CHAPTER III: EXAMPLES OF RELIGIOUS SONGS
An exact classification of the current Negro songs presented in this collection, either as to subject-matter or as to form, would scarcely be possible. There is little unity of thought in their content; their meters conform to no consistent standards. A single favorite stanza, regardless of its meaning, is constantly being sung in a dozen different songs. It is a distinct song and it matters little to which one it belongs; it serves its purpose in any one of them. So in the form of the verse, a single tune is adapted to lines that differ greatly in length; likewise a single line is not infrequently made to fit into any tune that is desired. Again no final version of any song can be given. The lines are rarely sung twice in exactly the same form.
There are ordinarily as many versions of a line as there are combinations of the words without spoiling the effect of the rhyme or emphatic word. The stanzas have no order of sequence, but are sung as they occur in the mind of the singer; a song does not have a standard number of stanzas, but the length depends upon the time in which it is wanted to sing that particular song. In the songs that follow the most common versions are given. In giving the dialect no attempt is made at consistency, for the Negro of the present generation has no consistency of speech. He uses "the" and "de," "them" and "dem," "gwine" and "goin'," "and" and "an'," together with many other varied forms, which were noted in Chapter I. Nor does it matter that each of the forms is used in the same line or stanza. In the old songs that are here quoted for comparisons, the exact form of speech in which they have been published is used. In the miscellaneous songs gathered here and there, what may be called the average dialect is used. The songs that form the basis of this work are those that are found among the present-day Negroes of the South; in many cases the corresponding song of earlier days is given in order that a better study of the folk songs may be made and the many points of resemblance noted. In all instances the basis of the chapter is the present-day song, and these should not be confused with those that have already been published. Further particulars will be pointed out in connection with the several songs.
Perhaps no better beginning can be made towards general classification of the religious songs of the Negroes than by introducing some that combine several characteristics, but still have a general theme predominating. Sin is an important factor in the religious life of the Negro and his songs refer to it in many forms. The three general tones which pervade the theme are: A note of victory over sin and the conception of it as being in the past or belonging to some other person; the conception of sin as being present and the singer as being in its grasp; and, thirdly, the "sinner-man" himself and warnings given him.
ALL MY SINS DONE TAKEN AWAY
This very popular song is typical of the first class mentioned above. There is no reason why the stanzas given below should come in the order presented, except that they are heard in this arrangement as much as in any other. The stanzas consist of two rhymed lines with the refrain. These, however, are usually extended to four, the first two and refrain being sung slowly and in a more or less plaintive tone, while the repetition of the same lines with the rhymed line and refrain is rapid and joyous. The common version follows:
I'm goin' to heaven an' I don't want ter stop,
Yes, I'm goin' to heaven an' I don't want ter stop,
All o' my sins done taken away, taken away;
I'm goin' to heaven an' I don't want ter stop,
An' I don't want ter be no stumblin' block,
All my sins done taken away, taken away.
Instead of repeating the chorus line at the end of the first two lines that are sung, the Negroes often vary the song by repeating the last half of the line, as in the following stanza:
Well, "M" for Mary, an' "P" for Paul,
Well, "M" for Mary, an' "P" for Paul,
An' "P" for Paul;
Well, "M" for Mary an' "P" for Paul.
"C" for Chris' who died for us all,
All o' my sins done taken away, taken away.
The chorus is again varied from "all my sins" to "all o' my sins," "done taken away," or "bin taken away," while the entire line is sometimes changed in a single stanza. Sometimes it is sung as given above; at other times the line goes: "All my sins done taken away, bin' taken away," or omitting either "done" or "bin" it is sung equally well as "All my sins taken away, taken away," while in the grand chorus at the climax of the song the chorus goes:
Yes, all o' my sins bin taken away,
Yes, all my sins done taken away,
Yes, all o' my sins done taken away,
Yes, all my sins done taken away.
Glory, glory to His name,
All my sins done taken away, taken away.
This last chorus may be repeated whenever the singers do not think of words to fit in with the songs, although this is rarely necessary. The following stanzas are sung in the same manner as those just given.
If I had er died when I wus young,
I never would a had dis race to run,
All o' my sins done taken away, taken away.
Well you oughter bin dere to see de sight,
The peoples come runnin' both cullud an' white.
My feet got wet in de midnight dew,
An' de mornin' star was a witness, too.
If you doan b'leave I bin redeem,
Jes follow me down to Jordan stream.
When a sinner see me it make him laugh,
Thank God-a-mighty, I'm free at las'.
Mary wept and Martha mourned,
Mary wept all 'round the throne.
Mary wept an' Martha mourned,
All because deir brother done daid an' gone.
Mary wept an' Martha cried,
All 'cause dey brother done gone an' died.
I'm goin' to ride on de mornin' train,
All don't see me goin' ter hear me sing.
I'm gwine to heaven on eagle's wing,
All don't see me goin' ter hear me sing.
My mother's sick an' my father's daid,
Got nowhere to lay my weary head.
I went down in de valley to pray,
My soul got happy an' I stayed all day.
A number of other versions are common. Instead of "Mary wept all 'round the throne" is sung "all 'round God's hebbenly throne." Instead of the morning star as a witness the old songs have it "angels witness too." Instead of in the valley, the old songs also had "on de mountain" and also inserted "I didn't go dere to stay." This version is sung in some of the songs still.
DAT SABBATH HATH NO END
This is the name of a favorite somewhat similar to "All My Sins Done Taken Away." It has a number of forms for the chorus.
I went down in de valley,
I did'nt go ter stay;
My little soul got happy
An' I like to a stayed all day.
I thought I had religion, I b'lieve,
I thought I had religion, I b'lieve,
I thought I had religion, I b'lieve,
Dat Sabbath hath no end.
I wouldn't be a sinner,
Tell you de reason why —
Feard de good Lord might call me,
An' I wouldn't be ready ter die.
Gwine rock trubbel over, I b'lieve,
Rock trubbel over, I b'lieve,
Rock trubbel over, I b'lieve,
Dat Sabbath has no end.
Ole Satan's mighty busy,
Fixin' up his snares;
He'll ketch all dem mourners,
If dey don't keep deir prayers.
Yer better get ready, I b'lieve,
Yer better get ready, I b'lieve,
Yer better get ready, I b'lieve,
Dat Sabbath has no end.
I AM DE LIGHT UV DE WORl'
The singer is a little more definite in his convictions in the next song. He is no longer a sinner and looks forward to the time when he will "cross de ribber."
Halleluyer, good Lord,
I am de light uv de worl';
Halleluyer, good Lord,
I am de light uv de worl'.
Ever since my Lord done sot me free,
Dis ole worl' bin a hell to me;
I am de light uv de worl'.
I looked toward dat northern pole,
I seed black clouds of fier roll;
I am de light uv de worl'.
I gwine 'clare de word,
I am de light uv de worl'.
I'm gwine 'clare de word,
I am de light uv de worl'.
Der ain't but one train on his track,
Goes straight to heaven an' run right back;
I am de light uv de worl'.
Ever since I bin in de worl',
I am de light uv de worl';
Ever since I bin in de worl',
I am de light uv de worl';
When I cross Jordan I'll be free,
Gwine a slip an' slide dem golden streets;
I am de light uv de worl'.
'Way up in de kingdom, Lord,
I am de light uv de worl';
'Way up in de kingdom, Lord,
I am de light uv de worl'.
