C–D

Cake, Lu B. (white). De walls ob Zion (n.p.: Ella June Meade Entertainment, 1885) http://hdl.loc.gov/loc.music/sm1885.01456

Notes: Cover: “As sung nightly by Ella June Meade. Encored nightly. Words and music by Lu B. Cake. Arranged by Prof. Geo. Mueller. Sold only by the Ella June Meade Entertainment. Copyrighted by Lu B. Cake.” Lovely illustration of Meade on cover, who looks young (still in teens?). An interesting song, this is a serious attempt at a solo commercial spiritual, with concert effects like tempo changes (it begins adagio, in c-minor), staccato, accents, dynamic contrasts. The directions for verse 5 read: “Sung lightly, faster, expression of subdued ecstasy.” Both the verse and chorus have asymmetrical phrases.

There was a Lu B. Cake who wrote a book of poems titled The Devil’s Tea Table and Other Poems published NYC in 1898. According to the Red Oak Sun, Red Oak, Montgomery Co., Iowa, 1 Dec. 1893, “Red Oaks Thanksgiving Day”: “Two entertainments, for relief of the poor, were given at the opera house, under the auspices of the city, a matinee by Paul Alexander Johnstone, the mind reader, which was not largely patronized, although an interesting entertainment, and a music and recitative entertainment in the evening by Ella June Meade Cake and L. B. Cake, of Clarinda, which was enjoyed by quite a large number of patrons.” From http://www.iowaoldpress.com/IA/Montgomery/1893/DEC.html (accessed19 Apr 2006; the URL is no longer active). From http://www.rootsweb.com/~iataylor/ANI/c-names/C200F.htm (O'Dell's Abstracted Newspaper Index of Page and Taylor Counties, Iowa; copyright © by Pat O'Dell, New Market, Iowa; URL no longer active): C200 Cake, Luther Burber, b 25 Oct 1848 McConnelsville, Oh; d 07 Feb 1920 Afton, NY; w 1882 Ella June Meade; f Benj. T.F. Cake; i Afton, NY; grparents were Andrew & Mary Fouts. CH 19 Feb 1920.

Car[??], Jas. Shout loud, brethren, in Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 13, LC, Music Division, Dumont Collection

Notes: “Written for the Olympia Quartette by Jas. Ca [illegible].”Lyrics:

Oh, the people am gathered an’ll soon be blest,

And we’ll all shout glory;

’Twill suit dem shoutin’ Methodists,

Bredderen, all shout loud.

Oh, de Baptists an’ others’ll soon jine in,

And we’ll all shout glory;

An’ all you sinners’ll be saved from sin,

Breddern, all shout loud.

Chorus:

Oh, brother, won’t you lend me a wing?

Sisters, commence to sing,

Shoutin’ now will soon begin,

Bredderen, all shout loud. (repeat)

Oh, what will you do when de great day comes?

When we’ll all shout glory;

Wid’ de blowin’ of trumpets and de bangin’ of de drums,

Bredderen, all shout loud.

’Tis manay poor sinners’ll be cotched out late,

And we’ll all shout glory;

And dey’ll find no key in de golden gate,

Bredderen, all shout loud.

Carnes, Frederick G. (white). Darkies on the levee and We'll cross de Ribber ob Jordan (San Francisco: L. A. Bancroft, 1884) http://hdl.loc.gov/loc.music/sm1884.04838

Notes: “Respectfully dedicated to the Kentucky Jubilee Singers.” Technically Carnes was the arranger, which is noted on first page of music. See also Carnes, Oh Peter go ring dem bells, below. Darkies is in a-minor, gapped scale melody with internal refrains a folk flavor; it is, however, a commercial spiritual. The lyrics about happy darkies from the sunny south severely weaken the textual borrowings from spirituals (“shine on,” “oh rocky my soul,” etc.), as do the measures labeled “dance” interpolated into the chorus. It is paired with We’ll cross… (a separate score) – is this a traditional hymn/spiritual? In G major. For more on Carnes and his arrangements see Sandra Jean Graham, “Reframing Negro Spirituals in the Late Nineteenth Century,” in John Koegel (ed.), Music, American Made: Essays in Honor of John Graziano (Sterling Heights, MI: Harmonie Park Press, 2011).

Juba jubilee schottische (San Francisco: A. Waldteufel, 1884) http://hdl.loc.gov/loc.music/sm1884.05061

Notes: “Respectfully dedicated to Mr. John S. Lyle of New York, N.Y.” Containing the “slave melodies” of Coal black rose’ Bakin’ dat hoe cake; Clar’ de kitchen; Bow down befo’ de altar; Wasn’t dat a wide ribber?; Wait till we git on de road. The mixing of antebellum minstrel songs like Coal black rose – which by 1884 were definitely perceived as belonging to another era – with spirituals is interesting.

Kentucky Jubilee Singers schottische (San Francisco: A. L. Bancroft & Co., 1879) http://hdl.loc.gov/loc.music/sm1879.16900

Notes: “Respectfully dedicated to the Kentucky Jubilee Singers.”A piano schottische that introduces the “popular plantation melodies of” Darkies on the levee; We’ll cross de ribber ob Jordan; Oh Peter, go ring dem bells; and Swing low, sweet chariot. Apparently Carnes wrote this medley before he arranged the songs for voice and piano (they were all published in 1884; see Carnes under individual titles). The only schottische among the melodies is Darkies on the levee. Carnes writes artistically for piano interpretation, with legato and marcato markings, dynamics, octave changes, grace notes. This is one of the earliest examples of solo piano interpretations of spirituals and commercial spirituals. See also J. Ahrem.

