CHAPTER IV: EXAMPLES OF RELIGIOUS SONGS (Concluded)
The next group of songs presented will appear very much like those already given, except that they show more uniformity, a little more length, and in the last of this chapter, more of the mixed type of song. This group will deal with such themes as the gospel train, the grandeur of heaven and the judgment, the impressive personalities of the Bible, typical variations of song, and specimen poetic efforts to make new songs.
WHEN DE TRAIN COME ALONG
In these illustrations it will be seen that the Negro uses many figures and symbols. He sees vividly the chariot of fire. It took Elijah, perhaps it will take him. Christ and the angels ascended; perhaps he will. And there is the gospel train; the same train that took the others! What fascination the train has for the Negro may be seen further from the "train song," illustrations of which are given in Chapter VI.
Well, I may be sick an' cannot rise,
But I meet you at de station when de train come along.
When de train come along,
When de train come along,
I'll meet you at de station when de train come along.
Well, I may be blind an' cannot see,
But I meet you at de station when de train come along.
Well, I may be lame and cannot walk,
But I'll meet you at de station when de train come along.
While no mention is made of the exact kind of train, it is generally understood to mean the gospel train. This song also has a popular variant which is used in a secular way. In either case it expresses in a very forceful way the importance of meeting the train.
SAME TRAIN
In proportion as a picture resembles real life or magnifies that which has been imaged, to that degree does it bring home its truth to the Negro's mind. The Negro continues to sing of the train on which he is to ride into the Kingdom. Says he:
I am talkin' 'bout the same train,
Same train that carried my father,
Same train.
Same train that carried my mother,
Same train,
Same train will be back tomorrow,
Same train.
Same train will be here tomorrow,
Same train,
Well you better be ready,
It's the same train.
The "same train" also carried his brother, sister, preacher and others.
YOU BETTER GIT YO' TICKET
But the train which will come back tomorrow will not wait always. One must not only be at the station but must also have a ticket. There is plenty of room, according to the Negro's conception, but there is not plenty of time. It would be a wistful Negro that looked upon the train pulling out for heaven and leaving him behind. He sings:
Well, you better git yo' ticket,
Well, you better git yo' ticket,
Well, you better git yo' ticket,
By and by.
There's a great day er comin',
There's a great day er comin',
There's a great day er comin',
By and by.
For the train it's er comin',
For the train it's er comin',
For the train it's er comin',
By and by.
I am sure God is ready,
I am sure God is ready,
I am sure God is ready,
By and by.
Instead of the chorus just given he often sings: "I sure God am ready," and "I sho God is ready." With this in view he is willing and glad for the train to come along. If he is ready, all the better for him to be on his journey.
THE GOSPEL TRAIN
He continues in another song to sing of the gospel train:
If God was to call me I would not care — um-u,
For he done move away my fears — um-u.
I'm goin' to heaven, an' I'm goin' fo' long — um-u,
All don't see me will hear my song— um-u.
When de gospel train come 'long — ura-u,
That's the train goin' carry me home — um-u.
Wake up, sinner, you will be too late — um-u,
Gospel train done pass yo' gate — um-u.
In the old plantation songs the exhortation was given to "Git on board, little children, dere's room for many a-mo'," and —
De gospel train's a comin',
I hear it jus' at hand,
I hear de car wheels rumblin',
An' rollin' thru de land.
I hear de train a comin',
She's comin' around de curve,
She's loosened all her steam an' brakes,
An strainin' eb'ry nerve.
De fare is cheap an' all can go,
De rich an' pore are dere,
No second class aboard dis train,
No difference in de fare.
Other verses of "The Gospel Train" as it was sung by the Jubilee Singers are:
There's Moses and Noah and Abraham,
And all the prophets, too;
Our friends in Christ are all on board,
Oh, what a heavenly crew.
We soon shall reach the station,
Oh, how we then shall sing;
With all the heavenly army,
We'll make the welkin ring.
She's nearing now the station,
O sinner, don't be vain,
But come an' get your ticket,
And be ready for the train.
No signal for the other train,
To follow on the line;
O sinner, you're forever lost,
If once you're left behind.
While the song as reported by the Jubilee Singers does not possess the' usual characteristics of form and dialect, it nevertheless appeals to the Negroes and it is sometimes sung.
I CANNOT STAY HERE BY MYSELF
One of the fears of the Negro is that others may go to heaven and he be left behind. This, as has been indicated, constitutes the sum total of misery. So he has a number of songs in which he expresses this feeling and prays that he may not be left behind in the race of life for the eternal goal. One of the most touching of these songs represents the Negro as an orphan who is unwilling to stay alone in the world:
My muther an' my father both are dead, bot f h are dead*
My muther an' my father both are dead,
My muther an' my father both are dead,
Good Lord, I cannot stay here by merself.
I'm er pore little orphan chile in de worl', chile in deworl',
I'm er pore little orphan chile in de worl',
I'm a pore little orphan chile in de worl',
Good Lord, I cannot stay here by merself.
De train done whistled an' de cars done gone, cars donegone;
De train done whistled an' de cars er gone,
De train done whistled an' de cars er gone,
Ezekiel, I cannot stay here by merself.