JESUS DONE BLESS MY SOUL
The Negro is not troubled because he cannot see his Lord; he has heard Him speak and believes that He has gone "on to glory." His personal relation with Jesus is satisfactory and he sings His praises often as he tells of his own experiences. Says he:
One day, one day, while walkin' along,
Jesus done bless my soul;
I heard a voice an' saw no one,
Jesus done bless my soul.
Oh, go an' tell it on de mountain,
Jesus done bless my soul;
Oh, go an' tell it in de valley,
Jesus done bless my soul.
He done bless my soul an' gone on to glory.
Jesus done bless my soul;
Done bin here an' bless my soul an' gone on to glory,
Jesus done bless my soul.
In one of the old plantation songs a similar idea is given of the blessing, but in a different version.
One day when I wus walkin' along, oh, yes, Lord,
De element opened, an' de Love came down, oh, yes,Lord.
I never shall forget dat day, oh, yes, Lord,
When Jesus washed my sins away, oh, yes, Lord.
Another chorus inquired: "Oh, brothers where were you? Oh, sisters where were you? Oh, sinners, (Oh, Christians, Oh, mourners, etc.) where were you?" "My good Lord's bin here, bin here, bin here; my good Lord's bin here, an' he blessed my soul an' gone."
So the Negro exhorters often conclude their services saying that the Lord has been to the meeting and gone. Said one deacon who was exhorting for a large collection: "De good Lord's done bin with us tonight — I know he has; done bin here an' gone, an' now we want to git down to bizness, I wants some money."
LORD, I JUST GOT OVER
The Negro, fresh and enthusiastic from his religious experience and having "come through," sings with some relief:
I have been tryin' a great long while,
Lord, I jus' got over on yo' side.
Lord, I jus' got over-er,
Lord, I jus' got over,
Lord, I jus' got over-er,
I jus' got over on yo' side.
I prayed an' I prayed till I come over,
Lord, I jus' got over on yo' side.
OH, THE SUNSHINE!
So also he "weeps" and he "mourns" and "cries" till he "gets over on the Lawd's side." Then he sings:
Oh, the sunshine! Oh, the sunshine!
Oh, sunshine in my soul this mornin';
Yes, the sunshine, the sunshine,
Yes, sunshine in my soul.
Down in the valley, down on my knees,
Sunshine in my soul;
There I met that heavenly breeze,
Sunshine in my soul.
Ole devil like a snake in the grass,
Sunshine in my soul;
He's always in some sister's path,
Sunshine in my soul.
LORD BLESS THE NAME
Very much mixed and somewhat similar to some of the songs already given is "Bless the Name."
I've got to go to judgment, I don't know how soon,
Lord bless the name, Lord bless the name;
I've got to go to judgment to hear my sins,
Lord bless the name, Lord bless the name.
My Jesus fed me when I's hungry, gave me drink when I's dry,
Lord bless the name, Lord bless the name.
My Jesus clothed me when I was naked,
Lord bless the name, Lord bless the name.
In the same song and with the same tune are sung the shorter lines that follow. "Lord bless the name," is a form of the phrase "Bless the name of the Lord." It is used as a refrain after each line or it may be omitted.
Mary wept and Martha mourned,
Lord bless the name, Lord bless the name;
Jesus Chris' laid the corner stone,
Lord bless the name, Lord bless the name.
Mary wore the golden chain,
Every link was in Jesus' name.
You may talk about me just as you please,
I'll talk about you when I git on my knees.
God made man an' man was sure,
There was no sin an' his heart was pure.
God made Adam an' Adam was first,
God made Adam out o' the dust o' the earth.
FREE, FREE, MY LORD
It proves an interesting task to follow the development and changes in a song that has survived from slavery days. In "Free, Free, My Lord," one of the verses was quite a puzzle. On one occasion the following stanza was heard:
The moon came down like a piper's stem,
The sun 'fuse to shine;
An' ev'y star disappear,
King Jesus set me free.
Inquiry was made in order to see if the words had not been misunderstood. The older Negroes gave this version and insisted that it was correct, but none of them could explain what it meant. It was thought that perhaps it was a figure applied to the moon's rays or that the loss of the sun might have meant the peculiar appearance of the moon. Anyway, they maintained, this was the "way we got de song an' guess it must be right." The words of the original song were:
The moon run down in purple stream,
The sun forbear to shine,
An' ev'y star disappear,
King Jesus shall be mine.
Of this there seemed to be several versions. Other verses that are found today are:
As I went down in de valley one day,
I fell upon my knees,
I begged and cried fer pardon,
The Lord did give me ease.
Free, free, my lord,
Free, free, my lord,
Free, free, my lord,
To march de heaven's highway.
Free, free, etc.
My mother look at de son an' smile,
My father look at me;
My mother turn my soul from hell,
King Jesus set me free.
The last verse is an unusual variation and interpretation of the old song; just how and when the Negroes inserted the idea of mother would be difficult to ascertain; perhaps it came from "master," or more likely it was introduced by them while they interpreted father and son as names of the ordinary members of a human family. The original form seems to have been,
De Father, he looked on de Son and smiled,
De Son, he looked on me;
De Father, he redeemed my soul from hell;
An' de Son, he set me free.
The chorus, too, has been much confused and is sometimes given as "Children light on dat cross, God bless you forever mo'." The song is not a common one among the Negroes and is not known, apparently, among the younger ones.
GLAD I GOT RELIGION
In contrast with this favorite of the older Negroes may be given a favorite of the younger generation, "Glad I Got Religion." The repetition represents pretty well the relative depth of the feeling which the convert experiences. But he loves to sing it for its pleasing sound and for the faith it gives him in his own religious state. The song is a long and continued chorus and may well be taken as a type of the song which reflects the Negro's feeling of immunity from sin.
I'm so glad, so glad; I'm so glad, so glad;
Glad I got religion, so glad.
Glad I got religion, so glad.
I'm so glad, so glad; I'm so glad, so glad;
I'm glad all over, so glad,
I'm glad all over, so glad.
I'm so glad, so glad; I'm so glad, so glad;
Glad I bin changed, so glad,
Glad I bin changed, so glad.
And so he continues singing; he is glad that he is going to heaven, he is glad that he is not a sinner, glad he has been set free, and many other such states. Then when he has finished he begins all over again, if he wishes, and sings: "Sister, ain't you glad?" "Brother, ain't you glad?" and goes through with as many of these as he wishes — preacher, mourner, auntie, and and others.
GOD KNOWS IT'S TIME
The "sinner-man" is the theme for many verses of the Negro favorites. Directed at him are warnings and admonitions. He is told what he must do and when; how he must do and why. He is told of the experiences of the Christians and he is told of the doom of the damned. The Negro rejoices over his own safety and boasts of the sinner's destruction; at the same time he constantly refers to the "po' sinner" in a sympathetic way. But the sinner must be warned:
God know it's time, it's time, it's time,
That a sinner was makin' up his min'
It's time, it's time he was makin' up his min' to die.
A sinner was walkin' off his time, his time,
An' when my God call him he did not have the time,
God know it was time, it was time, it was time for him to die.
Again the words of the righteous to the sinner are driven home by repetition and by a dark and dismal picture:
Oh, hell is deep an' hell is wide,
Oh, hell is deep an' hell is wide,
Oh, hell is deep an' hell is wide,
Oh, hell ain't got no bottom or side.