Oh Peter go ring dem bells and Swing low, sweet chariot (San Francisco: A. L. Bancroft, 1884 http://hdl.loc.gov/loc.music/sm1884.04839

Notes: “Respectfully dedicated to the Kentucky Jubilee Singers.” Technically Carnes was the arranger. See also Carnes, Darkies on the levee above. Both songs in F. Peter has traditional words and melody; Carnes does a piano accompaniment that does not double the melody, with a bell effect (broken octaves in the right hand) in the chorus. Swing low uses the tune that the Hampton Students call Danville chariot (see their anthologies). Vivace. See also under Peter, ring dem bells.

Old plantation echoes (New York: Emanuel Pergament, 1885) http://hdl.loc.gov/loc.music/sm1885.28203

Notes: “Schottische” for orchestra. The last two melodies in this medley are traditional spirituals: Joshua fit de battle of Jericho and Roll, Jordan, roll. Apparently Carnes orchestrated this himself.

Carroll, William (white). Away up in the sky, in William Carroll’s “Idle Hour” Songster (New York: De Witt, 1880), p. 36, HTC, songsters

Notes: The songster as a whole contains “a number of those first-class, original, and very taking pieces which Mr. William Carroll has either composed or made expressly his own by his masterly execution of them.” This song is “Written by William Carroll, and sung by [William] Harris and Carroll.” I doubt it was ever published as sheet music. The lyrics, which follow, are vaguely concerned with crossing over and contain an internal refrain:

Don’t you hear the colored children shouting on the hills / Away up in the sky?

They’re shouting for to get a box of sugar coated pills, / Away . . .

Then bless you, little children, won’t you fall in the gang, / Away . . .

We’re putting on our shoes and we won’t be long, / Away . . .

Chorus:

Then away up in the sky, away up in the sky,

Don’t you hear the colored children

Shouting on the hills,

Away up in the sky?

Just cast your glimmers on that [print worn, 1 word] sliding on them rocks, / Away…

He’s the one that eat the pills and then he eat the b[obscured]s, / Away . . .

We’re putting on our shoes and we’ll get there soon, / Away . . .

There’s a big crowd coming, and you better make room, / Away . . .

Cartee, Fred. Rock'a my soul (Boston: G. D. Russell & Co., 1871) http://hdl.loc.gov/loc.music/sm1871.00387

Notes: Cover: “Sung with the greatest success by Powers & Johnson, Harry Bloodgood, and Charley Howard.” The refrain is the well-known “Rock my soul in the bosom of Abraham.” Moderato. C major. Internal refrain, uses chorus from the traditional spiritual. The verses are a mix of sacred and secular (v. 2 is about not being able to get in to the circus and settling for a big glass of gin instead).

Children, don’t get weary (Boston: Oliver Ditson, 1877). http://hdl.loc.gov/loc.music/sm1877.10128

Notes: Cover: “Plantation song and chorus. Sung with great success by all the minstrels.” The provenance of this published song is uncertain. Allen et al.’s Slave Songs of the United States contains a spiritual notated in D major with the chorus “O, brothers, don’t get weary [sung 3x], We’re waiting for the Lord” (#115). The sheet music lyrics are: “Oh, don’t get weary, don’t get weary children, don’t get weary, we ain’t got long to stay.” The choruses to the two songs follow the same melodic contour, although there are pitch differences. The 1874 Hampton anthology (Armstrong and Ludlow, Hampton and Its Students) has the spiritual My brethren, don’t get weary, and its chorus is the same tune as Children, don’t get weary. The phrase “Don’t get weary” is also found in: Keep your lamps trimmed (the Fisk Jubilee Singers first anthologized it in Pike 1875, the words are “Brothers/Preachers [etc.] don’t grow weary . . . for this work’s almost done”); Rise and shine (Hampton 1874 anthology, v. 3: “Oh, come on, children, don’t be weary, weary”); A great camp-meetin’ in de promised land (Fisk: “Oh walk togedder children, don’t yer get weary”).

Cf. Eva West, Oh! Don’t get weary children (also 1877); both this sheet music version and her version are in Bb, and both use the same tune for the chorus, although West’s songs has many more derogatory lyrics. The refrain was also part of Goss and Fox’s Medley of hymns; see Ned Goss.

John Roach sang a version titled Don’t get weary children in which the last line of the chorus is “for I’se a going home.” The verses are secular. The first verse: “Oh, Johnny you’ve been a bad boy, / For to treat your true love so, / And if you don’t behave yourself; / I’ll let the old folks know.” Found in Callender’s Original Colored Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1882]), p. 18, LC, Music Division, Dumont Collection.

Anthologies (lyrics only): There was a sheet music version published by F. Blume in 1877 with different lyrics (the chorus concludes with “for I’se a going home”), as sung by John Roach. This is included in the following songsters: Jeppe and Fannie Delano’s “Love at First Sight” Songster (New York: A. F. Fisher, 1877), p. 41, HTC, songsters; Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 24, HTC, songsters; Haverly’s United Mastodon Minstrels Song Book (Chicago: National Printing Co., 1880), p. 58 – sung by Pete Mack, with Haverly’s Mastodon Minstrels, HTC, songsters; Jas. E. Larkins’ Variety Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 21, HTC, songsters

Recordings: Harry C. Browne interpolates the chorus of Children, don’t get weary (sheet music version) into his 1917 recording of “De gospel train am coming” (Harry C. Browne with Peerless Quartet, recorded New York, Jan. 1917, reissued on Early Minstrel Songs Recorded 1916–1923 (British Archive of Country Music CD D076).

Uncle Dave Macon recorded Don’t get weary, children in 1927 (same chorus, different verse), and the tune entered fiddle tradition. There are many modern versions of Macon’s interpretation, including Doc Watson and David Holt on Legacy (High Windy Audio, 2002) and Adrienne Young and Little Sadie on The Art of Virtue (Addiebelle Music, 2005).

