. Caldwell, Monroe, Union county ; with-
out date. With the second and third stanzas cf. stanzas 3 and 4 of the
song in White ANFS 120.
1 Pni gonna climb up Jacob's ladder,
Pm gonna climb up Jacob's ladder,
Yes,"Lawd, some of tbese days.
2 Pm gonna ride in tbat golden cbariot,
Pm gonna ride in tbat golden cbariot,
Yes, Lawd, some of tbese days.
3 Pm gonna eat at de welcome table,
Pm gonna eat at de welcome table,
Yes, Lawd, some of tbese days.
537
Jesus Born in Bethlkhem
Despite its resemblance in (|uality to the old English carols, this
song seems not to be older than the middle of the last century. It
is fairly close to SharpK 11 293 (from North Carolina). See
lackson' WNS 174-5, who gives two songs with two stanzas cor-
responding to 2 and' 3 below; also, Jackson DESO 43; John Jacob
Niles, Tcu Chrislnms Carols from the Southern Appolaehian Moun-
tains, .Schirmer's American b'olksong Series, set 16 (New York,
596 NORTH CAROLINA FOLKLORE
1935 J, pp. 6-7; Annabel Morris Buchanan, Folk Hymns of America
(New York, 1938), p. 40 (from Marion, Va.) ; and Florence H.
Botsford, Botsford Collection of Folk-Songs (New York, 1930),
I, 28-9 (from Kentucky).
'Song of Jesus.' From E. Myers, Concord, Cabarrus county, with music.
1 Jesus born in Bethlehem,
Jestis born in Bethlehem,
Jestis born in Bethlehem,
And in a manger lay.
And in a manger lay.
And in a manger lay,
Jesus born in Bethlehem
And in a manger lay.
2 The Jews crucified him
And nailed him on the cross.
3 Joseph begged his body
And laid it in the tomb.
4 The tomb it would not hold it ;
He burst the bars of death.
5 Alary came weeping
About her lovely Lord.
6 'What's the matter, Mary?'
'They've stole my Lord away.'
7 They found Jesus living
Alive forever more.
8 He ascended to his Father,
Ascended to his Father,
Ascended to his Father,
To reign with Him on high,
To reign with Him on high,
To reign with Him on high,
Ascended to his Father.
To reign with Him on high.
538
John Saw the Holy Number
The chorus apparently refers to Jolm 7:4: "And I heard the num-
ber of them that were sealed: and there were sealed an hundred
and forty and four thousand," and it seems related to "Jolin. John,
of tlic Holy Order' in Allen SS 16. The other scriptural allusions
are more familiar. Cf. JAFL xxv 241 ; R. N. Dett, Religious Folk-
R E I, 1 C. 1 U S SO N G s 597
So)i(/s of the Xcfjro (Hampton, X'irjjinia, U)Jj ) . \). 63. The song
is included as 'Jolin Saw l)e Holy Nunihah" in i'-va A. Jessyc. My
Spirituals (New \'(.rk. lo-'Ji. ])p. 44-5. obtained from Negroes of
southern Kansas.
No title. Contributed liy Mr^. Mattic SoutiiRate Jones, Durliani, July
26, 1922.
Chorus:
John saw the Holy Xtnnber,
Sitting on the (lolden Altar,
|()hn saw the Holy Number,
Sitting on the (ioUlen Altar.
1 Fishnian Peter, fish no more,
Fish no more, fish no more,
Fishman Peter fish no more.
Sitting on the Golden Altar.
2 Weeping Mary, weep no more,
\\'eep no more, weep no more.
Weeping Mary, weep no more.
Sitting on the Golden Altar.
539
John Saw de Hundred and Forty-Four Thousand
Cf. 'Jolin Saw the Holy Number,' above.
From Miss Jewell Robbins, Pekin, Montgomery county (later .Mrs. C. P.
Perdue), July 1928. Phonograph recording made at Pekin in 1922.
John saw de hundred and forty-four thousand,
can't stay away.
got a mother, and she's gone on to glory,
can't stay away.
got a brother, and he's gone on to glory,
can't stay away.
got a sister, and she's gone on to glory,
can't stay away.
5 I got a father, and he's gone. . . .
[MS unfinished. \
540
Johnny Was a P.aptist
No title. With music. From E. D. Cavenaugh, Trinity College student
(A.R. 1921). For "Sign J on your ticket," see Scarborough TNFS
238-264 on railroad songs.
598 NORTH CAROLINA FOLKLORE
1 Johnny was a Baptist, O yes !
Johnny was a Baptist, O yes !
Johnny was a Baptist, Baptist, Baptist,
[ohnny was a Baptist. O yes !
2 He 1)aptised Jesus, O yes !
He Ijaptised Jesus, O yes !
He I^aptised Jesus, Jesus, Jesus,
He baptised Jesus, (J yes !
3 Crying Lord have mercy, O yes !
Crying Lord have mercy, ( ) yes !
Crying Lord have mercy, mercy, mercy !
Crying Lord have mercy, C) yes !
4 Sign J on your ticket, O yes !
Sign J on your ticket, O yes !
Sign J on your ticket, ticket, ticket.
Sign J on your ticket, O yes !
541
The Little Black Train
In ANFS 65-6, White prints a different version of the song,
with Hezekiah (the correct allusion) for Ezekiel, and "The little
black train" stanza as chorus. See, also, Scarborough TNFS 260-1.
'The Little Black Train Is a-Coming.' Contributed by -Mrs. Mattie
Southgate Jones, Durham, July 26, 1922, with this note: "The charm
of this scng is the intoned music without tune. Sung by an old-time
Negro who said it was in an old hymn-book of her grandmother's. Her
name is Sis Holman. She lives with the family of Jerry Perry, Bahama,
R. F. D. No. 2. She sings it to perfection. She also sings a song
called 'Moses,' and another one — 'The Lord is going to set this world
on fire some of these days.'" At the end of the MS Mrs. Jones wrote
"unfinished."
1 God said to Ezekiel.
In a message from on high,
'Go and set thy house in order,
For thou shall surely die.'^
2 The little Black Train is a-coming ;
Get all your business right ;
Set your hoiLse in order ;
For thou shall surely die.
'A confusion of Isaiah 38:1: "In those days was Hezekiah sick unto
death. And Isaiah the prophet the son of Amoz came unto him, and
said unto him, Thus saith the Lord, Set thine house in order: for tliou
shalt die, and not live."
K K 1. I (; 1 o r s s n c s 599
3 The rich old fool and his graiiarv'
Says he has no future to fear.
'I'll build my harns a little larger
And live for nian\- a \'ear.
4 'I now have plenty of money,
Expect to take my ease ;
My harns are overflowing;
No one hut self to please.'
Till". 1 .OXI". I 'll.CRI .\1
This song is known to many singers, and published in several
printed collections, as "The White Pilgrim.' Its authorship lias nut
been definitely settled. Flanders ct al. (NGMS) cite The Chris-
tian Harp (Newburyport, Massachusetts, 1858), in which it was
printed, for the statement that 'The White Pilgrim' was written by
the Reverend Jonathan Ellis. Ellis, they say, "was, on September
16, 1789, installed minister of the First Parish of Topsham, Maine;
later he was one of the original Board of Overseers of Bowdoin
College." Further, "Ellis' sacred ballad . . . was arranged in The
Christian Harp, to be sung to [the air of] Lily Dale. It was
printed without the music in The Golden Harp" (Oneida, New
York, 1857). Against this attribution of authorship is that of the
igii editor of The Sacred Harp, who attributes it to B. F. Wdiite,
of Georgia, the original compiler of that songbook. White wrote the
song "on the lone prairie in Texas," while standing "at the grave
of a friend who once lived in Georgia." (See Jackson SFSEA,
who prints a text of the song under the title of 'The Lone Pilgrim'
and cites the 191 1 Sacred Harp.) Hudson's FSM 209 version,
'The White Pilgrim,' has a headnote relating a romantic legend
about the origin of the song which accords with the Sacred Harp
account. Finally, the song appears in Tlie Southern Harmony and
Musical Companion (Philadelphia, 1847). compiled by William
Walker, of Spartanburg. South Carcdina, which antedates 77;^
Golden Harp, in which the Reverend Jonathan hdlis's ballad ap-
peared, by ten years. Until it is known whether Ellis's "The
White Pilgrim' was certainly composed by him, or, if that fact
cannot be verified, whether his text antedates The Sacred Harp and
The Southern Harmony texts, credit for audiorship must lie be-
tween him and White.
A
'The Lone Pilgrim.' Witli music. From Mr.s. Maude Minnisli Sutton:
comniunicati(jn undated. "The oldest religious song 1 renieiuher. ... I
do not remember much of it." One stanza.
1 came to a place where the lone pilgrim lay.
I pensively stood hy the tomb;
' See Luke 7:16-21.
600 X R T H CAROLINA FOLKLORE
When in a lone whisper I hyerd something say,
'How sweetly I rest here alone.'
From MS and notes in Dr. Brown's hand: "The Lone Pilgrim. 'B. F.
White, Arr. by Adger M. Pace." As sung by Mr. Eph Stamey, Alta-
niont, N. C, 14 July, 1940. This song has been printed, words and
music, in some of the old song-books ; included in Bells of Heaven,
James D. V'aughan, publr., Lawrenceburg, Tenn., 1930." This "B. F.
White," from The Bells of Heaven, evidently refers to B. F. White, of
Georgia, one of the compilers of The Sacred Harp, from which The
Bells of Heaven version was taken.
1 J came to the place where the lone pilgrim lay,
And pensively stood hy him [sic] tomh ;
When in a low whisper I heard something say,
'How sweetly he rests here alone.'
2 The tempest may howl and the loud thunders roll.
And gathering storms may arise ;
Yet calm are his feelings, at rest is his sottl.
The tears are all wiped from his eyes.
3 The cause of his Master propelled him from home ;
He bad[e] his companions farewell;
He blessed his dear children who for him now mourn — •
In far distant regions they dwell.
4 He wandered an exile and stranger from home.
No kindred or relation nigh ;
He met the contagion and sank to his toml) ;
His soul flew to mansions on high.
5 O tell his companions and children most dear
To weep not for him now he's gone ;
The same hand that led him through scenes most severe
Has kindlv assisted him home.
543
Mary Wore Three Links of Chain
A stanza close to the first appears in several versions of 'Sis
Mary Wore Three Links of Chain,' White ANFS 60-3; another,
with more variation, in A. P. Hudson's Specimens of Mississippi
Folk-Lorc (Ann Arbor, 1928), p. 90. Cf., also, 'All Mah Sins
Been Taken Away' in Satis N. Coleman and Adolph Bregman's
Songs of American Folks (New York, 1942), pp. 76-7, and Sand-
burg ASb 474-5, who describes it as "one of the sublime creations
of the Negro race in America."
FISHING IN THE CREEK
K K 1. 1 c; I u s s () x c s 6oi
A
Xo title. C iintril)iiti.(l liy Miss Mamie Manslicld, ['"dwler ScIuhiI Dis-
trict, Durliain cduiity, July 2(>. 1922.
1 Mary wDre three links of chain,
Mary wore three links of chain.
Mar\ wore three links of chain;
l'.ver\- link was Jesus's name.
.\11 my sins heen taken away, taken away.
2 Don't yon hear those horses' feet,
Don't you hear those horses' feet,
Don't you hear those horses' feet,
I'rancint,^ down the golden street?
All m\- sins heen taken away, taken away.
3 Jonah made a wheel, and he made it on the ground,
Jtjiiah made a wheel, and he made it cm the ground.
Jonah made a wheel, and he made it on the ground ;
The wheel turned over, and the earth turned ar mnd.
All my sins been taken away, taken away.
B
'Mary Wore a Golden Chain.' With music. From Blake 15. Harrison,
Durham, December 5. 1919. "Negro fragment.' The same text as in
White AXFS 63.
544
Noah's Ark
The editors are uncertain whether to entitle this song 'Noah's
Ark' or 'Gideon's Band,' the two motifs are so mixed. Cf. White
ANFS 90 and 100; A. E. W'ier, Songs of the Sunny South (New
York, 1929). p. 161; Rodeheaver. Si.vty-Tzvo Southern Spirituals
(Winona Lake, Ind., 1946), No. 41.
A
'Gideon's Band.' Contributed by E. T. Fletcher, without date or address,
but with this notation: "These two ballads ['Ballad (if the Waterfall'
and "(jideon's Band'] are given by E. T. Fletcher; one was learned from
the Negroes, the other from a showman."
1 Do you belong to (iideon's luuid.
Do you belong to (jideon's Band?
Here's my heart and here's my hand.
Do you belong to Gideon's Band?
2 God told Noah there was going to come a doud,
Gold told Noah there was going to come a flood.
Better git a place to git out of the water and mud.
6o2 NORTH CAROLINA FOLKLORE
Chorus:
Old Noah did build an ark.
Old Noah did build an ark.
Out of hickory sticks and i)(iplar l)ark.
B
From an anon^'mous copy, without date or address.
1 God told Noah, told Noah
There was going to come a fltiod.
Better git a place to git out
h> water and mud.
Clwnts:
Do you belong to Gideon's 1 >and ?
Here's my heart and here's my hand.
Do you belong to Gideon's Band?
2 Old Noah did build an ark
Out of hickory sticks and poplar bark.
545
Pharaoh's Army
Like Jacob's dream of the ladder ascending into heaven, tlie
drowning of Pharaoh's army is a motif or leitmotif of several old
spirituals. In ANFS 58. White notes tliat "Pharaoh's Army' "occurs
in variant versions in most of the printed collections, beginning with
Higginson (Atlantic, 1867, xix, 685)," cites traditional reports
of it from South Carolina. Tennessee, and Mississippi, and prints
two versions, one from Alabama, the other from Tennessee. For a
Kentucky version, see W. A. Fisher. Sc-j'oity Negro Spirituals
(Boston, 1926), pp. 127-9.
'Oh, Mary, Don't You Weep.' From Miss Gertude Allen, Taylorsville,
Alexander county (later Mrs. Vaught) ; undated, but c. 1922-23.
1 Mary's son fell in a well.
Mary's son fell in a well ;
But Pharaoh's army got drowned.
O Mary, don't you weep.
2 O Mary, don't you weep, don't you mourn ;
Your son's ill Heaven with a harp and horn.
But Pharaoh's army got drowned.
O Mary, don't you weep.
3 Pharaoh's army got drowned in the sea;
Thank to (iod. it was not me.
R K 1. 1 (; I () L- S S O N C. S (^>0^
I '.111 I'liaraoli's army i;<il drowiR-d.
( ) Marv. (Idu'l vdu wcvv.
4 Jt'Mis I'hrist died on a tree
"I'or all good people like you and me.
lUit I'haraoh's army got drowned.
( ) Marv. don'l you weep.
B
'Pharaoh's Army Cot Drownckd.' Fmm Mrs. J. \V. Barlice, Uurliam :
undated.
1 If 1 could 1 really would
Stand on the rock where Moses stood.
Pharaoh's army got drownded.
O Alary, don't you weep.
2 Pharaoh's army got drownded in the sea;
Thank the Lord, it was not me.
I'haraoh's army got drownded.
O Mary, don't you weep.
3 Some of these nights 'bout twelve o'clock,
Dis old world's goin' to reel and rock.
Pharaoh's army got drownded.
() Mary, don't you weep.
c
'Pharaoh's Army.' From Cozette Coble, Stanly county (?); undated.
If I could I surely would
Stand on the rock where Moses stood.
Pharaoh's army got drowned
In the middle of the sea.
Chorus:
O Mary, don't you weep for me,
O Mary, don't you weep for me ;
Pharaoh's army got drowned
In the middle of the sea.
'Piiaraoh's Army.' From "Hodgin, Soutlieastern N. C." ; undated.
Three stanzas and chorus, stanzas i and 2 correspondnig to B i and 2.
the chorus more elaborately wrouglit.
3 Way up yonder above the moon.
Where they eat with silver spoons.
Pharaoh's army got drownded.
O Mary, don't you weep,
O Mary, don't you weep,
N.r.F.. Vi.l. Ill, 141)
6o4 NORTH CAROLINA FOLKLORE
Don't you mourn.
O Mary, don't you weep.
Don't you mourn.
Pharaoh's army got drownded.
O Mary, don't you weep.
546
Oh, They Put John on the Island
White, in ANFS 96, prints a slightly different text of this song
from the same informant, noting that the informant "has heard it
in eastern North Carolina, near the Dismal Swamp, as early as
the eighteen-eighties, and since." White's headnote also observes
that stanzas 6, 7 (lacking in our text), and 8 (corresponding to our
text, stanza 7) occur constandy in the 'Ship of Zion' songs; that
stanzas 7 and 8 of his text occur in some of the songs dealing with
the chariot ; and that "John is evidently a composite of the Apostle
John and John the Baptist."
No title. From H. E. Spence, Trinity College, Durham, August 2, 1922.
In this text only the first stanza is written out in full. The handling
of stanza 2 follows White. It is assumed that stanzas z-7 follow a similar
pattern of repetition.
1 Oh, they put John on the island
When the Bridegroom comes.
They put John on the island when he comes.
They put John on the island.
They put John on the island.
They put John on the island
\\dien he comes.
2 They put him there to starve him
[When the Bridegroom comes.
Oh, they put him there to starve him
When he comes.
They put him there to starve him,
They put him there to starve him,
They ])ut him there to starve him
When he comes.]
3 But you can't starve a Christian
4 They fed In'm on milk and honey
5 ( )h, look down Jordan river
6 You'll see that ship come sailing
7 King Jesus is the captain
K E I. 1 c I () r s s () \ c s 605
547
Rock of Ages
This is related to No. 30 in White ANFS 89-90. Botli are free
adaptations, with ad(Htional details, of the idea of the familiar hymn
'Rock of Aj;:es.' The first line is close to the first line. of some
versions of "Florella (The Jealous Lover),' Vol. II, No. 250.
.\
'Way Down \'()ndcr in tlie Lonesome Valley.' From Miss Jewell Kob-
hins, Pekin. Montgomery county (later Mrs. C. P. Perdue, Gastonia).
There is a phonograph recording dated Pekin, N. C, 1921.
1 Way down yonder in the lonesome valley
Clef' for me, clef for me,
Way down yonder in the Icjnesonie valley,
Clef' for me, clef for me.
Way down yonder in the lonesome valley,
Let God's bosom be my pillow.
Hide me over the rock of ages,
Clef for me. clef for me.
2 What you gon" do when the wcnd's on fiyer,
In dat day, in dat day?
What you gon' do when de worl's (jii fiyer,
In dat day, in dat day?
What you gon' do when de worl's on fiyer?
Let God's bosom be my pillow.
Hide me over the rock of ages,
Clef for me, clef for me.
B
No title. With music. From an anonymous contrilnitur ; without ad-
dress or date. One stanza, fairly close to No. 30 in White ANF.S 89;
also to Jackson WNS cix.
(3 my lovin' mother, wlien the world's on fire.
Don't you want God's bosom to be your pillow?
O lie me over and the Rocks of Ages,
And the Rocks of Ages that was cleft for me.
c
No title. From E. D. Cavenaugli, a Trinity College student (A.B.
1921) ; on the same sheet with 'Johnny Was a Baptist,' No.^ 540. One
stanza, differing from B only in "loving" for "lovin'," "hicle" for "lie,"
"rock of ages" for "Rocks of Ages," and "clif " for "cleft."
There Is No 1*l.\ce in the IIeigiit of He.wen
White prints the son^ as below in ANFS 129, with an analysis
of it as "A curious mixture of secular and relig'ious sonj^ traits"
('Jerusalem, My Happy Home,' 'Home, Sweet Home,' and other
spirituals).
6o6 NORTH CAROLINA FOLKLORE
A
'Tim of Tliis." Reported from Durham, December 1919, MS of W. A.
Ellison. Jr., of Belhaven, Beaufort county. "Heard from a colored
preacher."
There is no place in the heit^^ht of Heaven,
There is no place like home,
Home, home, sweet home,
There's no place like home.
Kind friends, I hid you all farewell.
I leave you in God's care.
And if I never more see you
Go on, I'll meet you there.
Home, home, sweet home.
There's no place like home.
Sometimes I'se up.
Sometimes I'se down.
Sometimes I'se almost on de ground.
Glory to his name.
Oh ! glory hallelujah.