Well, before I lay in hell all day, hell all day,
Well, before I lay in hell all day, hell all day,
Well, before I lay in hell all day, hell all day,
I goin' to sing an' pray myself away, self away.
sinner, don't you let this harves' pass, harves' pass,
O sinner, don't you let this harves' pass, harves' pass,
O sinner, don't you let this harves' pass, harves' pass,
Do you die an' go to hell at las', hell at las'.
workin' on the building
The sinner may be a gambler or a dancer or a rogue or a drunkard. But each name has the same signification in the religious phraseology of the Negro song. There are various ways of repenting and of serving the Lord just as there are many ways of offending and sinning against him. ''Workin' on the Building" appeals to the average Negro.
If I wus a sinner man, I tell you what I'd do,
I'd lay down all my sinful ways an' work on the building too.
I'm workin' on the building fer my Lord,
Fer my Lord, fer my Lord,
I'm workin' on the building fer my Lord,
I'm workin' on the building, too.
If I wus a gamblin' man, I tell you what I'd do,
I'd lay down all my gamblin', an' work on the building, too.
If I was a 'ho'-munger, I tell you what I'd do,
I'd lay down all my munglin' and work on the building, too.
And so on for the dancer and the drunkard and the "cussin' man."
IF I WAS A MOURNER
In another song the Negro sings of the sinners and mourners.
If I wus a mourner jus' like you, um-u,
I'd go to church an' try to come thru, um-u.
When I was a mourner, um-u', jus' lak you,
I prayed an' prayed till I come thru, um-u.
Upon de mountain King Jesus spoke, um-u,
Out of his mouth come fier an' smoke, um-u.
Now, mourner, won't you please come on, um-u,
An' join us in that heavenly Ian', um-u.
THE DOWNWARD ROAD IS CROWDED [1]
In "The Downward Road Is Crowded" a mournful picture is given of the sinner who failed to repent. His example is held up for the contemplation of those who are following in his steps.
Young people who delight in sin,
I tell you what I lately seen;
A po' godless sinner die,
An' he said: "In hell I soon'll lie."
Hark, the downward road is crowded, crowded, crowded;
Yes, the downward road is crowded with onbelievin' souls.
He call his mother to his bed,
An' these is the dyin words he said:
"Mother, mother, a long farewell,
Your wicked son is damned in hell."
He dance an' play hisself away,
An' still put off his dyin' day,
Until at las' ole death was sent,
An' it 'us too late fer him to repent.
They also sing of brother and sister and others being called to the bedside. The old plantation song of the same name has a similar chorus but the stanzas were quite different.
When I wus a sinner,
I loved my distance well,
But when I come to fin' myself,
I was hangin' over hell.
Ole Satan's mighty busy,
He follers me night an' day,
An' everywhere (I'm 'pinted,)
Dere's something in my way.
MY LORD'S COMIN' AGAIN
The Lord will come to judge the world and wake up the dead. It is the supreme ambition of the singer to be ready to meet his Lord when He comes. Just what form the Lord will take the Negro does not say; perhaps it will be in a cloud of fire or He will come as in the days of Moses. "My Lord's Comin' Again" gives a general conception.
Oh, my Lord's comin' again,
Oh, my Lord's comin' again,
(Talk about it:)
Yes, my Lord's comin' again,
It may be las' time, I don't know.
Well he's comin' to judge the worl',
Well he's comin' to judge the worl',
(Talk about it:)
Yes my Lord's comin' to judge the worl',
It may be las' time, I don't know.
Well you had better put off lyin' shoes,
Well you better put off lyin' shoes,
(Talk about it:)
Better put off lyin' shoes,
For it may be las' time, I don't know.
And so he sings "Better put off dancin' shoes,"
"better put off gamblin' shoes." For the sinner's shoes
will not be suitable to "walk on the cross."
god's goin' to wake up the dead
Goin' to wake up the dead,
Goin' to wake up the dead,
God goin' to wake up the dead,
Who's a sleepin' in the grave,
God is goin' to wake up the dead.
You had better min', my brother, how you walk on the cross,
God's goin' to wake up the dead;
If yo' right foot slip, then yo' soul be los'
God goin' wake up the dead.
Then "you better min', my sister," my mother, my preacher, is sung. The old song contained words similar to the lines just given:
My brudder, better mind how you walk on de cross,
For yo' foot might slip an' yo' soul git lost,
Better mind dat sun, and see how she run,
An' mind, don't let her catch ye wid yer works undone.
SINNER DIE
"Time is comin' when sinner mus' die," and there is none so pitiable as the lost sinner.
Sinner die, sinner die,
Sinner dies wid his head hung down,
Sinner die, sinner die,
Sinner die in de midnight dew.
Sinner die, sinner die,
Sinner die, with achin' heart,
Sinner die, sinner die,
Sinner die with weary min'.
Stump'ty up an' stump'ty down,
Time is comin' when sinner mus' die,
Hurry home, hurry home;
Time is a comin' sinner mus' die.
Don't you let that sinner change yo' min',
Time is comin' sinner mus' die.
Hurry home, hurry home;
Time is comin' sinner mus' die.
The plantation song of some years ago, sometimes called "Oh Sinner, You Better Get Ready," has the same line refrain, "Time is a comin' dat sinner mus' die." The repetition of "sinner die" is a new addition. In the old song were lines similar to those quoted:
sinner man, you better pray
For it look-a like judgment every day.
1 heard a lumb'ring in de sky,
Dat make-a me t'ink my time was nigh.
I heard of my Jesus a-many one say,
Could move poor sinner's sins away.
Yes, I rather pray myself away,
Dan to lie in hell an' burn-a one day.
I think I heard my mother say —
'Twas a pretty thing to serve the Lord.
Oh, when I git to heaven I'll be able fer to tell,
Oh, how I shun dat dismal hell.
WHAT YOU GOIN' DO?
An interesting type of song is that in which an imaginary conversation is carried on between two parties. If the song is correctly rendered the leader or one part of the chorus sings the first part or takes the words of one of the speakers, while the other chorus takes up the other speaker's words. Both then join in the grand refrain, which in the following song is
"Lord, I'm on my way."
Sinner, what you goin' to do
When de devil git you?
What you goin' do
When de devil git you?
What you goin' do
When de devil git you?
Lord, I'm on my way.
I'm goin' run to the rocks;
Well, they can't hide you.
Goin' run to the rocks;
They can't hide you.
Run to the rocks;
Well, they can't hide you;
Lord, I'm on my way.
I'm goin' to run to the water;
An' water goin' to cry "fire."
Goin' to run to the water;
An' water cry "fire."
Run to the water,
An' water cry "fire";
Lord, I'm on my way.
And so the sinner will then "run to the mountain," and "De mountain fly open" or "De mountain cry mercy." The sinner must needs be hopeless at his death and there is neither mercy nor pity for him. It is the idea of the Negro that at the great day "we won't be bothered with them any moV A sad picture he makes of the poor and forsaken man who dies "with achin' heart," with "weary min','' and with his "head hung down."
COME, SINNER, COME
Consequently it is not surprising to find appeals of all sorts made to the sinner man; now he is told of his doom, now of possible salvation, now of the joys of being saved, now of immediate satisfaction. Sung like the above song is "Come, Sinner, Come."
Won't you come, won't you come?
Come, sinner, come;
Great day of wrath is comin';
Come, sinner, come.
Look over yonder what I see;
Come, sinner, come;
Two tall angels comin' after me;
Come, sinner, come.