My brothers an' my sisters are all gone, all gone,
My brothers an' my sisters 're all gone, all gone,
My brothers an' sisters all are gone,
Mer Jesus, I cannot stay here by merself.
Git me ticket fer de train, fer de train,
Git me ticket fer de train,
I got mer ticket fer de train,
Thank God, I ain't gwine stay here by merself.
Very much like the song just given the Negroes used to sing: "Dar's room in dar, room in dar, room in de heaven; Lord, I can't stay behin'." Again they sang the "good news, de chariot's comin', I doan want her to leave a-me behind." In a prayer the Negro sang: "Jesus, don't leave me behind." In his songs today the Negro says:
THIS OLE WORLD'S A HELL TO ME
Dear brother, don't you leave,
Dear brother, don't you leave,
Dear brother, don't you leave,
This ole world's a hell to me.
This ole world's a hell to me,
This ole world's a hell to me.
Yes I 'bleeged to leave this world,
Yes, I 'bleeged to leave this world,
Sister, I's 'bleeged to leave this world s
For it's a hell to me.
YOU CAN T STAY AWAY
While the old Negroes used to sing "Oh, brother, sisters, mourners, don't stay away, For my Lord says there's room enough," the modern Negro sings "You can't stay away."
Sister, you can't stay away,
Sister, you can't stay away,
Sister, you can't stay away.
My Lord is callin' an' you can't stay away,
My Lord is a callin' an' you can't stay away,
Yes, my Lord is a callin' an' you can't stay away,
An' you can't stay away.
King Jesus is a ridin' an' you can't stay away,
King Jesus is a ridin' an' you can't stay away,
King Jesus is a ridin' an' you can't stay away,
O preacher, you can't stay away.
OLE SHIP OF ZION
There have been a great many versions of the song "Ole Ship of Zion," none of which differs materially. There were four of five versions common during slavery. The coast Negroes had many songs that originated in ideas suggested by the boats. Today the river Negroes have songs of their own, but they are not of a religious nature. The "Ole Ship of Zion," however, is sung, but only as a less elaborate remnant of the former song.
This ole ship is a reelin' an' a rockin'
This ole ship is a reelin' an' a rockin', rockin', rockin',
Makin' fer de promise Ian'.
While the Negro sings, he sees the ship "reelin' an' rockin'," and repeats these phrases in a rhythmic manner so that he imitates the imagined motion of the ship. The other stanzas of the song are practically the same as those of the earlier days.
O my Lord, shall I be the one?
O my Lord, shall I be the one?
O my Lord, shall I be the one?
Makin' for the promise Ian'?
Yes, 'tis that good ole ship of Zion, of Zion,
Yes, 'tis that good ole ship of Zion, of Zion,
Yes, 'tis that good ole ship of Zion,
Makin' for the promise Ian'.
O the ship is heavy loaded, loaded, loaded,
Makin' for the promise Ian'.
It's loaded with many er thousand, thousand, thousand,
Makin' fer the promise Ian'.
THIS OLE WORL'S A ROLLIN'
"This Ole Worl' Is A-Rollin'" is most likely a figure of the ship and modeled on the same song. However, it conveys a different idea, one of judgment and the end of the world.
Well, the ole worl' is a rollin', rollin', rollin',
Yes, the ole worl' is rollin', rollin' away.
Well, ain't you goin' to get ready?
Yes, ain't you goin' to get ready, for it's rollin' away?
Well, get on board, little children, children, children,
Well, get on board, for this ole worl's rollin' away.
He sings for the sinner, mourner, and all his friends and relatives to get on board the world as it rolls away. It reminds one somewhat of the song once current among the Negroes: "O de ole ferry boat stan' a-waitin' at de landin', Chilluns, we's all gwinehome."
I KNOW MY TIME AIN'T LONG
The same idea of motion and the end of the world as is indicated in the moving of the train, ship, and the world itself is also reflected in the next song.
Oh, the lightnin' flashin' an' the thunder rollin', rollin',rollin',
Oh, the lightnin' flashin' an' the thunder rollin', rollin',rollin',
Oh, the lightnin' flashin' an' thunder rollin',
Lawd, I know my time ain't long; Lawd, I know mytime ain't long.
The hearse wheel rollin' an' graveyard openin', openin', openin',
The hearse wheel rollin' an' graveyard openin', openin', openin',
The hearse wheel rollin' an' the graveyard openin',
Lawd, I know my time ain't long, my time ain't long.
EVERY DAY
Very much like the foregoing song is "Every Day." It is so similiar to other songs that one concludes that it is only a putting together of what the singer already knew. The Bahama Negroes have a song, "If Hev'ry Day Was Judgment Day," that has almost exactly the same meaning as this one. "Every Day," however, is powerful and seems to be gaining in popularity.
Well, the hearse wheel rollin',
Every day, every day,
Carryin' yo' brother to the graveyard,
Every day, every day; move, Zion, move.
Well, ain't it a pity, pity?
Every day, every day.
Well, ain't it a pity, ain't it a pity?
Every day, every day; move, Zion, move.
Well, they're carryin' a sinner, sinner,
Every day, every day.
