Two Videos Of New Jersey Church Choir March Arounds & A Description Of That Church Custom That I Observed in New Jersey In 2019

Edited by Azizi Powell

Latest revision - January 3, 2026

This is Part III of a three part pancocojams post about Black church choir "march arounds" during the church service.

Part III showcases two videos of what I refer to as "march arounds" by the choir of First United Tabernacle International Ministries' (Orange, New Jersey). Selected comments from the discussion threads of these two videos are also included in this post. A commenter in one of those discussion threads identified the pastor of that church as being Jamaican.

This post presents information about Jamaicans in the United States and includes a description of a church choir "march around" that I observed in Pleasantville, New Jersey (near Atlantic City) on March 10, 2019.

Click https://pancocojams.blogspot.com/2019/03/five-videos-of-jamaican-church-choirs.html for Part I of this series. Part I showcases several videos of Jamaican church choirs marching around their sanctuary during church service. Selected comments from some of the discussion threads of these videos are also included in this post.

Click https://pancocojams.blogspot.com/2019/03/video-of-black-canadian-church-choir.html for Part II of this pancocojams series. Part II provides some information about Jamaicans in Canada and showcases a video of a Black Canadian church choir marching around the sanctuary during a church service for that church's collection. Selected comments from that video's discussion thread are also included in this post. A number of those comments note that this "march around" style is from Jamaica.

The content of this post is presented for cultural and religious purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these videos and thanks to all those who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2019/03/black-church-marches-processions-by.html for Part I of a pancocojams series that presents information about possible cultural influences on Black (African American) church usher, nurses, or choir processions. The links to the other posts in that series are found in that post.

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DEFINITION OF CHURCH CHOIRS "MARCH AROUNDS"
"march arounds" -
1. The church choir leaves the choir stand during the offering. They "march" in a single file while singing and continue up the left hand aisle. The choir then continues singing and marching down the center aisle pass two men standing in the front who hold the offering plates. Choir members put their offereing in one of the plates while they continue singing and marching back up to the choir stand. The rest of the congregation is standing singing along with the choir throughout this entire time. Some members of the congregation clap along with the song, hold their arm up. Some choir members and some members of the congregation may show that they are touched by the spirit (get happy, go in). If this occurs with a choir member, the person in back of them helps that person along so that she or he continues moving.

2. All of the above except that when the choir moves down the center aisle, they then move down the aisle on the right hand side and then move down the center aisle. At that point they give their offering and then return to the choir stand.  

The church choir may do a march around, in part, as a way of giving their collection. (Based on some YouTube videos) it appears that some church choirs in Jamaica do march arounds apart from collections to demonstrate their praise toward God and, in so doing, increase the presence of the Holy Spirit in that worship service.

Additions and corrections to these descriptions are welcome.

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DEFINITION OF CHURCH CHOIRS "MARCH INS"
"Church march arounds" differs from "church march ins".

"March ins" - when a church choir or other church group/ministry (such as ushers or nurses) march into the church sanctuary-usually from the center aisle- to mark the beginning of the worship service or special program such as that group/s anniversary or a convention.

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PANCOCOJAMS EDITOR'S NOTE
In contrast to a number of videos of African American church choirs marching in to the sanctuary to begin the church service, I haven't found any YouTube videos of Jamaican church choirs doing "march ins". If you know of any links to those videos and/or if you know of this custom in Jamaica, please share that information in the comment section below. Thanks!

I also haven't found any online articles about Black church processions (marches), including Jamaican church processions, except those pancocojams blog posts that I've published. If you know of any other links to information or comments on this subject, please share them below. Also, please share your experiences with Black church processions (marches), including when and where you observed or participated in those marches. Thanks!

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SHOWCASE VIDEOS
Video #1: Jesus He Never Failed Me Yet Paise Break



First United Tabernacle International Ministries, Published on Aug 23, 2013

(FUTIM) New Jersey 

Upper Room Conference 2013
-snip-

Here's what I think the choir and congregation are repeatedly singing:

I have a God
Who never failed me yet
I have a God
Who never failed me yet
Jesus he never failed me yet
Jesus He never failed me yet.

[Additions and corrections are welcome.]
Here are very similar lyrics to this chorus: https://gospelchoruses.wordpress.com/2014/12/13/he-never-fail-me-yet/

"He never failed me yet.
He never fail me yet
Jesus Christ never failed me yet*
And everywhere I go
I want the world to know
Jesus Christ never failed me yet.

 

* This line may be sung as:

Jesus’ blood never failed me yet

or

Jesus’ love never failed me yet"

****
Here are some comments from this video's discussion thread, with number added for referencing purposes only.
1. John Blackwood, 2013
"That man sounds Jamaican... Is he?"