B
Reported by R. B. Edwards, probably from Beaufort county.
1 There is no place in the height of heaven.
There's no place like home.
C lionis:
Home, home, home, sweet home,
There's no place like home.
2 Dear friends, I'll bid you all adieu.
I leave you in God's cause.
And if I never more see you,
Go, and I will meet you there.
549
Ain't Goin' to Worry My Lord No More
Stanza 2 of this corresponds in part to 'If You Get There before
I Do'; stanza 3, to lines in White ANF.S 132. Compare the chorus
with that of White ANFS 118 (without music). (A text of the
latter song is in the Frank C. Brown Collection, as "Heard in
Marlboro county, S. C." ; it has been omitted on account of its
provenience. )
From Louise Lucas, White Oak, Bladen county, July 1922. Phonograph
recording, same place and date.
k V. I. 1 c 1 () r s s N c s 607
1 I'se ,i;wiiU' to lu'a\fn, 1 'sr t;\viiR' to lifavni.
I'se gwiuf to liea\en 011 cuLilc's winj^s,
I'se yvvine to heaven on eaj^le's wings.
Them that don't see nie gwine to hear me sing —
Ain't gwine to worry my Lord no more,
Ain't gwine to worr\- mv Lord no more.
2 If you get there he fore I do.
If you get there l)eft)re 1 do,
If you get there he fore I do,
Punch a httle hole and pull me through.
Ain't goin' to worry my Lord no more.
Ain't goin' to worry mv Lord no more.
3 Went down in \alle}' to watch and pray.
Went down in valley to watch and pray,
Went down in valley to watch and ])ray.
Jesus washed my sins away.
Ain't goin' to worry my Lord no more.
Ain't goin' to worry my Lord no more.
550
All God's Chillun Got Shoes
White, in ANFS 69-70, gives references to several i^riiited col-
lections containing traditional texts of this delightfully naive spirit-
ual. He remarks that it is sung by college glee clubs, as well as
in the traditional way by Negroes, and that a version of it was
"even featured in Ziegtield's Follies, opening in 1927." It was
quoted and sung gleefully by white people during the economic de-
pression of the 1930s, in response to a somewhat untactful remark
by Frances Perkins, Secretary of Labor under Franklin D. Roose-
velt, to the etTect that the South should be an attractive market
for shoe manufacturers since so large a jiroportion of its people
went barefoot. For good settings of traditional versions, see
'Gwine to Shout All over God's Heaven' in Emily Hallowell, Cal-
houn Plantation Songs (Boston, 1901), p. 58; and W. A. Fisher,
Se-i'cnty Negro Spirituals (Boston, 1926), pp. 41-5.
A
'All God's Chillun Got Shoes (1 Got Slioes).' From Newman 1. White.
Durham, February 20, 1945, with this note : "I have known this song
since about 1913. I set it down here to accompany the record of Riddick
(T-VIII), for which text is missing."
1 I got sh(;es, you got shoes,
All ( jod's chillun got shoes ;
When I get to Heah'n gomia i)ut on m\- shoes,
Gonna walk all oher God's Ileah'n.
Ileah'n. Heah'n —
6o8 NORTH CAROLINA FOLKLORE
Ever'body talk about Heab'n ain't goin' there,
Heab'n, Heab'n, gonna walk all ober God's Heab'n.
2 I got a robe, etc.
3 I got a harp, etc.
4 I got a crown, etc.
B
No title. From Lucille Cheek, Chatham county ; undated. A fragment.
You got shoes, I got shoes.
All God's children got shoes.
We all are going to walk over God's Heaven.
No title. From William B. Covington, of Norfolk, Virginia (Trinity
College A.B. 1914), November 17, 1913: "Reminiscences of my early
youth spent in the country on the border of the sand hills of Scotland
County" (N. C). "A Negro song." After the opening phrase of stanza
3, the informant notes, "Verses unlimited."
1 You got a ring. I got a ring.
All God's chillun got a ring.
If your ring don't fit like mine
We'll march all around God's Heaven.
Heaven, Heaven.
March all around God's Heaven.
2 You got a shoe. I got a shoe.
All God's chillun got a shoe.
If your shoe don't fit like mine.
We'll march all around God's Heaven.
Heaven. Heaven.
March all around Ciod's Heaven.
3 You've got a coat. etc.
D
No title. From Lucille Clieek, Chatham county ; undated. Fragment.
When I get to heaven I going to have shoes on, shoes on ;
When I get to heaven I going to have shoes on, etc.
551
All My Sins Been Taken Away
The chorus is coninion to many spirituals, e.i:^., those in White
ANh'S (>2 and Perkins JAFL xxxv 233-4. Stanza 3 corresponds
in i)art to 'As I Went Down in the Valley to Pray' (q.v.). Other
deuK'nts are Biblical and spiritual connnonplaces. Cf. Chappell
F'SRA 151 (from North Carolina; ,
R K I. 1 (i 1 () r s s () N (; s 609
"Negro fragment." Frmn an aiiiniynKius. uiulated i)rinte(l program,
enclosed in a letter dated Durliam, X. C. July 2(), igjj, to Dr. llrown
from Mrs. .Mattie Southgate Jones, wiio explained that the printed song
thereon was one of the songs which a Deacon S. Harris used to print
for his colored congregation in Durham.
1 1 have a .soiio- j Jove to sing,
1 have a soiiij^ I love to sing,
I have a song I love to sing,
(jlory hallelnjah, praise His name,
All my sins hecn taken away.
Chorus:
All my sins been taken away,
All my sins been taken away.
All my sins been taken away.
Glory hallelnjah, praise His name.
All my sins been taken away, taken away.
2 I'm going home on the morning train,
I'm going home on the morning train,
I'm going home on the morning train.
Glory hallelujah, praise His name.
All ni}' sins been taken away, taken away.
3 I went down in the valley to pray,
I went down in the valley to pray,
I went down in the valley to pray.
My soul got happy and I stayed all day.
All my sins been taken away, taken away.
4 Christ went in the temple at twelve years old,
Christ went in the temple at twelve years old,
Christ went in the temple at twelve years old,
They asked him could he cure a sin-sick soul,
All my sins been taken away, taken away.
5 1 know the day, remember the time,
1 know the day. remember the time,
I know the day, remember the time.
When God Almighty changed this heart (if |mine,
All my sins been taken away, taken awa\- 1 .
552
Angels Roll Dkm Stones Aw.\y
Lines 2 and 4 cjf stanza 2 have their counterjian in hynni 173
in North Carolina Sonnets, or a Selection of Choice Hyiinis for
the Old School Baptists: Compiled by the Recommendation of the
Keliiikee Association, bv lames Osbourn, \'.D.M., of Baltimore Citv
6lO X n R T II CAROLINA FOLKLORE
(Baltimore: Published by James Osbourn, 1844J. (Pagination and
numbering very inconsistent and irregular.)
"Xegro fragment." From Julian P. Boyd, as collected from Josa Dixon,
a pupil in the school at Alliance, Pamlico county.
1 Sister Mary she come weepin',
Just abotit de break o' clay,
Lookin' for my Lord,
And he's not there, say !
2 He's gone away to (ialilee.
Angels rolled dem stones away.
It was on one Sunday mornin'.
Angels rolled dem stones away.
553
As I Went Down in the Valley to Pray
Songs corresponding to parts of the following are to be found
in White ANFS 71, 132: Jackson WNS 166-7: L. L. McDowell,
Songs of the Old Camp Ground (Ann Arbor, 1937), p. 44; and
Perkins lAFL xxv 233-4. Cf. The Good Old Wav,' in Allen SS,
p. 84.
'Down in the Valley to Pray.' With music. From Mrs. Maude Minish
Sutton; undated, but the following note indicates 1917-18. From the
note it is also to be observed that Airs. Sutton's version is not a Negro
song.
"We went to a foot-washing. It isn't a bit funny ; it's like the cere-
mony the King of Spain performs on Christmas Day. The service was
held at the Elk Valley church, and we were sure we'd laugh, but we
were sobered, and even reverent, when we came away. Nobody could
fail to be impressed by the earnestness, the dignity, and the deep sincerity
of those old men. The minister read, in the tone he always uses, the
story of the Last Supper, and then girding his waist with a towel he
went around and washed the feet of five old men. As he did so, the
congregation sang the song that follows. There was much emotion.
The air was full of it. I felt it and responded to it as I would if I
had been at a play.
"The old lady who sat next to me might have posed for the peasant
woman in Millet's The Angcliis, and yet I should have chosen her for
a typical North Carolina woman. She looked understandingly at the
service star I wore. 'Your feller?' she inquired. 'My brother, with
the 30th,' I answered. 'My boy's in the 30t]i,' she said. I talked with
licr after tlie service.
"The old preacher did a pretty thorough job. He washed one pair of
feet to a verse. I believe if more elders or deacons, or whatever the
honorees were, had l)een present more verses would have been forth-
coming.
"The old lady can't write, and neither can her boy. I must tell
Ralph to look him up and tell me something about him to tell her. She
'ain't shore' who his captain is — poor old woman !"
K K 1. I (; I u s s o N c; s 6i i
I O sisters, le's go down, k-'s go down. k''s go down,
< ) sisters, le's go down, down in llie valk-v to i)ray.
As 1 went down in the valley to i)ra\-,
Studyin' about that good old way,
And who should wear the starry crown ;
{ lood Lord, show nu- tlie way.
J ( ) brothers, etc.
3 ( ) mothers, etc.
4 O fathers, etc.
5 O children, etc.
15
No title. From Jennie Belvin, Dvn-ham ; c. 1920-21. Plionograpli re-
cording July 1922.
As I went down in the valley to pray,
Studying about that good old wa}'.
Who shall wear the starry crown?
Good Lord, show me the way.
Chorus:
Oh, sinners let's go down,
Let's go down, let's go down.
Oh. sinners let's go down,
Down in the valley to pray.
Oh, mourners, let's go down.
Let's go down, let's go down,
Oh, mourners, let's go down,
Down in the valley to pray.
No title. From Miss Aura Hohon, Durham; c. 1924. "I know the air —
may he able to get words."
As 1 went down in the valley to pray,
Studyin" 'bout de good ol" way.
As I went down in de valley to pray.
Oh. Lawd. show me de way.
Chonis:
Oh, sinner, yo' better go down.
Yo' better go down, you better go down,
Oh. sinner, you better go down.
Down in de valley to pray.
6l2 NORTH CAROLINA FOLKLORE
554
Babe of Bethlehem
This is most of the first stanza of 'Babe of Bethlehem,' reprinted
in full, with music, by Jackson SFSEA 82-3, from William Walk-
er's Southern Harmony (compiled at Spartanburg, S. C, printed
at New Haven, Conn., 1835). Dr. Brown's note "(Cut off)" may
refer to the last two lines of stanza i, which read
As was foretold by prophets old,
Isaiah, Jeremiah.
The part of the stanza remembered by his informant has two errors :
"Come view this sacred ration" for "Come hear this declaration"
and "loyal Jews" for "royal Jews."
'Ye Nations All.' From MS in Dr. Brown's hand, on rough paper, evi-
dently taken down from a record or from dictation. At the end he has
written: "(Cut off)."
Ye nations all, on you I call.
Come view this sacred ration.
And don't refuse this glorious news,
And Jestis and salvation.
To loyal Jews came first the news
Of Christ the great ^Messiah.
555
Baptist, Baptist Is My Name
A variant of the first four lines is to be found in 'Hard Trials,'
J. B. T. Marsh, The Story of the Jubilee Singers; zvith Their Songs
(Boston, 1881), p. 207, which also has a stanza, "Oh, Methodist,
Methodist is my name," etc. In 'Jesus Lock' De Lion's Jaw' in
Emily Hallowell, Calhoun Plantation Songs (Boston, 1901), p. 19,
two lines resemble the first two of 'Baptist, Baptist Is My Name.'
'Roll, Jordan, Roll.' With music. From Mrs. Alice Cooke, Boone,
Watauga county; undated, but about 1922, when a phonograph record-
ing was made at Boone.
Baptist, Baptist is my name.
And Baptist till I die :
When I am dead it can he said
You've laid one Baptist hy.
Come along to the meeting in here tonight.
Come along to the meeting in here tonight.
To the meeting in
Roll, Jordan, roll. roll. Jordan, roll;
I'm going to Heaven when I die.
k 1", I. I C I () II S S () N C S 613
BVK AM) U\K
No title. From Julian 1'. Boyd, as collected from Catlioriiie Bennett, a
pupil of the school at Alliance, Pamlico comity; undated, l)nt about
1927-28. Dr. P>ro\vn marked it "Negro fragment."
Bye and bye. (hjn't yoti grieve after nie.
Bye and l)ye. don't you grieve after nic.
Tote your witness, don' you grieve after nie.
Bye and bye, don't you grieve after me.
When I'm gone don' you grieve after me.
557
Cain and Abel
With music. From Newman I. White, Durham; undated. "I sang this
for F. C. B. in 1923 or 1924. The te.xt is in his hand, marked 'N. I. W.,
duplicate.' Published in my ANFS, without the music. See ANFS 86
for my note and text."
Well, The Good Book says that Cain killed Aliel.
Yes, Abel,
That he hit him in the liead with the leg of a table.
Yes. Good Lord.
Didn't Daniel in the lion's den
Say unto dem cullud men.
Get yer long white gown
And pass 'em a-round
And be ready when de great day comes.
Oh Lord. Lse ready,
(Jh Lord, I'se ready,
ni be readv when the great dav comes.
Oh glory Hallelujah !
558
Can't Cross Jordan
The song i^ related, in i)art, to 'You Got to Cross It for Vohself,'
Jackson WNS 183, and it is composed largely of s])iritual com-
monplaces.
'Can't Cross Jordan.' From Miss Pearle Webb, Pineola, Avery county,
August 1922. Recording, Pineola, N. C, 1922. With stanza 4 compare
'As I Went Down in tiie \'alley to Pray,' No. 553.
I Can't cross Jordan and you can't go around.
Can't cross Jordan and you can't go around.
6l4 NORTH CAROLINA FOLKLORE
Can't cross Jordan and you can't go around,
If you've got no Jesus you'll be sure to drown.
Chorus:
They've taken my Lord away, away, away,
They've taken my Lord away, away.
Oh. tell me where you've laid him.
2 What kind of shoes does a Christian wear? (trcs)
Slippin' and a-slidin' through the air.
3 ni tell you how them hypocrites do, ( trcs)
They serve the Lord and the devil too.
4 As I went down in the valley to pray, {tres)
I met old Satan upon my way.
5 I've done been down and I've done been tried, (trcs)
I've been to the river and I've been baptized.
6 Oh, don't you hear them horses' feet, (tres)
A-rambling down the golden street?
7 Ezekiel was a man and free from sin, (tres)
Heaven's door was open and Ezekiel walked in.
B
No title. From Miss Jennie Belvin, Durham, July 1922. Recording,
Durham, 1922. Contributor notes: "Negro." One stanza (with no
textual indications of repetition) and chorus.
Can't cross Jordan, and can't go around ;
If you ain't got grace you sholy will drown.
Chorus:
Uh — they done taken my Lord away — ay,
Uh, they done taken my Lord away.
Show me where to find Him.
559
Christ Was a W'eary Traveler
With music. Words written down by Dr. Brown as sung to him by
Will ("Shorty") Love, Negro janitor at Trinity College and Duke Uni-
versity, c. 1920-24. Compare tlie last four lines with stanza 2 of 'William
Shackleford's Farewell Song,' Vol. II, No. 294, p. 682.
I Christ was a weary trav'ler,
He went from door to door ;
His occupation in life
Was a-minist'ring to the poor.
My work'U soon be ended.
K K 1, I I, 1 () U S S O N C. S 615
My race is alniosl run.
Mv work'U soon 1)C ended. '
And dien I'm goinj^ home.
_• Christ told his (Hsciples :
'After I'm riz and gone.
\'()u'll meet with many erosses,
But their ahuse you'll scorn.
Ahuse me all you want to,
lUit I'm traveling home to God;
I'm well ac(|uainted with crosses,
And all my ways are hard.
3 "I thank (iod for none hut the pure in heart
llefore His face shall stand,
W hen dis ol' world shall reel ahout
Like a drunken man.
I'm strivin' hard and faithful.
When de trumpet shell soun'
My soul shall shout like Izral shouted
\\ hen de jekkel walls fell down.
4 "Xo difference whar 1 travel,
It's no matter whar I'll be.
There's someone always ready
To point de finger of scorn at me ;
But to heaven my soul shall onward move
Like lightin' aroun* the throne ;
My soul shall shout like Izral shouted.
5 A\'hen I get to heaven
W ant you to be there too.
W'hen I cry out "Amen"
Want you to say so too.
(kxl bless thuh Roman Catholics
An de Presbyterians too
And dub gool old shoutin' Methodists
And de ])rayin' Baptists too.'
560
CiTV OF Refuge
White, in .\NF.S 90, prints a quite different version of this song,
with notes. Stanza 3 of his text and the chorus of a song in Scar-
borough TNFS 256-7 allude to Paul and Silas in jail. White's
version, too, has the refrain "He had to run."
From an anonymous contributor ; without date or address.
6l6 NORTH CAROLINA FOLKLORE
1 There is coming" a time and it won't be long,
You will attend to your business and let mine alone.
The time is coming, is coming very soon,
For the graveyard land is all in bloom.
You better run.
2 Old Paul he prayed and he did prevail.
They caught him in Jerusalem and put him in jail.
He stood his trial in the name of the Lord,
Because he had a building not made with hands.
But he had to run.
3 Go on. I'll forgive you for what . . .
561
Come All You Friends and Neighbors
No title. From W. Amos Abrams, Boone, Watauga county ; undated.
1 Come all you friends and neighbors.
For you know that you are born to die.
Come view my situation.
As helpless here I lie.
2 Long time have I been striving.
Dear Lord, remember me.
And in my weakened condition
Never let me seek in vain.
3 There we'll all join together
Dear Savior to adore.
There sickness and consumption
And fevers is no more.
562
Come, Thou Fount of Every Blessing
Jackson, who prints several settings of 'Come, Thou Fount' in
DESO, says (p. 94) that the poem is by Robert Robinson (1735-
1790) and that it "is found in practically all the shape-note song
books." Dr. Brown notes: "The new thing is the chorus."
From E. Myers, Route 6, Concord, Cabarrus county, 1924. Dr. White
notes : "This, and three other songs . . . were sung by two or three
people, apparently at Mr. Myers' house. This one 'sung by negro.'"
C horns:
We will walk through the streets of the city,
AX'here our friends have gone before ;
R E L I c; I O U S SONGS 6lJ
We will sit on the hanks of the river,
Where we meet to i)art no niort-.
1 Cdnie. thou tuunt of every blessing.
Time my heart to sing thy grace.
Streams of mercy never ceasing
Call for songs of loudest praise.
2 Teach me some melodious sonnet,
Sung by flaming tongues above ;
I'raise the mount. I'm fixed upon it,
Mount of thv redeeming love.
563
Dar'll Be No Distinction Dar
A desire for the abolition of racial discrimination and climatic
variability constitutes the theme of this unusual song.
"Negro fragment." From Julian P. Boycl, as collected from Bryan
Banks, a pupil of the scliool at Alliance, Pamlico county, 1927.
1 Up in Heben, so dey say,
Dar ain't no snow ;
All through de winter day
De watermillions grow.
For by de laws of de just.
And de laws of de right,
\\ e'U all be white in Heben's delight.
Chorus:
Dar'll be no distinction dar,
Dar'll be no distinction
On dat beautiful shore,
Dar'll be no distinction dar.
2 For by de laws of de just.
And de laws of de right.
We'll all be white in Heben's delight,
Dar'll be no distinction dar.
564
Didn't It Rain?
Variants of this song have been published by H. W. Odum, The
Negro and His Songs (Chapel Hill, 1925), pp. IJ9-30, and by
White in ANFS 141.
A
"Negro fragment." With music. From Julian P. Boyd, as collected
from Kuby Casey, a pupil of the school at Alliance, Pamlico county ;
undated.
6l8 NORTH CAROLINA FOLKLORE
It rained forty clays and forty nights
Without stoppin' no mo'.
Didn't it rain, didn't it rain?
I heard de angels when dey moaned.
Lord, didn't it rain?