Yes, they're carryin' a sinner,
Every day, every day; move, Zion, move.
Move, Zion, move, for you got to go to judgment,
Every day, every day.
Move, Zion, move, for you got to go to judgment,
Every day, every day; move, Zion, move.
MY MOTHER GOT A LETTER
The getting of mail, and especially of letters, usually means much to the Negroes. Perhaps it is simply because they receive little mail. To have a letter from a distinguished person is superlative honor and the recipient usually makes the fact known generally. Just how the Negro conceived of receiving letters from God, or why he imagined the angels and apostles as
writing letters does not appear clear. One gets a letter, another reads it; one writes a letter and all know its contents. Such a reference is found in a number of songs that serve as a warning or admonition.
Well, my mother got a letter, oh, yes;
Well, she could not read it, oh, yes.
What you reckon that letter said?
That she didn't have long to stay here.
Won't you come, won't you come?
Won't you come an' get ready to die?
Won't you come, for my Lord is callin' you?
How do you know that my Lord is callin'? oh, yes,
If you look at this letter, oh, yes,
You see it come from the Hebrews, oh, yes.
Won't you come, for my Lord is callin' you?
IT JUST SUITS ME
Perhaps the idea of the letter came from the epistles of the New Testament. John and Peter wrote letters; Mary and Martha read them. The letters of the Hebrews and Ephesians are spoken of. The idea in "It Just Suits Me" seems to have sprung up from satisfaction in reading the Scripture or in hearing the preacher.
John wrote a letter and he wrote it in haste,
An' it jus' suit me.
John wrote a letter and he wrote it in haste,
An' it jus' suit me.
John wrote a letter and he wrote it in haste,
If yer want to go to heaven yer better make haste,
An' it jus' suit me.
I'll tell you a little thing that was in John's letter,
The Holy Ghost came to make us better,
An' it jus' suit me.
If this isn't the Holy Ghost I don't know,
I never felt such a love befo',
But it jus' suit me.
O my brother, you oughter been at de pool,
To see me put on my gospel shoes,
An' it jus' suit me.
Ezekiel said he spied the train a comin',
We got on board an' she never stopped runnin',
An' it jus' suit me.
This kind er religion is better than gold,
It's better felt than ever told,
An' it jus' suit me.
I tell you a little thing you can't do,
You can't serve God and the devil, too,
But it jus' suit me.
When trouble is done an' conflicts have passed,
I rise to reign in peace at last,
An' it jus' suit me.
THE BLOOD DONE SIGN MY NAME
It is gratifying to the Negro that his sins have been "washed in the blood of the Lamb." The Negro singers have exhibited a characteristic specimen of their word combinations, concrete pictures, and theological principles in their song, "De Blood Done
Sign My Name."
O de blood, de blood,
O de blood done sign my name;
O Jesus said so, Jesus said so,
de blood done sign my name.
I believe it, for God he tole me,
That the blood done sign my name,
I believe it, for God he tole me,
That the blood done sign my name,
Yes, the blood done sign my name.
How do you know so? God he said so,
That the blood done sign my name.
Well, it's written in de Kingdom,
That the blood done sign my name.
Well, in the Lamb's book it is written,
That the blood done sign my name.
Well, the wheels a turnin', wheels a turnin',
Blood done sign my name.
I'm boun' for glory, boun' for glory,
The blood done sign my name.
On de mountain, on de mountain,
The blood done sign my name.
In the valley, in the valley,
Blood done sign my name.
DE UDDER WORL' IS NOT LAK DIS
But the Christian does not have an easy time after his conversion. Satan is always at hand and ready to lead him away if there is a chance. The Negro's idea of the devil has been noted. In his march songs the Negro imagines that he is marching against his foe; this foe is sometimes Satan himself.
I er's walkin' 'long de udder day,
De udder worl' is not lak dis.
I met ole Satan on de way,
De udder worl' is not lak dis.
He said, "Young man, you're too young to pray."
De udder worl' is not lak dis.
Tell all dis worl',
Tell all dis worl',
Tell all dis worl',
De udder worl' is not lak dis.
As I went down in de valley to pray,
De udder worl' is not lak dis,
I met a little looker on de way,
De udder worl' is not lak dis.
He said: "Look out fer de jedgment day."
De udder worl' is not lak dis.
GOIN' DOWN TO JORDAN
Another marching song that is a favorite is "Goin' Down to Jordan." It represents, like the one just given, the attributes of Satan and his relation to the Christian. The scene as pictured, the army marching on down to Jordan, the imaginary foe, and the rhythm of the song make it irresistible for the Negro.
Halleluyer to the Lam'!
Goin' on down to Jordan,
Lord God's on that givin' han',
Goin' on down to Jordan.
Goin' down to Jordan,
Goin' down to Jordan,
I got my breas' plate, sword an' shield.
Goin' down to Jordan,
Boldly marchin' thru' the field,
Goin' on down to Jordan.
I plucked one block out'n Satan's wall,
Goin' on down to Jordan,
I heard him stumble an' saw him fall,
Goin' on down to Jordan.
Ole Satan's a liar an' a conjurer, too,
Goin' on down to Jordan.