**
REPLY
2. Melissa Fernandez, 2018
"Yes"
-snip-
I think that's very likely that this New Jersey church was founded by Jamaicans and/or that a number of people in the congregation are of Jamaican ancestry.

**
3. cclarke0786, 2013
"Praise Him saints.
The lyrics to this song are????"

**
REPLY
4. Steffi Solomon, 2013
"stumble and fall He never fail me yet, i did what i want He never fail me yet
Jesus He never failed me yet
Jesus He never failed me yet"

**
5. Crystal Chambers, 2014
"this video!!!!!!!.........Pentecostal in Worship, Apostolic in Doctrine"

**
6. ann D, 2016
"Powerful pure worship"

**
7. Gil Miller, 2016
"Bless the Lord. Is it in New Jersey or Canada? I am planning to visit there I'm from london UK."

**
REPLY
8. Rozell Vousden, 2018
"Gil Miller New Jersey"

**
REPLY
9. First United Tabernacle International Ministries, 2018
"We are located at 425 South Jefferson Street, Orange, NJ 07050"
-snip-
Orange, New Jersey is about 24 minutes by car from New York City.

**
10. IamKemi, 2016
"Can someone explain to me why they do that all the time? (choir dancing in the aisle) Is it a custom in their church?"

**
11. Ronin Williams, 2016
"I want to come to New Jersey just to go to this church"

**
12. Miss Harris, 2016
"Phenomenal ....real authentic Pentecostal Worship xx"

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Video #2: We Have An Anchor



First United Tabernacle International Ministries, Published on Nov 26, 2016

31st Pastoral Appreciation Celebration
Nov. 13, 2016

-snip-
Here's the words that are repeatedly sung by the choir and by the congregation:
"We have an anchor that keeps the soul
steadfast and sure while the billows roll;
fastened to the Rock which cannot move,
grounded firm and deep in the Saviour’s love!
-snip-
This is the refrain (chorus) to the song "Will your anchor hold in the storms of life" that was composed by Priscilla J. Owens, a White American who was born in 1829. Click https://hymnary.org/text/will_your_anchor_hold_in_the_storms_of_l  for the lyrics for this complete song. 

Here are some comments from this video's discussion thread, with number added for referencing purposes only.
HannahYael, 2018
"It’s wonderful to see people praising GOD"

**
2, WWJD ?, 2018
"Glory to God , nothing like a Holy Ghost party !"

**
3. dgreenja, 2018
"Good old time song"

**
4. Black Love, 2018
"Wonderful. ..old time way of worship"

**
5. Sylvia Hamilton, 2018
"Church like it should be! Praise God."

**
6. suebern330, 2018
"reminds me so much of Spalding New Testament New Church. Holy Ghost Pentecostal, my God I love it"
-snip-
Spalding New Testament New Church is located in Clarendon, Jamaica.

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ADDENDUM #1- SOME INFORMATION ABOUT JAMAICANS IN THE UNITED STATES
From https://en.m.wikipedia.org/wiki/Jamaican_Americans
"Jamaican Americans are Americans who have full or partial Jamaican ancestry. The largest proportion of Jamaican Americans live in New York City, which has various other Caribbean cultural elements such as food and music. There are also communities of Jamaican Americans residing in Philadelphia, Boston, South Florida, Tampa, Los Angeles, Orlando, Baltimore, Washington, D.C., Atlanta, Cleveland, Western New York, Connecticut, and New Jersey.

Significant immigration waves

Apart from Canada and England, the U.S. houses the majority of Jamaican émigrés worldwide. Jamaican immigration to the U.S. increased during the civil rights era of the 1960s. As with many other sources of Caribbean immigration, the geographical nearness of Jamaica to the U.S. increased the likelihood of migration. The economic attractiveness and general Jamaican perception of the U.S. as a land of opportunity explain continued migration flows despite economic downturn in America. Traditionally, America has experienced increased migration through means of family preference, in which U.S. citizens sponsor their immediate family. Through this category a substantial amount of Jamaican immigrants were able to enter mainly urban cities within the U.S that provided blue-collar work opportunities. Jamaican immigrants utilized employment opportunities despite the discriminatory policies that affected some Caribbean émigrés.[2]

At present, Jamaicans are the largest group of American immigrants from the English-speaking Caribbean. However, it is difficult to verify the exact number of Jamaican Americans in this country because most of them assimilate into the wider black community. The 1990 census placed the total number of documented Jamaican Americans at 435,025.

