Edwards, F. Bell (white). Joshua make de sun stan’ still (New York: Wm. A. Pond & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.17505
Notes: Cover: “The great jubilee song.” Title page: “With spirit.” This is a song in the Jubilee Singers vein; the words are not derogatory and the musical style is that of a concert spiritual. The verse alternates 2 mm of solo call with 2 mm of harmonized response (an internal refrain); the verse leads directly to the chorus without cadence. The homophonic chorus has internal voices that move and uses dynamic contrast. Written in d-minor, the verse melody is a little odd but overall this is a higher level of composition than is usual in this genre. Typographical cover. Edwards has only one other song on deposit at LC.
Fagan, Barney (white). Riding in the heavenly row-boat (New York: Spaulding & Gray, 1894) http://jhir.library.jhu.edu/handle/1774.2/5395
Notes: “Ethiopian song and chorus,” sung by Miss Lucy Daly and her Dancing Piccaninnies in The Passing Show at the Casino Theatre, New York City (front cover).
Riding to the skies, in Hi Henry’s Premium Operatic Minstrel Songster (New York: Popular Publishing, n.d. [ca. 1883]), p. 55, HTC, songsters
Notes: “Compliments of the author, Mr. Barney Fagan, to Mr. George Thatcher of Thatcher, Primrose and West’s Minstrels.” Lyrics to verse 1 (of two) and chorus:
Saddle up your horses, jump upon their backs,
Crack yout whip, and holler sinners clear the track.
Gallop into glory, sure to win a prize,
Road am clear, don’t interfere, I’m riding to the skies.
Chorus: Good day, good day, my horse am waiting for me,
Good day, good day, I’m first upon the track;
The gates are open, the angels are calling me,
I’m galloping to glory and I ain’t a coming back.
Anthologies: “Just Down the Lane; or, Under the Old Oak Tree” Songster (New York: N.Y. Popular Publishing Co., n.d. [1882 or later], p. 34, HTC, songsters; Barney Fagan’s “Dashing Drum Major” Songster (New York: New York Popular Publishing Co., n.d. [1883 or later]), p. 39, HTC, songsters; The Vocalist’s Favorite Songster (New York: Hurst & Co., Publishers, 1885), HTC, songsters
Fairfield, Len. Don't you grieve after me (Cincinnati: Geo. D. Newhall & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.11909
Notes: Words by Jim Nast. Music by Len. Fairfield. “To the ‘Rooks,’ Cincinnati, O.” The verse is an exact copy of the spiritual “Don’t you grieve after me” (Fisk), with different words (although two verses are the same) but same internal refrain. Fairfield adds a chorus to make it “original.” This is his only commercial spiritual in 10 songs on deposit at the LC.
Foley, James H. Open up de golden gates (New York: M. Witmark & Sons, 1893) http://www.loc.gov/rr/perform/ihas/lcp-home.html (search by title)
Notes: “Ethiopian topical song and jubilee chorus.” Eb major. Internal refrain, a connecting fill in the chorus, but no other musical characteristics of folk style. Verses 4 and 5 (which are mis-numbered; they are really 5 and 6) are interesting for songs (Maggie Murphy’s home; Annie Rooney) and people (Robert Ingersoll, Lottie Collins) of the day.
Foley, M. H. (white). Hop along, sister Mary, in Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 41, LC, Music Division, Dumont Collection
Notes: “As sung by Foley & Sheffer.” Lyrics:
From the mighty clouds the rain did pour, / Forty days and forty more;
Rain came down ’longside of de door, / Pray pomp Jonah, come and shout, sah.
Hop along sister Mary, hop along, (repeated 2x)
Hop along sister Mary, hop along, gwine to get home by-and-bye.
Chorus: Oh, oh! Children, ah! ah, children.
Oh! oh! children, row that boat along. (repeat)
The water it was cold that day, / Whale he thought he wouldn’t let Jonah stay,
Took him in his belly and dropped him on the shore,
Jonah never was seen no more.
French, Edwin (white). The hard-back family (Boston: Louis P. Goullaud, 1879) http://hdl.loc.gov/loc.music/sm1879.10304
Notes: Cover: Words by Charles R. Dockstader. “The great hit. Jubilee song with dance. As sung by the Four Aces Tierney, Cronin, Lester and Allen.” French was a banjo player (“Notes of the Stage,” New York Times, 19 Feb. 1893). The two verses describe a man and his love (whom, in the second verse, he takes on a fire engine); the chorus is the “jubilee,” with lyrics that index spirituals. I include this because more because the performers/composers identify this as a jubilee (meaning an energetic song/dance) than for any musical similarity to the commercial spiritual genre.
Gabriel, blow de horn, see under Stewart, James, Angel Gabriel
Gabriel, Charles H. (white). Where am de children? (Saint Louis: Balmer & Weber, 1882) http://hdl.loc.gov/loc.music/sm1882.09022
Notes: “Sung by all the leading Jubilee Singers, Glee Clubs, Etc.” “The Great Jubilee Song and Chorus.” Call and response with internal refrain in verse. There are dynamic markings in chorus calling for f, ff, and sudden pp, making for an impressive presentation with good performers. This is his only commercial spiritual among his 35 deposits with the LC.