As published by White in ANFS 141, without music. "Reported from
Durham, N. C, 1919, MS of Thomas Litaker, as from Cabarrus County,
N. C. 'Heard sung by negro on father's place.' "
C
'Didn't It Rain?' From "Hodgin, Northeastern N. C." ; undated.
Didn't it rain ?
Children mighty didn't it rain ?
Oh, my Lord, didn't it rain?
Rained forty days and forty nights vvithotit stopping.
"Negro fragment." From Julian P. Boyd, as collected from Ruby Casey,
a pupil of the school at Alliance, Pamlico county, c. 1927-28.
It rained forty days,
And it rained forty nights ;
Sinner come a-floatin' by Noah's do'.
'Go way, man, you done and sinned ;
De Lord tol' me not to let you in.
De do' is locked and de key is gone.'
I heard de angels when dey cried ;
'Make haste, my Lord,'
Dey cried, 'Make haste.'
565
An English Orphan
Two variants of this song appear in the Frank C. Brown
Collection.
'An English Orphan.' From Miss Pearl Webb. Pineola, Avery county,
without date. Dr. Brown notes: "'My Heart's in the Highlands' and
'Apprentice.' " Dr. White adds : "It does sing to the tune of 'My
Heart's in the Highlands.' "
I My home is in ICngland, my home is not here.
Rut why should I murmur when trials appear?
The woman that took me, (iod has taken away ;
She's gone to join the angels and with jesus to stav.
K K 1. 1 (; 1 <) I' s s () N (; s 619
2 They l)r(nij:;in mv in my cliildlKidd. they never th()Uf,dit
that 1 knew ;
But it comes to nie so clearlw and 1 know 'lis all just so.
I have no friends, no relations, no one to take ni\- ])art;
lUu if I live a Christian we'll meet to never part.
3 When 1 teel so sad and lonely and ni\- friiMuU thev seem
so few.
I take it all to Jesus: I know he'll hear me throuf^h.
But 'tis sad to he an ori)han. without a mother's care.
But it's sweet to know that Jesus loves his children every-
where.
4 Although I'm poor and homeless, without a friend to love,
1 i,''lory in the one grand hope: There is a home ahove,
Home, home, sweet, sweet home.
Prepare me, dear Savior, for Heaven ahove.
Xo title. From MS book of Mary Martin Copley. Route 8, Durham;
obtained by Jesse T. Carpenter. R.F.I).. Durliam ; undated. MS incom-
plete. With a few verbal variations, follows A through stanza 3, but of
stanza 4 has only the opening clause, "Although I'm poor and home-
less. . . ."
566
Down by ue Ribberside
The song resembles the refrain in 'Down by the River.' in T. P.
Fanner. Religious Folk Songs of the Negro (Hampton, Va., 1916),
p. 167. The chorus and first stanza are close to part of a song in
Utica Jubilee Singers Spirituals as Sung at the Utica Xormal and
Industrial Institute of Mississippi (New York, 1930), pp. 16-17. 1"
pattern and diction, the whole resembles 'Down by the Riverside,'
in Fauset JAF"L XL 297. Cf. .Sandburg, ASb 480-1, and '(iwine-a
Study War No Mo'!' in W. A. I-'isher, Sc-c'enty Negro Spirituals
(Boston, 1926), pp. 60-2.
From W^ J. Andrews, Raleigh (?). witiiout datf. Dr. Brown's cor-
respondence with Mr. Andrews contains four l(.•tte^^, dating 1927-42, l)ut
no reference to this text.
1 Down hy de rihherside,
Down hv de rihherside.
Ain' gwine ter study 'hout war no mo';
Down hv de rihherside,
Down hv de rihherside,
Ain' gwine ter study 'hout war no mo'.
2 Down hv de rihherside,
Down hy de riljlierside,
X.C.F., Vol. III. (42)
620 NORTH CAROLINA FOLKLORE
Ain" gwine ter study 'bunt peace no mo";
Down by de ril)berside,
Down by de ribberside,
Ain' gwine ter study 'bcnit peace no mo'.
3 Down by de ribl^erside,
Down by de ribberside,
Ain' gwine ter study 'bout nothin' no more ;
Down by de ribberside,
Down by de ribl:)erside.
Jest goin' ter study 'Ijout beaben some more.
567
Gwine Down to Jordan
Refrain and chorus are related to 'I Never Will Turn Back Any
More,' in this collection, and stanza 3 to White ANFS 59 (A),
p. III.
Contributed by Otis Kuykendall, Asheville, 1939.
1 I'se gwine to Jordan on de wheels ob time;
Death's a gwine to shake dis frame of mine.
And I never will turn back no more.
Chorus:
No more, my Lawd, no more, my Lawd,
And I never will turn back no more.
2 Hypocrite, hypocrite God despise.
Tongue so keen and he will tell lies.
And I never will turn back no more.
3 If you get there before I do,
Look out for nie — I'm comin' too.
And I never will turn l)ack no more.
568
God Is at de Pulpit
"Negro fragment." From Julian P. Boyd, as collected from Ruby Casey,
a pupil of the school at Alliance, Pamlico county, c. 1927-28.
(jod is at do pulpit,
(iod is at de do',
God is always over me.
While 1 le is in de middle of de flo'.
K E L 1 (i 1 O U S S N c; S ^21
Cliorifs:
Ciod is a CjocI ;
Clod don't iiebcr cliant;c.
'Cause lie always will be king.
569
("lOiNc, TO IIkavkn hv tuk Light of tiik Moon
Concerning the origin of the song, Dr. White conjectures: •'Very
possibly connected with early minstrel song books, like 'Golden
Slippers.'" Cf. Steely 242-3 (i935)-
From Mrs. Alice Cooke, with imisic. A phonograph recr>rcling was made
at Boone in 1922.
Going to Heaven bv the light of the moon,
Halle, halle, halle. halle-lu-jah,
Up to meet them darkies soon.
Halle, halle, halle, halle-lu-jah.
In the morning, in the morning by the bright ligbt.
When Cabriefblows his trumpet in the morning.
Go Dowx, Moses
The text of this, one of the most stately and beautiful of the
Negro spirituals, is close to that of the first two stanzas m J. B. T.
INIarsh's The Story of the Jubilee Singers, with Their Songs (Bos-
ton. 1881), p. 142.
I-n.ni Miss Clara Hearne. Principal of Central School, Roanoke Rapids,
Halifax county. October 20. 1923, as sung by Negroes m Chatham county.
1 Leader: When Israel was in Egypt's land.
Chorus: Let my people go!
Leader: Oppress'd so hard they could not stand.
Chorus: Let my people go!
Chorus and Leader:
Go down, Moses,
W'av down in Egypt's land ;
Tell old Pharaoh.
Let my ])eople go!
2 Leader: 'Thus saidi the Lord." bold Mo.ses said.
Chorus: Let my people go !
Leader: If not I'll smite your first-born dead,
Chorum: Let my people go !
622 N f) R T II CAROLINA FOLKLORE
Churns and Leader:
Go down. Moses,
AVay down in Egypt's land ;
Tell old Pharaoh,
Let my people go !
571
Golden Slippers
White ANFS 106 gives details of the history of the song and a
text from Alabama. He notes: "Walking the golden streets is a
phrase from the early-nineteenth-century religious songbooks." cit-
ing Zion Songster (1827) ; and records testimony that 'Golden Slip-
pers' was sung in the 1870s as a minstrel song. It was printed by
Auner of Philadelphia as a penny song, and included as "Dein
Golden Slippers. Words and music by James A. Beard," in The
Celebrated. Original and Only Madame Renty's Songster (New
York, 1880 ). p. 45. ANFS 107 gives further comparative refer-
ences and a text from Durham, somewhat like the following.
'Going Up.' From Mrs. Sutton, as sung by her sister Pearl. Phono-
graph recording, Lenoir, 1922.
1 \\'hat kind of shoes are you going to wear?
(iolden slippers.
\\ hat kind of shoes are you going to wear ?
Golden slippers.
Golden sli])pers, Pni a-going away, a-going away,
Agoin" away.
Golden slippers, I'm a-going away, going up
To live with the Lord,
(ioin' up, goin' up. goin' up. goin' up. gcjin" u]).
Goin' up. goin" up. goin" up, goin' up. goin" u]),
Goin" up. goin" u]).
Goin up to live with the Lord.
2 What kind of robes are you goin' to wear?
Long white robes.
AX'hat kind of robes are you goin' to wear?
Long white robes.
Long white robes. I'm a-goin' away, goin' awav.
Long white robes. I'm a-goin' awav. goin' uj)
To live with the Lord.
Goin' u]). goin" up. goin' uj). goin' up. goin' up,
(ioin' u]). goin' u]), goin' up. goin' up, goin' up,
(join' UJ). goin' up.
Goin' up to live with the Lord.
3 What kind of gates are you goin' through ?
Pearly gates.
[Repetition after pattern of stanzas i a)id j.\
R E 1. I (i I () L' s s () X (; s 623
4 What kind of strcct.s arc nou i^<>in' in walk?
Golden streets.
[Repetition after pattern of stan:zas 1, 2, ?.J
(iooi) Xi:\vs — Chariot's Comix'
C'f. White ANFS 73 and 120; Jackson WNS Ixviii B. p. 19.:;:
WilHani Henry Sniilh, lU)ok of Spiriiuals ( C'hicatio, 1937 I, I'l*- '^-lO.
I'Tdiii Newman I. White, Durham, Deceml)er lO, 1944, witli this note:
■'There are several "good news' and 'cliariot' songs in my Amcr'nan
.\'t\(ir<) 1-olk Songs, l)ut not this one. Omitted, probably l)ecanse 1 had
only a very fragmentary text for it and no definite source. All I now
remember — if I ever knew more — is:"
Good news — chariot's coniin',
Good news — chariot's coniin',
Cjood news — chariot's coniin',
And I (k)n't want it to leave me hehind.
S7i
Good Lordv, Rocky Alv .Soul
The chorus corresponds in part to 'O Rocka My .Soul,' Jackson
WN.S 22";. There are closer resemblances to a spiritual in j. Rosa-
mond Johnson, Nailing Along in Song (New York, 1937), PP- ^>o-i.
From A. J. and J. H. Burrus, Weaverville, Buncombe county. August
1922, with the note: "This is only a fragment of an old negro's planta-
tion song. An old negro slave by the name of Sam Clemmons, who was
hired by my father to plow corn, would sing the song all day long."
Chorus:
Lorfl. I want you to rocky niv soul
In the hosoni of Ahrahani.
Lord. I want you to rocky ni\- soul
In the hosoni of Ahrahani,
Lord. I want you to rocky my soul
In the hosoni of Ahrahani.
(jood Lord, rocky my soul.
If it wa'n't fur me the rich would li\c
And the poor would die.
(iood Lordy. rocky my soul.
If it wa'n't for me the rich would live
And the poor would die.
CjOod I.ordw rock\- m\' soul.
624 NORTH CAROLINA FOLKLORE
574
Good News Coming from Canaan
"This song is a perfect pattern of many I have found in early
19th century books of white spirituals, like Zioji Songster," writes
Dr. White.
Cf. 'Good News Chariot's Comin',' above.
From the Reverend R. A. Swaringen, KannapoHs, Cabarrus county, July
31, 1922.
I thought I heard my mother say,
Good news coming from Canaan.
I want to hear my children pray.
Good news coming innn Canaan.
575
Go Wash in the Beautiful Stream
This song alludes to the story of Elisha's curing the Syrian cap-
tain Naanian of leprosy, as related in II Kings 5. Chappell FSRA
169 prints a stanza with music from Tom Forbes, Old Trap, Pas-
quotank county, taken down in 1938. It is identical in text with
the following, except that it has "hallelujah" after "stream" in 1. i.
From Julian P. Boyd, as collected from Jeannette Tingle, a pupil of the
school at Alliance, Pamlico county, c. 1927-28.
Go wash in the beatitiful stream,
Go wash in the beautiful stream,
Oh, Naaman. oh. Naaman,
Go down and wash.
Go wash in the beautiful stream!
576
GwiNE DOWN Jordan
This song is similar to No. 96 in Jackson WNS 214.
From Miss Jewell Robbins, Pekin, Montgomery county (later Mrs. C. P.
Perdue). Phonograph recording, Pekin, 1922. Each stanza has the
repetitions indicated in stanza i.
I Oh. l)rothers. won't you meet me,
( )li, brothers, won't yoti meet me.
( )]i, brothers, won't you meet me?
I'm bound for Canaan's happy shore.
Chorus:
I'm gvvine down b"'dan,
I'm gwine down Jordan,
K K I. 1 c I (I r s s () N c s 625
I'm i^wiiK' (Idwii J(M"(l;in, halk'lo.
I'm i^wine down Jtirdan,
I'm y^wine down Jordan.
I'm i^winr down Jordan, hallclo.
2 ( )li. sisters, won't vou meet me, etc.
3 ( )]). mothers, etc.
4 ( )li. fathers, etc.
5 ( )li, sinners, etc.
577
Hkar That Rumblixc; (I IIkard a AIic.htv Rumri.ing)
The following are apparently ditYerent versions of this song. It
resemhies stanza 5 of a copyrighted song, 'I've Got a Home in the
Rock. Don't You See,' in Carl Diton, Thirty-Six Soittli Carolina
Spirituals (New York, 1928), pp. 16-19.
A
'Hear That Rumliling." With musii.-. From G. S. Bhick of ^^)llngs-
towii. Ohio. May 14. iy20. There is a phonograph recording, dated 1920.
1 Hear that rumhling down under the ground.
Hear that rumhling down under the ground.
Hear that rumhling down under the ground ?
Oh, why don't you pray for me?
CJwnis:
You pray for me and I'll ])ray tor you.
You pray for me and I'll pray for you.
Yoti pray for me and I'll ])ray for you.
Oh. whv don't vou pray for me?
2 I helieve it's (jid Satan a-walkin' around,
I believe it's old Satan a-walkin" arouiid,
I believe it's old Satan a-walkin' around.
Oh, why don't you pray for me ?
B
Xo title. With music. Text from Miss Ella Smith, Pitt county; tune
by Mary Barbour, Raeford, Hoke county. Recording, Raeford. 1922 (?).
The last two lines are matched by a song from North Carolina rcp<Trtcd
by Henry JAFL XLiv 445.
I heard a mighty rumhling up in the sky.
Must 'a' been Jehovah from on high.
I heard a mighty rumhling under the ground.
Must 'a' been the devil a-turning around.
626 NORTH CAROLINA FOLKLORE
C
'I Heard a Mighty Lumbering." From Julian P. Boyd, as collected
from Jeannette Tingle, a pupil of the school at Alliance, Pamlico county ;
undated, but c. 1927-28.
1 I heard a mighty himbering in the ground ;
I thought it was Satan turning around.
Oh, you know, oh, you know.
You know. Sinner, we got to go.
2 I heard a mighty lumbering in the sky ;
I thought it was Jesus drawing nigh.
Oh, you know, oh, yoti know.
You know. Sinner, we got to go.
3 Look back yonder, what I see?
Two pretty angels coming atter me.
Oh, you know, oh, you know.
You know, Sinner, we got to go.
4 Listen at dem horses' feets
Poppin' on dem golden streets.
Oh, you know, oh, you know.
You know, Sinner, we got to go.
578
He Never Said a Mumbling Word
Versions of the song are to be found in John W . Work, American
Negro Songs and Spirituals (New York, 1940), p. 103 (as noted
by Dr. Brown ) ; in R. Emmett Kennedy, Mellows (New York,
1925), pp. 127-8; and in J. Rosamond Johnson ct al.. The Book of
American Negro Spirituals (New York, 1925), pp. 174-6. The text
in the last-named is most nearly like Judge Winston's, having two
stanzas in common with stanzas 3 and 4 of his.
From Judge Robert W. Winston (1860-1944), who lived in Chapel Hill
at various times in his life and died there on October 14, 1944. The
text is without date or Judge Winston's address at the time he con-
tributed it, but it has the following headnote : "During one of the cam-
paigns to sell war savings stamps [c. 1917-20], I was at a colored church
in my county and heard the congregation croon most weirdly the fol-
lowing." Dr. Brown adds : "Heard at Windsor. Bertie County. Cf. the
song in Kennedy's Mellon's."
1 ()h, didn't Jesus die?
And he never said a nnnnbling word.
He never said a word.
He never .said a word,
.\nd he never said a nnnnbling word.
Not a word.
R E L I (i I () r S so N G S 627
2 He died on Calvary.
And he never said a niunihlinm word.
He never said a word.
He never said a word.
He never said a iininihliiig word.
Not a word.
3 They nailed him to the cross.
And he never said a nuinil)hng word,
He never said a word.
He never said a word.
He never said a inunihiiui; word.
Not a word.
4 He bowed his head and died.
And he never said a muniblins^^ word,
He never said a word.
He never said a word,
He never said a munibhn!:,^ word.
Not a word.
579
Heaven* Is a Beautiful Peace
A song with the same title, from Kentucky, in Mary A. Gris-
som's The Xcgro Sings a Xcw Heaven (Chapel Hill, ig.^o), has
the following similarities: same opening, except that the first line
is not repeated and "Ain't no . . ." lines follow; "plumh the line";
stanzas devoted to "lyuhs," "drunkards," "troubles"; last line of
each stanza repeating "Heaven is. . . ."
a
W'itli music. From Will ("Shorty") Love, janitor in Trinity College and
Duke University; undated, hut c. 1920. MS in hand of Dr. Ilrown.
Chorus:
Heaven is a beautifnl place. 1 know.
Heaven is a beautifnl ])lace. I know.
li you want to ,^0 to Heaven on time,
Sure got to plumb de line.
Heaven is a beautiful place, I know.
I Ain't no sorrow in Heaven. I know.
Ain't no sorrow in Heaven. 1 know.
H you want to go to Heaven f)n time.
Sure got to plumb de line. ,
Ain't no sorrow in Heaven, I know.
Chorus
628 NORTH CAROLINA FOLKLORE
2 Ain't no murders in Heaven, I know.
Ain't no murders in Heaven, I know.
If you want to go to Heaven on time.
Sure got to plumb de line.
Ain't no murders in Heaven, I know.
Chorus
3 Ain't no gamblers in Heaven, I know.
Ain't no gamblers in Heaven, I know.
If you want to go to Heaven on time.
Sure got to plumb de line.
Chorus
4 Loving union in Heaven, I know.
Loving union in Heaven, I know.
If you want to go to Heaven on time,
Sure got to plumb de line.
Loving union in Heaven, I know.
Chorus
5 There's shouting in Heaven. I know.
There's shouting in Heaven. I know-.
If you want to go to Heaven on time,
Sure got to plumb de line.
There's shouting in Heaven, I know.
Chorus
B
'Heaven Is a Beautiful Place, I Know.' From Julian P. Boyd, as col-
lected from one of his pupils. Rosebud West, in the school at Alliance,
Pamlico county, c. 1927-28. Dr. Brown notes: "Negro fragment. See
air in Shorty's list" (referring to Will Love, communicant of A text).
1 Elisha has done and seen the beautiful place.
Heaven is a lovely place, I know, I know ;
I have started out for Heaven,
I am praying as I go.
If I make it my journey,
I won't come here anv mo'.
Chorus:
Heaven is a beautiful place, 1 know.
Heaven is a beautiful ])lace. I know.
2 * If you want to get to Heaven on time.
You got to sho' plumb de truth [line].
Heaven is a l)eautiful |)lace, 1 know, 1 know.
K K 1. I c; 1 I" s s o X G s 629
3 l''lisha dciiK' Sfc llie siijlu
And said hv didn't uvv(\ any lis^ht.
He has gone on to llt'aM-n to rest.
Heaven is a heantitul i)lace, 1 know.
Oh, yes. Heaven is a beantiful place, 1 know.
5S0
1 h'SIl. LlTTl.K li.M'.V
This has tlie first lino in cnninion with a soni;- in Dorothy (l. Px)!-
toii, ()/(/ Soiujs Hytniuil ( Xcw York. igjg).
'Hush. Oh, Baliy, Duii't You Cry.' From JuHan P. P.oyd, as C(illi.rk-(1
from CatlK-rine ' Bennett, a pupil of the school at Alliance, Pamlico
county; undated, but c. 1927-28. "Negro fragment."
1 Hush, htlle hahy, and don't you cry ;
Yo' niudder an' fader is ho'n to die !