Coes, George H. (white) Den we'll join de band (Boston: Louis P. Goullaud, 1875) http://hdl.loc.gov/loc.music/sm1875.08603

Notes: From (Luke) Schoolcraft & Coes’s skit Our Alabama Homes. No folk traits except a little melisma at the cadence, which is unusual in scores. Textual allusions to spirituals only.

Connolly, Charles. Cindy Jane; or, Lucinda Jane (New York: E. H. Harding, 1881) http://hdl.loc.gov/loc.music/sm1881.17764

Notes: “Jubilee song.” About a wedding; the verse has internal refrains, no religious imagery. Orchestral quadrille on this tune (by Geo. H. Ross) is at http://hdl.loc.gov/loc.music/sm1882.20514.

Golden trumpets (New York: Harding’s, 1882) http://scriptorium.lib.duke.edu/sheetmusic/ (search by title)

Notes: “The Great & Popular Jubilee Song.” “Written, Composed and Dedicated to Frank Cushman of Haverly’s Minstrels, by Mr. Chas. Connolly.” Moderato. Bb major. In general, this doesn’t musically resemble a spiritual, except for a few effects, like the syncopated “Oh!” that connects the two 8-bar phrases of the verse (AA'AA'), and the concert effects of contrasting dynamics, the voice imitating the blowing of the trumpet in the chorus (on “ah” and “m”), and the eighth notes at the end of the chorus, which articulate phrases.

Anthologies (lyrics only): Geo. S. Knight’s Latest Songs and Recitations (New York: Popular Publishing Co., n.d. [ca. 1882]), p. 4, HTC, songsters; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 37 – sung by Mrs. Geo. S. Knight with great success, HTC, songsters; Flora Moore’s “Bunch of Keys” Songster (New York: N.Y. Publishing Co., n.d. [1884 or later]), p. 31, HTC, songsters

Sound dat barnjo! (Boston: Oliver Ditson, 1879) http://hdl.loc.gov/loc.music/sm1879.13521

Notes: “To Billy Carter.” On first page: Copyright E. H. Harding 1879. This is labeled a “plantation jubilee song,” probably because of its frenetic pace and the internal refrains.

Swim out for glory! (Boston: Oliver Ditson & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.11548

Notes: “Camp meeting song,” dedicated “to all de good ole ‘Aunt Hannahs.’” The composer is also referred to parenthetically as “Donly.” Words superficially allude to spirituals, music does not. [White minstrel Billy Emerson sang this song, per Edward B. Marks, They All Had Glamour, New York: Julian Messner, 1944, p. 362.]

Anthologies (lyrics only): William Carroll’s “Idle Hour” Songster (New York: De Witt, 1880), p. 55; Gorton’s Original New Orleans Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 29, HTC, songsters; Frank Dumont (ed.), Birch and Backus’ Songs of the San Francisco Minstrels, no. 20 (New York: De Witt Publishing House, 1881); J. H. Haverly’s Genuine Unique Refined Minstrel Songster, Casket of Gems, no. 12 (New York: New York Popular Publishing Co., n.d. [ca. 1883], p. 26, HTC, songsters

Converse, Frank B. (white). Blow de golden trumpet (New York: Wm. A. Pond & Co., 1881) http://hdl.loc.gov/loc.music/sm1881.20234

Notes: “Song with piano and banjo effects.” “Written and composed by Frank B. Converse, author of De Hal-le-lu Band” (suggesting that the latter song was popular well before its 1882 publication date; see below). D-minor, internal refrains in verse, call and response in the chorus. The song is first in a quadrill medley orchestrated by Geo. H. Ross (New York: J. Hazen Bros., 1882): http://hdl.loc.gov/loc.music/sm1882.20514.

De hal-le-lu band (New York: Wm. A. Pond & Co., 1882) http://hdl.loc.gov/loc.music/sm1882.02618

Notes: Inscribed to Mr. C. V. Banta, Jr. Textual allusions to spirituals.

Daniels, J. W. Knocking at the golden gate (Pittsburgh: J. M. Hoffman, 1885) http://hdl.loc.gov/loc.music/sm1885.02202

Notes: Cover: “Written for and dedicated to the inimitable exponent of refined minstrelsy Mr. Bob Slavin. Bob Slavin’s popular song . . .” Title page: Arranged by John Gernert (see Gernert below). The verse uses the tune Polly wolly doodle, and the chorus is related to that tune. The lyrics index spirituals (Peter at the golden gate). This is the only title of Daniels on deposit at the LC.

Darley, T. Alston (white). Up dar in the sky (1875), in J. H. Haverly’s Genuine Unique Refined Minstrel Songster, Casket of Gems no. 12 (New York: New York Popular Publishing Co., n.d. [ca. 1883], p. 21, HTC, songsters

Notes: “To Johnson & Bruno.” It is dated 1875. The lyrics are a nonsensical mix of imagery and the song is an odd choice for a “refined” songster. Lyrics:

De nigs am pushin’ de clouds along, / Up dar, up dar;

Ole marser am in dat dusky throng, / Up dar in de sky.

Dey’s chasin’ each oder round de moon, / Up dar, up dar;

An’ Lise (Pete) and I’ll jine dem soon, / Up dar in de sky.

Den blow your trumpet, blow, / We’s a comin’ ring de bell;

Let de music loudly swell / Up dar in de sky.

Chorus:

De little pigs grunt, de chickens sneeze,

De hogs am tickled to deff wid fleas;

But we’ll be singin’ by ’n by,

Up dar in de sky.

Tell ole marser to make room, / Up dar, up dar;

We’se gwine to jine him pooty soon, / Up dar in de sky.

Tell him not to longer grieve / Up dar, up dar;

We’ll sweep de kitchen ’fo’ we leave / To jine him in de sky.

De time am comin’ pooty soon,

When we’ll have to Jump clear beyond de moon,

To hunt de ’possum an’ de coon / Up dar in de sky.

Chorus

We’ll cross to Canaan’s golden sho’, / Up dar, up dar;

Where pain an sorrow am no mo’ / Up dar in de sky.