In the same manner he sings any number of verses, as
Ole Satan like a snake in de grass,
Always in some sister's path.
Ole Satan weahs mighty loose ole shoe
Ef you don't min' gwine slip it on you.
Up on hillside King Jesus spoke,
Out of his mouth come fier an' smoke.
Down in de valley, down on my knees,
Ask de Lord to save me if He please.
The old plantation song was as follows:
whar you runnin', sinner?
I do love de Lord;
De Judgment day is comin',
I do love de Lord;
You'll see de worl' on fire,
I do love de Lord;
You'll see de element a meltin',
I do love the Lord.
Besides these stanzas there were sung the various other warnings such as have been given in the idea of judgment and resurrection already noted. In the old slave song the sinner asks:
What shall I do for hiding place?
I run to de sea but de sea run dry.
I run to de gate but de gate shut fast.
No hiding place for sinner dere,
For I am gone an' sent to hell.
I LOOK FOR JESUS ALL MY DAYS
Instead of the regular refrain which is sung by the chorus of voices in response to a line by the leader, the Negroes often respond with "um-u" in a general mingling of chant, humming and "amens." For the most part they do this with closed lips; the volume is surprisingly strong, however, and makes a stirring effect. The meaning of the expression is something like "Yes" or "Of course, we know it is true," or "Sure, you talkin', brother." The singer says: "I look for Jesus all my days," and the chorus answers, "um-u." He then continues:
An' when I found him this is what he said, um-u
"Yo' sin forgiven an' yo' soul set free," um-u.
I pray all night, an' I pray all day, um-u, um-u;
Then my Lord taken my sins away, um-u, um-u.
Nex' day, nex' day while walkin' along, um-u, um-u,
I heard a voice and saw no one, um-u, um-u;
It said, "Sinner man, you better come home," um-u, um-u.
One day I was walkin' long dat lonesome road, um-u, um-u,
King Jesus spoke unto me an' lifted off dat load, um-u.
BROTHER, YOU'D BETTER BE A-PRAYIN
"Brother, You'd Better Be a Prayin'," while mostly repetition, makes a long song when sung to its limit. "Sister," "sinner," "backslider," "mourner," "children," each serves to make a complete stanza of eight lines:
Brother, you'd better be a prayin',
Brother, you'd better be a prayin',
My brother, you'd better be a prayin'.
An' I'll be carried above,
An' I'll be carried above,
An' I'll be carried above.
I'll see King Jesus in his reign,
An' I'll be carried above.
WHEEL IN MIDDLE OF WHEEL
The chorus song, "Wheel in Middle of Wheel," is most likely a variation of the old song, "Wheel in a Wheel." Sometimes the wheel was conceived of as being a "Little wheel-a-turnin' in my heart," in which case it signified some sort of feeling. The phrase means nothing more than a chorus in the present-day song.
Sinner man, how can it be?
Wheel in de middle of wheel;
If you don't serve God you can't serve me,
Wheel in de middle of wheel.
In the wheel, in the wheel,
Wheel in de middle of wheel,
In the wheel, in the wheel,
Wheel in the middle of wheel.
Well, don't you know it's prayin' time?
Wheel in middle of wheel;
Lay down yo' way and go to God,
Wheel in middle of wheel.
Well, don't you know it's mournin' time?
Wheel in middle of wheel;
He'll hear yo' prayers an' sanctify,
Wheel in middle of wheel.
JESUS IS LISTENIN'
Jesus and God are represented as "listenin' all the day long," and the sinner is directed to pray. The plantation song called to him: "Where you goin' sinner? Oh, come back, don't go dat way." And one of the singers affirmed that "about the break o' day" his sins were forgiven and "his soul set free.'
The song "Jesus Is Listenin' " seems at some time to have been considerably corrupted. The Negroes have sung it: "I've been a-listenin' all the day long (all night long) to hear some sinner pray." However, the correct version now seems to be:
Jesus is a listenin' all the day long,
He keep listenin' all day long,
He keep listenin' all the day long,
For to hear some sinner pray.
If I was a sinner I would please him,
I would pray an' pray all day;
So when I got to heaven,
He could say he heard me pray.
BEAR YO' BURDEN
But in "Bear Yo' Burden, Sinner," another version is given of the same idea. This song is a popular one, while the figures used give a definite conviction.
The Lord is a listenin' all the day long,
Bear yo' burden, sinner.
If you will only pray, he will bear you on,
Bear yo' burden in the heat o' the day.
Bear yo' burden, sinner,
Bear yo' burden, sinner,
Bear yo' burden in the heat o' the day.
I'm goin' home fer to see my Lord,
Bear yo' burden, sinner;
An' don't you wish you could go 'long,
Bear yo' burden, let in the heat.
The way to bear yo' burden is to get down on yo' knees,
Bear yo' burden, sinner, let in the heat;
Ask God to forgive you if you please,
Bear yo' burden in the heat of the day.
This last stanza is an improvisation made by a young Negro of some twenty-five years, although he claimed that it belonged to the song that was regularly sung, maintaining that they only forgot to sing it in the church on that special occasion.
TRUE RELIGION
"True Religion" gives one view of the requisites of him who will be saved. The song is based in form on a current secular song, and belongs to the class of colloquies.
Well you must have that true religion,
You must have that true religion an' yo' soul converted,
You must have that true religion
Or you can't cross dere.
Where are you goin' sinner,
Where are you goin', I say?
I goin' down to de river of Jordan,
An' you can't cross dere.
He continues, "Where are you goin', gambler, back-slider, drunkard, liar, hypocrite?" and answers each with, "An' you can't cross dere," while the entire chorus, "You must have that true religion," is often repeated after each. The sinner is asked still other questions, one of which is given in the next song.
HE IS WAITING
Why does you tarry, sinner,
Why does you wait so long?
For my Lord is a waitin',
Why don't you come to His call?
He is waitin', Lord,
He is waitin', Lord,
He is awaitin' fer the good Lord
To come, my Lord.
But when my Lord get here,
You won't have time to pray at all,
For he is goin' to judge you,
An' hell you be bound.
TALK ABOUT ME
The Negro preacher often rebukes his flock for talking about one another in uncomplimentary terms. Sometimes the "sisters" who do not like the preacher retort variously, "I heard you talkin' 'bout So-and-So, and you know I did," or "We gwine talk 'bout you," or "Yes, you knows it." Slander and gossip are fast runners and the average Negro assumes that somebody is talking about him or something which he has done. Out of this has grown the song "Talk About Me" and others.
Yes, I know you goin' talk 'bout me,
Yes, I know you goin' talk 'bout me,
For you talk 'bout my father when he's on his knees a prayin'
An' you know you goin' talk 'bout me.
For you talk about my mother when she's on her bed a-dyin';
An' you know you goin' talk 'bout me.
He actually sings, father, brother, mother, sister, mourner, preacher, to both "on his knees a prayin' " and "on bed a dyin'." A very popular stanza which is regularly sung in a number of songs goes:
You may talk about me just as you please,
I'm goin' to talk about you when I git on my knees.
GET IN THE UNION
The old slave and plantation song asked: "Who'll jine de Union?" saying, "Say, ef you belong to de union ban', den here's my heart an' here's my hand." There have been societies known as "The Union" or "Union Band" both in the church and outside. The name "Union" itself is a favorite one among the Negro societies and organizations. It was thought in the old days that a union band would march to heaven and that these only would be enabled to reach the destination. It is almost certain that a number of references in their songs referred to the Union army in and after the war. However, the exact origin of the song as it is now sung has not been found, but appears to be a general corruption of several songs.
