Some Negro Folk-Songs from Tennessee by Anna Kranz Odum
The Journal of American Folklore, Vol. 27, No. 105 (Jul. - Sep., 1914), pp. 255-265
SOME NEGRO FOLK-SONGS FROM TENNESSEE
COLLECTED AND EDITED BY ANNA KRANZ ODUM
THE following negro folk-songs were heard in Sumner County, Tennessee, and were all sung by the children of one family, sometimes two or three of the children singing "parts," but oftener by one girl of fifteen, who sang as she worked. These children could not read, and they sang only the songs they had heard from their elders at home, in the fields, or at church; and they represent a link in the perpetuation of the negro folk-songs. They live in a rural community of negroes whose inhabitants are somewhat stationary, but not isolated. A few of the songs which they sang have been published before; but the versions are different, and they are given here for the purpose of comparison with the same songs from other localities. The majority of the songs are religious, or "spirituals;" and it was with difficulty that the few secular songs were collected, for the singers were reticent about singing any but "church songs," because, they said, they "belonged to de church." Other singers from the same community were later heard singing some of these songs.
The manner of singing was characteristic. There were unlimited variations in the sequence of stanzas and refrain; verses from different songs were brought together; and there was much freedom in the "part" singing, both with the words and the tunes. Sometimes the songs were half hummed, and sometimes sung softly (in a high pitch) in a manner often heard in "part" singing as well as in repetitions of stanzas by the individual singer. The little variations in the words of the stanzas, the tunes, the arrangement of verses, the musical expressions, and the dialect, prevent the simplest song from growing monotonous with frequent repetitions. The same song seldom followed the same order of verses and refrain when heard at different times. These songs were always heard without the accompaniment of musical instruments.
For the sake of convenient comparison, the same general classification of the religious songs is used that was employed in a former study.' Grouped according to the prevailing theme, the subjects are as follows, - first, heaven and the life after death; second, sin and the sinner; third, how to live the Christian life; and, fourth, biblical narratives. It seems to matter little whether the songs are coherent or the words true; the singer enjoys the rhymes, cadences, and melodies apart from the meaning. A single theme is rarely followed throughout a single song, except in cases of many repetitions. There is little uniformity in the dialect, but the attempt has been made to write the songs as they were heard.
[ Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" (American
Journal of Religious Psychology and Education, vol. iii, pp. 265-365).
1. WAITIN' FER ME
I've got a mother in the Rock of Ages,
l : Waitin' fer me. : l
In God's bosom goin' to be my pillow,
l : Waitin' fer me. : l
Way up in de Rock of Ages,
l : Waitin' fer me. : l
Have a long white robe in the Rock of Ages,
l : Waitin' fer me. : l
Way up in de Rock" in God's bosom.
l : Waitin' fer me. : l
This song is similar in some respects to "I got a Home in the Rock, don't you see," heard in northern Mississippi. [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes"; American Journal of Religious Psychology and Education, vol. iii, p. 328]
2. JESUS IS WAITIN
l : I am hungry : l (three times)
Want to eat.
l : Jesus is waitin' : l
Jesus is waitin' all de time.
l : I am cripple : (three times)
I want to walk.
l : I am sleepy : l (three times)
I want to sleep.
l : I am thirsty : l (three times)
I want to drink,
I want to drink all de time.
The song, "Heal me, Jesus," heard in northern Georgia, [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes"; American Journal of Religious Psychology and Education, vol. iii, p. 359] is very similar to this, the chorus of which is,
"Heal me, Jesus, heal me, Jesus,
along the heavenly way," and with stanzas as follows: -
O Lord, I'm sick an' I want to be healed.
O Lord, I'm blind an' I want to see.
O Lord, I'm crippl'd an' I wan'er walk.
O Lord, I'm deaf an' I want to hear.
Somewhat similar also is one stanza of the song heard in northern Georgia, "Do, Lord, remember me." [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes"; American Journal of Religious Psychology and Education, vol. iii, p. 325]
When I am hungry, do feed me, Lord,
Do, Lord, remember me.
When I am thirsty, do give me drink,
Do, Lord, remember me.
3. GOIN' TER WAKE UP DE DEAD
Where shall I be when the first trumpet sound?
| : Where shall I be when it sound so loud ? : |
Sound so loud, wake up de dead,
Goin' ter wake up de dead.