Gaunt, Percy (white). Push dem clouds away (T. B. Harms & Co., 1892) http://jhir.library.jhu.edu/handle/1774.2/3506
Notes: Cover: Sung in Charles H. Hoyt and Thomas’s A Trip to Chinatown; “Just push, don’t shove.” Title page: “An African Cantata.” Verse is a schottische, largely pentatonic, with internal refrain.
Gernert, Jno [John?]. Dat golden chariot, in Evans, Bryant & Hoey’s “Book Agent” Songster (Pittsburgh: American Publishing Co., n.d. [1883 or later]), p. 32; HTC, songsters
Notes: Words by L. C. Drews. “Sung with immense success by Lawell and Drews.” Gernert arranged J. W. Daniels’ Knocking on the golden gate (see above). This song probably dates from 1880, when it was published in “Dat Golden Chariot” Songster. I have not found sheet music. The lyrics are:
When de great day comes will you darkeys be prepared
To ride up to glory in de chariot?
You’ll hab to cross de ribber, but you mustn’t get scared,
Glory, glory, glory, hallelujah!
You’ll hear de bugle blown’ and de bright light growin’,
When we ride up to glory in de chariot.
You’ll heah de harps a-ringin’ an de angels all a-singin’,
Glory, glory, glory, hallelujah!
Chorus.
Oh, dat golden chariot, oh, dat golden chariot,
In de golden chariot we’re going to ride,
Away up in de skies,
Oh, dat golden chariot, oh, dat golden chariot,
In de golden chariot we’re going to ride,
To glory we will rise.
Oh, we’re gwine to join in de glorious band,
When we get up to glory in de chariot.
And we’ll sing our songs in de heavenly land,
Glory, glory, glory, hallelujah!
Oh, de gates will open wide, and in we’ll ride,
When we ride up to glory in de chariot;
Oh, we’ll pass thro’ de gate, so darkeys don’t be late,
Glory, glory, glory, hallelujah!
Go blow de horn! in Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 31, HTC, songsters
Notes: “As sung by Flora Moore, in her Colored Camp-Meeting Imitations.” As in many of the more derogatory commercial spirituals, this one begins with religious imagery that dissolves in later verses into secular topics. Lyrics:
I went down de river to cross over Jordan / Gwine to meet you.
The river was too deep and I could’nt ford ’em, / I’m gwine home.
Got me a lot of timber and I’ll build me a boat, / Gwine to meet you.
And over Jordan I will float, / I’m gwine home.
Chorus:
Gabriel go blow de horn! [3x]
I’m gwine home.
Went to a nigger ball last night, / Gwine to meet you dar.
Saw two Wenches have a fight, / I’m gwine home.
One Wench kick’d the other on de shin, / Gwine to meet you.
Go way, gal, don’t you do that again! / I’m gwine home.
Chorus
4–11–44 – Gwine to meet you dar!
If the numbers come I’ll work no more, / I’m gwine home.
3–11–33 – Gwine to meet you dar.
Go way Nigger, and let me be, / I’m gwine home.
Golden shoes, in D. R. Hawkins’ “I Am King” Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 8, HTC, songsters
Notes: “As sung by Milt Barlow of Barlow, Wilson & Co.’s Minstrels.” This does not seem to bear a musical relation to Sawyer’s or Lucas’s golden shoes songs. Lyrics:
Dem golden shoes dat you hear so much about,
De gospel children wears dem when dey go out –
Dey wear dem up yonder for to walk de golden stairs,
And troubles they will never see no more.
But I’m on de road dat will take me through,
I’m gwine to get de frace and starry crown, too,
Wid my long white robe and silver stockings too,
I’ll put on de golden shoes.
Chorus:
Den put on de golden shoes, [2x]
When de chariot comes along you can all jump on
If you put on de golden shoes.
When Gabriel comes for to blow his horn
You needn’t pull back, for you must go on,
Prepare yourself for dat great day,
You can’t take money and buy yourself away.
Don’t let old Satan try to fool you,
De gates will be closed and you can’t get through,
Take my advice, do what I tell you,
And put on de golden shoes.
Anthologies (lyrics only): Murphy and Mack’s New Comedy Four Songster (New York: New York Popular Publishing Co., n.d. [1883 or later]), p. 54, HTC, songsters; Barlow and Wilson’s “Waltz Me Again” Songster (New York: New York Popular Publishing Co., n.d. [1884]), p. 13, HTC, songsters; The Night Owls Burlesque Songster, Casket of Gems no. 118 (New York: New York Popular Publishing Co., n.d.), p. 30, HTC, songsters
Goss, Ned (white). Jonah in de whale, in Goss & Fox’s “Huckleberry Picnic” Songster (New York: Popular Publishing Co., n.d. [ca. 1879]), p. 8; HTC, songsters
Notes: This songster offers “a complete collection of these clever exponents of the camp-meeting darkey” (title page). This song is credited, “As originally sung by Goss & Fox.” I don’t know who the composer is, but it seems that Ned Goss wrote several of the team’s commercial spirituals. See also under Live humble, which has similar lyrics and same theme. Lyrics:
Jonah ran away, he went to sea, de ship got wrecked upon de coast,
De captain and de mate had trouble on de mind,
De captain and de mate said dey better draw straws,
So straws were drawn Jonah were casted.