Get in the Union, Jesus is a listenin';
Get in the Union, Jesus die.
Well, won't you get in the Union?
Jesus is a listenin', Jesus die.
Where was Ezekiel when the church fell down?
Down in de valley wid his head hung down.
Hypocrite, hypocrite, God do despise,
Tongue so keen till he will tell lies.
Upon the mountain Jehober spoke,
Out of His mouth come fier an' smoke.
With this chorus are sung also as already given, "Satan like a snake in the grass," "Ole Satan weah mighty loose ole shoe," etc. The "hallelujah" so common among the old songs is less frequently heard now; it will be found to some degree in the shouting songs and songs of heaven.
BLOW, GABLE, BLOW
Not least among the warnings to the sinner were to be reckoned the times when "Gable" should blow his horn. "Gable" has been proverbial among the Negroes; Gabriel and the trumpet are, however, significant in the same way among the whites in the vulgar reference. Many ideas of "Gable's" trumpet have appeared in the Negro songs. Sometimes it is "blow louder," Gable!" "How loud mus' I blow?" The song "Blow, Gable, Blow" has changed considerably from the old plantation songs of the same name.
Blow, Gable, at the judgment,
Blow, Gable, at the judgment bar,
For my God is a talkin' at the judgment,
For my God is a talkin' at the judgment bar.
Now won't you blow, Gable, at the judgment?
For my God is a preachin' at the judgment bar.
Now won't you blow, Gable, at the judgment bar?
Well, Fm goin' to meet my preacher at the judgment bar
In the same manner, making a four-line stanza of each one, are sung, "Goin' to meet brother," (mother, sister, etc.) and also, "My God is a walkin' (tryin', etc.) at the judgment bar." So, too, it is "prayin' time (mournin' time, singin' time, shoutin' time, tryin' time, etc.) at the judgment bar." This song may be given as the last one of the class peculiar to warnings and admonitions to sinners. It closes with still other verses that give vivid pictures of the judgment bar.
Well, sinners, keep a prayin' at the judgment bar.
Well, it's too late to pray at the judgment bar.
Why didn't you take heed at the judgment?
Some come crippled at judgment.
O, I look for my mother, (brother, sister) at de judgment.
OH, WHAT A HARD TIME!
The sinner as well as the seeker has a "hard time" during his experience. The duties of everyday life, too, often seem hard. Now on his knees, now shouting, now sorrowful and now glad, the Negro comes from "hanging over hell" to die and "set by de Fadder's side." The average negro appears to pity himself, and his song intensifies the feeling. The songs that follow may be classed as those that give the state of uncertainty and doubt, together with pity mingled now and then with the note of triumph. In "Oh, What a Hard Time!" sisters, brothers, children, preachers, seekers — all have the same difficulties.
Oh, what a hard time! Oh, what a hard time!
Oh, what a hard time — all God's children have a hardtime.
Oh, what a hard time! Oh, what a hard time!
Oh, what a hard time! My Lord had a hard time, too.
In another division will be given the song "My Trouble Is Hard," the idea of which seems to be derived from the old plantation songs, though the new song is entirely different from the old ones. The plantation Negroes used to sign "Nobody knows the trouble I've seen," in which they were "sometimes up, sometimes down, sometimes almost to de groun'." Others sang it "Nobody knows the trouble I see," (or "I've had,") and asked: "Brother, sister, preacher, will you pray for me?"
PO' SINNER MAN
In the same pathetic tone the "sinner man" gives another phase of the feeling.
My mother 'n' yo' mother both daid an' gone,
My mother 'n' yo' mother both daid an' gone,
My mother 'n' yo' mother both daid an' gone,
Po' sinner man he so hard to believe.
My folks an' yo' folks both daid an' gone,
Po' sinner man he so hard to believe.
My brother 'n' yo' brother both daid an' gone,
Po' sinner man he so hard to believe.
As usual "my sister," etc., completes the song, with favorite lines, "Down in de valley," "Up on mountain Jehober spoke," etc., being inserted as often as they are needed.
HANGIN' OVER HELL
The next one gives more intensity to the feeling of the sinner. He says
When I wus hangin' over hell, over hell,
When I wus hangin' over hell, over hell,
Well, I had no one to pity poor me, poor me.
Well, my mother sick an' my father daid, father daid,
Well, my mother sick an' my father daid, father daid,
Well, I ain't got no one to pity poor me, poor me.
Well, I ain't got no one to pray for me, to pray for me.
I ain't got no one to feel for me, feel for me.
Likewise he has no one to "cry" for him, to "mourn" or to "care" for him.
KEEP INCHIN' ALONG
The struggle is well represented by the song "Keep Inchin' Along," which was also common in the old plantation melodies; the chorus is the same, while the words are entirely different from the other song.
Keep er-inchin' erlong, keep er-inchin' erlong,
Jesus'll come by an' by
Keep er-inchin', keep er-inchin' erlong,
Jesus'll come by an' by.
De road is rocky here below,
But Jesus'll come by an' by.
But Jesus leads me as I go,
Jesus'll come by an' by.
Sometimes I hang my head an' cries,
But Jesus'll come by an' by.
An' He goin' wipe mer weepin' eyes,
Jesus'll come by an' by.
Oh, run 'long, mourner, an' gi't yo' crown,
By yo' Father's side set down.
I'm glad that I'm bo'n ter die,
Frum trouble here my soul goin' fly.
CROSS ME OVER
In the same hopeful strain the Negro sings "Boun'ter cross Jord'n in dat mornin'," which has a large number of stanzas, none of which conforms closely to the general theme.
Yonder come er sister all dressed in black,
She look lak er hipercrit jes' got back.
I'm boun' ter cross Jord'n in dat mornin'.
Cross me over,
Great Jehover,
My Lord, I'm boun' ter cross Jord'n in dat mornin'.
See dat Christian on his knees,
He's gwin' ter cross dem jasper seas.
I'm boun' ter cross Jord'n in dat niornin'.
Swing low, chariots, in er line,
Carry me ter glory in due time.
I'm boun' ter cross Jord'n in dat mornin'.
Ain't but the one thing grieve my min',
Sister goin' to heaven an' leave me behin'.
I'm boun' ter cross Jord'n in dat mornin'.
FOR MY LORD
It is a favorite theme of the Negroes to sing much of their "Lord" and "God." Much has been said of the names and attributes which Deity holds in the Negro songs. As his friend the Negro believes that God is always true; consequently he sings his loyalty to him. The old plantation song "Tell Jesus" had as its chorus:
Tell Jesus done done all I can,
Tell Jesus done done all I can,
Tell Jesus done done all I can;
I can't do no more.
Very much like it is the song "For My Lord" that is much in demand among the present-day Negroes.
I goin' to do all I can fer my Lord,
I goin' to do all I can fer my Lord,
I goin' to do all I can fer my Lord,
I do all I can till I can't do no more;
I goin' to do all I can fer my Lord.
Likewise he sings: "I goin' weep all I can till I can't weep no more," "I goin' pray all I can till I can't pray no more." The phrase, "till I can't do no mo'," is characteristic of the Negro's prayers. He usually closes his church prayers "Now Lord, when
we's done prayin' an' can't pray no mo'; when we' done meetin' an' can't meet no mo'," etc. The closing scene, the final act of life, seems to appeal to the Negro with wonderful dramatic power.