Settlement
According to the text of Immigrant America (p. 69)[clarification needed], there were 554,897 Jamaican-born people living in the U.S. in 2000. This represents 61% of the approximate 911,000 Americans of Jamaican ancestry. Many Jamaicans are second, third and descend from even older generations, as there have been Jamaicans in the U.S. as early as the early twentieth Century....Large communities of Jamaican immigrants have formed in New York City and the New York Metro Area, which includes Long Island and much of New Jersey and Connecticut, along with Florida (centered in and around the Miami, Tampa, and Orlando areas), which has the second largest Jamaican community in the U.S, and Philadelphia. In recent years, many Jamaicans have left New York City for its suburbs, and large Jamaican communities have also formed in Atlanta, Baltimore, Chicago, Washington D.C., Boston, Cleveland, Buffalo, Rochester, Los Angeles, and Providence.

[...]

U.S. metropolitan areas with largest Jamaican populations

The top 10 U.S. metropolitan areas with the largest populations of Jamaicans (Source: 2012 American Community Survey 1-Year Estimates)[6]

New York-Northern New Jersey-Long Island, NY-NJ-PA-CT MSA – 353,770

Miami-Fort Lauderdale-Pompano Beach, FL MSA – 178,791

Atlanta-Sandy Springs-Marietta, GA MSA – 55,422

Orlando-Kissimmee-Sanford, FL MSA – 32,754

Washington-Arlington-Alexandria, DC-VA-MD-WV MSA – 30,469

Hartford-West Hartford-East Hartford, CT MSA – 25,732

Philadelphia-Camden-Wilmington, PA-NJ-DE-MD MSA – 23,861

Tampa-St. Petersburg-Clearwater, FL MSA – 20,621

Bridgeport-Stamford-Norwalk, CT MSA – 13,997

Boston-Cambridge-Quincy, MA-NH MSA – 13,063"....
-snip-
As an aside, while I don't have any Jamaican ancestry, my maternal grandparents were Caribbean emigrants to Southern New Jersey (Atlantic City) in the late 19th century. My grandfather was originally from Tobago and my grandmother was from Barbados.

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ADDENDUM #2: DESCRIPTION OF A BLACK CHURCH CHOIR MARCH AROUND (CHOIR COLLECTION) THAT I OBSERVED IN NEW JERSEY (MARCH 2019) 

Revision June 22, 2019 based on my visit to that church on June 9, 2019
St. Paul AME (African Methodist Episcopal) Church is located in Pleasantville, New Jersey about 14 minutes from Atlantic City, New Jersey. Reverend Lynda T. Rassmann is the pastor of that church.

Latest revision Oct. 14, 2021 - to clarify some points

Description:

These choir collection marches ("march around") occurred after all those in attendance at that church -starting from the back pews- stood up and walked in single file to the front of the church for the main offering. People placed money in one of two gold colored collection plates that were held by two female ushers standing on either side of the altar. This was the second collection, the first being the missionary offering. For that offering, people remained seated and ushers passed a collection plate to the end of each pew.

After the congregation returned to their seats, the choir marched out of the choir stands in single file from the left and the right while singing the classic Gospel song "Highway To Heaven". The body stance of each choir member was erect, and not the leaning forward with heads down stance and chugging forward movement which was done by the Black Canadian choir from Abiezer Pentecostal Church's collection march as shown in this 2009 YouTube video https://www.youtube.com/watch?v=UQ5xSuIMfuo.

 After the two lines of choir members exited the choir stand, one line marched up the right aisle and one line marched up the left aisle. The two single lines met at the top of the center aisle. Then the choir marched in twos down the center aisle. When they reached the bottom of the center aisle, the person to the right placed her offering in the collection plate held by one usher, and the person to the left placed her offering in the collection plate held by the other usher. The line on the right and the line on the left then marched to their respective aisles. When they reached those aisles, the marchers faced backwards while moving up those aisles. At the top of the aisles, the marchers faced forward again and then marched to the top of the center aisle. At the top of the center aisle the two single lines combined to march in twos down that aisle. The combined line then separated at the bottom of the center aisle to march back towards the right and the left to re-enter the choir stand. When they reached the choir stand, they continued standing to sing their song.
-snip-
Thanks to my younger brother, Dr. R.E.B Manning, the director of St. Paul AME's choir and his wife Charlotte Manning, who is a member of that choir for confirming my recollections about this collection march. [phone conversations March 24, 2019, and March 26, 2019]. Both R.E.B. and Charlotte used the term "collection march", not the term "march around".

In my separate telephone conversation with them, R.E.B. Manning and Charlotte Manning indicated that every Sunday this choir marches in to the sanctuary to begin the church service and marches for collection.