Janah [sic] were casted in the bottom of de whale,
For three long days and three long nights,
Jonah, he lay in de bottom of de whale,
Live humble, live humble, humble yourself to me, sir.
Glory in de honor, praise King Moses,
Glory in de honor, bress de lamb. [repeat 1x]
Now de whale he commanded de Lor’s right hand,
To cast brudder Jonah on de innocent land, to heave brudder Jonah on dry sand;
And de moon shone down from de promised land,
Now dat ain’t all dere’s besides.
Take a little nigger to a new burying-ground,
New burying ground open all de time;
Dat put a frown on Jonah’s crown.
Live humble, live humble, humble yourself to me, sir.
Glory in de honor, praise King Moses,
Glory in de honor, bress de lamb. [repeat last two lines]
Anthologies (lyrics only): Harrigan & Hart’s “Little Green Leaf in Our Bible” Songster (New York: Popular Publishing Co., 1879), p. 46; HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 48, LC, Music Division, Dumont Collection; The Four in Hand Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882 or later]), p. 31, LC, Music Division, Dumont Collection
Jubilee hymn, in Harrigan & Hart’s “Mulligan Guard Chowder” Songster (New York: New York Popular Publishing Co., 1879), p. 24, HTC, songsters
Notes: Composed by Ned Goss, and done nightly by Goss & Fox. This looks to be a medley; I have not found sheet music. See also Lock dat lion’s jaw. The middle lines “We’ll dance and sing down by the river Jordan” seem to be related to Billy Welch’s song Down by the river. The last couplet comes from Gwyne up, a spiritual popularized by the Hampton Students (included in their 1874 anthology). Lyrics:
What shall we do when the great day comes,
At the blowing of the trumpets and the banging of the drums,
There’ll be many a poor sinner man caught out late,
And find no latch on the golden gate;
There’s no use to wait till to-morrow,
The sung mustn’t set on your sorrow;
Sinners as sharp as a bramble briar,
Oh fetch the mourners up higher.
We’ll dance and sing down by the river Jordan,
We’ll dance and sing, down by the river side.
We’ll dance and sing down by the river Jordan,
We’ll dance and sing, down by the river side.
Then don’t turn back, whatever you do,
Put your trust in Daniel’s faith, he will deliver you.
Then don’t turn back, whatever you do,
Put your trust in Daniel’s faith, he will deliver you.
Now Daniel’s God is a man of war,
He will deliver you.
King of Lords and lords of law,
He will deliver you.
You may bury me beneath the ground,
He will deliver you.
But I will hear the bugle sound.
He will deliver you.
Then don’t turn back, whatever you do,
Put your trust in Daniel’s faith, he will deliver you.
Then don’t turn back, whatever you do,
Put your trust in Daniel’s faith, he will deliver you.
Oh, yes, I’m gwine up, gwine up, gwine all the way up,
Gwine up, gwine up, to reach my heavenly home.
Anthologies (lyrics only): Harrigan and Hart’s “Mulligan Guard’s Surprise” Songster (New York: Popular Publishing Co., n.d. [ca. 1880]), p. 18; HTC, songsters. As sung by Tony Hart, Goss and Fox, and full company. On title page: “Containing another immense collection of these great Champion’s Latest songs, as sung by them nightly to overflowing houses . . . also a fine collection of all the Camp-Meeting Hymns, as sung by this unsurpassable Star Comedy Company.” Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 37, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 50, LC, Music Division, Dumont Collection
Medley of hymns, in Goss & Fox’s “Huckleberry Picnic” Songster (New York: Popular Publishing Co., n.d. [ca. 1879]), p. 11; HTC, songsters
Notes: “Original by Goss & Fox.” This draws on at least three songs: Sam Lucas’s Down by de sunrise (v. 1; although the first two lines excluding internal refrain come directly from Every day’l be Sunday by and be), Children don’t get weary, and at the end, Sam Lucas’s Oh, I’ll meet you dar:
Oh, good evening white folks, how do you do?
Down by the sunrise to play on the golden harp;
We’re pretty well and how are you?
Down by the sunrise to play on the golden harp;
If religion was a thing that the people had to buy,
Down by the sunrise to play on the golden harp;
Why de rich man would live and the poor man would die,
Down by the sunrise to play on the golden harp;
Then it’s glory we are traveling,
Down by the sunrise to play on the golden harp.
Repeat two last lines.
Den it’s don’t get weary, don’t get weary. children,
Don’t get weary, for we are going home, by-and-by;
Den it’s don’t get weary, don’t get weary. children,
Don’t get weary, for we’ll get home.