I may be in my graveyard when it sound so loud,
Where shall I be when de first trumpet sound?
I may be dead,
I may be dead an' gone,
Goin' ter wake up de dead.
Look over there what I see,
Mary and Mac
Dressed in black.
Where shall I be when the first trumpet sound ?
Where shall I be when it sound so loud?
Goin' ter wake up de dead.
Another song, "Whar' shall I be?" from southern Mississippi, [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" (American Journal of Psychology and Education, vol. iii, p. 355)] has its chorus as follows:-
Whar' shall I be when de fust trumpet sound?
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?
The verses and metre are entirely different. Another version of "Goin' ter wake de Dead" was heard in northern Georgia [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" (American Journal of Psychology and Education, vol. iii, p. 363)] with many common verses and the following chorus:-
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.
The last stanza of the version given here is probably a corruption of the two familiar stanzas, [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" (American Journal of Psychology and Education, vol. iii, p. 360)]
Look over there what I see,
Big tall angel comin' after me.
Well, who that yonder all dressed in black,
It look like it's de mourners jus' got back.
"Mac" is probably a corruption of Martha, as "Mary and Martha" appear in a number of negro folk-songs.
4. OH THE BLOOD DONE SIGN MY NAME
This favorite song has been published in another form, [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 351] but is given here to show the differences that may be found when the song is heard in different communities, and to show its widespread popularity. Each stanza is repeated three times.
Oh the blood
Oh the blood
Oh the blood done sign my name.
| : How you know :|
The blood done sign my name?
| : Jesus tole' me so :|
The blood done sign my name.
|: In de heaven :|
Oh the blood done sign my name.
|: Ain't you glad :|
The blood done sign my name?
|: Glory an' honor :|
The blood done sign my name.
| : Fare you well :|
The blood done sign my name.
5. BY AN' BY
By an' by when de mornin' come,
All the saints of God gatherin' home,
An' we'll tell in story
How we'll overcome,
An' we'll understand it better by an' by.
6. SHE MOVE ALONG
This song is reported to have been the composition of a negro preacher in the community where it was heard and is sung by his people.
Behold the City!
Behold the Lamb!
Behold the City!
She move along.
|: Been fightin' in the City :|
She move along.
|: Brother Isam in the City :|
She move along.
|: There's shoutin' in the City :|
She move along.
|: There's preachin' in the City :|
She move along.
|: There's cryin' in the City :|
She move along.
7. SWEEPIN' THROUGH THE GATE
This one-stanza song is repeated one or more times.
| : Sweepin' through the Gate, through the Gate :|
Hallelujah! Caval [1] Lamb,
Washed in every stain I am
Hallelujah! I am sweepin' through the Gate.
The group of songs which has for its subject sin or the sinner is made up of those in which the singer rejoices because his sins have been taken away, and those which urge the sinner to change his ways.
[1] Calvary
8. ALL MY SINS BEEN TAKEN AWAY
Following is a popular song of this class, and one that has appeared before [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 304] in different forms. Only the stanzas that have not been published before are given here.
Chorus.
| : All my sins been taken away :| (three times)
Glory hallelujah to the Holy Name!
All my sins been taken away.
I'm goin' home on the mornin' train,
If you don't see, you'll hear me sing.
| : Hand me some whiter* let me whiten my hand : |
Wish I had married when I was young.
Wouldn't a had all dat race to run.
*Whitening. Note the local coloring.
9. WAY UP IN DE KINGDOM, LORD
I love my Jesus, yes, I do,
Way in de Kingdom, Lord.
O sinner you must too,
Way in de Kingdom, Lord.
|: Just plenty good room,
Way in de Kingdom, Lord :|
|: Goin' to build my church on this camp-ground,
Way in de Kingdom, Lord:|
Just look over yonder in de harves' field.
My Lord pushin' at de chariot-wheel.
Way in de Kingdom, Lord.
Somewhat similar to the above is the song, " Love the Lord," [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 327] which asks the questions, "Well, did you say?" and, "All I want to know is, does you love Jesus?" and answers, "If you love Jesus, you can't keep it." One chorus of the song, "I am de light uv de worl'," [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 305] has one chorus line, "Way up in de kingdom, Lord."