Jesus done taken my driftin' han'.
Good Lord. Lord, Lord!
Over de hills bright shinin' Ian'.
( )h, niv jesus done taken my driftin' han'.
(iood Lord, Lord, Lord!
2 Aiind out. Sister, hows you step on de cross;
Yo' right foot shppin' — you'll .sho' be los' !
Jesus done taken my driftin' han'.
Good Lord, Lord, Lord!
Over de hills bright shinin' Ian'.
Jesus done taken my driftin' ban'.
Good Lord, Ijnxl, Lord !
3 If you see my Mudder won't you tell her fo' me
Lm on my bosses in de battleheld.
Jesus done taken my driftin' ban'.
Good Lord. Lord, Lord!
Over de hills bright shinin' Ian'.
Jesus done taken my driftin' ban'.
Good Lord, Lord, Lord!
1 Am r>()uxi) FOR THE Promised Land
Jackson in DESO 11V16 states that the text is by Samuel Sten-
nett (17 '7-9^) and remarks that the tmie he prints, "practically
identical with the old Scottish 'The Boatie Rows,' " was a favorite
of the blackface minstrels and appears in 'Kingdom Coming iq.v ).
The followim? text lacks 11. -:.-^2, 25-32 of the text reprinted by
Jackson hut has a chorus not in the Stennett te.xt. Jackson WMb
630 NORTH CAROLINA FOLKLORE
208 gives the first stanza and a chorus practically identical with the
following. This version, he savs, is found in The Sacred Harp
(1844).
From the John Biirch Blaylock Collection.
1 On Jordan's stormy bank I stand,
And cast a wistftil eye ;
To Canaan's fair and happy land
Where my possessions lie.
Chorus:
1 am hound for the promised land,
I am bound for the promised land.
Oh, who will come and go with me?
I am bound for the promised land.
2 All o'er those wide extended plains
Shines one eternal day ;
There God. the Sun, forever reigns,
And scatters night away.
3 No chilling winds, nor poisonoits breath,
Can reach that healthful shore ;
Sickness and sorrow, pain and death.
Are felt and feared no more.
4 When shall I reach that hai)py place.
And be forever blest?
When shall I see my Father's face.
And in His bosom rest?
582
I Am Going Where the Blood Flows Stronger
From Julian P. Boyd, as collected from Rosebud West, a pupil of the
school at Alliance, Pamlico county; undated, hut c. 1927-28. "Negro
fragment."
1 1 am going where the blood flows stronger,
I am going where the blood flows stronger.
Way over yonder in the j^romised land.
2 I wonder where is my dear old mother.
Way over in the j^romised land.
Who will rise and go to my father.
Way over in the promised land?
3 ^^li< g'^^O'- gloO'' ballelujah !
Oh, he's way over there in the j)r(imise(l land.
I am going where the blood flows strt)nger.
R E L I C. I () r S S O N G S 63 1
Oh. yes. I am s^oiii^; wIumc the lilood flows stronger,
Oh, Lord!
4 I know those anj^els are ha\in|^ a jjjood time.
J'lating of honey and drinking of wine.
\\ a\- over there in the ])romised land!
5 1 le is hca(Hng them with his mi^dit\- hand.
\\ ay over there in the promised land.
Oh, I am going wliere the hhiod flows stronger.
I Rklong to That Band
The chorus is identical with two lines in a song of the same title
included in L. L. McDowell. Songs of the Old Camp Ground (Ann
Arhor, Mich., 1937), p. 39. The editor of this collection notes:
"This song, in very different form, hoth as to words and music, is
in the revised Sacred Harp . . . published in 191 1 under the title
of Original Sacred Harp. It is there credited to Mr. S. M. Denson.
who is still living in Alabama. INIy father told me positively that
he heard this sontj . • . about 1845."
From a MS marked "Hodgin, Southeastern N. C." ; without date.
1 I never saw the like since I heen horn —
People keep coming and the train done gone.
Chorus:
I belong to that hand,
Hallelnah. halleluah, hallekiah,
I belong to that hand,
Hallelnah.
2 Some come crippled and some come lame.
Some come hobbling in Jesns' name.
3 Clonds look heavy and it looks like rain.
Sun's drawing water from ICmanuel's vein.
I Dox't Love Old Satax
A
From Ella Smith. Pitt county ; undated. "Negro fragment."
I I don't love old Satan.
(Jld Satan don't love me.
And under the circumstances
Me and old Satan don't ajrrce.
632 NORTH CAROLINA FOLKLORE
C horns:
I'se gwine to Mount de Zion,
^ly beautiful home.
2 1 stepped in de water.
And the water was cold ;
Got a free body,
And I want a free soul.
B
Another copy from the same informant, in which the order of stanzas
I and 2 is reversed, and the chorus reads :
I'm gwine to ]\Iount Zion, my beautiful home.
I'm gwine to Mount Zion. my beautiful home.
585
I Don't Sing Like I Used to Sing
From JuHan P. Boyd, as collected from Catherine Bennett, a pupil of
the school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro
fragment."
1 I don't sing like I used to sing,
Jesus done changed, changed, changed
Dis heart o' mine, dis heart o' mine,
Dis heart o' mine, dis heart o' mine,
Jesus done changed dis heart o' mine.
2 I don't pray like I used to pray,
[Remainder exactly as in stanza i.]
3 I don't shout like I used to shout, etc.
4 I don't talk like I used to talk, etc.
5 I don't walk like I used to walk. etc.
6 I don't moan like I used to moan, etc,
7 I ain't going to do like I used to do, etc.
586
I Do Wonder Is My Mother on That Train
'Sinner, You Better Take Heed.' With music. From an anonymous,
undated MS. Dr. White notes: "Taken down in pencil by F.C.B., evi-
dently from dictation. May have come from Shorty Love [Will Love,
janitor at Trinity College and Duke University]. It resembles other
MSS that do. See my note on Gospel Train in American Ncijro Folk
Songs, p. 64." Cf. 'The Gospel Train' and 'Little Black Train' ( witli
notes) in this collection.
R K I. 1 (i 1 () I' s s o N c; s 633
I do woikUt is inv niotluT on thai train.
1 do woiukr is n\\ ukiIIut on that train.
Train is uh-coniin' roun' dc cnrvc,
An' she's strainin' t"\cr' ncrxc.
I d(» wonder is niv mother on that tr.ain.
Well, sinner, you hetter take heed;
Jes' listen to what I say:
You walk with the Christian rou-n".
But still you will not pray.
God with his an-ger-y frown
Some day will call you down.
I wonder is my mother on that train.
W hen the train rolls u]) to the station
All the saints will hegin to shout.
Christ the * * * * Conductor.
All ahoard for the Gospel Train.
You hetter be at the station
\\ ith your ticket in your hand.
1 do wonder is my mother on that train.
The day of the Resurrection
Poor sinner will be lost.
You see the good old Christian
Come a-wogging [walking?] roun' uh duh Cross,
Crying. 'Lord. 1 been uh redeemed.
With a garment white and clean.'
I do wonder is my mother on that train.
Just one moment in glory
Will satisfy my mind,
Sitting down with Jesus.
Eating honey and drinking wine.
We'll march around uh the throne
With Peter, James, and John.
I do wonder is my mother on that train ?
Let the uKjther take the daughter
And the father take the son,
Take them to the Sabbath school
And point them to the Lord.
That's the way good Christians do
To gain the heavenly Ian'.
1 do wonder is mv mother on that train.
634 NORTH CAROLINA FOLKLORE
I Got de Key of de Kingdom
This song resembles T Got a Key to the Kingdom' (from Ala-
bama) in Mary Allen Grissom's The Negro Sings a Neiv Heaven
(Chapel Hill, 1930), pp. 98-99.
From Julian P. Boyd, as collected from Elsie Rawls. a pupil of the
school at Alliance, Pamlico county; undated, hut c. 1927-28. "Negro
fragment."
1 Preacher, I got de key of de kingdom.
De world can't do me no harm,
De world jus' can't do me no harm.
Watch yotir secret keeper,
Always bringin' you news,
Tell a lie upon you
And keep you all confu.se'.
2 Some people borrows money,
Promise to pay,
When dey see you comin'
Dey turn de oder way.
Oh, I got de key of de kingdom.
Dis world can't do me no harm,
Dis world jus' can't do me no harm.
3 When you think you got a friend,
You had better watch yotir way,
For you can never tell ;
You may get fooled some day.
Oh, I got de key to de kingdom,
De world can't do me no harm,
Dis ol' world jus' can't do me no harm.
588
1 Have Long Since BeEx\ Learned
From Mrs. Norris, without date or address. .\ Mrs. Norris
whose early address was Raleigh, N. C, contriliuted c. 1924. Tlie
repetitions indicated in the first two stanzas continue throughout.
I 1 have long since been learned
Dal de trumpets will be soundin',
Dat de trumpets will be scnuidin' in dal day.
Oh, de trumi)ets will be soundin' in dat day.
O Sinner, whar will vou stand in dat day?
K V. I. I (I 1 () U S S O N C S 635
C'honis:
He can able de blind to see,
He can able de lame to walk.
He can raise de dead from nnder de o;r()und.
() Sinner. i)ray on. pray on. pray (in;
jesns is knockin' at de door.
2 1 liave l(nig since been learned
Dal King jesus will be comin',
Uat King Jesus will be comin" in dat day,
( )li. King Jesus will be comin' in dat day.
() Sinner, wliar will you stand in dat day?
3 I bave long since been learned
Dat de dead will be a risin'.
4 1 bave long since been learned
Dat de mourners will be weepin'.
3 1 bave long since l)een learned
Dat de Christians will be sboutin'.
6 1 bave long since been learned
Dat de sisters will be sboutin'.
7 I bave long since been learned
Dat de brotbers will be sboutin",
589
I Am Standing in the Shoes of John
Nu title. With music. From Miss Jessie Hauser, whose early addresses
were in Forsyth county and Durham county, July 1923. Phonograph
recording, Durham, N. C, 1928.
1 I am standing in the sbcjes of John.
1 am standing in the shoes of John,
I am standing. 1 am standing.
I am standing in the shoes of John.
2 If thev fit me. 1 will wear them on,
If they fit me. I will wear them on.
If they fit me. if they fit me.
If they fit me. I will wear them on.
590
I Don't Know When ( )li) De.\th"s (iwiNK ter C.\li. Me
No title. I'Vcjm -Mrs. N. J. Herring, Tomahawk, Sampson county:
undated.
N.C.F., Vol. Ill, (4.^)
636 NORTH CAROLINA FOLKLORE
I don't know when old death's gwine ter call me ;
He's ridin' every day,
He don' let nobody stay.
My heart is full of sorrow, my eyes is full of tears.
Old death is gwine ter call me 'fore many more years.
591
I'm Goin' to Ride in Pharaoh's Chariot
No title. From S. M. Helton, Jr.. Principal of Bain Academy, Alatthews,
Mecklenburg county; undated, but probably 1938-39.
1 I'm goin' to ride in Pharaoh's chariot,
I'm goin' to ride in Pharaoh's chariot ;
One of these days God knows that
I'm goin' to ride in Pharaoh's chariot,
I'm goin' to ride in Pharaoh's chariot one of these days.
2 I'm goin' to cross the river of Jordan, etc.
3 I'm goin' to walk dem golden streets, etc.
4 I'm goin' to play dat golden harp, etc.
5 I'm goin' to wear dem golden slippers, etc.
6 I'm goin' to sing in de angel choir, etc.
7 I'm goin' to talk with Paul an' Silas, etc.
8 I'm goin 'to eat at Peter's table, etc.
592
I Mean to Go to Heaven Anyhow
In phrasing and structure this resembles 'Going to Heaven Any-
how,' No. 1009 in Songs of the People, edited, compiled, and
arranged by Max T. Krone (Chicago, 1937).
"Negro fragment." From Julian P. Boyd, as collected from Rosebud
West, a student in the scbool at Alliance, Pamlico county ; undated, but
c. 1927-28.
I I mean to go to heaven anyhow.
Anyhow, anyhow, anyhow !
My Lord, I mean to go to heaven anyhow !
Jesus died, oh, he died on the cross,
To set every sinner free.
Oh, yes, dear Lord,
I mean to go to heaven anyhow.
RELIGIOUS S N C. S 637
^■()U toKl luiillu'i- wlii'ii she was liviiii;
Wtu wimld treat Ikt chilluns i^oud. yuu know,
lint >iiK-f she has hcen dead
\'(nr\e (h-i\en u> t'roin your door.
lUit anyhow, J mean to ,i;(> to hea\en,
Oh, yes, my L.ord,
I mean to go to heaven an\how !
Ydu know that Jesu^ (hed on the eross,
And 1 mean to go U) heaven anyliow.
( )h. ve>, lie died on the cross,
And 1 mean to go to heaven and meet my mother,
( )h, ves. 1 mean to go to heaven.
(_)h, ves, 1 mean to go to heaven anyhow!
593
Indian Song: Ah. Pork Sinner
I ocil titk' With music. From Mrs. Maude' Minuisli Sutton, sun^ ''.v
her sister. Pearl; undated. Dr. White notes: "Really a Negro spiritual,
tliough Indians may have sung it." Stanza 4 of 'In Dat Day m \\ . A.
Fisher, Seventy Xcgro Spirit mils (Boston. 1926), pp. (j6-8, has an image
of the moon resemhling that in line 2 below.
Ah, pore sinner, under the rock.
Till the moon goes down in hlood.
You can hide yo'self on the mountain top.
To hide your face from God.
Um, ah, ta-alk ahout Jesus!
Halle, halle, lu, there's glory in my soul.
594
1 Picked My B.'\nj() Too
From MS book of songs lent to Dr. Brown in August 1936 l)y Miss
Lura Wagoner, Vox, Alleghany county. Several of the songs are dated,
some 191 1, some 1913-
1 Come all you sons of freedom.
Come listen unto me ;
ril tell you all my conditions
And what they used to be.
2 1 used to be a rebel,
I wandered from the Lord;
I never took his counsel
Nor read his holy word.
638 NORTH CAROLINA FOLKLORE
3 The conflict between two parties,
The gray coats and the bhie —
I vokniteered for freedom,
And I picked my banjo too.
4 I was born in North CaroHna
And raised up as a slave.
And no one ever told me
I had a soul to save.
5 Until I had the fever
It brought me near my grave,
And many a Christian told me
I had a soul to save.
6 I went to hear the gospel.
To see if it was true ;
I laughed and mawked the preacher,
And 1 picked my banjo too.
7 Until he called for mourners
And tears stood in my eyes,
I bowed beneath the altar,
And I laid my banjo by.
8 I prayed for sovereign mercy.
And Jesus filled my cup.
I went home rejoicing.
And I burned my banjo up.
9 Brother, will you meet me
On that delightful shore?
We will praise the Lord forever
W'here banjos are no more.
595
I'sE GwiNE Land on Dat Shore
From Julian P. Boyd, as collected from Frederick Liverman, a pupil of
the school at Alliance, Pamlico county; undated, l)ut c. 1927-28.
I I don't like old Satan ;
(Jld Satan don't like me,
'Case I believes in Jesus,
And he sot me free.
Chorus:
I'se gwine land on dat shore,
I'se gwine land on dat shore,
I'se gwine land on dat shore.
k K 1. I i; I (1 r s s o N t; s 639
I'll l)t.' blessed forexornuire,
When 1 gits to 1 leheii ;
I want yon to be dar too;
When 1 cries ont holy,
1 wants yon to cry so too.
When 1 gits to 1 leben.
Who shall 1 see dar ?
Alary, Martha, Lnke, and John,
Waitin' dar t\)r nie.
I Shall Not P.k Blue
From Julian P. Boyd, as collected from Minnie Lee, a pupil of the
school at Alliance, Pamlico county ; undated, hut c. 1927-28. "Negro
fragment."
1 I've got religion. I shall not be blue.
I've got religion, 1 shall not be blue.
It's like a tree that's planted by the waters,
And 1 shall not be blue.
Clionts:
1 shall not, 1 shall not be blue.
It's like a tree that's planted by the waters,
And I shall not be l)lue.
2 I love my Jesus ; 1 shall nut be blue.
I love my Jesus ; I shall not be blue.
It is like a tree that is planted by the waters,
And I shall not be blue.
3 I love my neighbors ; 1 shall not be blue.
I love my neighbors; I shall not be blue.
it is like' a tree that is planted by the waters,
And 1 shall not be blue.
B
'I Shall Not Be Moved.' From Julian P. Boyd, as collected from B. D.
Banks, pupil of the school at Alliance, Pamlico county ; undated, hut c.
1927-28. "Negro fragment."
I Sanctified and holy ;
I shall not be moved.
Just like the tree planted by the water.
Chorus:
(ilory. Hallelujah, I nIiuH not be moved,
lust like the tree planted by the water.
640 NORTH CAROLINA FOLKLORE
2 I want to go to Heaven,
Where 1 shall not be moved.
Just like the tree planted by the water.
3 If your mother forsakes you,
I shall not be moved,
Just like the tree by the water.
4 I am on my way to Heaven,
And I know I shall not be moved,
Just like the tree of Jesus Christ.
597
It's Good fuh Hab Some Patience
From Miss S. O. H. Dickson, Winston-Salem, Forsyth county, in a
letter dated November 5, 1913, enclosing this and a version of 'Roll
Jordan, Roll' (see C in this collection), with this note: "The tunes of
both were spirited, and they were sung with accompaniment of the oars
often as they rowed on the river." She indicates that the provenience
of both songs was the Sea Islands.
Chorus:
It's good fuh hab some patience, patience, patience ;
It's good ftih hab some patience
Fuh ter wait upon de Lawd.
1 My brudder. won't you rise en' go wid me.
My brudder, won't you rise en' go wid me,
My brudder, won't you rise en' go wid me
Fuh ter wait upon de Lawd?
2 My sister, etc.
3 My fader, etc.
4 My mudder. etc.
598
I Waxter Jine de Ban'
From Mrs. C. C. Murphy, Ivanhoe, Sampson county, "as sung by her
father, J. N. Corbett, who learned it after the Civil War near Bain-
bridge, Ga." ; undated. Cliorus as in Allen SS, p. 95.
Chorus:
Oh. I wanter jine de l*)an'!
Oh. I wanter jine de 15an' !
I Two togedder ! .\\\ I wanter jine de P.an' !
Put on de er new shoes.
RELIGIOUS S N C. S
641
(1(1 up in hcahfii and talk alxml llic news!
C)h, 1 wanlcT jinc dc Uan' !
Argy \vi(l dc l""a(l(k'r an' er chalter wid df Son
And' talk alxnU dc w^yV what y<iu jcs" conic funi.
2 Oh. vou iMoscs, don' you get los' ;
Stretch dat rod an' come along across.
( )h. 1 wanter jine de Ban'!
1 got an ol' aunty in de i'romiscd Land!
She went over dere to feed deni laniljs.
An' I wanter jine de Ban' !
( )h, 1 wanter jine de Ban'!
El)r)-hody !
An' 1 wanter jine de Ban' !
599
1 Was Once ix a Dark and Lonesome Valley
Fruni lulian P. Bovd, as collected from Ruby Casey, a pupil of the
school "at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro
fragment."
I was once in a dark and lonesome valley,
And Satan led with trouble on de way.
But de devil tryin' hard to stop me,
And dey laugh at me whatever dey hears me say.
Chants:
Here's a light, chillun;
Here's a light, chillun ;
Here's a light where de angels led before us.
600
I Wonder As I Wander*
Thousli this song has much of the quality of the old English car-
ols it has been reported as folk song only from North Carohna
ami onlv recently (Songs of the HUlfolk 8-9). And wUh reason;
for (as 'he himself has informed Professor H. I\L Belden, m a letter
dated June 12, 1947J it is the work — except for the opening hues,
which he heard in Cherokee county in 1933— of the distinguished
student and practitioner of folk song John Jacob Niles. Mr. Niles's
text, with his own modifications of the tune, was copyrighted in
1934 by Schirmer and lias been widely sold and sung. Mr. Niles's
singing of 'I Wonder As 1 Wander,' with dulcimer accompaniment.
♦Copyright, 1934, by G. Schirmer, hic. Permission to reprint Mr.
Johnson's text and tune has been granted by G. Schirmer, Inc., and Mr.
John Jacot) Niles.