By-and-by, oh, we’ll get there by-and-by, oh, we’ll get there,
By-and-by, oh, we’ll get there and jine dat band in de far-off land,
By-and-by, oh, we’ll get there by-and-by, oh, we’ll get there,
By-and-by, oh, we’ll get up so early in de morning.
For we’re moving two by two, moving two by two,
Moving two by two, oh, don’t you want to go.
Repeat two last lines.
Go tell all the white folks in the town,
Oh, I’ll meet you dar;
Go tell all de colored folks for miles around,
Oh, I’ll meet you dar;
Go tell them that we’re gwine to have a grand jubilee,
Oh, I’ll meet you dar;
That the old man has come and happy we will be,
Oh, I’ll meet you dar.
Chorus: Go tell Uncle Snow and ole Zip Coon, / To come and dance by de light of de moon; Don’t tarry long, but come back soon, / Oh, I’ll meet you dar. [repeat chorus]
Anthologies (lyrics only): Harrigan & Hart’s “Mulligan Guard Chowder” Songster (New York: A. J. Fisher, 1879), p. 30, HTC, songsters
When you hear the bugle, in Goss & Fox’s “Huckleberry Picnic” Songster (New York: Popular Publishing Co., n.d. [ca. 1879]), p. 17; HTC, songsters
Notes: This is a burlesque on the spiritual I’ll hear the trumpet sound, found in the first Fisk anthology (compiled by Theodore Seward, 1872). The lyrics, which follow, are not comic. The verse of the parody could be sung to the traditional tune (and indeed, these lyrics differ from the Fisk version only in small ways, e.g., the Fisk “You may bury me in the east” is changed to “You may take me to the east”). Goss’s tune, however, could be different, or at least different for the chorus.
You may take me to the east,
You may take me to the west,
But I’ll hear the bugle sounding in the morning.
On the land or on the sea,
No matter where I be,
I will hear that bugle sounding in the morning.
Chorus:
You will hear those sinner cry,
And look up toward the sky,
When they hear the bugle sounding in the morning,
Yes, they’ll look up towards the sky,
And watch the black angels fly,
When they hear the bugle sounding in the morning.
Just at the nick of time,
When we reach the dividing line,
We will hear the bugle sounding in the morning,
We’ll see sinners on that day,
Flop their wings and fly away,
When they hear the bugle sounding in the morning. (Chorus.)
Anthologies (lyrics only): Jas. B. Radcliffe’s Plantation Songster (New York: Popular Publishing Co., 1879), p. 48, LC, Music Division, Dumont Collection; The Four Eccentrics’ Songster (New York: New York Popular Publishing Co., n.d. [1881 or later]), p. 52, HTC, songsters; D. R. Hawkins’ “I Am King” Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 21, HTC, songsters
Grace, James (black). All de darkies gittin’ up (Boston: White, Smith & Co., 1877) http://hdl.loc.gov/loc.award/rpbaasm.0547
Notes: Dedicated to Daniel Frohman (white). Grace is credited as “Jim Grace,” “of the original Callender’s Georgia Minstrels.” Plantation song and chorus. The lyrics, which index spirituals, exhibit race pride and are critical of whites. No folk traits in the music.
Anthologies: Plantation Songs and Jubilee Hymns (Boston: White, Smith & Co., 1881), p. 65, LC, Music Division; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 16, LC, Music Division, Dumont Collection
Old Aunt Jemima (Boston : John F. Perry & Co., 1876) http://hdl.loc.gov/loc.award/rpbaasm.0548
Notes: This isn’t a commercial spiritual, but it has an internal refrain, lots of repetition, and sounds like a folk song. Arranged “carefully” for banjo by George C. Dobson. Included here b/c only two songs of Grace’s seem to survive/exist.
Anthologies (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 45, HTC, songsters; Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 9, LC, Music Division, Dumont Collection; Sam Lucas’ Plantation Songster (Boston: White, Smith & Co., n.d.[ca. 1879]), p. 31, HTC, songsters; 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. 43, HTC, songsters; Callender’s Original Colored Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1882]), p. 8 – composed by James Grace, originally sung by Billy Kersands, LC, Music Division, Dumont Collection
Gray, George. Dose silber gates (Sedalia: A. W. Perry & Son, 1882) http://hdl.loc.gov/loc.music/sm1882.00944
Notes: “Celebrated plantation song & chorus.” Lively tempo, solo call and choral response, no real resemblance to spirituals.
Griffin, G.W.H. (white). Come in out ob de storm, in Hamtown Students Songster, De Witt’s Song & Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), pp. 14–18; HTC, songsters. Digital access through University of Pittsburgh Digital Library: http://digital.library.pitt.edu/cgi-bin/t/text/text-idx?idno=31735061820282;view=toc;c=ulstext (accessed 17 June 2015)
Notes: Songster contains full score, in four parts. “Sung by Gooding, Griffin, Gilbert and Holdsworth.” F major. A strophic song (2 verses) that bears more resemblance to a gospel hymn than a spiritual. In dialect, lyrics index spirituals, no derogatory stereotypes.