If you don't mind he'll conjure you,
Goin' on down to Jordan.
Ole Satan mad an' I am glad,
He missed a soul he thought he had.
Ole Satan thought he had me fast,
Broke his chain an' I'm free at last.
I've landed my feet on Jordan's sho',
Now I'm free forever mo',
Goin' on down to Jordan.
THEY NAIL HIM TO THE CROSS
The old songs asked: "Wus you dere when dey crucified my Lord? When dey put the crown of thorns on?" In some of the songs the Negroes sang, "I wus dere when," etc., while still others only affirm the facts. The songs of the present generation of Negroes are less vivid and less full of feeling for the suffering of the Master. Some of the verses are similar to those of the plantation songs.
He carried his cross, he carried his cross,
Up Zion hill, up Zion hill,
He carried his cross, he carried his cross,
Up Zion hill, up Zion hill.
He carried his cross up Zion hill, Zion hill, Zion hill.
They put him on the thorny crown,
Then they nail my Jesus down.
They nail him down, nail him down, nail him down,
They lif the cross high in the air,
To show the worl' how they nail him there,
How they nail him there, nail him there, nail him there.
A peculiar corruption of this song represents the prodigal son as being in the place of Christ; now it is the prodigal, now it is the Lord. It indicates the manner of the development of many of these songs, and shows something of the insignificance of the words in the mind of the singer. He sings with his holy laugh:
Yes, the prodigal son come home, ha, ha!
Yes, the prodigal son come home, ha, ha!
The prodigal son come home by hisself.
An' they nail him to the cross, ha, ha!
An' they nail him to the cross, ha, ha!
An' they nail him to the cross on that day.
An' the blood come runnin' down, ha, ha!
The blood come runnin' down, ha, ha!
An' the blood come runnin' down, on that day.
An' they kill the fat'nin' calf, ha, ha!
An' they kill the fat'nin' calf, ha, ha!
They kill the fat'nin' calf on that day.
An' they carried my Lord away, ha, ha!
An' they carried my Lord away, ha, ha !
They carried my Lord away, by hisself.
PAUL AND SILAS
Paul and Silas, Peter and John are models for proper contemplation. One of the old songs represented Peter and Paul as bound in jail. "Togedda dey sung, togedda dey prayed; De Lawd he heard how dey sung an' prayed. Den humble yo'selves, de bell done rung." "Paul an' Silas bound in jail, The Christians pray both night and day," represented another song, one version of which has survived and is current today. Most of the song consists of repetitions.
Paul and Silas bound in jail,
Paul and Silas bound in jail,
Paul and Silas bound in jail,
Paul and Silas bound in jail.
Paul did pray one mournful prayer.
Don't you wish you could pray like Paul?
He prayed an' the good Lord set him free.
Another version prays for the angels to come down and unlock the door of the jail. It has a striking parallel among the secular songs and might have been composed with the idea of the Negro in jail as being rescued.
Come down, angel, with the key,
Come down, angel, with the key,
My Lord, angel, come down with the key.
Unlock the door for me-e-e,
Unlock the door for me-e-e,
My Lord, unlock the door for me.
Paul and Silas is in jail,
Paul and Silas is in jail,
My Lord, Paul and Silas is in jail.
Unlock the jail-house door,
Unlock the jail-house door-oor,
My Lord, unlock the jail-house door.
FOHTY DAYS AN' NIGHTS
Among those of the Bible who have been the special subject of song, Noah has a prominent place. References to him have been made already. He is always the hero of the flood. In most of the songs wherein a special character has an important part, it is in the chorus or refrain. So in "Fohty Days an' Nights," a general mixture of songs and ideas, Noah and the
flood make the chorus.
Dey calls Bro' Noah a foolish man,
Fohty days an' nights,
He built de ark upon de lan',
Fohty days an' nights.
An', ho, ho, didn't it rain?
yes, you know it did.
Ho, ho, didn't it rain?
O yes, you know it did.
Ole Satan wears a iron shoe,
It's fohty days an' nights;
Ef you don't mind gwine slip it on you,
Fohty days an' nights.
Some go to meetin' to put on pretense,
Fohty days an' nights;
Until de day ob grace is spent,
Fohty days an' nights.
Some go to meetin' to sing an' shout,
Fohty days an' nights ;
Fo' six months dey'll be turned out,
Fohty days an' nights.
I tell you brother an' I tell you twice,
It's fohty days an' nights;
My soul done anchored in Jesus Christ,
Fohty days an' nights.
If you git dar befo' I do,
Fohty days an' nights;
Look out fer me, I'se comin' too,
Fohty days an' nights.
You baptize Peter an' you baptize Paul,
It's fohty days an' nights;
But de Lord-God-er-mighty gwine baptize all,
It's fohty days an' nights.
DIDN' IT RAIN!
"De Ole Ark A-Moverin" was the title of a plantation song which gave the story of Noah and the flood.
Jes' wait a little while, I'm gwine tell you 'bout de oleark,
De Lord told Noah for to build him an ole ark.
Den Noah and his sons went to work upon dry Ian';
Dey built dat ark jes' accordin' to comman'.