642 NORTH CAROLINA FOLKLORE
is recorded in liarly American Ballads, Arranged by John Jacob
Niles, Victor Album M 604.
From Obie Johnson, Crossnore, Avery county ; text undated. Phono-
graph recording made by Mr. Johnson at Crossnore in 1940.
1 I wonder as I wander, out under the sky.
How Jesus the Saviour could come for to die
For poor hon'ry^ people like you and like I.
I wonder as I wander, out under the sky.
2 W^hen Mary birthed Jesus, 'twas in a cow's stall.
With wise men and shepherds, and farmers and all.
And high from the heavens a star's light did fall,
And the promise of ages it then did recall.
3 If Jesus had wanted for any wee thing,
A star in the sky, or a bird on the wing,
Or all of God's angels in heaven for to sing.
He surely could" ve had it, for he was the King.
4 I wonder as I wander, out under the sky,
How Jesus the Saviour could come for to die
For poor hon'ry people like you and like 1.
I wonder as I wander, out imder the sky.
601
Jekkel Walls
From Will ("Shorty") Love, janitor in Trinity College and Duke Uni-
versity, about 1920, in the hand of Dr. Brown, as taken down from
"Shorty's" singing.
1 When Jekkel walls fell down.
It's no diiTerence whar I stand.
It's no matter whar I'll be,
Dere's someone always ready
To point de finger of scorn at me.
2 So, to heaven my soul shall onward move
Like lightnin' aroun' de throne.
My soul shall shout like Israel [?],
Thank God, I'll soon end at home.
3 When I get to heaven
Want you to be there too ;
When I cry out 'Amen'
Want you to cry out.
^Written "hon'ry" in the manuscrii)t. Mr. Nilcs states that this is
for "o'n'ry." The editors take "o'n'ry" to be for "ornery," i.e.,
"ordinary."
R E L 1 1; I o u s s o N c; s 643
602
Jksus Christ I Want to I-'ind
"Negro fragment." Collected by Julian I*, lioyd from Catherine Ben-
nett, a pnpil in the school at Alliance, Pamlico county, c. 1927-28. The
stanza beginning "Tell me whicii way my Redeemer's gone" is not desig-
nated in the MS as a chorus, but since it is regularly repeated, it evi-
dently is. and is designated thus by the editors.
1 Jesus dirist 1 want to tind ;
Pfay tell me where he is.
'Cause him alone can ease m}- mind
And give my conscience peace.
[Chorus: |
Tell me which wa\- my Redeemer's gone,
Tell me which way my Redeemer's gone,
'Cause him alone can ease my mind
And give my conscience peace.
2 If you go down in yonder fold
And search among the sheep,
You will find there, so I was told,
A home he loves to keep.
3 What signs shall 1 tell him hy ?
For many another man
Wears salvation on his brow.
And in his arms a lamb.
4 I thank you for your advice ;
I'll find him if I can ;
And if 1 do I will rejoice
In Christ, a friend to man.
603
Jesus S.\ys, 'You Goes and I Goes Wid You*
"Negro fragment." From Julian P. Boyd, as collected from Minnie
Lee. a pupil of tiie school at Alliance, Pamlico county ; undated, but c.
1927-28.
1 Jesus says. 'You goes and I goes wid you;
Preach de Gospel and I'll preach wid you.'
Lawd. efen you goes, tell us's what to say.
For dev won't believe on me.
2 When 1 started out to pray.
.\xt my Lawd whut mus' I say;
Turned to see what could I see —
Mv ITebenl\- leader was a-talkin' to me.
644 NORTH CAROLINA FOLKLORE
3 Alah hands wuz tight and mah feet wuz bound,
De elements opened and de Lawd come down.
De voice I heard, it sound so sweet ;
De elements opened to de soles of me feet.
604
John He Baptized Jesus
From Miss Jewell Robbins, Pekin, Montgomery county ( later Mrs.
C. P. Perdue), July 1922. Recording made at Pekin in 1922.
John he baptized Jesus ;
'Twas all through his command.
The Holy Bible tells us
That John was a righteous man.
Little children, our lodging's here tonight.
Little children, our lodging's here tonight,
Little children, our lodging's here tonight.
1 know you by your little garments.
Our lodging's here tonight.
605
John Jasper
Famous during the last half of the nineteenth century as a Negro
preacher, the Reverend John Jasper is the subject of at least two
biographies: E. A. Randolph's The Life of Rev. John Jasper, Pastor
of Sixth Mount Zion Baptist Church, Richmond, Va., from His
Birth to the Present Time, zvith His Theory of the Rotation of the
Sun (Richmond, 1884) ; and William E. Hatcher's John Jasper, the
Unmatched Negro Philosopher and Preacher (New York, c. 1908).
His death was noted in a paragraph in TJic International Year Book
for ipoi.
Born a slave in Fluvanna county, Virginia, July 4, 1812, lie
worked on farms, in tobacco factories, and at various other menial
employments in and around Williamsburg, Petersburg, and Rich-
mond, (luring his childhood and early manhood. In bis youth, witb
the help of a fellow slave be learned to read and spell in The Neiv
York Spelling Book. In 1839, during a Fourdi of July celebration
in Richmond, be was "deeply convicted of bis sins" and fortbwitb
began preaching. He is said to have "preached in every city in
the State of Virginia and two tbirds of its counties" (Randolpb,
op. cit., p. 14). During tbe Civil War bis audiences often included
the sick and wounded in Richmond hospitals. Shortly after tbe
war he visited \\'el(lon, N. C, and organized a Negro Baptist
church there. Most of tbe remainder of bis life be spent as pastor
of tbe Sixth Mount Zion Cburcb in Ricbmond. Meanwhile, he
preached or lectured in Washington, Baltimore, Philadelphia, and
some of the New Jersey cities. His most i)opular sermon was en-
R E I. I C. 1 O U S S () \ C. S 645
tilled "Dc Sun l)(i Miivc" (alleged trxl in I latclirr, of^. cil., pp.
133-40). AccDrdinj; to Randoli)!) ( i*]). 10341, "Mr. |MattlR'w?|
Arnold expre.'^scd a j^rcat dosirc tn lu-ar .\lr. |a>i)(.T preach his
famous sermon on "The Sun Do Move,' " and "It is no exajT^s'era-
tion to say that Rev. John jasper has a j^reater rei)Utation in ICurope
than any other Southern man since the war. llis sermon was puh-
lished in one of the French pa])ers, and was diNCUs^ed in the London
L'luh." When jasjier died, in Richmond, .March 30, njoi, the Rich-
jiioihI Tiiinw- Pisf^iilch said ot him (as (iUoted hy llatcher, pp.
12-14) :
"He was a national character, and he and iii^ philosopiiy were known
from one end of the land to the other. Some people have the impres-
sion that John Jasper was famous simply because he flew in the face of
scientists and declared that the sun moved, hi one sense, that is true,
hut it is also true that his fame was due, in great measure, to a strong
personality, to a deep, earnest conviction, as well as to a devout Chris-
tian character. Some preachers might have made this assertion about
the sun's motion without having attracted any special attention. The
people would have laughed over it, and the incident would have passed
by as a summer breeze. But John Jasper made an im])ression upon his
generation, because he was sincerely and deeply in earnest in all that
he said. . . . His implicit trust in the Bible and everything in it, was
beautiful and impressive. He had no other lamp by which his feet were
guided. He had no other science, no other philosophy. He took the
Bible in its literal significance; he accepted it as the inspired word of
God ; he trusted it with all his heart and soul and mind ; he believed
nothing that was in conflict with the teachings of the Bible — scientists
and pliik)sophers and theologians to the contrary notwithstanding."'
Cf. the following John Jasper songs with one in White ANFS 128-9.
'John Jasper.' With music (two copies). From an anonymous con-
tributor. Apparently this was part of the material Dr. Brown was pre-
paring for publication in 1916-18.
1 [dhn lasper was a man, as yoii all do inulerstaiid.
And he preach-ed lu de j)C'o])K' with a \eii^^cance.
He preach-ed in de church, and ])rcach-ecl out (d' doors,
And he preach-ed to de jjeople dat de sun do move.
Chorus:
Because de sun do move. ])ecause de sun do move.
Dear John Jasper was a preacher.
He preach-ed in de church, and he preach-etl out (jf
doors,
And he ])reach-ed to de jK'ople dat de sun do move.
2 And de wise men com-uh from a lon^' ways (dl.
And dey took down de hooks dat com-uh from «k' i,ord.
^ For some details concerning John jasper, the editors of this collection
are indebted to Mary M. Watt, Questions and Answers Department, the
Richmond Times Pist'atch.
646 NORTH CAROLINA FOLKLORE
And dey took down de Bible and dey splain-ed de truth.
And dey prov-ed to de people dat de sun do move.
B
No title. From an anonymous contributor, without date or address ;
probably c. 1920-25. A fragment.
The wise men came from a long way off,
An' they took down the book dat came from de Lord,
An' they took down the Bible,
An' set about to prove,
An' dey proved to de people
Dat de sun do move.
606
Judgment Day Is Comin'
"Negro fragment." From Julian P. Boyd, as collected from Rosebud
West, a pupil of the school at Alliance, Pamlico county ; undated, but
c. 1927-28.
1 Judgment day is comin',
Time is drawin' near.
Don't you hear God callin' you ?
Judgment day is comin'.
For the time is drawin' near.
He is callin' you by the thunder.
For the time is drawin' near.
Oh, yes. he is callin' you by the lightnin',
For the time is drawin' near.
Judgment day is comin'.
Oh, yes. judgment day is comin' !
2 I am goin' away to leave you.
Oh. Lord, time is drawin' near ;
Judgment day is comin'.
When 1 was a sinner just like you,
I fasted and prayed till it come true !
Oh, Lord, judgment day is comin',
For the time is drawin' near.
Oh, sinner, don't you want to go to heaven ?
Time is drawin' near !
Oh, yes. judgment day is coming.
Oh, yes, judgment day is coming.
607
Lii.v White Robe
From Mrs. Maude M. Sutton, Forest City, July 30, 1928, as sung by
Mrs. Becky Gordon, Sainda Mountain, June-July 1928; with tiie fol-
lowing notes :
relic; lous SONUS 647
"She sings every song I have tieeti able to collect heretofore, and then
some ! . . .
"I never heard a negro spiritnal with as ricli, tuneful, and moving
air. It is a typical mountain spiritual and is beautiful. Miss Rlackstock
is at work on harmonizing the air now. The first verse is repeated and
the second goes on and on with no changes except 'mothers,' 'brothers,'
'sisters,' 'Christians,' etc.. are substituted for 'fathers.' Mrs. Gordon
thought her niotlier had learned it from a book, and at a cabin on 'Big
Mungry' near Sugar Mountain. They told us there was a book with
tile words and tune. It isn't in The Southern Haniiony. This song is
used for all funerals in that section. They start singing it when the
grave is lieing filled and sing it till it is finished. Mrs. Gordon said,
'Hit's a song to sing over a corpse.' "
1 There's a lily white rohc' in Hea\eii fur me;
I'm a-goin' where my trouhles will he over;
Glory, glory, glory, hallelujah ;
I'm a-goin' wliere my trouhles will he over.
2 Oh. come, my lovin' fathers, and go along with me ;
I'm a-goin' where my trouljles will he over ;
Glory, glory, glory, hallelujah ;
I'm a-goin' where my trouhles will Ije over.
608
Little David
The song resembles one published by Anna Kranz Oduni in
JAFL xxvii 263. from Tennessee. It seems related to 'Little
David, Play on Your Harp.' but lacks tlie chorus characteristic of
that song.
Xo title. From H. F. Shaw, eastern North Carolina; undated.
1 ( )h. David was a [xjor shepherd hoy. don't vou see?
Oh. David was a poor shepherd hoy. don't you see?
Oh. David was a poor shepherd hoy.
He killed a lion and shout for joy.
He got a home in the rock, don't you see?
2 Judas was a 'ceitful man. don't you see?
Judas was a 'ceitful man. don't \()u see?
Judas was a 'ceitful man ;
He hetrayed an innocent man.
He lost a home in der rock, don't \<)U sec?
609
LiTTi.K David. Plav ox Your I1.\ri'
This version is more elaborate than those in White ANF'.S 66-8
and Jackson WN.S 226-7. f" stanzas i and 2 it picks up figures
from 'All God's Chillun Got Shoes,' just as Jackson's No. cxiv
attracts a figure from 'Go Down, Moses.' (Both White and Jack-
648 NORTH CAROLINA FOLKLORE
son cite otlier traditional appearances.) Cf. Chappell FSRA 143
(from North Carolina).
Text from Julian P. Boyd, as collected from Catherine Bennett, a pupil
of the school at .Alliance, Pamlico county; undated, but c. 1927-28.
"Negro fragment." Music by Newman I. White, Durham, N. C. As
copied by Mr. Boyd, it is not clear whether the first four lines of stanza
I are repeated at the beginning of each succeeding stanza ; it is assumed
that they are.
1 ]\Iath and Mark, and Luke and John ;
Jeremiah, Malachi, Stephen, and Tom ;
EH and Closes, Zachariah and Joseph :
When we git up in Heben
I'm goin' to march around.
Have on a robe come flowin' down.
Cho7'i(s:
Little David, plav on vour hari^ !
Hallelujah, hallelujah f
2 Den I will move at God's command,
\\'\d a golden harp in my hand.
3 I will acknowledge and I do say so,
Talkin' wid de prophets gone on befo'.
4 \\''ith Paul and Cephas. Stephen and John ,
(Jid brother Noah, and Ten Thousand more.
5 Some join the church for to sing and shout ;
Before six months they's all turned otit.
6 Fo' six months rolled around again.
Come back a-gigging,^ 'Take me in!"
7 Deacon stops and studies a while.
Asks dat sinner has he reconciled.
8 I've been tempted and I've been tried;
Devil have tried me on every side.
9 Feet been fettered, and my hands been crossed.
But dungeon been shaken and my chain fell ofif !
610
The Little Family
Belden FSIM 447 describes "The Little Family' as "A Inblical
narrative of a type that goes back at least to the seventeenth century
and is exemplified by the Resurrection ballad in Roxburghc Ballads
I 388 and a later stall print by Barr of Leeds in one of the British
Museum collections." He has found it "only in America and there
^ Thus in typescript — for "a-jigging"?
K E 1. I c; 1 () I' s SON c. s 649
only as a collector's item." Study of the ])rinted texts sugj^i^csts to
him tluit "it has been subjected to tlie fortunes of oral transmis-
sion." He cites reports of it from Virj^inia, West Virginia, Ken-
tucky, Tennessee, Mississippi, and Ohio. To his references, add:
lackson WSSU 195-7 -"kI SFSE.\ 36; Henry FSSH 417-18; Eddy
BSO -'95-7; Gardner and Chickering BSSM 366-7; Davis FSV
295-6 (title and first line}.
.\
'Tile Little Family." From Mrs. .Maude M. .Sutton, Lenoir; undated
(c. 1933?). Accompanying the te.\t i.s the following- headiiote, amount-
ing to a little essay on the spirituals in the North Carolina mountains :
"This ballad is found in a songbook that was printed at Catlettsburg,
Kentucky, in 1871. There were probably earlier versions. This book
is A A'cti' and Choice Selection of Hyunis and So)u/s for the Use of the
Reijular Baptist Church and was edited by Elder E. D. Thomas. The
ballad is very popular in the mountains now, and this version was col-
lected on Fall Creek in Avery County. It is typical of the ballad hymns,
and when 'lined out' by the minister and sung by the congregation, they
have a strange and somber beauty that is indescrii)able.
"My own collection of the spirituals is not nearly as large as I wish
it was. There really isn't any reason, except that I started too late, why
I shouldn't have a collection as large as anyone, for when I was a little
girl there was a small church near Setzer's Gap in the lower end of the
Blue Ridge, where all of the best old white spirituals were sung. I
have heard them sung by members of my family who went to the church
to hear them, and anyone [no one?] who heard Babylon Is I-'allcu,
Zion's Ship Is on the Ocean, Moses Smote the IVaters, Douti in the
J 'alley to Pray, The Lily White Robe, and scores of others, could fail
to realize that the white spirituals were the originals of the Negro
spirituals that are our most distinctive contribution to folk music.
"These spirituals are not used as much now as they were only a few
years ago. They are found now largely as concessions made to the older
church members at singing conventions and revivals. In the remotest
sections they are used at funerals. One place in Henderson County I
beard The Lily White Robe [included in this collection] at a funeral
aliout six years ago. That was the last time I heard one except at
'singing conventions,' where they were sung as curiosities ; the younger
members of the group at the singing preferred Billy Sunday's type of
Gospel Hymns to the ancient spirituals.
"Many of the spirituals are based on Bible stories. I have a good
many that relate, in some fashion, the Red Sea miracle, as :
I want to go to Heaven and I want to go right.
Red Sea.
I want to go to Heaven all dressed in white.
Red Sea.
Oh, turn back Pharaoh's army, army, army,
Oh, turn back Pharaoh's army from the Red Sea ;
or :
In ancient days when Israel's host in darkest bondage lay.
The mighty power of God was shown ; he rolled the sea away.
He rolled the sea away. He rolled the sea away.
With Jesus ever near, no foe I have to fear ;
He rolls the sea away ;
or :
Moses smote the waters and the children they passed over,
650 NORTH CAROLINA FOLKLORE
Moses smote the waters and the sea gave way.
Oh, children, ain't you glad you left that sinful army?
Oh, children, ain't you glad the sea gave way?
"I went to a foot washing once, way up in the Blue Ridge, at a little
slab church. I went for curiosity, and, perhaps, for amusement ; but the
service was impressive. The minister was an austere man. His sermon
was delivered in a high, monotonous singsong, and it was full of hellfire
and damnation. It presented the theology as harsh as that of the Old
Puritans, and the songs he selected were of the same type."
(Here follows an account of "the song with the sermon," substantially
as given in the headnote to the A text of 'As I Went Down in the
Valley to Pray,' after which Mrs. Sutton continues.)
"As a closing song that day, the minister clapped his hands and started
Old-Time Rcliyion. On the verse 'It was good for Paul and Silas,' a
woman shouted, and the fervor of the emotion in the church was very
intense. The songs were moving, and the unfamiliar time and queer
gaps in the airs were very impressive.
"There were only a few books in the church, and the songs in tliem
were written in the old shaped note music.
"I have found only a few of the traditional carols of the early English
church. The Wife of Usher's Well, or The Romish Lady,^ is commonly
known. The Cherry Tree Carol, The Tweh'e Blessings of Mary, and
The Twelve Days of Christmas are the only ones I have, li'hen Mary
Went a-Journeyin' has been found in this section, but I wasn't the lucky
discoverer. That legend is commemorated in this county with the super-
stition about 'Mary goes over the mountain.' "
(Here Mrs. Sutton digresses in a paragraph on weather signs, which
is omitted. She resumes.)
"Elliott Daingerfield commemorated that legend in his exquisite paint-
ing The Madonna of the Hills, that hangs over the altar of the Episcopal
church at Blowing Rock. It shows the Virgin on the crest of Grand-
father w'ith a mountain lily in her hand and the rhododendron in bloom
at her feet.
"The white spirituals and ancient carols are more nearly done than
any other type of folksong. The very fine work that has been done by
the churches in mountain communities has destroyed them. Collectors
have been less interested in them than in any other type of folksong.
Only a very few of the older people recall them. I have an old friend
in this county who will sing Red Sea and The Lone Pilgrim for me
[the latter in this collection].
"There is a regular 'all-day-singing-and-dinner-on-the-ground' in
Caldwell County every summer. I shall plan to go this summer and
ask some of the older singers to sing some of the spirituals. I know
of three copies of The Southern Harmony and one of The Missouri
Harmony in the county. They contain some of the better-known spirit-
uals, and it is interesting to know that Anne Rutledge and Abraham
Lincoln sang out of these books at singing sciiools when they were
courting.
"When art music is composed from American folk music, as sometimes
it will be, then the 'White Spirituals from the Southern Uplands' will
come into their own." It is possible that the influence back of them is
' The Wife of Usher's Well (Child, No. 79) and The Romish Lady
(in Belden BSM 450-5, Hudson FSM 137-9, and many other collections)
are not, as Mrs. Sutton seems to imply, alternative titles for the same
ballad; thev are quite different pieces, hardly carols at all, especially
the second." [A. P. H.]