Wake up! in Hamtown Students Songster, De Witt’s Song & Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), p. 47–49; HTC, songsters. Digital access through University of Pittsburgh Digital Library: http://digital.library.pitt.edu/cgi-bin/t/text/text-idx?idno=31735061820282;view=toc;c=ulstext (accessed 17 June 2015)
Notes: Songster contains full score, in four parts. “Sung by Gooding, Griffin, Gilbert and Holdsworth.” F major. Song and chorus resembling a gospel hymn, with parts that base the melody in the chorus. Verse begins: “Oh, wake up! wake up! What for you sit a-sleepin’? De meetin’ house am no place to slumber.”
Hardman, William. Floating on the river of sin, in The Great Wesley Brothers’ Latest and Greatest Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882]), p. 29; HTC, songsters
Notes: Written by Wm. Hardman for Williams & Sully, and sung by them with “immense success.”
I had a dream the other night, / Floating on the River of Sin,
I peeped inside of Jordan bright, / Floating on the River of Sin,
And another place I seen beside, / Floating on the River of Sin,
The place where the devil does reside / Floating on the River of Sin,
Chorus:
Oh, my brothers! Get ready! Get ready,
Drive old Satan strong,
Be sure your soul am free from sin,
When the chariot comes along.
I seen a band of spirits bright, / Floating on the River of Sin,
Holding church by candle-light, / Floating on the River of Sin,
A great big chariot passing by, / Floating on the River of Sin,
Caught them so they had to fly, / Floating on the River of Sin,
Chorus.
They drove the chariot here below / Floating on the River of Sin,
And all the sisters they did go, / Floating on the River of Sin,
A-singing and shouting very loud, / Floating on the River of Sin,
Went up to Jordan in a great big cloud, / Floating on the River of Sin.
Anthologies (lyrics only): J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 36, HTC, songsters; Williams & Sully’s Dandy Colored Coons Songster (New York Popular Publishing Co., n.d.), LC, Music Division, Dumont Collection
Harrington, J. W. Jine de band, sinners, in Hi Henry’s Premium Operatic Minstrel Songster (New York: Popular Publishing, n.d. [ca. 1883]), p. 55, HTC, songsters
Notes: “Sung with big success by Sullivan & Harrington at the Academy of Music, Chicago, Ill.” A spiritual that mixes an earthly jubilee (a wedding) with a heavenly jubilee. Lyrics:
Oh, we are gwine for to tole you right away
Dat tomorrow it is our wedding-day;
We are bound for de church – myself and Hannah Birch –
And we ain’t got long to stay.
I never felt so happy in my life,
’Cause Hannah she will be my wife;
So take my hand and jine de band
And t’row way care and strife.
Chorus:
Oh, jine, jine de band, you sinners, / jine, jine de band;
Hear de Angel Gabriel calling / Shouting t’rough de land.
Brudders, sisters, children, jine us,
Give us your right hand,
For we are all gwine to de Golden Shore / to walk dat shining strand.
We are gwine for to meet you by and by
When de sun am a shining in de sky,
And we stay no more on de Golden Shore
When we climb up dere so high;
But you bet dat while we are here upon de earth
We will always be full of joy and mirth;
We will dance and sing and make de music ring,
And our feet we make dem fly.
Anthologies (lyrics only): The Great Wesley Brothers’ Latest and Greatest Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882]), p. 43; HTC, songsters; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 45, HTC, songsters; Mack Vincent’s Banjo Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 49, HTC, songsters
Harrison, Lew. Oh! Jerusalam! In Frank Lawton’s “Little Nigs” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 36; HTC, songsters
Notes: “Written by Lew Harrison for Johnny Allen.”
De train am started, t’ank de Lord, / Cross right over into Jordan!
Buy your ticket and come aboard, / Oh! Jerusalam!
I don’t want money, I don’t want dress, / Cross right over into Jordan!
I want to go to heaven by the first express, / Oh! Jerusalam!
Drive de dog in out de rain, / Cross right over into Jordan!
Milk de cow for Liza Jane, / Oh! Jerusalam!
Calf laid down to catch his breff, / Cross right over into Jordan!
De dog he barked himself to deff, / Oh! Jerusalam!
Can’t get married any more, / Cross right over into Jordan!
Or slide wid Lize on de cellar door, / Oh! Jerusalam!
I tried to make her come to taw, / Cross right over into Jordan!
I laid my hand on her lower jaw, / Oh! Jerusalam!
Pull your hair down on your head, / Cross right over into Jordan!
Pour molasses on your head, / Oh! Jerusalam!
Old Nelson’s blilnd and fell in de well, / Cross right over into Jordan!
Aunt Hannah’s got a big sick spell, / Oh! Jerusalam!
Do coon and possum sittin’ on de limb, / Cross right over into Jordan!
I eat so much it make me slim, / Oh! Jerusalam!
De wind blows hard, it’s gwine to rain, / Cross right over into Jordan!
Stuff dat hat in de window-pane, / Oh! Jerusalam!
Liza’s got de hoopin’ cough, / Cross right over into Jordan!
De old man’s drunk in de stable loft, / Oh! Jerusalam!
De cow run off, and de well run dry, / Cross right over into Jordan!