Noah an' his sons went to work upon de timber;
De proud begin to laugh, the silly to point de finger.
When de ark was finished jes' accordin' to plan,
Massa Noah took his family both animal an' man.
When de rain begin to fall and de ark begin to rise,
De wicked hung round wid der groans and der cries.
Fohty day and fohty nights de rain it kep' a fallin',
De wicked dumb de trees an' for help dey kep' callin'.
Dat awful rain she Stopped at las', de water dey subsided,
An' dat ole ark wid all aboard on Ararat she rided.
This is the picture which the plantation and slave Negro has made for his satisfaction. The present-day song that apparently originated in the above song is less elaborate, having only portions of the old song and not being much in demand. It is called "Didn't It Rain?"
God told Noah 'bout de rainbow sign,
Lawd, didn't it rain?
No more water but fier nex' time,
Oh, didn't it rain? Halleluyer!
Oh, didn't it rain? Oh, didn't it rain?
Halleluyer, didn't it rain?
Some fohty days an' nights.
Well it rain fohty days an' nights widout stoppin',
Lawd, didn't it rain?
The sinner got mad 'cause the rain kept a droppin',
Oh, didn't it rain? Halleluyer!
MY TROUBLE IS HARD
Among the most interesting of all the Negro spirituals are those which have been composed in recent years. These are significant in their bearing upon the temperament and religion of the present-day Negro. These songs are efforts at poetry, while at the same time they unite Biblical story with song. The following song, which gets its name from the chorus, is entitled "My Trouble Is Hard," and was composed by "Sister Bowers." It was printed on a single sheet for distribution; each person who contributed to the collection was entitled to a copy or a copy could be had for a nickel. She sung her new song to crowds
wherever she went, and then was given a pro rata of the collections. With the chorus repeated after each stanza, as the Negroes always do, it becomes a song of unusual length:
I know a man that was here before Christ,
His name was Adam and Eve was his wife.
I'll tell you how this man lived a rugged life,
Just by taking this woman's advice.
My trouble is hard, oh, yes!
My trouble is hard, oh, yes!
My trouble is hard, oh, yes!
Yes, indeed, my trouble is hard.
Whilst you are sitting on your seat,
Let me tell you something that is sweet.
When all God's people in glory meet,
They will slip and slide the golden street.
Stop, young man, I've something to say;
You know you're sinful and why don't you pray?
You're sinning against a sin-venged God,
Who has power to slay us all.
Lord, ain't it a pity — ain't it a shame —
To see how my Lord and Saviour was slain?
Ihate to call the murderer's name,
I know they are dead but left the stain.
Read the Scriptures and be content,
You are bound to know what Jesus meant.
John was here before his advent;
Stood in the wilderness and cried "Repent."
Christ called his apostles two by two,
He particularly told them what to do:
"Preach my gospel as I command you,
And I'll be with you all the way through."
Just let me tell you what David done,
Old man Jesse's youngest son:
He slayed Goliath that mighty one,
Ole Saul pursued him but he had to run.
Ole Saul pursued poor David's. life —
It's a mighty good thing he had a wife;
They went to his house and did surround,
And she took a rope and let him down.
God called Jonah in a powerful way;
He told old Jonah just what to say;
"Tell them people if they don't pray,
I'll destroy the city of Nineveh."
Just let me tell you how this world is fixed:
Satan has got it so full of tricks,
You can go from place to place,
Everybody's runnin' down the colored race.
WITNESS FOR MY LORD
Almost equally interesting is "That's Another Witness for My Lord." It will be noticed in these songs that references and phrases taken from the old songs are often used, but in different combinations. They thus lose their former worth. It will be interesting, also, to compare the Negro's religious conceptions of the Bible and God as expressed in these songs with
those expressed in the older productions.
Read in Genesis, you understand,
Methuselah was the oldest man,
Lived nine hundred and sixty-nine,
Died and went to heaven in due time.
Methuselah is a witness for my Lord,
Methuselah is a witness for my Lord.
You read about Samson from his birth,
Strongest man that lived on the earth.
'Way back yonder in ancient times,
He slayed three thousand of the Philistines.
Samson he went wanderin' about,
For his strength hadn't been found out.
His wife dropped down upon her knees,
Said: "Samson, tell me where your strength lies, please."
Deli'a' talked so good and fair,
He told her his strength lie in his hair;
"Shave my head just as clean as your hands,
And my strength'll be like a nachual man's."
Wasn't that a witness for my Lord?
Wasn't that a witness for my Lord?
Isaiah mounted on de wheel o' time,
Spoke to God-er-mighty way down the line :
Said, "O Lord, to me reveal,
How can this vile race be healed?"
God said, "Tell the sons of men,
Unto them'll be born a king.
Them that believe upon his Way,
They shall rest in the latter day."
Isaiah was a witness for my Lord,
Isaiah was a witness for my Lord.
There was a man amongst the Pharisees
Named Nicodemus and he didn't believe,
He went to the Master in the night,
And told him to take him out er human sight.
"You are the Christ, I'm sure it's true,
For none do de miracles dat you do.
But how can a man, now old in sin,
Turn back still and be born again?"