GWINE LAY DOWN MY LIFE FOR MY LORD
This song is similar in theme to "For My Lord," but excels it in variety of expression.
De Lord giv' me mer trumpet an' tole me ter blow,
He giv' me mer cummission an' tole me ter go.
Fer my Lord, fer my Lord, fer my Lord,
Gwine lay down my life fer my Lord.
You can hinder me here but you can't hinder me dere,
For de Lord in Heaven gwine hear my prayer.
De enemy's great but my Cap'n is strong,
Um fightin' fer de city an' de time ain't long.
When I git dar I'll be able fer to tell,
How I whipped ole Satan at de door ob hell.
Mer head got wet wid de midnight dew,
Dat mornin' star was 'shinin' too.
DO, LORD, REMEMBER ME
It is but natural that the Negro would call upon the Lord to remember him. The old plantation song "Do, Lord, Remember Me," was apparently based upon the idea of being remembered at Christmas time; indeed the Negroes always asked to be remembered at such a time by the "white folks." The song now current is very likely an entirely different one.
Do, my Lord, remember me,
Do, my Lord, remember me,
Do, my Lord, remember me,
Do, Lord, remember me.
Up on de housetop an' can't come down,
Do, Lord, remember me.
Up on de house and can't come down,
Do, Lord, remember me.
When I am hungry do feed me, Lord,
Do, Lord, remember me.
When I am thirsty do give me drink,
Do, Lord, remember me.
KING JESUS IS THE ROCK
The Negroes sometimes call the following song the "riddle song," because the leader asks, "Who is the Rock?" while the answer comes back, "King Jesus is the Rock."
Lead me to the Rock, lead me to the Rock,
Lead me to the Rock, that is higher an' higher.
Oh, lead me to the Rock,
Yes, lead me to the Rock that is higher an' higher.
King Jesus is the Rock, yes, King Jesus is the Rock,
King Jesus is the Rock that is higher an' higher.
Oh, King Jesus is the Rock,
Yes, King Jesus is the Rock that is higher an' higher.
Standing on the Rock, yes, standing on the Rock,
Standing on the Rock that is higher an' higher.
Oh, standing on the Rock,
Yes, standing on the Rock that is higher an' higher.
DERE'S NO ONE LAK JESUS
As Jesus is the Rock, so the Negroes have sung, ""Dere's no one lak Jesus." The chorus-line was common in the old songs; the verses of the song of today are different.
I think I heard a rumblin' in de sky,
Dar's no one lak Jesus;
It mus' be mer Lord passin' by,
Dar's no one lak Jesus.
Stan' still, walk study, keep de faith,
Dar's no one lak Jesus.
Sister Mary went up on de mount'n top,
Dar's no one lak Jesus.
She sung a li'l song an' she never did stop,
Dar's no one lak Jesus.
She argued wid de Fadder an' chatter'd wid de Son,
Dar's no one lak Jesus.
She talk'd erbout the ole worl' she cum frum,
Dar's no one lak Jesus.
GIVE ME JESUS
The song "Give Me Jesus" was said to have been the product of "over-free spirit and super-religiousness" just after the Civil War. The Negro claims that the white man took him at his word when he sang "Give me Jesus, You can have all this worl','' and has left him nothing in this world but Jesus. At least this is one view of the song, which is represented as a bargain which the white man wants the Negro to keep. The song is a typical and well-known one, said to have been first sung by a blind Negro preacher.
In de mornin' when I rise,
In de mornin' when I rise,
In de mornin' when I rise,
Give me Jesus.
Give me Jesus,
Give me Jesus,
You may hab' all dis worl'.
Ef it's midnight when I rise,
Ef it's midnight when I rise,
Ef it's midnight when I rise,
Give me Jesus.
Jes' 'fore day when I cried,
Give me Jesus.
When I wade death's cold stream,
Give me Jesus.
LOVE THE LORD
The Negro says that if one loves Jesus he "can't keep it," and that he is duty bound to let the world know it. It is a common custom to ask "members" at the class-meeting and revival whether or not they "love the Lord." It is the duty of the class leader to see to the religious welfare of the members. The song, "Love The Lord," represents this phase of worship.
Well, did you say that you love Jesus?
Did you say that you love the Lord?
Yes, I say that I love Jesus;
Yes, I say I love the Lord.
All I wants to know is, does you love Jesus?
All I wants to know is, does you love the Lord?
Yes, I say that I love Jesus.
Yes, I say I love the Lord.
If you love Jesus, you can't keep it,
All I wants to know is, does you love the Lord?
Yes, my mother, I love Jesus,
Yes, my mother, I love the Lord.
The chorus then varies from "Yes, I say" to "Yes,
my mother," "Yes, my sister," "Yes, my brother."
I GOT A HOME
In striking contrast to his earthly life, the Negro sings of his heavenly home. If in slavery days he had no home, it was natural that he should look to heaven for his home. This conception, intensified by the Negro's emotional nature and self-pity, is still prominent. Not only is his home to be a happy one, but it is to be exclusive; only the fortunate, of whom he is the chiefest, may go there. This class of songs — of heaven and home — is perhaps as large as any. The Negro sings:
I got a home where liars can't go,
Don't you see?
Jus' between the heaven an' earth,
Where my Saviour bled an' died,
I got a home where liars can't go,
Dont' you see?
I got a home where sinners can't go,
Don't you see?
Jus' between the earth an' sky,
Where my Saviour bleed an' die,
Don't you see?
When the earth begin to shake,
Don't you see?
You better get a ticket or you'll be late,
Don't you see?
The singers repeat, using the words "drunkards," ''hypocrites," and other sinners. Sometimes instead of saying, "I got a home where the drunkards can't come," the singer will say, "where the drunkards can't
find me."
DON'T YOU SEE?
Another version of the same song is found in different localities:
I got a home in the Rock,
Don't you see?
Just between the heaven an' earth,
Well, yes, I got a home in the Rock,
Don't you see?
Judas was a deceitful man,
Dont' you see?
Well, he betrayed the innercent Lam',
Well, he lost a home in the Rock,
Don't you see?
Well, the sun refuse to shine,
Don't you see?
The sun refuse to shine,
An' the sun refuse to shine,
Don*t you see?
God don't talk like a natural man,
Don't you see?
God don't talk like a natural man,
He talk so sinners can understan',
Don't you see?
Well I don't want to stumble,
Don't you see?
Well I don't want to fall,
I read that writin' on de wall,
Don't you see?
YOU GOT A ROBE
The chorus of this and the following song is made unusually effective when the "heaven" is hummed softly with lips closed. It is a chorus that appeals much to both old and young Negroes.
You got a robe, I got a robe,
All God's chillun got a robe.
Goin' to try on my robe an' if it fits me,
Goin' to wear it all around God's heaven.
Heaven — heaven, ev'ybody goin' to heaven,
An' I'm goin' dere, too.
Gamblers here an' gamblers dere,
I'm so glad dat God declare,
Dere aint no gamblers in heaven.
This version and wording is rather that of the children, who are fond of singing it. They continue "Heaven so high you can't go over it," "Heaven so low you can't go under it," "Heaven so deep you can't go through it," and "Heaven so wide you can't go round it." The most common form of the song is "Heaven," a variation of the above. Sinners, gamblers, dancers, liars, drunkards are everywhere, but not in heaven.