Liza’s blind in her off-wheel eye, / Oh! Jerusalam!
Hart, Henry (black). Daffney do you love me (Boston: White, Smith & Co., 1875) http://hdl.loc.gov/loc.music/sm1875.03351
Notes: Words by Sam Lucas. Cover: “Sung with immense success by Sam Lucas, of Callender’s Original Georgia Minstrels.” Allegro moderato. B-minor. This is a comic love song that uses the typical format for imitation spirituals: a double verse of 16 mm: A[a,b] A'[a',b'] (repeated), where b is the internal refrain, plus a chorus of 8 mm (repeated). I include this here for several reasons. It was one of the earliest songs that Lucas helped compose. Also, the last phrase of the chorus is “Gwine to meet you bye and bye,” which is a stock phrase in spirituals. The Hamtown Students performed a parody of this song called Fader Lew, with words by E. D. Gooding and arrangement by G.W.H. Griffin; the musical score is in the Hamtown Students Songster, De Witt’s Song & Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), pp. 55–57, with no credit to Hart or Lucas. They replace Lucas’s line “Gwine to meet you . . .” with “Come sinners, jine de band” – a much more overt reference to spirituals.
Hays, William Shakespeare (white). Angels meet me at the crossroads (New York: J. L. Peters, 1875) http://hdl.loc.gov/loc.music/sm1875.14160
Notes: An extremely popular song among both black and white minstrels (see Frank Bristow: he wrote a companion song titled Keep move-a-lin along with words by Hays. Dedicated to “Robert Biggs, Louisville, Ky.” Lyrics index spirituals in imagery; the verse melody derives from Zip Coon / Turkey in the Straw – a tune that inspires other Hays songs as well, such as the chorus to Roll out! heave dat cotton (1877; at http://hdl.loc.gov/loc.music/sm1877.13563) and Don’t forget me, Hannah 1875; at http://hdl.loc.gov/loc.music/sm1875.14182); see also Keep in de middle below. There are 137 songs by Hays on deposit at the LC; 4 of these are commercial spirituals.
Billy Kersands performed this song with Callender’s Georgia Minstrels. His first verse was Hays’s second verse, his third verse was Hays’s fifth, and he composed his own second verse of stock phrases from spirituals and hymns: “What kind shoes is those them angels wear, That they walk up yonder, up in the air? Stand by the gate till I hear angels knock, Then I’ll drop all my nickles [sic] in the missionary box” (source is Callender’s songster; see “Anthologies” below).
T. M. Hengler also sang an altered version, Angels meet me on the cross-road, in which the first two lines of Hays’s verse 1 were reversed: “I rise up early in the morn, / I hear old Gabriel blow his horn; Make hasts [sic], darkies, don’t you wait, / ’Case you all may lose dem keys to de gate.” He used the same second verse as did Billy Kersands, plus Hays’s chorus. Charles Anderson also sang this version and it is billed “a genuine plantation song and melody” (see “Anthologies” below).
Anthologies of altered versions (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878) – sung with great applause by Billy Kersands, HTC, songsters; Delehanty & Hengler’s “Sally MacKenally” Songster (New York: New York Popular Publishing Co., 1879), p. 8; LC, Music Division, Dumont Collection The A. H. Sheldon Songster (New York, A. J. Fisher, 1881), p. 41 – “sung characteristically by T. J. Hengler,” HTC, songsters; Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 20 – sung characteristically by Chas. Anderson, LC, Music Division, Dumont Collection; Katie Cooper’s “Cindy Jane” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 35, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 18, LC, Music Division, Dumont Collection
Down in de co’n fiel’ (Cincinnati: Geo. D. Newhall, 1883) http://hdl.loc.gov/loc.music/sm1883.18461
Notes: “Respectfully inscribed to Capt’ Jas O’Neal, General Superintendent of the St. Louis and New Orleans Anchor Line Steamers.” Song and chorus. A secular dialect song about a steamer coming up the river, with an internal refrain that uses a fermata on highest note, resembling a shout or call.
Early in de mornin’ (New York: J. L. Peters, 1877) http://hdl.loc.gov/loc.music/sm1877.01877
Notes: “To Capt. Sam Brown, Pittsburg.” Song & chorus. One of the hit songs of 1877 (Music for the Nation, “Greatest Hits, 1870–85: Variety Music Cavalcade,” Library of Congress, http://memory.loc.gov/ammem/smhtml/smpop.html#1877 ; accessed 27 Aug. 2010). The lyrics index spirituals; the 3rd verse calls heaven “the big white house on de todder shore.” Both verse and refrain begin in major and end in minor. Solo call (4 + 2) and choral response completes second phrase of the call (2 mm); same form in verse and refrain.
Anthologies (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878) – sung by Jim Grace, HTC, songsters
Keep in de middle ob de road (Cincinnati: Geo. D. Newhall & Co., 1878) http://hdl.loc.gov/loc.music/sm1878.11057
Notes: “To my friend, James Burke, U. S. Mail Line Co., Louisville, Ky.” The verse alternates 2 mm. solo call with 2-mm choral refrain twice, then 6 mm solo completed by 2 mm choral refrain. Chorus again reprises the Zip Coon / Turkey in the Straw melody (see Angels above).