We’ll bid good bye to de sweet hoecake, / Up dar, up dar;

Aunt Dinah won’t be round to bake, / Up dar in de sky.

But if de bacon dar am seen,

We’ll save de fat but eat de lean ­

We’ll sing and wade de golden stream, / Up dar in de sky.

Anthologies (lyrics only): Jas. B. Radcliffe’s Plantation Songster (New York: Popular Publishing Co., 1879), p. 47, LC, Music Division, Dumont Collection; D. R. Hawkins’ “I Am King” Songster. New York: New York Popular Publishing, Co., n.d. [1884 or later]), p. 26, HTC, songsters

Davis, Gussie (black). Chimes of de golden bells (James Stillman, 1893)

Notes: Sheet music located in LC, Wittlesey File, according to Josephine R. B. Wright’s checklist of Davis’s compositions in Black Perspective in Music 6/2 (1978): 196. A 1903 sound recording (78 rpm) by the Victor Minstrel Co. (Camden, NJ: Monarch Record) is held by the University of Maryland, College Park.

Climb up de ladder to de clouds (Hitchcock & McCargo, 1891)

Notes: Sheet music located in LC, Wittlesey File, according to Josephine R. B. Wright’s checklist of Davis’s compositions in Black Perspective in Music 6/2 (1978): 196.

The court house in de sky (New York: George Propheter, 1887)

Notes: Thomas Riis cites this as a minstrel spiritual and reprints an excerpt in his article “Music and Musicians in Uncle Tom’s Cabin,” American Music (1986): 279. Sheet music is in LC, Wittlesey File; reproduction can be found in Josephine R. B. Wright’s checklist of Davis’s compositions in Black Perspective in Music 6/2 (1978): 202–205.

Get on your sneak shoes, children (New York: The New York Music Co., 1894)

Notes: Sheet music located in LC, Wittlesey File, according to Josephine R. B. Wright’s checklist of Davis’s compositions in Black Perspective in Music 6/2 (1978): 196. I haven’t seen the score but assume this is a commercial spiritual by the title.

Hold out dat light (Brooklyn: Chas. W. Held, 1891) http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.100005420/default.html

Notes: Comic song & chorus. Allegretto. F major. The verses advise “darkies” what to do in order to get to heaven. Verse form is A[ab] A' [ab'] (16 mm.), no internal refrain, with a double chorus of 16 mm. (8 + 8). The harmonies are typically modern, using diminished chords to color the progressions.

Up dar in de sky (New York: Propheter, 1886)

Notes: An 1892 reprint of this song is located in LC, Wittlesey File, according to Josephine R. B. Wright’s checklist of Davis’s compositions in Black Perspective in Music 6/2 (1978): 195.

When the mighty ship begins to roll (New York: W. B. Gray & Co., 1888)

Notes: Words and music by Davis. The lyrics below are from Alphabetical Catalogue of Recitations Contained in Delaney’s Recitations (New York: Wehman Bros., ca. 1899), available in microform at the University of Illinois, Urbana-Champaign, and digitized at http://www.archive.org/stream/5552517/5552517_djvu.txt (accessed 27 Aug. 2010). Because the source was scanned, there are numerous errors in the digital rendition. Where these are obvious I have silently corrected them.

1. There's a great big ship a-sailing, and she's on the phantom sea,

When the mighty ship begins to roll;

For some day she’s gwine to anchor and take on board you and me.

When the mighty ship begins to roll;

When you come see her a landing, you will all turn pale.

Then you'll think of poor old Jonah, who was swallowed by the whale.

You coons may all get seasick, that will be of no avail!

When the mighty ship begins to roll.

Chorus:

On the phantom sea she’s sailing, from here to the skies.

Any time you see her landing, ’twon’t be no surprise.

Every day she makes a voyage, goes from pole to pole.

Now don’t you be so wicked, but be ready with your ticket.

When the mighty ship begins to roll.

2. Oh, the engineer is reckless and they’ve got a reckless crew.

When the mighty ship begins to roll;

If she ever bursts a [?] you’ll get cooked up in a stew.

When the mighty ship begins to roll.

And they’ve got no life preservers, so your chance is slim.

Now old Satan has a boat [?] and he keeps her in good trim.

The phantom sea is so wide that you darkies cannot swim.

When the mighty ship begins to roll. (Chorus)

3. Now you all back-bite your neighbors and forget about the day.

When the mighty ship begins to roll.

And you sit up nights and gamble, but there's one time you won't play.

When the mighty ship begins to roll.

You learn that from the white man – yes, indeed, you do.

That’s the reason he’s no better and he’s just as bad as you.

That day your nerve will fail you, and you’ll find this all out, too.

When the mighty ship begins to roll.

Davis, Harry (black). Dem golden shoes (Chicago: Chicago Music Co., 1881) http://hdl.loc.gov/loc.music/sm1881.04890

Notes: See also Sam Lucas, Dem golden shoes. “To Mr. Fred Casey.” This borrows from the spiritual What kind of shoes you going to wear? (answered in the traditional spiritual with “golden slippers,” which sometimes serves as the song title); in Davis’s song the answer is “dem golden shoes.” The chorus quotes some of the melody of the spiritual. The structure of the verse is a 2-mm question (solo) followed by a 4-mm response (choral), creating an asymmetrical phrasing reminiscent of some spirituals. Several commercial spirituals of Sam Lucas (see below) also exhibit this trait. This is one of four character songs on deposit at the LC. Harry Davis was listed as a major composer in Ike Simond’s Old Slack (p. 25).

Davis, W. W. Way up yonder, in Williams and Sully’s “Darkies Moonlight Picnic” Songster (New York: A. J. Fisher, 1882), p. 8; HTC, songsters

Notes: Words by J. K. Johnson. Sung by Billy Williams, of Williams and Sully. I have not located information on the creators, or sheet music of this title. It might have been a parody of James Bland’s Way up yonder, especially since the title phrase is not used as an internal refrain (as would be usual) but appears for the first time only in the refrain.