10. AND DON'T STAY AWAY
|: O brother, don't stay away : | (three times)
And don't stay away.
|: My Lord says there's room enough : | (three times)
In heaven for us all.
My Lord says there's room enough,
And don't stay away.
"Sister," "mother," "uncle," "auntie," are in turn substituted for "brother." This song is almost the same as the old spiritual, and is probably the origin of the song, "You can't stay away," [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 342] heard in northern Mississippi, which has for its chorus, "You can't stay away," with several verses, among which are,-
My Lord is callin' an' you can't stay away.
King Jesus is a-ridin' an' you can't stay away.
11. WON'T YOU TASTE THAT THE LORD IS GOOD?
Only one stanza of the following song was sung, although more was said to belong to it, but the singers did not remember it. It is probable that "sister," "brother," "sinner," "uncle," are in turn sung in place of "auntie," with possible variations in the third line; and the song would thus be extended to suit the singer.
O auntie, won't you taste
That the Lord is good?
Sweet honey in the rock,
That the Lord is good.
12. O SINNER MAN, YOU SO HARD TO LEAD!
The present song bears a resemblance to a song that has been published. [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 322] "'Po' sinner man he so hard to believe" is not unlike "O sinner man, you so hard to lead!" the refrain of the present song. The line, "My mother and your mother both dead an' gone," appears in both.
|: Don't call the roll, John, till I get there : | (three times)
O sinner man, you so hard to lead!
| : My mother and your mother both dead an' gone : | (three times)
O sinner man, you so hard to lead!
| : Don't crown the Lord, O Lord, till I get there : | (three times)
O sinner man, you so hard to lead!
| : Some goin' to heaven, some tellin' lies : | (three times)
O sinner man, you so hard to lead!
| : Some on the elemen', some on the cloud : | (three times)
O sinner man, you so hard to lead!
| : Wasn't that a pity Lord, sin ain't a shame : |(three times)
O sinner man, you so hard to lead!
13. I WANT TO GO TO HEAVEN WHEN I DIE
Some of the words of the song following have been reported [Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, p. 313] in two songs, whose refrains are, "God goin' to wake up the dead," and "De young lambs mus' fin' de way." The first stanza and the refrain seem to be new in this one.
Listen at the lambs all cryin',
Want to go to heaven when I die,
Listenin' at the lambs.
Oh, mind out, brother, how you walk.
I want to go to heaven when I die.
Feets might slip an' your soul get lost.
Oh, mind out, auntie, how you walk on de cross,
Your feet might slip an' your soul get lost.
I want to go to heaven when I die.
In the next group of songs, that express the negro's idea of the kind of life necessary for salvation, "Keep er-inchin' erlong" is familiar:
14. KEEP ER-INCHIN' ERLONG
The words of this version are different from those previously recorded, and the chorus has the addition of the line, "Like a pore inch one."
I was down in the valley when the Lord come by,
Jesus is comin' by an' by,
I thought to my soul I would rise an' fly,
Jesus is comin' by an' by.
CHORUS:
| : Keep er-inchin' erlong, : |
Jesus will come by an' by.
Keep er-inchin' erlong
Like a pore inch one,
Jesus will come by an' by.
'Twas inch by inch,
'Twas inch by inch I saw the Lord.
Jesus is comin' by an' by.
'Twas inch by inch,
'Twas inch by inch I saved my soul.
Jesus will come by an' by.
15. THAT AIN'T RIGHT
My Lord told me not to work on Sunday,
| : That ain't right. :|
My Lord told me not to work on Sunday.
CHORUS: Have Monday, Tuesday, Wednesday, Thursday, Friday, Sadday,
Have Sunday.
That ain't right.
My mother told me not to gamble on Sunday,
| : That ain't right. :|
What make these people want to gamble on Sunday?
That ain't right.
My mother told me not to lie on Sunday,
| : That ain't right. :|
What make these people want to work on Sunday?
Lord, that ain't right.