Anthologies (lyrics only): Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 45 – vv. 1 & 4, chorus, LC, Music Division, Dumont Collection; Jas. B. Radcliffe’s Plantation Songster (New York: Popular Publishing Co., 1879), p. 30, LC, Music Division, Dumont Collection; Goss & Fox’s “Huckleberry Picnic” Songster (New York: Popular Publishing Co., n.d. [ca. 1879]), p. 43 – “as sung with great success by Harry Woodson, at Tony Pastor’s Theatre, New York,” HTC, songsters; The A. H. Sheldon Songster (New York, A. J. Fisher, 1881), p. 55 – “sung with great success by Billy McAllister with I. W. Baird’s Famous Minstrels, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 51, LC, Music Division, Dumont Collection; Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1883 or later]), p. 43, HTC, songsters; The American Four “Come Down to the Trough” Songster (New York: De Witt, Publisher, 1886), p. 28, HTC, songsters; Wehman Bros.’ Good Old-Time Songs, no. 2 (New York: Wehman Bros, 1910), p. 82, HTC, songsters
Recordings: Harry C. Browne, recorded New York, Sept. 1916, reissued on Early Minstrel Songs Recorded 1916–1923 (British Archive of Country Music, BACM CD D 076).
Heiser, F., see Rosenfeld, M. H.
Hengler, T. M. (white). Jubilee singers, in Delehanty & Hengler’s “Sally MacKenally” Songster (New York: New York Popular Publishing Co., 1879), p. 5; LC, Music Division, Dumont Collection
Notes: “Respectfully dedicated to the Big Four Minstrels, Messrs. Martin, Smith, Morton and Waldron.”
We’re the jubileers, and we come from Tennessee, (Sym.)
We’re on the skirmish to see what we can see; (Sym.)
We’ll dance and sing, and cut de pigeon wing, (Sym.)
Now all of you shout and make your voices ring. (Sym.)
Chorus:
Yes, we’re the jubilee singers,
From Tennessee, from Tennessee, as happy as can be,
The lively nightingale warblers,
Just arrived from Tennessee.
We’re gwine to be married bright and early in de morn, (Sym.)
Now raise your voices and blow de bugle horn, (Sym.)
Tell all de colored folks dat you can see, (Sym.)
To come and join de wedding of de grand jubilee. (Sym.)
Anthologies (lyrics only): Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 49, LC, Music Division, Dumont Collection; T. M. Hengler’s “Home from School” Songster (New York: New York Popular Publishing Co., n.d. [1882 or later]), p. 39; HTC, songsters Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1883 or later]), p. 41, HTC, songsters
A Medley of jubilee hymns, in Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), pp. 22–23; LC, Music Division, Dumont Collection
Notes: Compiled by T. M. Hengler. Lyrics:
Sister Patsy went to clouds,
An’ she looked down below,
An’ she said she wouldn’t come dar any mo’;
An’ she sang such a song that the angels nebber heard,
While preachin’ on de oder sho’. (Repeat.)
Chorus.
Oh, children, I believe,
Ah, sisters, I believe,
Oh, sisters, I believe,
I’m a Methodist ’till I die.
Chorus.
Methodist, Methodist, is my belief,
I’m a Methodist ’till I die;
When de grim cold death comes knockin’ at de do’,
I’ll be a Methodist ’till I die.
Nobody knows what trouble we’re in, Lord,
Nobody knows what trouble we’ve seen;
Nobody knows what trouble we’re in, Lord,
Nobody knows what trouble we’ve seen.
Why don’t you do as Peter done,
While walkin’ on de sea?
When all you children get baptized
Good Lord, don’t forget me. (Repeat.)
Chorus.
Oh, children, I believe,
Ah, sisters, I believe,
Oh, sisters, I believe,
I’m a Methodist ’till I die.
Chorus.
Methodist, Methodist, is my belief,
I’m a Methodist ’till I die;
When de grim cold death comes knockin’ at de do’,
I’ll be a Methodist ’till I die. (Repeat last Chorus.)
Here we are from Tennessee, oh, glory,
Come to jine de jubilee, ah, glory,
Golden chariots are comin’ down, oh, flory,
To fasten on de golden crown, ah, glory.
Chorus.
Oh, good Lor’, gib me dem wings,
Oh, good Lor’, gib me dem wings,
Oh, good Lor’, gib me dem wings,
Gib me dem wings to fly away. (Repeat Chorus increasingly.)
Anthologies (lyrics only): Lester and Williams “Empty Is the Stable, Davy’s Gone” Songster (New York: New York Popular Publishing Co., n.d. [1882 or later]), pp. 18–19, HTC, songsters
Herrick, D. Lynn. De gates ob sin (New York: Hitchcock's Music Store, 1882) http://hdl.loc.gov/loc.music/sm1882.15809
Notes: Arranged by Ned Straight. Under the title on cover, in smaller print, are two titles: Got glory and honor and Keep does [sic] lamps a burning; the second one is the name of a traditional spiritual. (I’m not sure why these are listed.) The cover features the furnace of hell with the devil snaring a Zip Coon figure; on the gates is written Laciate ogni speraza “Leave every hope behind.” The G-major tune begins with a gapped melody but abandons this with a temporary modulation to relative minor. Prosodic syncopation. There is generous use of phrases from spirituals combined with insulting stereotypical images (coons with razors).