Christ said, "Man, if you want to be wise,
You'd better repent and be baptized;
Believe on me, the Son of Man,
Then you will be born'd again."
Wasn't that a witness for my Lord?
Wasn't that a witness for my Lord?
AFTER 'WHILE
"After 'While" gives a slightly different form of verse but with somewhat the same characteristics in other respects as those just given. There is little regularity in the metrical arrangement, but it makes a good song.
The worl' is full of forms and changes,
It's just now so confuse,
You will find some danger
In everything you use.
But this is consolation to every blood-washed child:
God's goin' to change our station, after 'while.
After 'while, after 'while,
God's goin' to change our station, after 'while.
The devil tries to throw down
Everything that's good;
He'd fix a way to confine
The righteous if he could.
Thanks be to God almighty, who cannot be beguiled,
Ole Satan will be done fightin' after 'while.
Some men and women would help the world along,
By constantly complaining of everything that's done.
They want to be called Christians and all their badnesshide;
God's goin' to open the secret after 'while.
Preachers in their sermons stand up and tell the truth,
They'll go about and murmur with slander and abuse;
They want the whole arrangement to suit their selfish style,
God's goin' to rain down fire after 'while.
WHAR SHALL I BE?
In a general mixture of old songs and new songs, of old traits and new traits, the Negro sings a beautiful song which he has called, "Whar' Shall I Be?" The usual imagery is seen.
Moses lived till he got old,
Whar shall I be?
Buried in de mountain, so I'm told,
Whar shall I be?
Whar shall I be when de fust trumpet sounds?
Whar shall I be when it sounds so loud?
When it sound so loud that it wake up the dead,
Whar shall I be when it sounds?
Well, God showed Noar de rainbow sign,
Whar shall I be?
No more water but fire nex' time,
Whar shall I be?
Matthew, Mark, Luke and John,
Whar shall I be?
Tole me whar my Saviour gone,
Whar shall I be?
John declar'd he saw a man,
Whar shall I be?
Wid seben lamps in his right han',
Whar shall I be?
GO, AND I GO WID YOU
The exact meaning of the following song could not be ascertained. It is apparently derived from some idea of the Scriptural invocation and blessing upon the disciples. It is said to have a special message to the preacher, and is sometimes represented as being* the words of God, at other times the encouragement of a friend and the reply.
Go, and I will go with you;
Open your mouth and I'll speak for you.
If I go and tell them what you say they won't believe me.
Shout, and I shout with you;
Throw out your arms and I catch you.
If they see you going with me, they won't believe on you.
So it's go and I go with you;
Open your mouth and I speak for you.
Shout and I shout with you;
Throw out your arms and I catch you.
If I go and tell them what you say they won't believe me.
DRINKIN' OF THE WINE
Another song of the modern type seems to appeal to the Negroes very strongly. Again he is seeing a vivid picture of the Christ in the long years ago. But just where he gets the exact ideas by which to make the combinations, it is difficult to say. Perhaps he gets the central thought from the miracle of Cana.
If my mother ask you for me, tell her I gone to Gallerlee,
I ought to a been there four thousand years ago,
To drink of the wine.
Drinkin' of the wine, drinkin' of the wine,
Drinkin' of the wine, drinkin' of the wine.
Christ was there four thousand years ago,
Drinkin' of the wine.
You may mourn, sinner, mourn, the Lord help you tomourn;
Christ was there four thousand years ago,
Drinkin' of the wine.
THE BLIND MAN STOOD BY THE WAY AND CRIED
In "The Blind Man" the picture is also one of confusing the Scriptural scenes with those of the present and of placing himself in the stead of the central character of the story.
Well, the blind man stood by the way and cried,
Well, the blind man stood by the way and cried,
Yes, the blind man stood by the way and cried.
He cried, "O Lord, don't you hear po' me?"
Hark, the blind man stood by the way and cried,
He cried, "O Lord, don't you hear po' me?"
Brother, don't you hear the blind cries, blind cries?
Brother, don't you hear the blind cries, blind cries?
brother, don't you hear the blind cries?
Jesus he give de blind man sight, blind man sight,
Jesus he give de blind man sight, blind man sight,
Yes, Jesus he give de blind man sight.
WALKIN' IN THE LIGHT
A peculiar modification of "Walking in the Light" is the song of the same name among the Negroes, which seems to have its origin in the Scriptural injunction, "Ye are the light of the world."
Let yo' light shine all over the world;
Walkin' in the light, beautiful light.
Mos' wonderful light, shine by night;
Let yo' light shine all over the world.
1 am the light, most pitiful light;
Let yo' light shine all over the world.
Follow the light, mos' beautiful light;
Let yo' light shine all over the world.
Sinner, what you gwine do when the lamp stops burnin'?
Let yo' light shine all over the world.