HEAVEN
Well, there are sinners here and sinners there,
An' there are sinners eve'ywhere;
But I thank God that God declare,
That there ain't no sinners in heaven.
Heaven, Heaven,
Everybody talkin' 'bout heaven ain't goin' there.
Heaven, Heaven,
Goin' to shine all 'round God's heaven.
Well, there are drunkards here an' drunkards there,
An' there are drunkards everywhere;
But I'm so glad that God declare,
There ain't no drunkards in heaven.
Heaven, Heaven,
Preachers all preachin' 'bout heaven ain't goin' there.
Heaven, Heaven,
Goin' to shine all 'round God's heaven.
IF I KEEP PRAYIN' ON
As has been indicated, many of the Negro songs consist of single lines repeated in couplets or by fours in order to give length to the singing. The most simple sentences that could be devised may serve as a good song. The Negro happens to think of an ordinary truth; he then sings it to his tune and chorus.
I'm goin' to be a Christian if I keep a-prayin' on,
I goin' to be a Christian if I keep a-prayin' on,
I goin' to be a Christian, I'm goin' to be a Christian,
I goin' to be a Christian if I keep a-prayin' on.
An' when I git religion, I goin' to keep a-prayin on,
I goin' to see my Jesus if I keep a-prayin on,
I goin' to see my mother if I keep a-prayin on.
The singer is going to see his father, brother, master, preacher and others. He sings each line four times, altering it as he desires and putting in any chorus that appeals to his fancy.
GREAT JUDGEMENT DAY
The next song shows a typical variation of a line, and the Negro sometimes sings the second version with more determination than the first.
Lord, I want to go to heaven fer to stan' my trials,
Lord, I want to go to heaven fer to stan' my trials,
Yes, I want to go to heaven fer to stan' my trials,
Great judgment day.
Well, I'm goin' to heaven fer to stan' my trials,
An' I'm goin' to heaven fer to stan' my trials,
Yes, I'm goin' to heaven fer to stan' my trials,
Great judgment day.
I'M ON MY JOURNEY HOME
The slaves used to sing, "Hail, hail, hail, I'm gwine jine saints above, I'm on my journey home." In many of their songs the "promise lan'"' was held out as the goal of future happiness. So it is today.
Sister, when you pray you mus' pray to de Lord,
For I hab some hopes ob glory;
I feel like, I feel like I'm on my journey home,
I feel like, I feel like, I'm on my journey home.
I'll away, I'll away to de promise lan'.
My Father calls me, I mus' go,
To meet Him in de promise lan'.
I have a father in the promise lan',
Go meet him in de promise lan';
I feel like, I feel like I'm on my journey home,
I feel like, I feel like I'm on my journey home.
The singer also has a mother, a sister, an auntie and others in the "promise Ian'." Likewise he says, instead of "sister, when you pray," brother, member, mourner, sinner, preacher and others.
IN THE MORNING
As a rule morning signified to the Negro the time for going to heaven and for the resurrection. The morning star shone as a witness to his conversion, and the midnight dew typified the early morning time of his religion. "In the Morning" is sung as of old.
I have been tempted, O yes,
An' I have been tried, O yes;
I have been to the river an' been baptize,
An' I want to go to heaven in the morning.
Won't you ride on, Jesus?
Ride on, Jesus, ride on, Crowning King;
For I want to go to heaven in the morning.
If you see my mother, O yes,
Please tell her for me, O yes,
That the angels in heaven done change my name,
An' I want to go to heaven in the morning.
I AIN'T GOIN TO STUDY WAR NO MORE
The song once so popular, "Yes, I'll Be Dere When Gen'ral Roll Call", is still heard occasionally. Many songs of this kind have been corrupted and changed, consolidated and revised into new songs. Such a song is "Study War No Mo','' which combines the old camp meeting song "Down by the River Side," and a new element of peace, the origin of which is not known.
Well, there's goin' to be a big camp meetin',
Well, there's goin' to be a big camp meetin',
Well, there's goin' to be a big camp meetin',
Down by the river side.
Well, I ain't goin' to study war no mo',
Well, I ain't goin' to study war no mo',
Well, I ain't goin' to study war no mo'.
Well, such a shoutin' an' prayin',
Down by the river side.
Well, I goin' to meet my sister,
Down by the river side.
Well, the brothers got to shoutin',
Down by the river side.
MY SOUL'S GOIN' TO HEAVEN
Said the old singers: "Some o' dese mornin's, hope I'll see my mother, hope I'll jine de ban', hope I'll walk about Zion, talk wid de angels, talk my trouble over." Now the negro sings:
Goin' to weep, goin' to mourn,
Goin' to git up early in de morn,
Fo' my soul's goin' to heaven jes' sho's you born;
Brother Gabriel coin' to blow his horn.
Goin' to sing, goin' to pray,
Goin' to pack all my things away,
For my soul's goin' to heaven jes' sho's you born;
Brother Gabriel goin' ter blow his horn.
DRY BONES GOIN' RISE
"Pray come an' go wid me," sings the Christian, for "I'm on my journey home to the New Jerusalem.'' If refused he says, "Now don't let me beg you to follow me, for I'm on my journey home," and finally he sings, "Well brother, come an' go wid me." If the sinner needs other exhortation he may listen to the mixed song, "Dry Bones Goin' to Rise Ergin," in which there is first warning, then hope of glory.
Some go ter meetin' to sing an' shout,
Dry bones goin' ter rise ergin;
'Fore six months deys all turned out,
Dry bones goin' ter rise ergin.
Oh, little chillun, oh, little chillun,
Oh, little chillun, dry bones goin' rise ergin.
Talk erbout me but 'tain't my fault,
Dry bones goin' ter rise ergin;
But me an' God-er-mighty goin' walk an' talk,
Dry bones goin' ter rise ergin.
Ef you want ter go to heaven when you die,
Dry bones goin' rise ergin;
Jes' stop yo' tongue from tellin' lies,
Dry bones goin' ter rise ergin.
In the old plantation song Ezekiel was represented down in a valley "full of bones as dry as dust" and
He gib de bone a mighty shake,
Fin' de ole sinners too dry to quake.
JOIN DE HEAVEN W1D DE ANGELS
In "Join De Heaven Wid De Angels" the rich voice of one or two leaders and the swelling chorus produce an effect scarcely surpassed.
Oh, join on, join my Lord
Join de heaven wid de angels;
Oh, join on, join my Lord,
Join de heaven wid de angels.
What kin' er shoes is dem you wear?
Join de heaven wid de angels;
Dat you kin walk upon de air?
Join de heaven wid de angels.
Oh, God don't talk like a natural man,
Join de heaven wid de angels;
He talk to de sinner, he understan',
Join de heaven wid de angels.
I'm Baptis' bred an' I'm Baptis' born,
Join de heaven wid de angels;
An' when I die dey's a Baptis' gone,
Join de heaven wid de angels.
Jes so de tree fall jes so it lie,
Join de heaven wid de angels;
Jes so de sinner lib', jes so he die,
Join de heaven wid de angels.
The song has been found in several forms, among which one has it that John is to be "in de heaven with the angels." In fact, the probable origin of "join on" seems to have been "John saw de heaven wid de angels." In one of the old songs the singer answers:
Dem shoes I wears is gospel shoes,
View de lan', view de lan';
An' you can wear dem if you choose,
View de lan', view de lan'.