The same lyrics (with occasional spelling differences for the dialect) appear in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 49; HTC, songsters. There it is “respectfully inscribed to Harry G. Richmond. Words and music by J. K. Johnson.” Lyrics from Williams and Sully’s songster:

De angels sing fo’ de po’ old moke, / Come ’long, Keziar;

Dar faces dey am brack as coke, / Keziar, come ’long and fetch Mariar.

Stand on de brink ob de heab’nly stream, / Tell Mariar to fotch ’long all de people;

Singin’ so sweet seems like a dream, / Way up yonder ’bove de steeple.

Chorus:

Way up yonder, hyar de angels’ voices ringin’,

Sweetly singin’, gently flingin’

Music to de folks below;

Way up yonder, hyar de happy voices callin,’

Softly fallin’, angels callin’,

Wid robes whiter dan de snow.

Gab’rel’s waitin’ wid smile on him face, / Come ’long, Keziar;

Calls his chil’en to hasten deir pace, / Keziar, come ’long and fetch Mariar.

He standin’ wid angels on Jo’dan’s sho’, / Tell Mariar to fotch ’long all de people;

We’ll sing wid dem angels eber mo’, / Way up yonder ’bove de steeple.

De Lord delivered Daniel, in Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 9; LC, Music Division, Dumont Collection

Notes: “As sung by the Olympia Quartette.” The Olympias were a burlesque jubilee troupe; this is a contrafactum of the spiritual Didn’t my Lord deliver Daniel as printed in the Fisk Jubilee anthologies; the first verse and chorus are the same as the spiritual, but verses 2 and 3 (which follow) are new:

You may go dis way you may go dat way

You may go from door to door,

If you haven’t got the goodness of de Lords in your heart

De debbil will catch you sure.

Chorus

The debbil threw a stone at me

He threw it for to kill me

De stone missed me, rolled down de hill

An’ I rolled into glory.

Anthologies (lyrics only): Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 9, LC, Music Division, Dumont Collection; Harrigan and Hart’s “McSorley’s Inflation” Songster (New York: Popular Publishing Co., n.d. [ca. 1882]), p. 20, HTC, songsters; “The Two Electric Lights”: Adams & Dennee Komical Kolored Koons Songster (New York: New York Popular Publishing Co., n.d.), p. 29, HTC, songsters

De Kress, Charles R. Wait, my children, wait! (Cincinnati: John Church, 1880) http://library.duke.edu/digitalcollections/hasm.b0152/

Notes: Allegretto. F major. Typical verse form of A[a,b]A[a,b'] AA, where b is internal refrain (total of 16 mm). Pentatonic melody, prosodic syncopation. The lyrics are offensive; the chorus implies that the way to get into heaven is to comb your hair and apply mutton grease; the verse mixes secular imagery with formulas from spirituals.

A version of the song “as sung by Boyd & Sarsfield with great success” also appeared in the D. R. Hawkins’ “I Am King” Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 17, and J. H. Haverly’s Genuine Unique Refined Minstrel Songster, Casket of Gems, no. 12 (New York: New York Popular Publishing Co., n.d. [ca. 1883]), p. 15, HTC, songsters: Lyrics:

We hear dem little children sing, / Wait, my children, wait,

Dey fly up dere wid silver wings, / Children, wait for me.

De bells are chiming ting-a-ling-a-ling, / Wait, my children, wait,

I hope we get dere in de spring, / Children, wait for me.

Chorus: I grease me shins wid mutton grease, / Comb my true love’s hair,

When de Angel Gabriel calls de roll, / Hope I’ll get dere.

I hear dem knocking at de door, / Wait, my children, wait,

Den Daniel’s lion soon will roar, / Children, wait for me.

And policy I’ll play no more, / Wait, my children, wait,

I’ll drop four-leven-forty-four, / Children, wait for me.

Anthologies (lyrics only): Barlow, Wilson, Primrose & West’s New Minstrel Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 4 – “as sung by Barlow, Wilson, Primrose & West’s Minstrels,” HTC, songsters

Death of Pharaoh, in Sol Smith Russell’s “Jeremy Jolly Boy” Comic Songster (New York: Robert M. De Witt, 1876), p. 80; HTC, songsters

Notes: No performance notes or attribution is given. The lyrics are extremely close to the Fisk Jubilee Singers’ version of Did not old Pharaoh get lost? which has 11 verses. The Fisk words are given in italic below for comparison:

1. Isaac was ransomed while, he laid upon the altar bound,

1. Isaac a ransom, while he lay upon an altar bound,

Moses, an infant cast away, by Pharaoh’s daughter found.

Moses, an infant cast away, by Pharaoh’s daughter found.

2. Joseph by his false brothers was sold, God raised above dem all –

2. Joseph by his false brethren sold, God raised above them all;

To honor his child de Lord foretold, how Eli’s house should fall.

To Hannah’s child the Lord foretold, how Eli’s house should fall.

3. Moses said unto his children, as dey strode along de shore,

8. Then Moses said to Israel, as they stood along the shore,

“Your enemy yer see to-day, you nebber see no more.

Your enemies you see to-day, you will never see no more.

Chorus:

Didn’t old Pharaoh get lost, get lost, get lost?

Did not old Pharaoh get lost, get lost, get lost?

Didn’t old Pharaoh get lost, in the Red Sea?

Did not old Pharaoh get lost, in the Red Sea?