THE PILGRIM'S SONG
The "Pilgrim's Song" which has been considered so beautiful is still a favorite; the words of the stanzas differ little. It may be called a standard hymn of the Negroes. There is a story that Bishop Allen, the founder of the A. M. E. Church, composed the song on his dying bed. He was very well educated and a man of considerable ability and feeling. While the sadly hopeful words of the song are of a higher type than the average spiritual, and while its metrical form is far above the usual, the song still combines many of the ideas and phrases of the favorite spirituals of the slaves. "The Pilgrim's Song" as it is found is:
I am a poor wayfaring stranger,
While journeying through this world of woe;
But there is no sickness, toil, no danger,
In that bright world to which I go.
I'm going there to see my classmates,
They said they'd meet me when I come;
I'm just a going over Jordan,
I'm just going over home.
I know dark clouds'll gather 'round me,
I know my road is rough and steep;
Yet there bright fields are lying just before me,
Where God's redeemed their vigils keep.
I'm going there to see my mother,
She said she'd meet me when I come;
I'm just going over Jordan,
I'm just a going over home.
I'll soon be free from every trial,
My body will sleep in the old churchyard.
I'll quit the cross of self-denial,
And enter in my great reward.
I'm going there to see my mother,
She said she'd meet me when I come;
I'm just a going over Jordan,
I'm just a going over home.
STEAL AWAY
Very much in the same class of song is "Steal Away." The present version is very similar to the old versions. "Steal Away" is found in some of the church song books today. The most common verses now sung are:
O the green trees a-bowin',
An' po' sinner stan' tremblin',
Well, the trumpet soun' in my soul,
An' I ain't got long to stay here.
O steal away, steal away,
O steal away to my Jesus.
Steal away, steal away,
For I ain't got long to stay here.
My Lord is a callin',
Po' sinner he can't answer.
Well, the trumpet sound in my soul,
An' I ain't got long to stay here.
HEAL ME, JESUS
One of the most beautiful and at the same time simple and pathetic songs of the Negroes is "Heal Me, Jesus." Here the Negro is at his best in prayer; without pretension, without reserve, claiming nothing, he simply pleads:
O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed,
O Lord, I'm sick an' I want to be healed.
Heal me, Jesus, heal me, Jesus,
Along the heavenly way,
Heal me, Jesus, heal me, Jesus,
Along the heavenly way.
O Lord, I'm blind an' I want to see,
O Lord, I'm blind an' I want to see,
O Lord, I'm blind an' I want to see,
Heal me, Jesus, along the heavenly way.
O Lord, I'm crippled an' I want to walk,
O Lord, I'm crippled an' I want to walk,
O Lord, I'm crippled an' I want to walk,
Heal me, Jesus, along the heavenly way.
O Lord, I'm deaf an' want to hear, etc.
I HEARD THE ANGELS SINGIN'
The Negroes are great believers in dress and uniform. Color, too, appeals to them as significant, and the more strikingly distinct the color the stronger impression it makes upon their imaginations. This idea of color has become interwoven in many of their songs. The rhyme helps to give the picture its vividness. The following song, with its variants, is still sung with
considerable zest.
Who is that yonder all dressed in red?
I heard the angels singin';
It look like the children Moses led,
I heard the angels singin'.
Down on my knees,
Down on my knees,
I heard the angels singin'.
Well, who that yonder all dressed in black?
I heard the angels singin';
It looks like it's de mourners jus' got back,
I heard the angels singin'.
Yes, who's that yonder all dressed in blue?
It look like the children just come through.
Besides "mourners jus' got back," the Negroes sometimes sing "a sister (a sinner, a hypocrite, etc.) jus' got back." In one of the old songs the above verses were sung to the chorus,
O what you say, John?
O what you say, John?
what you say, John?
De resurrection drawin' nigh,
with this last line as a refrain after each line of the song, corresponding to "I heard the angels singing." In another of the old songs the chorus was:
Go, Mary, an' ring de bell,
Come, John, and call de roll;
I thank God.
THE BTG FISH
The Negro visualizes with a good deal of satisfaction. He imagines that he can see the things about which he sings. So he has told wonderful stories about the whale and the gourd vine, about the "cutter worm" as well as Jonah. The old song, modified and adapted with characteristic phraseology and expression, still appeals to him. The "big fish" or "sherk" represents the terror of the sea to the Negro. One old man explained this fact by saying that is was because the Negroes were terrified as they were brought over from Africa, that they "saw de whales and fishes in de sea," and that "de race hain't nebber got over it yet." Another ascribed the fear and imagination much to the Biblical story of the whale and Jonah. Perhaps neither determines to any marked degree this feeling. However, the song, "Big Fish Swallow Jonah," which has been so popular in its paraphrases and in the glee clubs, is still current in this form:
Lord, the big fish, big fish, big fish, swallow ole Jonah whole;
The big fish, the big fish, the big fish swallow ole Jonah;
The big fish, big fish, big fish, swallow ole Jonah whole.
Ole Jonah cried, "Lord, save my soul";
Ole Jonah, ole Jonah, ole Jonah cried, "Save my, save-m-y-y,"
Ole Jonah cried, "Lord, save my soul."
In the same manner are sung other lines:
Lord, the gourd vine, gourd vine, gourd vine growed over Jonah.
Well, the cutter worm, cutter worm, cutter worm, cut that vine down.