"This may be an allusion to George Pullen Jackson's Jl'hite Spirituals
in the Southern Uphuids, ])ublished in 1933. [A. P. H.]
R K I. I c; 1 () V s s () N (; s 651
more tK-rinanic than luij^lisli. l)iit one of tlie most interesting and dis-
tinctive pliases of American life was tiie old singing school, and the
songs that were used in it are intensely interesting.
"I remember an old minister who used to come to our home when I
was a little girl. He would ask my mother to play and sing his favorite
hymn. He had an old Ixjok (1 do not know what it was) with the
hymn in it. I recall only one verse of the hymn, hut it told a story. It
began, '1 saw a wayworn traveler.' I wish I had copied it down, for it
was illustrative of a type of hymn that is no longer used in the churches,
and a type that iuHuenced very deeply the life of our folk."
On Mrs. Sutton's headnote to 'The Little Family' Professor White
comments : "I remember this hymn, with the music, from childhood,
somewhat vaguely, as follows :
"I saw a wayworn traveler;
His shoes (clothes?) were . . .
A-toiling up the mountains ;
His life was almost gone."
(Four more lines, then Chorus:)
"Then palms of victory,
Robes of glory.
Palms of victory
I shall wear."
Mrs. Sutton's version of 'The Little Family' is as follows:
1 Thei-e was a littlt- family that lived in Bethany ;
Two sisters and one hrother composed this family.
At morning and at evening they raised their voices high,
With praying and with singing like angels in the sky.
2 And while they lived together, so pure, so kind, and good.
Their hrother was afflicted and duly thrown in l)ed.
Poor Martha and poor Mary stood weeping by his side.
But still he grew no better, but lingered on and died.
3 When Jesus heard the tidings while in a distant land.
Right quickly did He travel to join the lonely band.
The news came to his sisters. 'Put Lazarus in the tomb,'
While swiftly Jesus hurried to wipe away their gloom.
4 When Martha saw Him coming, she met Him on the way.
And told Him how her brother had died and passed away.
He charged her and He blessed her and begged her not to
weep.
For in Him was the power to wake him from the sleep.
T When Mary saw Him coming, she ran and met Him too.
And at His feet a-weeping she told her tale of woe.
When Jesus saw her weeping, lie fell a-weeping too.
And wept until she showed Him where Lazarus was in
tomb.
6 He rolled away the stone and looked upon the grave.
Then prayed iinto His Father His loving friend to save.
N.C.F.. Vol. 11. (4-1)
652 NORTH CAROLINA FOLKLORE
Then Lazarus in full power came from the gloomy
mound ;
With full strength and vigor he walked upon the groimd.
7 Now if you love Jesus and do His holy will.
Like Martha and like Mary, and always use Him well.
From death He will redeem you and take you to the skies.
Where you will live forever and pleasure never dies.
B
'The Little Family of Bethany.' From W. Amos Abrams, Boone ; un-
dated. Eight stanzas as follows : i corresponding to A i with 11. 3 and 4
reversed ; 2 as copied below ; 3 corresponding to A 2 ; 4 as copied be-
low ; 5, 6, 7, 8 corresponding to A 4, 5, 6, 7, respectively, with slight
verbal variations.
2 They lived in peace and pleasure for many a lonely years,
And laid away their treasures beyond this vale of tears.
Though poor and without money, their kindness never
ends ;
Their house was ever open to Jesus and His friends.
4 The Jews came to the sisters and laid Layasers in the
tomb
And tried for to comfort and drive away their gloom.
When Jesus heard the tidings far in a distant land.
So swiftly did He travel to see that lonelv band.
'Martha and Mary." Phonograph recording by Mrs. Cynthia Aloody,
Spear. Avery county, 1939.
611
Mary Bowed
Lines 3 and 4 of stanza i are related to 'Lay This Body Down,'
Jackson WNS Nos. 34 and xxxiv (pp. 170-1 ). The second stanza
is from Nahuni Tate's Christmas carol beginning "While shepherds
watched their flocks by night." It is included in The J^irginia
Harmony (Winchester, Va., 1831 ), No. 53.
From Julian P. Boyd, as collected from Catherine Bennett, a pupil of
the school at Alliance, Pamlico county ; undated, but c. 1927-28.
I I wonder where Sister Mary's gone ;
She has been gone so long.
She's gone to some new buryin' ground
For to lay her feeble body down,
To moulder in de clay.
RELIGIOUS SONGS 653
Marv bowed so low. Mary bowed so low,'
]\lar\' bowed so low. and so low.
2 Tlie shei)lierds watclu'd tbe flock by uii;bt.
All seated on tbe ground;
An angel of tbe Lord came down,
And glory sbined all 'round.
612
AIosES Smote the \\'.\ters
With music. From Mrs. Maude M. Sutton, Lenoir; undated. I'rom
"A group of religious songs sung by some people in the southern part
of the Bhie Ridge. I got these songs from hearing my auiits and my
father imitate tliem. I never went to the little chapel of Shiloh, wlierc
they learned them. The tunes arc much like negro tunes." The text is
given in Mrs. Sutton's long note accompanying her version of 'The
Little Family,' above.
613
And Must I Be to Judgment Brought?
Jackson DESO -213-14 includes the whole song, attributing the
text to Charles Wesley. He indicates that it was printed in Walk-
er's Christian Harmony (1866), which was a popular hymn book
in the South.
From Mrs. Maude M. Sutton, Lenoir; undated. One stanza with chorus
in Dr. I')r(iwn's hand, as taken from Mrs. Sutton.
And must I be to judgment brougbt.
And answer in tbat day.
For every idle deed and tbougbt.
And every word I say?
CJiorus:
We are passing away, we are passing away,
We are passing away, to the great judgment day.
614
The New Burying Ground
A version of this song, from Georgia, appears in Sandburg ASb
473. It is related to 'Let's Go to de Buryin' ' in Lawrence Gellert,
Negro Songs of Protest (New York, 1936), pp. 46-7.
^ The informant indicates "So low Wsry bowed" as an alternative
reading of the repeated clause.
654 NORTH CAROLINA FOLKLORE
A
'Hus Keep uh-RoUin'.' With music. From the Misses Andrews (no
address). October 1922. "Negro fragment."
1 Hits [Hearse] keep uh-rollin",
Hus keep uh-rollin'.
An' uh hus keep uh-rollin'.
Oh, me ! Oh, my !
2 Peops [People] keep uh-dyin',
Peops keep uh-dyin'.
An' uh peops keep uh-dyin'.
Oh, me ! Oh, my !
3 Hus keep uh-rollin'
Somebody to de grabeyard,
An' uh hus keep uh-rollin'.
Oh. me ! Oh, my !
4 Hus keep uh-rollin'.
Peops keep uh-dyin',
An' uh hus keep uh-rollin'.
Oh. me! Oh, my!
B
'The New Burying Ground.' From Miss Fannie E. \'ann, Clinton,
Sampson county : undated. The repetition indicated in stanza i con-
tinues in 2 and 3.
1 The hammer keeps a-knocking,
And somebody's dying.
The hammer keei)s a-knocking,
And somebody's dying.
The hammer keeps a-knocking.
And somebody's dying
Way oyer in the new burying ground.
2 The hearse keeps a-roUing.
And somebody's dying, etc.
3 The clods kee]) a-f ailing
On somebody's coffin, etc.
c
'New Burying Ground.' From G. B. Caldwell, Monroe, Union county ;
undated. The informant's arrangement of the text does not seem clear
and consistent.
I Come on, come on, let's go to heaven.
Come on, come on, let's go to heaven.
Come on, come on, let's go to heaven.
R E L I c; 1 u s s o N c; s 655
W ay over, over in de new burying gjround.
2 I hear a niiglity rumbling.
Lawd. Lawd. I bear a mighty rumbling.
3 Hammer keeps a-ringing on.
On somebody's coffin,
Lawd. Lawd. de hammer keeps a-ringing on,
On somebody's coffin.
4 De hearse keej) a-rolling —
Somebody's dying.
De hearse keep a-rolling —
Somebody's dying.
De hearse keep a-rolling —
Somebody's dying.
Lawd. Lawd. over in de new burying ground.
5 De hearse keeps a-rolling
My mudder to de graveyard.
The hearse keeps a-rolling
IVly mudder to the graveyard.
615
Nobody Knows
The song appears in Allen S.S 55; Marsh, The Story of the
Jubilee Singers; Jackson WNS 159; and many other printed col-
lections — with variations.
Collected by I. T. Poole, Burke county ; undated.
1 Nobody knows the trouble I seen ;
Nobody knows but Jesus.
Nobody knows de trouble I seen.
Glory, glory, hallelujah.
2 Sometimes Ls up, sometime's Ls down,
Oh, yes, Lord ;
Sometimes Ls almost to the groun'.
Glory, glory, hallelujah.
616
No Hidin'-Place
A
From Newman I. White, Durham, July 1922, as learned from Lucius
Chai)in, Richmond, Virginia, in 1919. Phonograph recording, Durliam,
1922. The following text, witli two additional stanzas, was published
656 NORTH CAROLINA FOLKLORE
without music in White ANFS 121-2. W'liite's headnote points out that
stanza 3 has been imported from 'Mary Wore Three Links of Chain'
(q.r. in the present collection), calls attention to commonplaces from
other spirituals in the song, and cites several printed collections con
taining versions of it.
1 \\'ent (Idwn the rocks to hide my face,
Went down the rocks to hide my face,
Went down the rocks to hide my face.
The rocks cried otit no hidint,^-place.
No hiding-place down there.
2 Pharaoh's daughter lookin' for roses,
Pharaoh's daughter lookin' for roses,
Pharaoh's daughter lookin' for roses,
Stumps her toe and discovers Moses.
No hiding-place down there.
3 Sister Mary wears a golden chain,
Sister Mary wears a golden chain.
Sister Mary wears a golden chain.
And every link's in heaven's name.
No hiding-place down there.
4 Sinnaman sitting on the gates of hell,
Sinnaman sitting on the gates of hell,
Sinnaman sitting on the gates of hell ;
The gates f\e\v open and in he fell.
No hiding-place down there.
From an anonymous contributor ; without date or address. Defective
text.
1 Judgment day is not far away.
Sinner man, what you goin' to do that day ?
O rocks in the mountains, rocks in the mountains.
Fall on lue.
2 Go on to the rocks for a hiding-place.
O . . . .
3 Rock cried out no hiding-place;
Sinner man, you can't hide here.
O . . . .
4 Sinner man, what voti goin' do that day?
O . . . .
R E L I c: I () r s SONGS 657
6.7
No Mori:! No More!
This or a variant seems to be the basis of 'I'll Never Turn Back
No More,' arranged by \V. C Handy (New York, 1935), a copy-
ritjhted song.
From Julian P. Boyd, as collected from Mary Price, a pupil of the school
at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro frag-
ment."' Cf. "I Never Will Turn Back ,\ny More.' in this collection.
1 Xu more! Xo more!
My Lord, I will ne\er turn l)ack
No more.
A fisherman was Peter on the sea.
I'll never turn hack.
2 Your time is whirlin" round;
Got no time to tarr\- ;
Got no time to wait for you ;
My home is over Jordan ;
I am on my way.
618
Oh, I Used to Drink Beer
No title. From Mrs. Norman J. Herring, Tomahawk, Sampson county ;
undated. "Negro song." The repetition indicated in stanza i continues
in stanzas 2 and 3.
1 Oh. I used to drink beer.
But I throwed it all away,
But I throwed it all away,
But I throwed it all away.
Oh, I used to drink beer,
Bitt I throwed it all away,
And now I'm free at last.
2 Oh, I used to chew tobacco.
But I throwed it all away, etc.
3 (Jh, I used to love sin.
But I throwed it all away, etc.
4 Oh, I gave hell a shake
\\ hen I came out de wilderness,
When I came out de wilderness.
When I came otit de wilderness.
Oh, I gave hell a shake
When I came out de wilderness.
658 NORTH CAROLINA FOLKLORE
619
Oh. Lord, I'se Steppin' Higher
From Helen Fraser Smith (no address), 1923. "I would like to repeat
our cook's favorite song."
Oh, Lord, Lse steppin' higher;
Doan' let de ladder break.
Saint Peter, open up de do'
An' gib mah ban' a shake !
620
Oh, the Heavens Shut the Gates on Me
From K. P. Lewis, Durham, c. 191 5, as set down from dictation of Dr.
Kemp P. Battle, Chapel Hill, in November 1910.
Oh, the heavens shut the gates on me,
Oh, the due time, shut the gates on me.
Sometimes I weep, sometimes I mourn,
Sometimes I do nary one.
Oh, the heavens shut the gates on me,
Oh, the due time, shut the gates on me.
621
O Lord. Won't You Come by Here?
The refrain, "Oh Lord, won't you come by here," is shared with
a song having the same title in Madelyn Sheppard, Eight Selected
Spirituals (New York, 1926), pp. 18-20.
From Julian P. Boyd, as collected from Minnie Lee, a pupil of tlie school
at Alliance, Pamlico county; undated, but c. 1927-28. "Negro frag-
ment." The repetition indicated in stanza i continues through stanzas
2 and 3.
1 Somebody's sick ; Lord, come by here.
Somebody's sick ; Lord, come by here.
Somebody's sick ; Lord, come by here.
O Lord, won't you come by here !
2 Somebody's dying; Lord, come by here.
3 Somebody's in trouble; Lord, come liy here.
622
Oh. See Mv Father Lavin' There
'Wlien de Wind Blows East and de Wind Blows West." From Julian
P. Boyd, as collected from Catherine Bennett, a pupil of the school at
Alliance, Pamlico county; undated, but c. 1927-28. "Negro fragment."
The repetition indicated in stanza i continues in the remaining stanzas.
K !•: I. 1 c 1 () r s s () N i; s 659
1 ( )li. >(,'(■ m\- t'atluT layiii' there.
Oh. see my father layiii* there.
Oh. see my fatlier layin' there.
1 cannot stay here hy myself!
Chorus:
Lord. 1 cannut stay here hy myseh'.
Lord. I cannot stay here hy myself.
When de wind hlows east, and de wind hlows west,
Lord. I cannot sta\- liere ])y nnself !
2 ( )h. see my mother la}in' there,
3 ( )li. see my hrother layin" there,
4 ( )h, see my sister layin' there.
5 Oh, the sycanKjre tree, shade of all,
623
The Old Ship of Zion
In ANFS 93-96. White g;ives an extensive account of Sliip of
Zion songs, a common type in the old liynins and spirituals. His
references include a large number of published collections contain-
ing it. dating from the 1830s on. Jackson WNS 148-9, 201 reprints
some of the older versions with music and notes offshoots of the
song. Ethel Park Richardson's American Mountain Songs ~i gives
a version with music.
A
'The Old Ship of Zion.' With music. From Will ("Shorty") Love,
Trinity College and Duke University janitor, c. 1924; text in hand of
Dr. Brown, with fair copy and rough draft taken down as sung. Fairly
close to White's C text (also from North Carolina) in ANFS 95. The
somewhat incongruous third stanza shows the influence of 'She'll Be
Coming Around the Mountain.' which, according to Sandburg ASb 372,
developed out of another old spiritual. 'When the Chariot Comes.'
1 The old Slii]) of Zion when she comes, when she comes,
The old Ship of Zion when she comes, when she comes.
It's the old Ship of Zion. the old Ship of Zion.
The old Ship of Zion when she comes.
2 She rocks so level and steady when she comes, when she
comes.
She rocks so level and steady when she comes, when she
comes.
She rocks so level and steady, sh.e rocks so level and
steady,
She rocks so level and steady when she comes.
66o NORTH CAROLINA FOLKLORE
3 She's comin' roiin' de mount'in when she conies, when
she comes.
She's coniin' roun" de mount'in when she comes, when
she comes.
She's comin' roun' de mount'in, she's comin' roun' de
mount'in.
She's comin' roun de mount'in when she comes.
4 Have your lamps trimmed and iDurning when she comes,
when she comes.
Have your lamps trimmed and hurning when she comes,
when she comes.
Have yotir lamps trimmed and hurning. have yoiu" lamps
trimmed and hurning.
Have your lamps trimmed and l)urning when she comes.
5 Have oil in your vessels when she comes, when she comes.
Have oil in your vessels when she comes, when she comes,
Have oil in your vessels, have oil in your vessels,
Have oil in your vessels when she comes.
6 It'll be the old Ship of Zi()n when she comes, when she
comes,
It'll be the old Ship of Zion when she comes, when she
comes.
It's the old ship of Zion. the old Ship of Zion,
It's the old Ship of Zion when she comes.
'Old Ship of Zion.' From Miss Jewell Robbins, Pekin, Montgomery
county (later Mrs. C. P. Perdue), 1921-24. Given as "a black mammy's
song." Phonograph recording, Pekin, 1921-23.
'Tis the old Ship of Zion
Come a-sailing across the ocean.
Heavy-loaded with bright angels.
True believers in that band.
Come along, my mother, and go with me.
Come along, my mother, and go with me.
Come along, my mother, and go with me,
And remember your dying day.
c
'The Old Ship of Zion.' From the same informant, same locality, and
the same period. Phonograph recording. A quite different song from
A and B, belonging to the Ship of Zion group, but using the figure for
the purixjse of arousing zeal for missionary effort.
I 'iliere's a wail from the islands of the sea;
There's a \()ice that's a-callin' you and me.
K I. I. 1 (, 1 () I' S SONGS 66l
I'l'din across the widi' waters.
See Africa's dark (lau,L;lUers.
Shij) of Salvation, hither fly.
2 'Come over and hel]) iis' is the cry;
'Come over and help us ere we die.'
In the old Ship o' Zion,
The strong hand of Zion,
The good news o' Zion carrv ye.
3 There's a niom-n from the Clanges full of pain;
There's a sigh over Africa's sunn\- ])lain.
1 hear India calling.
I see the idols falling.
O Ship of Salvation, hear the cry.
624
( )ld Satan's Mao
The following; piquant songs about Old Satan borrow their choral
elements from perhaps more serious spirituals. White, in ANFS
117, points out that one recurrent rhyme, "Old Satan's mad and I
am glad," appears in "the teasing rhyme of wliite cliildren," and
also in printed spirituals reported by Perrow JAFL xxvi 154 and
others. Jackson WNS 307 (juotes it as one of the 'Wandering
Rhyme Pairs' of the old spirituals. Stanza 2 of 'I'll Meet You
Way Up Yonder' in Emily Hallowell, Calhoun Plantation Songs
(Boston, 1901), p. 18, resembles stanzas 2 of the B text and i of
the C text of 'Old Satan's Mad.' Cf. also the copyrighted song
'Satan's a Liar an' a Conjur Too,' collected and arranged by David
W. Guion (New York, 1918).
a
'Old Satan.' From Airs. Maude M. Sutton, Lenoir, c. 1920. witli the
following note : "Old Sativi is as wild as its name. When I heard it first
'Bunk' Sanders played it, down on Little King's Creek, at the foot of
the Brushies. 'Hit sounds jes' like a painter (panther) yellin',' he said.
'I learn hit from a feller Forester over in Wilkes.' I'd like to trace it.
The hauntingly wild strain is exactly the same as a Roumanian folk
dance I heard Elnian play on a violin once. I thought of our Caldwell
fiddlers then. I wonder if they picked up this dance from a wandering
Romany fiddler, or if the Transylvanian .Mps have awakened the same
response in the soul of their folk that the Blue Ridge has in ours? 1
should like for Elman to hear 'Bunk' play it. .And I'd like to give
'Bunk' Elman's Strad violin and see what he'd dcj. He's a real genius,
no question about that. But he looks like a movin:^-picture mountaineer,
and he's a famous blockader. I commented to him on the beauty of the
Slick Rocks. 'Best place fur a still in the county,' was his answer."
Cf. the refrain with 'I Never Will Turn Back Any More' and 'No
More ! No More.' Cf. also Howard W. Odum, Relii/ioiis I-'olk-Songs
of the Southern Xegrocs, reprinted in the American Journal of Religious
Fsycholngy and Education (July 1909), iii, 23.
662 NORTH CAROLINA FOLKLORE
1 What's old Satan grumblin' about?
He's in Hell and can't git out.
And I never will turn back no more,
No more, my Lord, no more, my Lord ;
And I never will turn l)ack no more.