Delehanty, William H. (white). Rock o’ my soul, in Delehanty & Cummings’ “Sunset in the South” Songster (New York: A. J. Fisher, 1875), p. 12, HTC, songsters

Notes: Although no music notation appears in this songster, the first verse and chorus to this “African hymn” were published in a medley by Frederick G. Carnes in 1884 (“Songs of the Original Kentucky Jubilee Singers,” San Francisco: A. L. Bancroft & Co.). The credit line reads “By Delehanty & Cummings,” and the lyrics are:

Oh, here we are, two happy darkeys, / From the Southern States we come,

Oh, glory hallelujeram!

Where we used to pick de cotton / And hoe de sugar cane,

Oh, Rock o’ my Soul!

But now de war is over, / And de colored man is free,

Oh, glory hallelujeram!

I’m as happy as a clam, / And I’m always going to be,

Oh, Rock o’ my Soul.

Chorus:

Then come along with me, (Symp.)

Children, don’t you want to go? (Symp.)

Then it’s shine on, shine on, oh, glory, (Repeat)

Ah, my soul, I’m going to join de band. (Repeat)

Old John Johnson / He looks just like a hog,

Oh, glory hallelujeram!

Set him on a stump / And he looks like a frog,

Oh, Rock o’ my Soul!

I done axed Jemima / If she knowed old Uncle Snow,

Oh, glory hallelujeram!

She says, I done forgot de gemmen / A hundred years ago,

Oh, Rock o’ my Soul.

Anthologies (lyrics only): Hamtown Students Songster, De Witt’s Song & Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), p. 60, HTC, songsters; William Carroll’s “Idle Hour” Songster (New York: De Witt, Publisher, 1880), HTC, songsters; Birch and Backus’ Songs of the San Francisco Minstrels, no. 20, ed. Frank Dumont (New York: De Witt Publishing House, 1881), p. 86 – as sung by Lew Davis, HTC, songsters

Sing low, sweet children, in Delehanty and Hengler’s Song and Dance Book (New York: Robert M. De Witt, Publisher, 1874), p. 162, HTC, songsters

Notes: “A colored camp meeting song. Written by Wm. H. Delehanty and sung by Delehanty and Hengler.” The words would work to the tune of Swing low, sweet chariot (which is certainly the model for the theme and imagery):

I took a stroll one afternoon, / Sweet children hear dis tale,

’Twas in the latter part of June, / Children, mark dis tale.

I sat me down beside a stream, / Children, hear me thro’,

I somehow seemed to sleep and dream, / That dream I’ll tell to you.

Chorus:

Sing low, sweet children, / The angels soon will come,

Sing low, sweet children – / They’re coming to take me home.

This an angel said to me, / We’re coming to take you home,

Where all are happy, all are free – / Coming to take you home,

A golden chariot then came down, / Children, mark dis tale,

And dere was angels white and brown, / Sinners mark dis tale.

Chorus

Angels twined about my hair / Flowers wet with dew,

A wreath of roses fresh and fair, / Sweet children hear me thro’.

Soon they robed me all in white, / Oh! the blessed Lamb.

They set me in the chariot bright, / Beside the blessed Lamb.

Chorus

Then I woke up from my dream, / Den I hove a sigh,

There I was beside the stream, / And tears was in my eye;

I took it for a warning sent, / So I’m prepared to die.

Don’t grieve for me, I’m well content, / And I’m prepared to die.

Anthologies (lyrics only): Harry Stanwood’s “Banjo Solos” Songster (New York: Clinton T. De Witt, 1874), p. 15, HTC, songsters; Harrigan & Hart’s “Mulligan Guard’s Christmas” Songster (New York: New York Popular Publishing Co., 1879), p. 47, HTC, songsters; Frank Lawton’s “Little Nigs” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 36; HTC, songsters; Emerson & Clarke’s “Not This Evening, Some Other Evening” Songser (New York: New York Popular Publishing Co., n.d. [ca. 1884]), p. 36, LC, Music Division, Dumont Collection

Dem silver slippers (Haverly’s American United Mastodon Minstrels Libretto Song book, ca. 1881; Harvard Theatre Collection, minstrel playbills)

Notes: Sung by Barry Maxwell. This is not the same as Sam Lucas’s Dem silver slippers (1879), although the songster contains no music. First line verse: “Don’t you hear de coloured children shouting on de hill / [internal refrain] Wait till I get on dem silver slippers.” Chorus: “Wait till I get on dem silver slippers.” Lyrics index spirituals and concern getting to heaven.

Depro, Frank (white). Ring, ring dem bells! In Frank Depro’s “Too-Too Wild” Songster (New York: Champion Publishing Co., 1882); HTC, songsters

Notes: Lyrics only. The songster carries this line: “As sung by him nightly with Buckley and Morris’ Minstrels. Dedicated to Thos. J. Trodden, end-man and comedian.” The song was “written and sung by Frank Depro with Great Success with ‘Buckley and Morris’ Minstrels.’” It is toward the back of the songster on page 57 (there is no pagination, however). I have not been able to find sheet music for this song; since there is no credit line (which was common in songsters by 1882) the score was probably was not published, and the date of composition is not known. It may have been a parody of the many bell songs circulating at the time (there were at least 6 among commercial spirituals published as sheet music by 1883).

Devere, William (white). When they lay this ole head low (New York: Willis Woodward, 1885) http://hdl.loc.gov/loc.music/sm1885.12049

Notes: “The latest jubilee success” (cover). Theme: crossing over to heaven. No tempo marked. Eb major. Double verse of 8 + 8, with 8 = A[ab]AAA, b being internal refrain. Gapped melody, prosodic syncopation. Offensive words.

Devonear, Pete (black). Children, I’m so glad. (Boston: White, Smith, 1878 or earlier)

Notes: This is listed on the back cover of Fred Warren’s On the levee by the river side, but I have not found a sheet music edition. The lyrics appear in Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 32, with the credit “composed and sung by Pete Devonear” (HTC, songsters). I regrettably didn’t transcribe the lyrics and don’t know if it is related to Harry Kernell’s I am so glad.