Charlotte Manning also shared with me that she remembers choirs marching in and choirs marching for collection being customs that were done every Sunday at Baptist churches and at AME churches- including St. Paul AME church- that she attended/attends in Pleasantville, New Jersey since the late 1950s. Charlotte mentioned that there were some people from the West Indies who belonged to those churches, although her family wasn't from there. Charlotte also shared that the pastor of St. Paul AME in Pleasantville had Jamaican roots.

I was raised in Atlantic City, New Jersey (about 15 minutes from Pleasantville) and I don't recall observing any choir march arounds at any church that I attended. This is probably because I usually only attended my own church, particularly on Sunday mornings, and I only remember attending an AME church for a choir competition. I also don't recall ever attending an A.M.E Zion church or a church of any other denomination during my childhood and my teen years. However, I have vivid memories of choir march ins at my church (Union Baptist Temple Church) being done every Sunday (since the mid 1950s). And the choir march in custom is still done at that church to begin the (main) Sunday service (as confirmed by my youngest brother Kenneth Manning in a telephone conversation on March 24, 2019. Kenneth is a member of one of Union Baptist Temple's choir) . Although I didn't ask him that question, I'm sure that my brother R. E.B Manning would also remembers choir march ins at Union Baptist Temple Church in Atlantic City, New Jersey.

I also recall attending an anniversary concert of the Spiral Chorus, the church choir that my mother sang in and observing them march down the center aisle to the choir stand singing "Move Up The King's Highway". 

**The St. Paul AME Church choir is under the direction of Dr. R. E. B. Manning who is also the choir's organist. The other musicians who accompanied the choir are Kenneth Moore (pianist & saxophone player), George Thomas, (snare) drummer, and Larry King, tambourine player.

To be clear, the St. Paul AME Church service was much more sedate that the First United Tabernacle International Ministries church service. In contrast to the exuberant expressions by the congregation at First United Tabernacle, the St. Paul's the congregation remained in their seats and didn't appear to express themselves in any way while the choir did their collection march. Also, as somewhat of an aside, notice that females (especially women) at First United Tabernacle wore hats (covered their head which is an old church tradition that I recall at my Baptist church in the 1950s to around the early 1960s). However, I don't recall any female wearing any hat or head covering at St. Paul's AME church.

Disclaimer: This description doesn't necessarily mean that each of St Paul AME Church Choir's collection marches are always done this way or that all march arounds by African American choirs fit this description.

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This concludes Part III of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

The Larks (Black Gospel Group) On The Ed Sullivan Show In 1952 Performing "Shadrach" (Shadrach, Meshach, And Abendego)

Edited by Azizi Powell

This is Part III of a four part pancocojams series on the Gospel, Pop, and Jazz song "Shadrach". This song is also known as "Shadrack" and as "Shadrach, Meshach, and Abendego".

Part III showcases a YouTube video of a 1952 clip of the Gospel group The Larks performing "Shadrach" on the Ed Sullivan show.

Selected comments from this YouTube video are included in this post.

Click https://pancocojams.blogspot.com/2018/11/shadrach-shadrach-meshack-and-abendego.html for Part I of this pancocojams series. Part I provides information about Robert MacGimsey, the White American composer of the songs "Shadrach" (Shadrach, Meshack, And Abendego), "Sweet Little Jesus Boy" and some other songs.

Click https://pancocojams.blogspot.com/2018/11/the-golden-gate-quartet-shadrach.html for Part II of this series. Part II provides information about the song "Shadrack". This post also showcases two YouTube sound files of this song as performed by The Golden Gate Quartet.

Click https://pancocojams.blogspot.com/2018/12/louis-armstrong-shadrach-and-brook.html for Part IV of this series. Part IV showcases a video of Louis Armstrong performing "Shadrach".

The content of this post is presented for cultural, religious, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Robert MacGimsey, the composer of this song. Thanks also to The Golden Gate Quartet for their arrangement of this song and thanks to The Larks for their musical legacy. Thanks also to all those who are quoted in this post. In addition, thanks to the publisher of this example on YouTube.

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SHOWCASE EXAMPLE - The Larks "Shadrack" Killer Gospel-Soul



FairDealDan, Published on Aug 25, 2006
-snip-
The summary for this video contains information that is disputed by some commenters. That summary reads: "Apparently there are two groups called The Larks, This one is NOT the one with Don Julian. This group the lead singer is Eugene Mumford. This tune gets better every time I listen...takes a while to appreciate since its so understated but the lead vocalist begins to "loom" awesomely after repeated listenings. And did Ray Charles get "Hit The Road Jack" from thos number?
Here are some comments from this video's discussion thread, with numbers added for referencing purposes only."
-snip-
According to , this song was performed by the Larks in 1952. This is a clip of the Ed Sullivan television series. (USA). The Larks' performed the Golden Gate Quartet's arrangement of this "Shadrach".