2 Old Satan is a liar and a conjurer too;
If you don't look out he'll conjure you.
And I never will turn back no more,
No more, my Lord, no more, my Lord;
And I never will turn back no more.
'Old Satan's Mad.' From Miss Jewell Robbins, Pekin, Montgomery
county (later Mrs. C. P. Perdue), July 1922. Phonograph recording.
Cf. White ANFS 1 17-18. Cf. refrain and chorus with 'Down by the
Riverside' and songs cited in the headnote.
1 Old Satan wears a slippery shoe
Down by de ribber.
An' ef you don' min' he'll slip up on you,
Down by the riverside.
Chorus:
We'll end dis warfare,
Down by de ribber ;
We'll end dis warfare,
Down by de ribberside.
2 Old Satan's mad and I am glad,
Down by de ribber ;
He lost dis soul he thought he had,
Down by the ribberside.
3 Old Satan wears a long-tailed coat,
Down by de ribber ;
An' ef you don't mind he'll cut yo' throat.
Down by the ribberside.
'I'm Climbing up Zion's Hill.' From Miss Jennie P.elvin, Durham,
July 1922. Phonograph recording. Cf. refrain and cliDrus with 'Climli-
ing up Zion's Hill.' Jackson WNS 183.
Old Satan's mad and 1 am glad.
Lm climbing up Zion's hill ;
Lie missed one soul he thought he had.
I'm a-climbing up Zion's hill.
K K L 1 (I 1 () I' S S () N (; S 663
Chants:
I'm a-clinil)in<j^, I'm a-oHml)illJ,^
I'm climbing, bless (iod.
I'm climbing up Zion's bill,
I'm climbing, I'm climbing,
I'm a-climbing, bless (iod.
I'm climbing u\) Zion's bill.
i)
'(^1(1 Satan Made One Grab at Mc' From tlie same informant, same
locality, same iieriod. Phonograph recording. Informant's note : "Negro."
Old Satan made one grab at me.
I belong to ibe band, ballelujab !
He mis.sed my soul and grabbed my sins.
I belong to tbe band, ballelujab.
Clionis:
Sing ballelujab, sing ballelujab!
I belong to tbe band, ballelujab !
'Satan's Sad and I Am Glad.' From Thomas T. Neal. Trinity College
student from Laurinbiirg, N. C, December 5, 1919. Phonograph record-
ing. "Negro fragment." As in White ANFS 117, without music.
Satan's sad and I am glad,
'Cause be lost a soul be thought he had.
I know the Lord laid His hands on me.
625
One of Tonight
This looks like a "shout" song (i.e., one used in a religious ring-
dance), of the sort described in Lydia Parrish's Sla-c'C Songs of the
Georgia Sea Islands (New York, 1942), pp. 54-6.
'\\'e Will .All Pray Together.' From Julian P. Boyd, Alliance, Pamlico
county; undated, but c. 1927-28.
1 ( )ne of tonight !
We will all pray together.
Like de one of tonight!
2 Moan, oh, moan !
We will all moan together.
Like de moan of tonight.
Ninety and nine and de ninety-ninth.
\\'e will all moan together.
Like de one of tonight.
664 NORTH CAROLINA FOLKLORE
3 Shout, oh, shout !
W'c will all shout together,
Like (le one of tonight.
Ninety and nine and de ninety-ninth.
We will all shout together,
Like de one of tonight !
4 Bow. oh, how !
We will all how together.
Like de Israelites how.
One of tonight, one of tonight,
We will all how together,
Like de one of tonight.
5 Pray, oh, pray !
We will all pray together,
Like de Israelites pray.
We will all pray together.
Like de Israelites pray.
One of tonight.
Ninety-nine and dt- ninety-ninth.
6 Cry, oh, cry !
We will all cry together.
We will all cry together.
Like de Israelites cry.
One of tonight.
Ninety-nine and de ninety-ninth.
We will all cry together.
Like de one of tonight.
626
On a Dark and Doleful Night
This is a Negro adaptation of a hymn attributed to Isaac Watts,
included in many of the old books of hymns and spirituals, e.g..
A. S. Kieffer's Glad Hosannas, A Collection of Nciv Sabbath Scliool
and Rei'h'al Music (Singer's Glen, Rockingham, Va., 1871), p. 85.
See Jackson SFSEA 132-3.
From Julian P. Boyd, as collected from Elsie Rawls, a pupil of the
school at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro
fragment."
I 'Twas on dat dark and doleful night,
When power of hell and earth arose
Against de Son of God's delight,
An' friends betrayed Him to his foes,
R E L I c; 1 O U S SONGS 66^
2 Uefo' de niiiuniful .sclu'iiif begun.
He tut)k (Ic bread and bust and broke.
W'bat kn-e tbrougb all de action run.
What wondrous words of grace lie spoke!
3 'This is my body broke tor sin;
Receive and eat the livin' food' —
And took the cup and blessed de wine :
'"fis the new covenant in niv blood.
4 "Dd this." lie cried, "till the end.
In memory of yo' dyin" f rien' ;
Meet at my table an' record
"Pile l(i\e of vo' departed Lord.'
627
Our Fathers They'll P.e There
From E. Myers. Route 6, Concord, Cabarrus county, 1924. Phonogra])li
recording. The repetition indicated in stanza i continues througli tiie
remaining stanzas.
1 Our fathers, our fathers they'll be there.
Yes, our fathers they'll be there.
When we all meet around (lod's bright thron?.
Clionis:
\\ hat a meeting, what a meeting that will be.
Yes. what a meeting that will be.
When we all meet around (jod's bright throne.
2 Our mothers, our mothers they'll be there, etc.
3 Our brothers, our brothers they'll be there, etc.
4 ( )ur sisters, our sisters they'll l)e there, etc.
628
Poor Old Lazarus
This song corresponds to stanzas 2 and 3 of 'Pvc Got a Home,'
in Wings over Jordan. Fai'orite Spirituals of /pjy, arranged by
Worth Kramer ( Pliiladelijhia. 1939). pp. 22-4.
'Don't ^'ou See (Poor Old Lazarus).' With music. I-'rom K. D. Ware,
Trinity College student ; undated.
Poor oP Lazarus, pocjr as I,
Don't you see ?
When he had a home on high,
Don't vou see?
666 NORTH CAROLINA FOLKLORE
Rich man, rich man hve so well,
When he died he had a home in ,
Don't vou see. don't vou see?
629
Red Sea
From Mrs. Maude M. Sutton, Lenoir, 1922. This is a variant of a
song included in Mrs. Sutton's long headnotc to her version of 'The
Little Family,' No. 610, the first stanza being the same as that given
there. With the second stanza, compare the second stanza of the A ver-
sion of 'Old Satan's Mad,' No. 624.
1 [As in headnote to 'The Little Family']
2 (jr Satan's a liar and a conjurer too,
Red Sea.
If vou don't look out, he'll conjure vou.
Red Sea.
Oh. turn hack Phar'oh's army. army. army.
Oh, turn hack Phar'oh's army from the Red Sea.
630
Rolled the Stone Away
Resenihles hymn 202 —
When Israel out of Egypt came,
.And left the proud oppressor's land, etc.
— 5 stanzas, 6 lines 8s., in Methodist Episcopal Church Hymnal, an
old edition of c. 1845, title page missing, in the Duke University
Lihrary. "When Israel Out of Egypt Came' also appears in The
U'esleyan Hymn and Tunc Book . . . by L. C. Everett (Nashville,
i860), p. 218, and in A Collection of Hymns for Public, Social, and
Domestic Worship (Nashville, 1881 ). hymn number 54, by Charles
Wesley. The chorus resembles that of a song in Joe Dax'is' Folio
of 50 Favorite Negro Spirituals (New York, ig32). p. 40.
From Mrs. .Maude -M. Sutton, Lenoir; undated. MS of Dr. Brown.
In ancient days, when Israel's host
In darkest hondage lay.
The mighty power of God was shown ;
He rolled the stone away.
He rolled the sea away.
He rolled the sea away.
With Jesus ever near.
No foe have I to fear.
He rolls the sea away.
k K 1. I c; I (1 us so N c; s 667
631
Ivdi.L, JORDAN, Roll
In ANFS 87 White cites evidence that "'sonj^s about Jordan,
which were common among the camp-meetinf^ song-s of the whites
and are still to be found in any hymn-book, were among the first
Negro spirituals developed." He cites numerous collections con-
taining them and (p. <SS ) prints one from Alabama and one from
North Carolina.
Jn the present collection, some lines from the song are incorpo-
rated in "Baptist, Baptist Is My Name.'
A
'Roll, Jordan, Roll.' With music. Phonograpii recording. From Eu-
gene C. Crawford, Trinity College student, Durham, December 3, 1919.
"Negro fragment." Partly published, without music, in White AXFS
00.
1 Yes, my Lord. 1 want to be there,
I want to be a-settin' in the kingdom
To listen to old Jordan roll.
Chorus:
Roll, Jordan, roll,
Roll. Jordan, roll.
1 want to go t(j Heaven when I die
To hear old Jordan roll.
2 Yes. my Lord. Saint Pete is there,
There settin' in the kingdom,
A-listenin' to old Jordan roll.
'Roll, Jordan, Roll.' From W. B. Leake, Rich Square, Halifax county
undated. "I know this as a refrain only." "Negro fragment."
Roll, Jordan, roll.
I want to go to Heaven when I die.
Roll, Jordan, roll.
'Roll, Jordan, Roll.' From Miss S. O. H. Dickson, Winston-Salem, For-
syth county, in a letter dated November 5, 191 3, enclosing this and an-
other song. 'It's Good fuh Hab Some Patience' (q.v.), with this note:
'The tunes of both were spirited, and they were sung with accompani-
ment of the oars often as they rowed on the river." She indicates that
the provenience of both songs was the Sea Islands. This version of
'Roll, Jordan' is close to the text in Jackson WXS 181.
Roll, Jordan, roll !
Oh, roll, Jordan, roll !
My hrudder, you orter been dere,
N.r.K., \-„i. in, (-45)
668 NORTH CAROLINA FOLKLORE
My brudder, you orter been dere.
Lawd. he orter been dere.
You orter been in de kingoni
To yerry (hear) w'en Jordan roll!
632
Rough, Rocky Road
A
As printed by White ANFS 113.
'Rough, Rocky Road.' From Miss Jewell Robbins, Pekin. Montgomery
county (later Mrs. C. P. Perdue), IQ21-24. Phonograph recording.
With this cf. White ANFS 113. (Directions for repetition are the
informant's.)
1 It's a rough, rocky road.
And I'm most done strugglin'.
(Repeat three times.)
I'm bound to carry my soul to the Lord.
2 My father's on the road.
And he's most done strugglin'.
( Repeat three times. )
I'm bound to carry my soul to the Lord.
Chorus:
I'm bound to carry my soul to Jesus,
I'm bound to carry my soul to the Lord.
3 My sister's, etc.
4 My brother's, etc.
c
'Most Done Suffering.' As printed by White ANFS 1 12-13.
633
Shout Along and Pray Along
With music and phonograph recording. From Mrs. W. L. Minnish,
Lenoir, Caldwell county ; without date ; with the following note : "There
are three more verses just like this, except that for 'sisters' in the third
line are substituted, in the order named, 'fathers,' 'mothers,' 'children.'
This is a negro song that Papa learned at Warrior Gap."
Shout along and pray along, ye Heaven-bound soldiers!
Shout along and pray along. I'm on my way !
Pray on, sisters, and don't you get w[e]ary;
R K 1. I (i 1 () L" S S () N (1 S 669
Never get tired of serxiui; \\\c l.nrd.
Shout along and pray along, yc Heaven-hound soldiers!
Shout along and pray along, I'm on my way!
634
Somebody's All dk Timk Talkin' 'bout Me
From Julian P. Boyd, as cnllcttccl from Catlicrine l'>rniK'tt, a pupil of
tile school at Alliance, Pamlico county; undated, hut c. \()2j-2H. "Negro
fragment."
1 Somehody's all de time talkin' 'hout me,
L)Ut that's all right.
Somehody's all de time talkin' 'hout me,
But that's all right.
2 Talk ahout me just as mueh as you please ;
I'm goin' to tell it to Jesus down on my knees.
Somehody's all de time talkin' 'hout me,
But that's all right.
3 Talk ahout my Jesus here helow,
Talkin' 'bout me wherever you go.
Somehody's all de time talkin' 'hout me.
But that's all right.
635
Someb()dy'.s Knockin' at Your Door
III idea, phraseology, and pattern, this song resembles songs in
R. N. Dett's Religious Polk-Soiigs of the Negro (Hampton Insti-
tute, Va., 1927), p. 144; John W. Work's American Negro Songs
and Spirituals (New York, 1940), p. 192; the opening of 'Some-
body Knocking at Yo ' Do' ' in Emily Hallowell, Calhoun Plantation
Songs (Boston, 1901 ), p. 12; and W. A. Fisher, Seventy Negro
Spirituals (Boston, 1926), pp. 164-5.
Contributed by O. Kuykendall, Asheville, 1939.
1 Somebody's knockin' at your door,
Somebody's knockin' at your door.
Go, Mary, go, Martha ;
Somebody's knockin' at your door.
2 It's your mother ;
Somebody's knockin' at your door.
It's your father ;
Somebody's knockin' at your door.
Go. Mary, go. Martha ;
Somebody's knockin' at vour door,
6/0 NORTH CAROLINA FOLKLORE
3 In the churchyard,
Somebody's knockin' at your door ;
In the churchyard.
Somebody's knockin' at your door.
Go, Mary, go, Martha :
Somebody's knockin' at your door.
4 It's the preacher ;
Somebody's knockin' at your door.
It's the preacher ;
Somebody's knockin' at }'our door.
Go, Mary, go, Martha ;
Somebody's knockin' at your door.
5 Come to tell you
Somebody's knockin' at your door.
Come to tell you
Somebody's knockin' at your door.
Go, Mary, go, Martha ;
Somebody's knockin' at your door.
636
Soon as My Foot Struck Zion
Two variants of the song, from Miss Jewell Robbins, Pekin, Montgomery
county (later Mrs. C. P. Perdue).
A
Text and phonograph recording, 1921-24. Submitted as a Negro spiritual.
Soon as my foot struck Zion.
And de lamps all lit on de shore.
Bid dis world a long farewell.
And de lamps all lit on de shore.
And de lamps all lit on de shore, shore, shore.
And de lamps all lit on de shore ;
Bid dis world a long farewell.
And de lamps all lit on de shore.
B
Text and phonograph recording, July 1922.
Soon as my foot struck Zion,
An de lamps all lit on de sho'.
Bid dis worl' a long farewell.
An' de lamps all lit on de sho'.
Chorus:
Oh, you better walk study,
Jesus a-Hs'nin' ;
K K 1. 1 i; 1 () r S SONGS 6/1
( )h, you better walk study,
Jesus died ;
Oh, you l)etter walk study,
Jesus a-lis'uin' all day long.
637
Standing in thk Nkkd of Prayer
A variant of this song, entitled 'It's j\Ie,' appears in John W.
Work's AmcricLUi Negro Songs and Spirituals (New York, 1940),
p. 70. The chorus is the same, hut in Work's text the stanza key-
words, "hrother," "sister," "mother," "elder," are arranged differ-
ently. White, in ANFS no, prints two versions (both from North
Carolina), with citation of other collections containing the song.
See also A. E. Wier, Songs of the Sunny South (New York, 1929),
p. 104. There is a version close to it in W. A. Fisher, Sez'entx
Xegro Spirituals (Boston. 1926). pp. 168-9. The song under the
same title appears in Rodeheaver, Sixty-Tzco Southern Spirituals
(Winona Lake, Ind., 1946), No. 39.
A
'Standing in the Need of Prayer.' With music and recording. From
Miss Kate S. Russell, Roxboro, Person county, c. 1923.
1 It's not my mother, nor my father,
But it's me, O Lord,
Standing in the need of prayer.
Chorus:
It's me, it's me, it's me, O Lord ;
Standing in the need of pray ;
It's me, it's me, it's me, O Lord,
Standing in the need of pray.
2 It's not my brother, nor mv sister,
P>ut it's me, O Lord,
Standing in the need of pray.
3 It's not my uncle, n(u- my aunt, etc.
B
'Standing in the Need of Prayer.' Text as published by White ANFS
1 10. from MS of W. Q. Grigg, "sung by Negroes at a big meeting" (in
western North Carolina). Phonograph recording as sung by Newman
L White, Durham, N. C.
'Standing in the Need of Prayer.' From Julian P. Boyd, .-Mliance,
Pamlico county ; undated, but c. 1927-28. "Negro fragment." The vari-
ant readings of the first line of each stanza are as supplied by informant.
672 NORTH CAROLINA FOLKLORE
1 'Tain't ( It ain't) the preacher, or the deacon,
But it's nie. ( ) Lord.
Standing in the need of prayer.
Chorus:
It's me. it's me. O Lord.
Standing in the need of prayer.
It's me. it's me. O Lord.
Standing in the need of prayer.
2 'Tain't (It ain't) your father, or your mother.
But it's me. O Lord.
Standing in the need of prayer.
3 'Tain't ( It ain't) your sister, or your hrother,
But it's me. O Lord,
Standing in the need of prayer.
4 'Tain't (It ain't) your friend, or your neighbor,
But it's me, O Lord,
Standing in the need of prayer.
638
Sweet Heaven
Cf. White ANFS 109, who points out thenies and conventions of
spirituals parodied in this song and gives a text of two stanzas. He
indicates that tlie idea of going to heaven "all dressed in white."
found in many of the spirituals which he cites, may be traceable to
"the Millerite excitement of the eighteen-forties," when "white
robes somewhat resembling nightgowns were sold by the thousand."
From Miss Duo K. Smith, Houstonville, Iredell county ; undated.
1 I want to go to Heaven and I want to go right ;
How I long to be there.
I want to go to Heaven all dressed in white ;
I low 1 long to l)e there.
Chorus:
Sweet Heaven, sweet Heaven, sweet Heaven,
Oh. hcnv I long to be there !
2 When I was a mourner just like you
( H(jw I long to be there).
I rolled and I tumbled till I came through
(Ilf)W I long to be there).
3 I had a little book, 1 read it through
( I low I long to be there) ;
R E L 1 (; I () u s s N c; s 673
Then I had jcsus as well as you
( llow 1 long to be there).
4 ( >1(1 Satan canu' into my tent
(How I long to be there) ;
1 gave him a biscuit and out he went
(How 1 long to be there).
5 As I went down the turnpike road
( How 1 long to be there ) ,
1 met a terrapin and a toad
( How 1 long to be there).
6 1 run old Satan round the stumj)
(liow I long to be there) ;
1 gave him a kick for every jiuup
(How I long to be there.)
7 Old Satan thought he had me fast
(How 1 long to be there).
I broke all Satan's chains at last
(How 1 long to be there).
639
Talk About Jesus
The second stanza is a free adaptation of the hymn by Horatius
Bonar (1846), beginning "I heard the voice of Jesus say" and in-
cluded in most hymn-books (e.g., that of the Protestant Episcopal
Church in the United States, 1916, pp. 220-1). The second stanza
corresponds to the first stanza of 'Jesus Christ I Want to Find,'
above.
From Julian P. Boyd, as collected from B. D. Banks, a pupil of the
school at Alliance, Pamlico county; undated, but c. 1927-28. It seems
probable that what appears as the first stanza is really a chorus, but it
is not so designated by the informant.
1 Talk about Jesus^ie has blessed my soul ;
And he is gone.
Must Jesus bear the cross along [alone?] ?
For there's a cross for everyone.
And there's a cross for me.
2 I hear the voice of Jesus saying,
'Come unto me and rest ;
Lie down like everyone lies.
Your head upon my l)reast.'
3 'Tis Jestts Christ 1 want to hear;
Pray tell me where he is.
'Tis him alone can tender ( ?) my mind.
And give my conscience rest.
674 NORTH CAROLINA FOLKLORE
640
That Old-Time Religion
Lonj^ a canip-nieeting and revival favorite, "That Old-Time Re-
ligion' has been included in many published collections of religious
folk songs; e.g., R. N. Dett, Religions Folk-Sougs of the Negro
(Hampton. Va.. 1927), p. 200: Jackson, W'NS 184-5; White, ANFS
91-2.