Harry Woodson (white) “wrote” (meaning lyrics only) and sang a song of this title, contained in James Bland’s “Golden Wedding” Songster (New York: N. Y. Popular Publishing Co., n.d. [ca. 1880]), p. 31, LC, Music Division, Dumont Collection. It is a secular song. First verse and chorus are: “De girls way down in Tennessee, oh, yes, oh, yes; / Dey are just as sweet as sweet can be, ain’t dat so, Uncle Joe? / Dey sing and dance in great delight, oh, yes, oh, yes; / And fling demselves clean out of sigh, ain’t dat so, Uncle Joe?” Chorus: “Den, children, I’m so glad, yes, children, I’m so glad / To see old Joe sitting on the flo’ picking on the old banjo, / Picking on the old banjo.”

Dar’s a meeting here tonight (Boston: John F. Perry, 1875) http://hdl.loc.gov/loc.music/sm1875.03954

Notes: Devonear performed this song with Callender’s Original Georgia Minstrels. With Sam Lucas (see below) he is one of the earliest black composers of commercial spirituals. Devonear adheres to the melody of the traditional spiritual of the same name, using newly composed lyrics for the verse but traditional words for the chorus.

Billy Wa—s [name in songster illegible] sang a song that with a first verse that alternates lines from Lucas’s When we meet in the sweet bye and bye with a refrain that references Heiser/Rosenfeld’s Climbing up de golden stairs (see under Sam Lucas). The next two verses take lines from Devonear’s first and second verses (with some rearrangement of v. 2) and alternate them with the internal refrain:

If I had a wife and a little baby, / Gwine up on de golden stairs;

I would support her like a lady, / Gwine . . .

The prettiest thing in all creation, / Gwine . . .

Is a pretty yaller gal in de wilde goose nation, / Gwine . . .

Chorus:

Oh, my, how happy we will be,

Happy little children you shall see,

What a great morning that will be,

Gwine up on de golden stairs;

Dere is a pass in de creek and a roll in de ribber, / Gwine . . .

Dere is two overseers to one little nigger, / Gwine . . .

De two best men in all creation, / Gwine . . .

Is Pompey Smash and Billy Acre, / Gwine . . .

This can be found in J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 17, HTC, songsters

Anthologies (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 41, HTC, songsters; Harrigan & Hart’s “Mulligan Guard’s Christmas” Songster (New York: New York Popular Publishing Co., 1879), p. 57, HTC, songsters; Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 5, LC, Music Division, Dumont Collection; Sam Lucas’ Plantation Songster (Boston: White, Smith & Co., n.d.[ca. 1879]), p. 29, HTC, songsters; William Carroll’s “Idle Hour” Songster (New York: De Witt, 1880), p. 24, HTC, songsters – “composed and sung by Pete Devonear,” gives publication credit to J. F. Perry, Boston; Callender’s Original Colored Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1882]), p. 5, LC, Music Division, Dumont Collection

Den I hope we’ll join the band, in Hamtown Students Songster, De Witt’s Song & Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), p. 46; HTC, songsters

Notes: “Composed and sung by Pete Devonear.” Although Devonear’s lyrics are about a secular party and a band of musicians as opposed to a band going to heaven, this song is based on the spiritual Gwine to ride up in the chariot (see the Fisk anthologies), using the same form with internal refrain. The original lyrics to v. 1 (italics) with Devonear’s in roman underneath:

Gwine to ride up in the chariot, Sooner in the morning,

I’ll play de banjo on my knee, So early in de morning,

Ride up in the chariot, sooner in the morning.

I’ll screw the pegs as tight’s can be, So early in de morning,

Ride up in the chariot, sooner in the morning,

We’re gwine to have a ju-bi-lee, So early in de morning,

And I hope I’ll join the band.

I hope I may jine de band.

The Fisk words to the chorus are Oh Lord, have mercy on me (3x), And I hope I’ll join the band. Devonear’s: Oh children (brudders, sisters), we’ll have a jubilee (3x), So early in the morning. Verses 2 and 3 of Devonear:

My lovely Sal, she sings a song, So early in de morning,

We’ll dance and sing de whole night long, So early in de morning,

Old massa, he am gone to town, So early in de morning,

I hope I may jine de band.

Chorus.

Be lively, gal, and stamp it down, So early in de morning,

De floor it am so thick and strong; So early in de morning,

Be smart and fling your heels around, So early in de morning,

I hope I may jine de band.

Anthologies (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 39, HTC, songsters; Sam Lucas’ Plantation Songster (Boston: White, Smith & Co., n.d.[ca. 1879]), p. 32, HTC, songsters

Keep a movin (Kansas City: J. R. Bell, 1885) http://hdl.loc.gov/loc.music/sm1885.19258

Notes: “To Billy Kersands, King of Colored Minstrels.” Phrases are extracted from spirituals (e.g., “Look away o’er yonder, what do I see” from Swing low, sweet chariot), but no musical resemblance to folk spiritual, unlike his earlier songs. Frank Bristow had his similarly titled Keep a mov-a-lin along published the same year.

Run home Levi (Boston: White, Smith & Co., 1878) http://hdl.loc.gov/loc.music/sm1878.06072

Notes: “To my Friend Sam Lucas.” Folk-flavored: call and response, internal refrain in verse.

Anthologies: Lyrics only in Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 33, HTC, songsters; full score in Plantation Songs and Jubilee Hymns (Boston: White, Smith & Co., 1881), p. 81, LC, Music Division

Docherty, Hughey (white). Put on de golden crown (New York: Williw Woodward & Co., 1884) http://hdl.loc.gov/loc.music/sm1884.03331

Notes: The black composer Jacob J. Sawyer (see below) had published a commercial spiritual by this name in 1882. Docherty’s is labeled a minstrel song and chorus; dedicated to Fred V. Carpenter. The verse is in minor, with internal refrains; the chorus melody borrows from Zip Coon / Turkey in the Straw.