16. BLESSED BE THE NAME!
A remarkable adaptation of the well-known revival song, "Blessed be the Name of the Lord" [For other adaptations, see Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" American Journal of Psychology and Education, vol. iii, pp. 307, 364] is found in the following, in which the chorus is identical, and the stanza adapted and made out of whole cloth.
|: Blessed be the Name :|
Blessed be the Name of the Lord!
|: Blessed be the Name :|
Blessed be the Name of the Lord!
If you don't not like your sister,
Do not carry her name abroad.
Take her in your bosom and carry her home to God.
Blessed be the Name of the Lord!
The songs which narrate stories from the Bible often give the substance of the story in a few lines, and the rest of the song may be more or less related to the subject.
17. LITTLE DAVID, PLAY ON YOUR HARP
Following is given a version of the popular song, "Little David, play on your Harp." Here the story is told in the first stanza, and the second stanza is not related to the first. The beauty of the chorus can only be appreciated when a group of negroes is heard singing it.
David was a shepherd-boy,
Killed Goliath, and shout for joy,
CHORUS: Little David, play on your harp,
Hallelujah! hallelujah!
Little David, play on your harp,
Hallelu! hallelu!
When I was a sinner
I never would quit tel de work was done.
18. DON'T YOU HEAR DAT WATER ROLLIN'?
Down by the river side Jordan,
Where John took an' baptized three.
Sadducees and Pharisees,
O John, won't you baptize me?
| : Don't you hear dat water rollin' all night? : | (three times)
Don't you hear dat water rollin' all night long?
19. THAT BLIND MAN
|: Oh that blind man stood on the way an' cried :|
Cryin', O Lord!
|: I wonder did my people get on board. : |
Cryin', O Lord! save pore me,
That blind man stood on the way an' cried.
|: My pore mother dead an' gone :|
I wonder did my father get on board,
That blind man stood on the way an' cried.
|: All my people dead an' gone : |
That blind man stood on the way an' cried.
20. WASN'T THAT A MIGHTY DAY!
That the words make little difference to the singer can be seen in parts of this song. David is a favorite character, and he is put in the place of Jesus in the stanza. The third line was probably introduced to rhyme with the first line, after the setting had been given in the first two lines.
David was a baby lyin' at Mary's arm,
Lyin' in stable of Bethlehem.
Beefsteak keep-a him warm.
Singin',
CHORUS: |: Wasn't that a mighty day : | (three times)
When Jesus Christ was born!
21. NAAMAN THE LEPER
O Naaman the leper, the honorable man,
No doctor can help him he see.
He pulled off his burden,
And went into Jordan.
Go wash in the beautiful stream.
CHORUS: No Naaman, No Naaman, go down an' wash,
Go wash in the beautiful stream.
O Naaman went down and his servant was gone,
No man can save him he see.
Go wash in the beautiful stream.
Oh, my, what a sight! the disease made him white,
No doctor can help him he see,
He pulled off his burden,
And went into Jordan.
His burden is easy of course.
22. BROTHER HAMMER, RING
An interesting secular song is the nature song which follows. Sometimes "send in" is used in place of "sing;" and the singer goes through the list of all the birds he may think of, singing that part of the song in quick time.
Way by an' by brother hammer, ring,
Brother hammer, ring.
Sing two black-birds,
Brother hammer, ring.
Sing two blue-birds,
Brother hammer, ring,
Sing two green-birds,
Brother hammer, ring.
|: Way by an' by brother hammer, ring :| (four times)
When I 'gin to move.
Brother hammer, ring,
Brother hammer, ring by an' by.
23. DRINKIN' BOTTLE AN' BAWN
|: Drinkin' bottle an' bawn :| (four times)
| : Wonder where my man : |
He on de road somewhere.
|: Won't you call him back : |
He on de road somewhere.
|: Mississippi River she so deep an' wide :| (three times)
They can't cross it, but they sanctified.
24. LEAVE YOUR HOUSE-RENT HERE
This and the preceding song were sung in a high pitch.
|: Leave your house-rent here :|
If you will go an' won't come back
Leave your house-rent here.
|: Where did you stay las' night :|
Your hair all rumpled up,
Your clothes ain't on you right.
25. A LULLABY
Religious and secular songs are sung as lullabys also. This one is repeated a number of times.
Go 'long to sleep,
My little baby,
Mamma gone to town,
Papa runnin' roun',
Left nobody with the baby.