Here's some comments from this video's discussion thread (with numbers added for referencing purposes only).
1. K.J. O.DOHERTY, 2007
"would make the GOLDEN GATE QUARTET proud...tenor eugene mumford would briefly join THE GATES in their adopted Eupopean homebase....gene sang a stunning version of white christmas that appears on numerous GATES albums that were issued and reissued for decades throught europe....a briilant quartet it is wonderful to have this pricelees footage that captures their AWESOME talent"

**
REPLY
2. PhillySouth, 2007
"Say wait a minute Dan - are you talking about Gene Mumford's Larks or Don Julian's Larks? Two separate groups. This looks like Mumford's Larks and nothing to do with Don Julian, or do I have this backwards?"

**
REPLY
3. thegroupharmonyalley, 2013
"There were several Larks groups, two of which were related with Eugene Mumford. The Thurmon Ruth Larks, and then, the Eugene Mumford Larks."

**
REPLY
4. 8301969, 2015
"This is the second Larks group, the 1st group was Eugene Mumford-Tenor, Thermon Ruth-2nd Tenor, Raymond Barnes-1st Tenor, Alden "Allen" Bunn-Baritone, David McNiel-Bass, they did "My Reverie", "Darling" all for Apollo. This group of Larks is David "Boots" Bowers-Bass (King OdomQt./King Odom Four), Orville Brooks-Baritone (Jubilaires, Golden Gate Qt), Isaiah Bing-Tenor (King Odom Qt/King Odom Four) Orville Brooks is doing the lead this 2nd group recorded for the Apollo subsidiary Lloyds.. I also knew Don Julian and he was aware of the early Larks groups."

**
REPLY
5. thebigfist, 2009
"Actually there was a third group,called the Larks,a caucasian group.This is a great version of Shadrach,Meshach and Abednigo,the 3 Hebrew children who were placed in a boiling cauldron by Nebuchadnezzar for failing to worship his pagan Gods,yet they failed to burn!This was one of the earliest miracles recorded in the Bible."

**
6. Rowoches, 2008
"This was a very popular song during the 1960's. Several quartets covered it, as well as groups like the Clara Ward Singers, and soloists like Louis Armstrong (as some people have already mentioned), Brooke Benton and Cleophus Robinson."

**
REPLY
7. Mrpachuko13, 2018
"Rowoches i think the soul stirrers also covered it"

**
8. skypanther1, 2009
"This group evolved out of the amazing "Selah Jubilee Singers" and later formed the core of the equally stunning "5 Royale"

**
REPLY
9. hegroupharmonyalley,2013
"Very jubilee/spiritual style singing. Absolutely love indulging in this stuff. Real tight weave on the harmony, with clipped syllables. And one of the finest groups in vocal harmony history, no doubt…."

**
10. gilgamess, 2009
"I am not the poster, but I first saw this on the USA Network as part of the "Night Flight" program. They used to show the old "Showtime At the Apollo/Harlem Revue" shows which were a combination of studio performances and Snader Telescriptions (when it's a Snader clip, look closely; you will see a short cartoon of curtains parting). There is no audience, but the performances are live in the studio. I have not seen this for over twenty years, so thank you very, very much Fair DealDan!"

**
11. Philip Da Silva, 2009
"who is the one actually singint the lead on shadrack. I know it's not eugene mumford"

**
REPLY
12. thegroupharmonyalley, 2013
"This is lead of Orville Brooks, not Gene Mumford as indicated above.

**
13. threadgillb, 2009
"Is it me or do I hear the birth of the Elvis singing style here?"

**
REPLY
14. moondogsballroom, 2011
" Excellent! I second the Elvis comment, he was actually a big fan of vocal groups both gospel and secular and both black (including the mills Bros.) and white (the Blackwood Bros.) so it's likely he did hear of this group."

**
15. TheQuietCenter, 2010
"This track is cookin"

**
REPLY
16. hookalakah, 2010
"All of the great black gospel groups could light their fires and heat their skillets with very minimal accompaniment. A guitar or a piano--if that much--was all they needed to cook. And some sang a capella, of course."

**
17. yoR Velcom, 2010
"still looking for the original. this is the closest."

**
18. Hadas Hall, 2010
"No , Ray Charles got 'Hit The Road' from Percy Mayfield , who wrote it and recorded an early demo. Similar feel to this , like a thousand other tunes."
-snip-
This comment is a response to a question the publisher asked in his summary statement.