With music. From Will ("Shorty") Love, Negro janitor at Trinity
College and Duke University, Durham, as sung c. 1922. Order of sing-
ing : stanzas i, 2, 3, 2, 4, 3, 5, 6, 3, 7.
1 \\ ell. a gimme dis ol' time religion,
Yes, a gimme dis ol' time religion.
Yes. a gimme dis ol' time religion ;
It's good enottgh for me.
2 It's good when I am dyin'.
It's good when I am dyin'.
It's good when I am dyin' ;
It's good enough for me.
3 But-a I need dis ol' time religion.
I need-a dis ol' time religion,
I need-a dis ol' time religion ;
It's good enough for me.
4 l>ut-a some says gimme silver,
Some say gimme gold.
But I says gimme Jesus,
'Tis preciotis to my sotil.
5 'Twas-a good for Paul and Silas.
'Twas-a good for Paul and Silas,
'Twas-a good for Paul and Silas ;
It's good enough for me.
6 ^\'ell-a gimme dis ol' time religion,
Yes-a gimme dis ol' time religion.
All I want is dis ol' time religion ;
It's good enough for me.
7 It'll save you when you're dyin'.
It'll save you when you're dyin'.
It'll save you when you're dyin' ;
It's good enough for me.
R E I, I I O U S SONGS 675
641
Thkre's a Little Wheel A-Turning
C f. Augustine T. Sniythc, ct at., Society for the Preservation of
Spirituals, The Carolina Low Country (New York, 1932), pp. 274-
5: A. E. Wier, Songs of the Sunny South (New York, 1929). p.
93; R. N. Dett. Religious Folk-Songs of the Negro (Hampton, Va.,
ig2j). p. 168; and W. A. Fislier, Sezrnty Negro Sf^irituals (Boston,
1926), pp. 104-7.
With music. Phonograph recording. From T. G. Neal, Trinity Col-
lege student, from Laurini)urg, N. C, c. 1920.
There's a little wheel a-tiiriiing in my heart,
In my heart, yes, Lord, in my heart.
There's a little wheel a-turning.
Oh, for you, yes. Lord, for you.
There's a little wheel a-turning in my heart,
Des a little wheel a-turn-ing jus' for you, Lord,
Des a little turn all my days, yes, Lord,
Oh. dere's a little wheel a-turn-ing, a-turn-ing in my heart,
A-turn-ing, Lord, for you.
642
Through the City Where He Rode
The chorus, "1 shall know him by the prints," etc., has been
familiar to one of the editors of this collection since his boyhood
in Mississippi, in the early 1900s.
From Julian P. Boyd, as collected from Rosebud West, a pupil of the
school at Alliance. Pamlico county ; undated, but c. 1927-28. "Negro
fragment."
1 Through the city where he rode
Was spotless white.
He will lead me where
No tears won't never fall.
Oh, yes, he is leading me,
For I feel his hands on mine.
Chorus:
I shall know him hy the prints
Of the nails in his hands.
Oh, yes, I shall know him
By the prints of the nails in his hands.
2 Through the gates, through the city, where he rode
Was spotless white.
Oh, yes, he will lead me where
No tears won't never fall.
\\'here no tears won't never fall.
6/6 NORTH CAROLINA FOLKLORE
3 When I shall reach the other side,
He will lead me where
No tears won't never fall,
Oh, yes, where no tears won't never fall.
643
Tossed and Driven
From MS book of songs lent to Dr. Brown in August 1936 by Miss
Lura Wagoner, Vox, Alleghany county. Several of the songs are dated,
some 191 1, some 1913. The repetition continues as in stanza i.
1 Father said to nie when dying.
\\ hen his hreath was almost gone,
'Dear daughter, live for Jesus ;
This world is not my home.'
Chorus:
Sometimes I'm tossed and driven.
Sometimes I know not where to roam.
I've heard of a city called Heaven ;
I've started to make it my home.
2 Mother said to me when dying, etc.
3 Sister said to me when dying, etc.
4 Brother said to me when dying, etc.
644
Tree in Paradise
Spirituals about a tree in Paradise appear to be rare in printed
collections. The nearest to this in our collection seems to be one
in A. E. Perkins' "Negro Spirituals from the Far South," JAFL
XXXV 233-4, which has this stanza:
The tallest tree in Paradise [/re.?].
The Christians call it the tree of life.
All of my sins are taken away.
Taken away.
Cf. Howard W. Odum, Religious Folk-Soiigs of the Southern
Negroes, reprinted from the American Journal of Religious Psy-
chology and Education (July 1909), iii, 36:
Dere's a tree in Paradise,
Christians call de tree ob life.
See also 'Wrastling Jacob,' Emily Hallowell, Calhoun Plantation
Songs (Boston, 1901), p. 41; and W. A. Fisher, Scc'cnty Negro
Sf>irituals (Boston, 1926), pp. 8-11.
R K L I C. 1 U S SON C. S 6/7
No title. From Miss Jewell Kohhins, Pekin, Montgomery county (later
Mrs. C. P. Perdue), July 1922. Phonograph recording, Pekin, 1922.
1 There's a green tree standing; in ranulise.
Yes. my Lord.
And the Christians call it the tree of life.
Oh. yes. my Lord.
I'll pitch my tent on that camij^round.
Oh. yes. my Lord.
And give old Sjatan] a few more rounds.
Oh. yes, my Lord.
Chorus:
And it's over Jordan River Lm hound to go,
Yes, my Lord.
2 We'll shout in glory around that throne.
Oh, yes, my Lord,
When we give old Satan a few more rounds.
Oh, yes, my Lord.
There's a union in Heaven where I helong,
Oh, yes, my Lord.
B
'There's a Long, Tall Tree in Paradise.' From Julian P. Boyd, as col-
lected from B. D. Banks, a pupil of the school at .Alliance, Pamlico
county; undated, but c. 1927-28. "Negro fragment."
There's a long, tall tree in Paradise.
I'll go down and die.
Christians call it the tree of life.
I'll go down and die.
Oh, spare me the body.
I'll go down and die.
I redeem my people. Lcjrd.
Oh. spare me the body. Lord.
And I'll go down and die.
c
'Never Mind.' From an anonymous contributor, without date or address.
With music. "Negro fragment."
Never mind, never mind, never mind,
Never mind, never mind.
Never mind, never mind.
For 'twon't always be so, never mind.
There's a tree in Paradise ;
Christians call it the tree of life.
Never mind, never mind, never mind.
678 NORTH CAROLINA FOLKLORE
Never mind, never mind, never mind ;
For 'twon't be always be so, never mind.
645
Two White Horses Side by Side
White, in ANFS 88, prints some variants of tlie couplet.
No title. From H. F. Shaw (date and address not given), as from the
eastern part of North Carolina.
Two white horses side by side.
None can ride but the sanctified.
Hallelujah ! I belong to that throng.
646
W'AY Over in the Promised Land
"This is a 'white' spiritual," says Dr. White. "See The Hebrew
Children, Southern Harmony and Musical Companion (1847), and
quoted in ANFS 429." See also Jackson WNS 202-3, \\'ho prints
versions with nmsic and cites several other collections containing
the song, among tliem the Georgia Sacred Harp (1844 ed. ) ; and
Southern Plantation Spirituals, collected by Betty Kendall, Musical
Settings by Mildred K. Schulze (Washington, D. C, 1929). pp.
6-7. Cf. also Sandburg ASb 92-3.
From Miss A. Henderson, Worry, Burke county; undated, but c. 1914-15.
1 Where, oh, where is the prophet Daniel,
Where, oh, where is the good old Daniel,
Who was cast in the den of lions ?
Way over in the promised land.
Chorus:
By and by we'll go to meet him,
By and by we'll go to meet him,
By and by we'll go to meet him,
Way over in the promised land.
2 Where, oh, where is the good Elijah,
Where, oh, where is the good Fdijah,
Who went to heaven in a chariot of fire?
Way over in the promised land.
3 Where, oh, where are the Hebrew children.
Where, oh, where are the Hebrew children,
Who were cast in the fiery furnace?
Way over in the promised land.
RELI(. lOUS SONGS 6/9
647
We Are Marching On
In plan and phrasing this song resembles 'We Are Ciuing Home'
l)y Ida L. Reed in The Jeweled Croivn, A Choiec Collection of
Original Hymns and Tunes for the Sunday School by Asa Hull
(New York. 1891 ), p. 12.
From Mrs. Asa L. Wilson, Silvcrstone, Watauga county, with music
by .Miss Eula Wilson. Phonograph recording, Silvcrstone, 1921-22.
1 W c arc marching on.
We are marching on.
To the land of light.
To the land of love.
\\ e are marching on.
Chorus:
Where the angels wait
At the golden gate.
To condtict us there
To a mansion fair.
We are marching on.
2 We are marching on,
Happy pilgrim band.
We are marching on
To the heavenly land.
We are marching on.
3 To the Eden clime.
To the stmny shore,
To the happy place
Where the Savior dwells
We are marching on.
4 To the home so bright.
To the home so fair.
To the home prepared
For the pilgrim band.
We are marching on.
648
We Have Loved Ones Over Yonder
From a copy enclosed in a letter of R. D. Ware, Trinity College stu
dent, dated August 3. 1922, to Dr. Brown. ".As recalled from childhood
by his father. Rev. W. R. Ware." At the end of his copy of the text,
the informant states, "Kindred and friends can be named indefinitely,
followed by the chorus."
68o NORTH CAROLINA FOLKLORE
1 We have loved ones over yonder, we have loved ones over
yonder,
We have loved ones over yonder, over yonder ocean.
By and by we'll go and meet them, by and by we'll go
and meet them.
By and by we'll go and meet them, over yonders ocean.
Chorus:
Won't that be a happy meeting, won't that be a happy
meeting.
Won't that be a happy meeting, over yonders ocean ?
2 I have a mother over yonder, I have a mother over yonder,
I have a mother over yonder, over yonders ocean.
By and by I'll go and meet her, by and by I'll go and
meet her.
By and by I'll go and meet her, over yonders ocean.
3 I have a father over yonder, etc.
4 I have a sister over yonder, r(c.
649
W'hat You Gox'er Do That Day?
From Miss Mary Morrow, Greensboro, Guilford county, January 29,
1928.
1 \enus, Venus, beautiful star.
Beautiful star, beautiful star.
Venus. Venus, beautiful star.
Oh, what yoti gon'er do that day?
2 Rocks in the mountains fall on me,
Fall on me. fall on me.
Rocks in the mountains fall on me,
Oh, what you gon'er do that day?
3 Some to the right, some to de left,
Some to de left, some to de left.
Some to the right and some to de left.
Oh, what you gon'er do that day ?
650
Wr'll Roll the Old Chariot Along
No title. From Ethel Hicks Buffaloe, Granville county ; without date.
The repetition indicated in stanza i continues in stanzas 2 and 3.
K E L 1 i; 1 O IT S SONGS 68l
1 We'll roll the old ehariot along,
We'll roll the old chariot along,
W e'll roll the old chariot along,
And we won't lag hehind.
2 If a Baptist comes along we'll take him up with us,
3 It a Methodist comes along we'll take him uj) with us,
4 If Satan comes along we'll roll it over him.
If Satan comes along we'll roll it over him.
If Satan comes along we'll roll it o\er him.
So he can't jump on hehind.
651
We'll Sail Away to Heaven
This spiritual with a fresh and daring simile corresponds to a
copyrighted song, 'I Want to Go to Heaven Like a Feather in the
Air. a Negro Spiritual with Cliorus ad Libitum by Rev. Paul Sykes,'
adapted by Thurlow Lieurance (Philadelphia. 1918). According
to a note at the top of the sheet music, the original of Mr. Lieu-
ranee's adaptation was "dictated to the present writer by the Rev.
Paul Sykes. a quaint and kindly old minister living in a remote
village in Arkansas." Correspondences and differences between the
North Carolina and the Arkansas versions may be suggested by the
following indication of tlie essential structure of the latter:
1 I want to go to heaven like a feather in the air.
2 My Brudder went to heaven like a feather in the air.
3 My Sister, etc.
4 My Father, etc.
5 My Mother, etc.
6 My Jesus, etc.
With music. From Mrs. Morris. Raleigh, c. 1920. "Negro frag-
ment." Tlie repetition indicated in stanza i continues in the remaining
stanzas.
Chorus:
We'll sail away to heaven like a feather in de wind,
Feather in de wind. Lord, feather in de wind ;
We'll sail away to heaven like a feather in de wind ;
We'll sail away to heaven hy me hy.
1 O sisters, don't he weary, weary. Lord, weary,
C) sisters, don't he weary ;
\\ e'll sail awav to heaven l)y me by.
2 O brothers, don't be weary, etc.
3 O fathers, don't be weary, etc.
4 C) mothers, don't be weary, etc.
682 north carolina folklore
When 1 Was Lost in the Wilderness
Contributed by H. S. B. (no other information).
1 King Jesus handed the candle down.
An' 1 hope dat trumpet goin' er hlow nie home
Ter de New Jerusalem.
2 When Moses smote de water wid his shepherd's rod,
De waves r'ared back en' we crossed dry shod.
3 An' when I 'scaped from de Red Sea flood,
I loked en' dar King Jesus stood.
4 When Joshua ordered dat de sun stan' still,
King Jesus stood smilin' on de highest hill.
5 En' when I sink in de watery grave,
King Jesus'll come stridin' on de biggest wave.
653
W^HEN THE World Is on Fire
Related to what Jackson WNS 164-5 describes as a "very fluid
song." He prints two versions and cites numerous collections con-
taining others. White ANFS 282 prints a parody of it used as a
work song in North Carolina. Cf. Steely 243-4 (1935).
From Julian P. Boyd, as collected from Rosebud West, a pupil of the
school at Alliance, Pamlico county ; undated, but c. 1927-28. "Negro
fragment."
1 The world is on tire.
What are you going to do?
What are you going to do
\\ hen the world is on fire ?
2 I am going to fly,
I am going to fly,
When the world is on fire.
I am going home when the world is on fire.
I am going to shout,
I am going to shout
When the world is on fire.
3 Sinners wants to pray.
Sinners wants to pray
When the world is on fire.
I am going to fly,
I am going to fly
When the world is on fire.
RELIGIOUS SONGS 683
WiiKKii x\lv l.DRD Went tu Trav
The first stanza owes something to 'He Never Said a Mumbling
Word,' above. Stanzas 2 and 3 are a free treatment of Luke
22 04-62 and 23 :26.
Contributed l)y the State Prison Camp at Boone, Watauga county, July
18, 1936.
1 \\ av over yonder behind the niuuiitaiii,
Where my Lord went to pray,
They dressed my Lord in a long, white robe,
An' he never said a mumblin' word.
2 He hewed him out a cross about thirty feet long.
And he went waggin' along;
He wagged on down abotit the foot of the hill,
And he sent for Peter and Simon Cyrene :
3 "Come and help me to bear this old cross along.
You can't do me no good, you can't do me no harm' ;
Cryin', 'Oh Lord, oh, Lord,
Yo' can't do me no harm, yo' can't do me no good.'
Refrain:
1 done sold it to my Lawdy, Lawdy,
1 done scjld it to my Lawd.
4 Amazin' sight, the Savior stands
And knocks on every door,
Ten thousand blessings in his hand
To satisfy the poor.
Refrain :
I done sold it, etc.
655
What Kind of Crowns Do the Angels Wear?
Cf. 'What Kind of Shoes Are You Goin' to Wear' (from North
Carolina) in White ANFS 107; also, a parody, ibid., 297-8.
From Julian P. Boyd, as collected from Luther Belangia, a pupil of the
school at Alliance, Pamlico county; undated, but c. 1927-28. "Negro
fragment." The repetition indicated in stanza i cimtiiuies in the re-
maining stanzas.
I What kind of crowns do the angels wear ?
The angels wear the golden crown, the golden crown.
I'm bound to rest, I'm bound to rest,
N.C.F., VoL III, (46)
684 ^M) R T H CAROLINA FOLKLORE
I'm l)ound to rest, the golden crown.
I'm bound to rest, bound to rest with God.
2 What kind of robe do the angels wear?
3 What kind of slippers do the angels wear?
656
Wrestlin' Jacob
The chorus corresponds to 'Wrestle On, Jacob.' in Allen SS 4.
Cf. also JAFL xli 580 (one stanza of a song from South Caro-
lina ) and Thomas P. Fenner, Religious Folk Songs of the Negro
(Hampton, Va., 1916), p. 131. In chorus and plan, the song re-
sembles "Wrastling Jacob' in Emily Hallowell, Calhoun Plantation
Songs (Boston, 1901), p. 41.
From Miss S. O. H. Dickson, Winston-Salem, Forsyth county, in a
letter dated November 15, 1913.
1 Wrestlin' Jacob seek de Lawd.
I will not let thee go.
An' I wrestle all night till de break oh day,
An" 1 will not let thee go.
Chorus:
W'restle Jacob ; day is a-breakin' ; wrestle Jacob !
Lord, I will not let thee go.
An' I will not let thee go.
An' I will not let thee go ;
Till Jesus bless my soul
I will not let thee go.
Wrestle Jacob ; day is a-breakin' ; wrestle Jacob !
Lord. I will not let thee go.
2 Bredren, don't get weary,
Bredren, don't get weary,
Bredren, don't get weary,
Oh, bredren, don't get weary.
For de work is almost done.
Keep your lamps trimmed and burnin'.
Keep your lamps trimmed and burnin'.
Keep your lamps trimmed and burnin',
For de work is almos' done.
3 Sisters, don't get weary, etc.
4 Elders, don't get weary, etc.
5 Class-leaders, don't get weary, etc.
r e i, i c i o u s son c. s 685
'Zkkiki.'i.i. \\'i:f.i' and 'Zi:kii;i.'i.i. Mow
I-'niiii Mr. Fairlcy, 1 )ul<c University student; no address nr date.
"There is some more of tliis song, hut 1 can't roniemher it." Cf. Sand-
hurg ASh 44Q-50.
'Zckit'l'll weep and 'Zckicril nii»an,
Btit the flesh come creei)in' up 'Zekiel's bones.
And it just suits me.
I looked down the road and saw the train coming;
1 ho])ped on and the train kept running;
And it just suits me.
658
Cherokee Hymn
Cf. Ricliardson & Spaeth, p. 67, 'Safe in tlic Promised Land';
Samuel E. Asbury and Henry E. Meyer, Old-Time JVIiifc Camp-
Mcctiug Spirituals, BTFLS, No. 10 (1932), p. 177, 'We Have
Fathers Over Yonder'; White ANFS 1 14-15, 'I Got a Mother.' In
a headnote. Professor White quotes from a song copyrighted in 191 5
hy W. J. Ramsay ( Haiii-Rainsay RctIt'oI Hymus, Chattanooga, n.d.,
hut published between 1917 and 1925), beginning:
I have a father in the promised land
And I hope some day we'll all get there,
'Way over in the promised land.
"The remaining four stanzas," explains Professor White, "are the
same, except for 'father' read 'mother.' 'brother,' 'sister,' 'savior.' "
There is a somewhat similar "Indian" version oi 'The Promised
Land' from Missouri, in BSM 459.
Sung in April, 1935, by Mr. William W. Presley, who had learned
the hymn from his wife, Mary E. Barrett Presley, now deceased.
Mrs. Presley's grandmother was related to Chief Battle Axe of the
Cherokee Indians — a circumstance of which Mrs. Mary Couch, who
joined with her father, Mr. William W. Presley, as he sang, was
inordinately proud. "Prog ni lo" means "Promised Land" in Chero-
kee, according to Mr. Presley. The melody was sinuiltaneouslv
recorded.
From Mrs. Steely, witli her Jieadnote ; music; 1935.
I I have a father in the prog ni lo.
And you have a father in the prog ni lo.
And we all have a father in the prog ni lo.
Chorus:
Nee I ravy, Nee-shi, nee-shi ni-go.
Three I three-by an shce prog no lo,
Three 1 threc-by an shee prog no lo.
Three 1 three-by an shee prog no long.
2 I have a brother in the prog ni lo.
And you have a brother in the prog ni lo,
And we all have a brother in the prog ni lo.
3 I have a mother in the prog ni lo.
And you have a mother in the prog ni lo,
And we all have a mother in the pro ni lo.
4 I have a sister in the prog ni lo.
And you have a sister in the prog ni lo,
And we all have a sister in the prog ni lo.