Dockstader, Charles R. (white). Nobody knows the trouble I see (Philadelphia: J. W. Pepper, 1882) http://hdl.loc.gov/loc.music/sm1882.03926

Notes: The score (music and lyrics) was published in 1881 in J. W. Pepper’s Dockstader Songster (Philadelphia & Chicago: J. W. Pepper); HTC. It is labeled a “comic” song on first page of the sheet music. The verse describes characters in comic mishaps. The chorus resembles Nobody knows the trouble I see Lord! as sung by the Fisk Jubilee Singers, except the minor tonality is changed to major. Orchestral parts are available at: http://hdl.loc.gov/loc.music/sm1882.03984 Nobody knows is one of the earliest spirituals to appear in a minstrel show (Simmons & Slocum’s Minstrels, 7 Sept 1874), but I’m unable to identify the words and tune of its 1874 performance .

If Dockstader was the original composer, a contrafactum of his song titled Hannah Beasley was sung by J. D. Roome “all over the country,” according to Pettit and White’s (1880) songster (see below). (New York: A. J. Fisher, 1880), p. 23; HTC, songsters. Hannah Beasley is a character in Dockstader’s song. The first verse is the same as Dockstader’s Nobody knows, as is the chorus, but vv. 2 and 3 are new (v. 3. bears similarities to Dockstader’s at first but then diverges):

Anthologies of Dockstader’s song (lyrics only): Billy Rice and Hooley’s Minstrels Songster (Printed for Hooley’s theatre, Chicago, by Knight & Leonard, Printers, Chicago, n.d. [ca.1876]), p. 31 – as sung by Billy Rice of Rice & Hooley’s Minstrels, HTC, songsters;

Anthologies of contrafactum: Under the title Hannah Beasley, in Pettit and White’s “Fanny Lucinda” Songster (New York: A. J. Fisher, 1880), p. 23; HTC, songsters

Donly, see Connolly, Charles

Down in Alabam, see Balm of Gilead

Dumont, Frank (white). Dar’s always a riber to cross

Notes: I have not found a sheet music edition of this song, but the lyrics are in George Wilson’s ‘World Champion Minstrels’ Songster (New York: Benedict Popular Publishing Co., n.d. [ca. 1891], p. 7), HTC, songsters. “Written expressly for Toni Lewis, by Frank Dumont, and sung with great success by George Wilson’s Mammoth Minstrels.” The lyrics show an internal refrain and suggest a late 1880s/early 1990s date for the song, which asserts “niggers always full of trouble” and “Dar don’t seem to be any confidence, children, if you lock up de niggers at night.”

De gospel raft (Boston: Oliver Ditson Co., 1878) http://levysheetmusic.mse.jhu.edu/index.html (search by title)

Notes: “Dedicated to Archie White & Billy Kersands.” Sung by Tom Warfield, of Duprez & Benedict’s Minstrels. The vocal score credits Frank Dumont with words and music, with arrangement by Charlie Baker. An arrangement for banjo by S. S. Stewart credits Baker as composer: http://hdl.loc.gov/loc.music/sm1883.03434. Later songsters, however, give Dumont as composer. Lyrics index spirituals; chorus has a call and echo response, like gospel hymns.

Anthologies (lyrics only): William Carroll’s “Idle Hour” Songster (New York: De Witt, 1880), p. 58, HTC, songsters; Cool Burgess’ “In the Morning by the Bright Light” Songster

(New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 61 – with Frank Dumont as composer, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 38, LC, Music Division, Dumont Collection; The Four in Hand Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882 or later]), p. 21, LC, Music Division, Dumont Collection; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 41 (written by Frank Dumont), HTC, songsters Mack Vincent’s Banjo Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 24, HTC, songsters

Knocking at the gates of Jordan (Boston: Oliver Ditson & Co., 1881) http://hdl.loc.gov/loc.music/sm1881.11239

Notes: Cover: “The great jubilee song and chorus.” Title page: “To my Friend James Young, Brooklyn, N.Y.” Dumont’s first name is not given; I am assuming it’s Frank. Words and music are credited to both Dumont & Kennedy on cover, but copyright is Will H. Kennedy. The lyrics heavily index spirituals but in a nonsensical way.

Anthologies (lyrics only): Wehman Bros.’ Good Old-Time Songs, no. 2 (New York: Wehman Bros, 1910), p. 72, HTC, songsters

Riding in de limited train (New York: Spear & Dehnhoff, 1880) http://hdl.loc.gov/loc.music/sm1880.04995

Notes: “Respectfully dedicated to Tom Warfield, Esq.” Lyrics index spirituals but the music does not.

Which road is you gwine to take? (Boston: White, Smith & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.07458

Notes: Internal refrain; starts in (F) major and verse cadences in d-minor; reverts to F for chorus. Lyrics index spirituals.

Dunn, George H. Swingin' on the White House gate (Cincinnati: Geo. D. Newhall, 1884) http://hdl.loc.gov/loc.music/sm1884.19059

Notes: As far as I know, this is the only commercial spiritual that is a presidential campaign song (for the Blaine/Logan ticket); it's the only title by Dunn on deposit at the LC. Lively. Bb major. The lyrics are in dialect, and the title probably draws on Charles Mansell’s commercial spiritual of that same year, Swinging on the golden gate (see Mansell). A double verse of 8+ 8 plus chorus. Verse 3 refers to Henry Ward Beecher’s legal troubles over his reputed extramarital affair:

Dar’s the Rev’rend Henry Ward Beecher, Who says he can’t support Blaine,

But he’ll go for Clebeland like de debbel, And de reason’s surely mighty plain.

Rev’rend Beecher and de Guv’nor Were each charged of naughtiness of late.

And dey don’t want to see a man of honor Swingin’ on de White House gate.