**
19. yugojazz, 2015
"This is the Golden Gate Quartet's arrangement. They sang it in 1948 and it became a big hit."

**
REPLY
20. Austin Casey, 2015
"@yugojazz Good to know! I thought this was The Larks own. So many groups did this same arrangement."

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This concludes Part III of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

The Golden Gate Quartet - "Shadrach" (information, lyrics, & comments)

Edited by Azizi Powell

This is Part II of the four part pancocojams series on the song Gospel, Pop, and Jazz song "Shadrach". This song is also known as "Shadrack" and as "Shadrach, Meshach, and Abendego".

Part II provides information about the song "Shadrack". This post also showcases a YouTube sound file of this song as performed by The Golden Gate Quartet.

Lyrics for this song (as sung by The Golden Gate Quartet) and selected comments from one of the discussion threads of these YouTube examples are also included in this post.

Click https://pancocojams.blogspot.com/2018/11/shadrach-shadrach-meshack-and-abendego.html for Part I of this pancocojams series. Part I provides information about Robert MacGimsey, the White American composer of the songs "Shadrach" (Shadrach, Meshack, And Abendego), "Sweet Little Jesus Boy" and some other songs.

A sound file of "Shadrach" as performed by Louis Armstrong and a video of "Sweet Little Jesus Boy" as performed by Mahalia Jackson are also included in Part I of this series. The arrangements and some of the lyrics for these renditions may differ from Robert MacGimsey's compositions.

Click https://pancocojams.blogspot.com/2018/11/the-larks-black-gospel-group-on-ed.html for Part III of this series. Part III showcases a YouTube video of a 1952 clip of the Gospel group The Larks performing "Shadrach" on the Ed Sullivan show.

Click https://pancocojams.blogspot.com/2018/12/louis-armstrong-shadrach-and-brook.html for Part IV of this series. Part IV showcases a video of Louis Armstrong performing "Shadrach".

The content of this post is presented for cultural, religious, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Robert MacGimsey, the original composer of the song "Shadrach". Thanks also to The Golden Gate Quartet for their musical legacy and thanks to all those who are quoted in this post. In addition, thanks to the publisher of this example on YouTube.

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INFORMATION ABOUT THE GOLDEN GATE QUARTET
From https://en.wikipedia.org/wiki/Golden_Gate_Quartet [retrieved on November 30, 2018]
The Golden Gate Quartet (a.k.a. The Golden Gate Jubilee Quartet) is an American vocal group. It was formed in 1931 and, with changes in membership, remains active. It is the most successful of all of the African-American gospel music groups who sang in the jubilee quartet style.

The group was founded as the Golden Gate Jubilee Singers in 1934, by four students at Booker T. Washington High School in Norfolk, Virginia.

[...]

From 1935, the group sang in churches and on local radio, gaining a regular spot on radio station WIS in Columbia, South Carolina in 1936.[2][6] They began as a traditional jubilee quartet, combining the clever arrangements associated with barbershop quartets with rhythms borrowed from the blues and jazz like scat singing. They developed a broad repertoire of styles – from Owens' mournful, understated approach in songs such as "Anyhow" or "Hush, Somebody's Calling My Name", to the group's highly syncopated arrangements in "Shadrach, Meshach and Abednego"...

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INFORMATION ABOUT THE SONG "SHADRACK"
From https://en.wikipedia.org/wiki/Shadrack_(Robert_MacGimsey_song)
"Shadrack" (aka "Shadrach" or "Shadrach, Meshach and Abednego") is a popular song written by Robert MacGimsey in the 1930s and performed by Louis Armstrong and others. In 1962 the song was a hit single for Brook Benton, peaking at #19 in Billboard's Hot 100 chart during the week of February 17, 1962.[1]

The song is featured on pop, soul, Gospel and jazz recordings by The Ames Brothers, The Golden Gate Quartet, The Fairfield Four, The Larks, Benny Goodman, Grant Green, Bill Holman, Sonny Rollins, Bobby Scott, Phil Harris, Kay Starr, Louis Prima and several others.[2][3] In the 1951 film The Strip, the song is performed by a band featuring Louis Armstrong and Jack Teagarden, among others.

The lyrics refer to the biblical account of Shadrach, Meshach, and Abednego and the fiery furnace.

[...]