In addition to Jonah — and the last two stanzas are not common in the old songs — "Peter on the sea," "Gabriel, blow yo' trumpet" and "Daniel in the Lion's Den" are sung. Those who have heard the latest form of this song would hardly imagine that it was a very appropriate church song.
THE OLE TIME RELIGION
It has been stated that the Negro makes a song his own by the simple act of singing it. If he is unrestrained and at the same time thoroughly wrought up, he adds enough to his song or changes it sufficiently to make it almost unique. In a common old song like "The Old-time Religion," sung by whites and Negroes alike, there are as many versions as the Negro can make combinations. He refuses to sing these old-time songs as they are written. He begins with the chorus :
'Tis that ole-time religion,
'Tis that ole-time religion,
'Tis that ole-time religion,
It's good enough for me.
But he nearly always varies the chorus with: "Gi' me that ole-time religion," or "Was that ole-time religion," and several others. The verses defy enumeration, but they usually begin:
It was good enough for mother,
It was good enough for mother,
It was good enough for mother,
An' it's good enough for me.
Even this kind of verse, however, is varied by the use of "my mother," "my ole mother," etc. Similarly:
It was good enough for father.
It was good enough for sister.
It was good enough for brother.
It was good for Paul and Silas.
It was good for John and Peter.
These verses are often sung in the revivals of the Southern whites in the rural districts. But the Negro is soon off the beaten path proclaiming that the old time religion is "good when you are dying (living, mourning, praying, talking, etc)." He continues:
It is good when in trouble.
It is good when de worl's on fier.
It is good when de lightnin' flashes.
It is good when de thunder rolls.
It is good when de stars are fallin'.
It is good when de moon is meltin'.
It is good when de graveyards a-openin'.
In short, any line from another song which fits the rhythm is given a place in "The Ole-time Religion," and every new singing is likely to suggest additional verses to the Negro.
BY AND BY l'M GOIN' TO SEE THEM
This song is another good example of the Negro's tendency to make any song his own. It is his version of the old "By and By We'll Go and See Them." The chorus is:
By and by I'm goin' to see them,
By and by I'm goin' to see them,
Well, it's by and by I'm going to see them,
On de udder shore.
It is varied by the substitution of "him" or "her" for "them." The verses are practically unlimited. They consist of a line repeated three or six times, as the singers prefer, with the refrain "On de udder shore" added to the end of each stanza.
I got a brother over yonder,
I got a brother over yonder,
I got a brother over yonder,
On de udder shore.
Father, mother, sister, preacher, Paul, Silas, Moses, and others are also "on de udder shore." Sometimes a different element is introduced:
Well, mournin' time will soon be over,
Well, mournin' time will soon be over,
Well, it's mournin' time will soon be over,
On de udder shore.
Prayin' time will soon be over, etc.
Shoutin' time will soon be over, etc.
If the occasion calls for warning to the sinner, others are sung:
Sinnin' time will soon be over, etc.
Gamblin' time will soon be over, etc.
The old plantation song was: "Wonder wher's dem Hebrew children (doubtin' Thomas, sinkin' Peter, etc.)? By and by we'll go and meet him." This form is apparently not sung today.
Even the newer songs, many of them the best efforts of the white evangelists, go through this process of transformation when they are appropriated by the Negro. The younger generation is trying to substitute new songs and standard church hymns for the old spirituals, with but little success except in the larger and more formalized urban congregations. Occasionally an educated minister or layman writes a song in formal style, has it printed on a single sheet, and distributes it during church services. The following song, given' in the exact form in which it was distributed, will serve to illustrate:
BLESSED HOPE- By Rev. W. E. Bailey
Blessed hope that in Jesus is given,
All our sorrow to cheer and sustain,
That soon in the mansions of heaven
We shall meet with our loved ones again.
Blessed hope, blessed hope,
We shall meet with our loved ones again,
Blessed hope, blessed hope,
We shall meet with our loved ones again.
Blessed hope in the word God has spoken,
All our peace by that word we obtain,
And as sure as God's word was never broken,
We shall meet with our loved ones again.
Blessed hope, how it shines in our sorrows,
Like the star over Bethlehem's plain,
We will see our Lord ere the morrow,
We shall meet with our loved ones again.
Blessed hope, the bright star of the morning,
That shall herald his coming to reign,
He will come and reward all the faithful,
We shall meet with our loved ones again.
(Sung by Rev. J. T. Johnson)
Such a song is not a spiritual, yet it has some of the characteristics of the spiritual. Many songs of this kind are introduced and sung to various tunes, but they often undergo variation before they have been sung many times. The older Negroes still cling to the spirituals, and they are often heard to remark that the new songs "don't put a feelin' in you like the ole ones." It may be, then, that for some time to come the church singing of the Negroes in the South will be dominated by the characteristics that have made the spirituals so popular. Song is, indeed, the cornerstone of the Negro's religious life. Perhaps that is why he claims with so much feeling that "religion's so sweet":
I jus' got home f'um Jordan,
I jus' got home f'um Jordan,
I jus' got home f'um Jordan,
'Ligion's so-o-o sweet.
My work is done an' I mus' go,
My work is done an' I mus' go,
My work is done an' I mus' go,
'Ligion's so-o-o sweet.