Anthologies (lyrics only): The Vocalist’s Favorite Songster (New York: Hurst & Co., Publishers, 1885), p. 36, HTC, songsters.
Heinzman, Otto M. (white). Goodness gracious, children (New York: Gotham Music Co., 1895) http://hdl.loc.gov/loc.award/rpbaasm.1214
Notes: Cover: “Words by Chas. L. Halberstadt. Plantation song. Sung nightly with great success in the popular plays ‘Coon Hollow’ & ‘In Old Kentucky.’” Title page: “Dedicated to Chas. K. French of ‘In Old Kentucky Company.’” Moderato. A-minor. A”crossing-over” song with lyrics indexing spirituals, prosodic syncopation. The verse modulates to relative major and cadences on the dominant (G), leading into a chorus in c-major. Chorus is 24 mm (AAB, with B serving as a kind of bridge to the chorus).
High born liver Daniel, in Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 9, LC, Music Division, Dumont Collection
Notes: “Sung with great success by Miss Flora Moore.” A song that conforms to the formula of a first verse that indexes Biblical imagery with a second verse that is secular. Chorus indexes spirituals. Lyrics:
Satan tempted Eve, Eve tempted man,
Hadn’t been for the mercy of the Lord, We’d all been cussed in the land.
Nigger man he picks cotton, Little bees sip the honey,
Colored man he work all day long; And white man gets the money.
Chorus:
Case he’s a high born liver Daniel, Daniel, Daniel;
He’s a high born liver Daniel, I’m going to the promised land.
Talk about good eating, Your oysters and your clams,
If you want somethink good for to eat, Just get hold of a sweet ham,
Talk about good buckwheat cakes, If you want them good and done,
Just slap ’em on to a nigger man’s heel, And hold ’em up to the sun.
Hill, W. C. Uncle Remus’ revival hymn (Cincinnati: John Church & Co., 1878) http://jhir.library.jhu.edu/handle/1774.2/26933
Notes: Included here more for its “religious” topicality than its relation to spirituals. This is in the style of a marching revival hymn, with four-part harmony of the chorus written TASB. Topic is salvation, written in dialect.
Hitch on dem Golden Wings (J. Schott)
Notes: Last song in a medley titled Jubilee Echoes (New York Publishing Co., 1884), http://hdl.loc.gov/loc.music/sm1884.26890. Consists of “Gwine to Zion’s Land” (Thomas Murray, 1883), “Hitch on dem Golden Wings,” “Napoleon Crossing the Rhine” (march), and “Getting for the Gospel Tree” (Bobby Newcomb, 1884).
Horn, Frank C. Blow, Gabriel blow (W. F. Shaw Co., 1888) http://jhir.library.jhu.edu/handle/1774.2/28602
Hughes, C. H. Start dat gospel train (New York: Williams & Sons, 1883) http://hdl.loc.gov/loc.music/sm1883.05135
Notes: Cover: “Respectfully dedicated to my friend, Charlie Wright, of New York City.” Jubilee song & chorus. Allegretto. G-major. Not the usual formal mold: 16-mm verse of AABB, where B is in the dominant and cadences on V7 to lead back to tonic in the chorus, which is scored for SATB. Verse 3 closes with the line: “Bid de white folks all bood bye, You know you never can come back.”
Hutchinson, Asa B. (white). Reign Oh reign, Massa Jesus reign! (Boston: Ditson & Co., Oliver, 1875) http://hdl.loc.gov/loc.music/sm1875.12900
Notes: Arrangement of a traditional spiritual. Cover: “One of the simple songs & choruses as sung by the Freedmen in Camp Meetings, at the South, sung in the concerts of the Hutchinson Family. Arranged and adapted by Asa B. Hutchinson.” Title page note: “This chorus commences every verse. First time bright, loud, brilliant. Second time just the reverse.” Allegro. G-major. Arranged for SATB. This is close to the version in the Fisk singers’ anthologies, with minor differences in tune and text. The Hutchinsons apparently performed this with instrumental accompaniment; the “finale” (final chorus) is sung three times: forte, piano, and last time a cappella.
This song was also published in 1880 by John Church in their series of spirituals as sung by the (Fisk) Jubilee Singers; see under Traditional Spirituals.
Hoyde, Eddie. Light your lamps (Chicago: Root & Sons Music Co., 1881; Ottumwa, Ia.: Stewart Bros. hold copyright). http://hdl.loc.gov/loc.music/sm1881.01129
Notes: Words by W. H. Sheldon; composer on front cover is given as Ed. Hayden, but on the first page the name appears as Eddie Hoyde. End song. Words index spirituals, chorus resembles gospel hymn. No strong stylistic relation to spirituals.