Music

...1962: "Shadrack," a song written by Robert MacGimsey and recorded by him in 1931, was a top 20 hit for Brook Benton. The song had previously been performed by The Golden Gate Quartet (1947), The Larks (1952), Phil Harris and The Sportsmen Quartet (1952), Bobby Scott (1955), Louis Armstrong (1958), The Wanderers (under the title "Shadrach Meshack and Abednego") (1959), and others"....
-snip-
Here's an exchange in a discussion thread for a video of The Larks performing this son on the Ed Sullivan (American television series).*
yugojazz, 2015
"This is the Golden Gate Quartet's arrangement. They sang it in 1948 and it became a big hit."
-snip-
*Part III of this pancocojams series on Shadrach showcases a video of The Larks singing that song in 1952 on the Ed Sullivan television show.
REPLY
Austin Casey, 2015
"@yugojazz Good to know! I thought this was The Larks own. So many groups did this same arrangement."
-snip-
Part III of this pancocojams series on the song "Shadrach" showcases that film clip of The Larks and includes this exchange and other selected comments from that YouTube video's discussion thread.

****
LYRICS
(as recorded by the Golden Gate Quartet)*
Doo-doo-doo-doo-doo-doo-doo-doo-doo-doo
(Da-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo)
(Da-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo)
(Da-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo)
(Da-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo)
(Da-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo)
Now , there were three children from the land of Israel
(Shadrach, Meshach, Abednego)
They took a little trip into the land of Babylon
(Shadrach, Meshach, Abednego)
Nebuchadnezzar was the king of Babylon
(Shadrach, Meshach, Abednego)
they took a lot of gold and they made him an idol
(Shadrach, Meshach, Abednego)

Well, they told ev'rybody when they heard the music of the cornet (Oh yeah)
Oh, they told ev'rybody when they heard the music of the flute (Ooh-ooh)
Well they told ev'rybody when they heard the music of the horn
Great God says you got to bow down and worship the idol
(Shadrach, Meshach, Abednego)
But the children of Israel would not bow down
(Shadrach, Meshach, Abednego)
You couldn't fool them with a golden idol
(Shadrach, Meshach, Abednego)
I said you couldn't fool them with a golden idol
(Shadrach, Meshach, Abednego)
So the king put the children in the fiery furnace
(Shadrach, Meshach, Abednego)
Great God, he heaped on coal and red-hot brimstone
(Shadrach, Meshach, Abednego)
Made it seven times hotter, hotter than it ought to be
(Shadrach, Meshach, Abednego)
And the Good Book says that it even burned up the soldiers the king had put there
(Shadrach, Meshach, Abednego)

Oh , Shadrach, Meshach, Abednego, woo!

Then the Lord God sent him an angel
And he gave him a couple of wings
But he came on down to the middle the furnace
And he began to cool the flames
Them children go so happy
They went struttin' right through the fire
Just laughin' and singin' 'bout the power of the Gospel
(Shadrach, Meshach, Abednego)

Ohl, Shadrach, Meshach, Abednego, woo!

Then old Nebuchadnezzar said "Hey there"
When he saw the power of the Lord
They had a big time in the land of Babylon
(Shadrach, Meshach, Abednego)

Oh, Shadrach, Meshach and Abednego!
-snip-
*This is my transcription of the lyrics for this song. This transcription corrects a few lyrics that are given on https://www.flashlyrics.com/lyrics/louis-prima/shadrack-19
-snip-
That same page includes lyrics for this song "as performed by [Italian American singer] Louis Prima". However, the transcription for Louis Prima's rendition of that song [also] isn't completely accurate.

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SHOWCASE EXAMPLES - Golden Gate Quartet - Shadrack, 1955



SyberkaPL, Published on Oct 14, 2010

Frank Todd (solo), Orlandus Wilson, Clyde Riddick, Clyde Wright

Original released EP 45rpm record from 1955 with songs recorded in the same year. This is first session of GGQ in Europe, in Paris.
-snip-
Here are a few comments from this sound file's discussion thread(with numbers assigned for referencing purposes only)
1. tuporstar, 2013
"Elvis is on record saying this was his favourite childhood group... and you can hear it- he's basically lifted his whole vocal style from them, I'm stunned."

**
2. xMiStyleZ, 2013
"pitbull has a song sound like that..i guess he just stole chorus...."

**
3. Evan Howard, 2016
"Caravan Palace took this song and cut it up like crazy for their song Clash."

**
4. kirby gamez, 2017
"1:59 is the part Caravan Palace used in Clash. You're welcome."

****
This concludes Part II of this pancocojams series on the song "Shadrach".

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Visitor comments are welcome.

The Fame Movie's Version Of The Christian Hymn "Never Alone"

Edited by Azizi Powell

This pancocojams post showcases a sound file of & lyrics to the Fame Gospel Choir's gospelized rendition of the 1897 Christian hymn "Never Alone". Click http://www.hymnal.net/en/hymn/h/688 for an instrumental only example of the standard arrangement of this song.