THE ANGEL BAND
"The Angel Band," while a very simple song in which the chorus constitutes the greater part, is one of the most beautiful that the Negroes sing. The power of the song seems to lie in the tender interest which centers about the vivid portrayal of the little
angels in the heavenly band. The chorus is repeated after each stanza, while each stanza is the repetition of a single line. From one to ten, from ten to twenty, and so on to one hundred is ordinarily sung, thus making a lengthy song. The children love to sing the chorus; two forms are ordinarily found, varying the monotony enough to please the Negro.
Dere's one little, two little, three little angels,
Dere's four little, five little, six little angels,
Dere's seven little, eight little, nine little angels,
Dere's ten little angels in de band.
Dere's leben, dere's twelve, dere's thirteen little angels,
Dere's fourteen, dere's fifteen, dere's sixteen little angels,
Dere's seventeen, dere's eighteen, dere's nineteen little angels,
Dere's twenty little angels in de ban.
The "little" in the chorus is preferred to the "dere's" as a rule, apparently serving to describe the angels. The stanzas of the song are as unlimited and as simple as the chorus. "Sunday morning" is the most common factor in the verses; sometimes it is omitted.
Jesus rose on Sunday mornin',
Jesus rose on Sunday mornin',
Jesus rose on Sunday mornin',
On Sunday mornin' so soon.
He rose an' flew away on Sunday mornin'.
My mother died on Sunday mornin'.
Oh wasn't that sad on Sunday mornin'?
Dere's goin' to be a mournin' on Sunday mornin'.
Mourners got to shoutin' on Sunday mornin.
I'm goin' away to leave you on Sunday mornin'.
Well, my sister's goin' to heaven on Sunday mornin'.
While this form of the song may be continued indefinitely, other verses may also be inserted. Instead of the "on Sunday mornin' " is often substituted "Fer to see my Lord."
Well, my sister's goin' to heaven fer to see my Lord,
To see my Lord, to see my Lord;
Well, my sister's goin' to heaven fer to see my Lord,
What's de onbelievin' soul?
And so it continues with preacher, brother, mother, auntie, and any others that the singer wishes to enumerate. As a shouting song or as a "collection" song, it is not surpassed.
'WAY IN DE MIDDLE OF DE AIR
The Negro's fancies of the "Heaven's bright home" are not exceeded by the world's fairy tales. There are silver and golden slippers; there are crowns of stars and jewels and belts of gold. There are robes of spotless white and wings all be-jeweled with heavenly gems. Beyond the jasper seas he will outshine the sun; the golden streets and the fruit of the tree of life are far superior to any golden apples or silver pears of a Mother Goose. In fact the Negro's fairy stories center on heaven; the children's definitions of heaven consist entirely of pictures of splendor and glory. To this place the Negro imagines he will go
and who knows but that he may fly there?
Some o' dese mornin's bright an' fair,
'Way in de middle of de air;
Goin' hitch on my wings an' try de air,
'Way in de middle of de air.
Come over, den, John saw de holy number,
'Way in de middle of de air;
John saw de holy number
'Way in de middle of de air.
If yer wanter dream dem heavenly dreams,
'Way in de middle of de air;
Lay yo' head on Jord'n's stream,
'Way in de middle of de air.
I got a book, goin' read it thru',
'Way in de middle of de air;
I got my Jesus well as you,
'Way in de middle of de air.
I GOIN' TRY THE AIR
With a golden "band all round his waist, an' de palms ob victory in-a his hands," the Negro sings in reality, "Pray come an' go wid me," for so vivid is his picture that he has been known to start up a post or pillar in the church, saying, "Good bye, brothers, I'm gone." His songs make much of flying; different from that just given, is —
One mornin' soon,
One mornin' soon, my Lord,
One mornin' soon,
I goin' try the air,
I goin' try the air;
Pray come an' go wid me.
Well, I got on my travelin' shoes,
Well, I got on my travelin' shoes,
Well, I got on my travelin' shoes;
Pray come an' go wid me.
He sings, too: "I goin' to put on my long white robe," "We'll try on de slippah shoe and wear de golden belt."
I goin' put on my golden shoes
Again he sings of his doings on the great resurrection day:
In the morning — um-u,
In the morning — um-u,
In the morning — um-u,
I goin' put on my golden shoes.
In the midnight — um-u,
In the midnight — um-u,
In the midnight — um-u,
I goin' put on my long white robe.
Talk about it — um-u,
Talk about it — um-u,
Talk about it — um-u,
I goin' wear that starry crown.
JESUS WORE THE CROWN
The angels and Jesus wear starry crowns and long
white robes; there will be no separating line between
us and God in the next world. "Oh, how I long to go
dere, too," sang the old Negroes. Now they picture
again the appearance of Jesus.
Jesus, he wore the starry crown,
Jesus, he wore the starry crown,
Jesus, he wore the starry crown, starry crown.
How does you know he wore the crown?
How does you know he wore the crown?
How does you know he wore the crown, wore the crown?
For the Bible it tell me so,
For the Bible it tell me so,
For the Bible it tell me so, tell me sd.
Jesus, he wore the long white robe, — etc.
I DON'T CARE FOR RICHES
More than the world or riches or dress the singer claims he values the treasures of heaven. In this assertion he is doubtless sincere, both because he is thinking only of his religious state while he sings, and because he has little opportunity for obtaining these earthly riches. Says he:
I don't care for riches,
Neither dress so fine;
Jes' giv' me my long white robe,
An' I want my starry crown
For my Lord done bin here,
Done bless my soul an' gone away.
Po' man goin' to heaven,
Rich man go in' to hell;
For po' man got his starry crown,
Rich man got his wealth.
DEATH IS IN DIS LAND
"This ole worl' bin a hell to me" indicates the contrast between the everyday life of the world and that which the Negro will enjoy after death. In his eagerness and impatience to rest in the "promise lan'," the Negro does not always think kindly of the world and he does not care even though "death is in dis lan'."
Ever since my Lord has set me free,
Death is in dis lan';
This ole worl' bin a hell to me,
Death is in dis lan'.
I'm so glad death is in dis lan',
I'm so glad death is in dis lan'.
O run 'long, mourner, 'n' git yo' crown,
Death is in dis land;
By yo' father's side set down,
Death is in dis lan'.
Some er dese mornin's bright and fair,
Death is in dis lan';
Goin' er hitch on my wings and try de air,
Death is in dis Ian'.
GOIN' OUTSHINE THE SUN
If the Negro expects to go to heaven and there mingle with God, the angels and his loved ones, he also expects to sing in all the glory and splendor imaginable. The Negroes used to sing: "Den my little soul gwine shine." So they sang of a mother,
father, brother in heaven who "outshines de sun"; and when "we" get to heaven "we will outshine de sun." In very much the same way Negroes sing today in one of their favorites, "Goin' to Outshine de Sun."
Well, my mother's goin' to heaven,
She's goin' to outshine the sun, O Lord.
Well, my mother's goin' to heaven,
She goin' to outshine the sun,
Yes, my mother's goin' to heaven to outshine the sun,
An' it's 'way beyon' the moon.
You got a home in the promise lan',
Goin' to outshine the sun, O Lord,
An' it's 'way beyon' the moon.
The crown that my Jesus give me,
Goin' to outshine the sun, my Lord,
An' it's 'way beyond the moon.
Goin' to put on my crown in glory,
An' outshine the sun, O Lord,
'Way beyond the moon.
[1] Compare "Wicked Polly" in Cox's Folk Songs of the South, Harvard University Press, 1925, p. 411.