Fame is the title of a 1980 American movie about a fictionalized group of students who attend the New York Music & Arts High School. That movie was later adapted and presented as a television series.

The content of this post is presented for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Ludie D. Pickett, the composer of the hymn "Never Alone" (1897) and thanks to the arranger, singers, and musicians of this gospelized version of "Never Alone". In addition, thanks to the publisher of this sound file on YouTube and thanks to all those who are quoted in this post.

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SHOWCASE SOUNDFILE: Fame Gospel Choir - Never Alone



Hans vd Linden, Uploaded on Aug 2, 2011

If you want to buy this song or album: http://amzn.to/KeKOnJ

"Never Alone" - performed by the Contemporary Gospel chorus of the High School of music and art. A underestimated but uplifting song from the 1980's movie "Fame". A song of comfort for everyone who feels (or thinks he/she is) lost and lonely.

Never Alone Lyrics:

I've seen the lightning flashing, I've heard the thunder roll
I've felt sin's breakers dashing, trying to conquer my soul
I've heard the voice of Jesus telling me to fight on
He promised never to leave me, no, never alone

Never alone, never alone, oh, never
Never alone, never alone
He'll never leave you alone

The world's fierce winds are blowing, temptations sharp and keen
I felt a peace in knowing my Savior stands between
He stands to shield me from danger when earthly friends are gone
He promised never to leave me, no, never alone

Never alone, never alone, oh, never
Never alone, never alone
He'll never leave you alone

He'll never leave you alone

When in affliction's valley, I'm treading the road with care
My Savior helps me to carry a cross too heavy to bear
My feet entangled with briers, ready to cast me down

He'll never leave you alone

When in affliction's valley, I'm treading the road with care
My Savior helps me to carry a cross too heavy to bear
My feet entangled with briers, ready to cast me down

He'll never leave you alone

Never, never, never
Never, never, never
Never, never, never

Oh, He'll never leave you alone

Photograph by Shorpy: October 1938. Crowley, Louisiana. "Crowd of people waiting for Cajun band contest to begin at the National Rice Festival." Nnegative by Russell Lee for the Farm Security Administration.
-snip-
From http://www.jesus-is-savior.com/sounds/Hymns/never_alone.htm: The lyrics to the Christian hymn "Never Alone" was composed by Ludie D. Pickett (1897)

Here are several comments about this rendition of "Never Alone" from that sound file's discussion thread:

arweiss100, 2012
"This is the official version performed by the Contemporary Gospel Chorus of the High School of music and art on the Official Original motion picture soundtrack & in the film, "Fame". One of my favorite songs all my life. Just an amazing song of sublime power, beauty, & grace, so uplifting & inspiring..as this choir raises their voices to the sky."

**
arweiss100, 2012
"1:24 amazing what just an upright piano & tambourine can say and it can lift you up."

**
edumup1 year ago
in reply to arweiss100
"Don't leave out the handclapping as well."

**
mshawk2ee2 years ago
in reply to arweiss100
"with a good old-fashioned polyclap!!"

**
Andrea Wright, 2013
"I went to Music & Art from 1979-1982. Was in the Gospel Chorus. This Gospel Chorus!! Not an easy song to sing but the end result......well you can hear it!! Thanks to Anthony Evans & Curtis Smith (Muzic Maykr)!!! Trying to find more of our music"

**
delocon36, 2013
"This was the B side of the original 7" vinyl disc of the signature song Fame from first release 81 or 82 v love this song since I was a kid, memories"

**
Joi Atkins, 2014
in reply to delocon36
"Fame" was sung by Irene Cara from same movie, released 1980; this is the B side of same, and the one side I listened to often, as you can hear why from the uplifting gospel lyrics and beat.

****
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Visitor comments are welcome.

Burnscreek Adventist Contemporary Choir (Solomon Islands) - "Jesus Is The Answer"

Edited by Azizi Powell

This post showcases a video of the Gospel song "Jesus Is The Answer" performed by Burnscreek Adventist Contemporary Choir from the Solomon Islands.

The content of this post is presented for cultural, religious and aesthetic purposes.

All content remain with their owners.

Thanks to the Burnscreek Adventist Contemporary Choir and thanks to the publisher of this video on Youtube.

Click http://pancocojams.blogspot.com/2013/03/andrae-crouch-jesus-is-answer-videos.html for a post about Andrae Crouch, the African American composer of this song. That post includes two videos of that song and that song's lyrics.

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SHOWCASE VIDEO: Jesus is the answer



pasifikwave, Uploaded on Jul 6, 2011

Burnscreek Adventist Contemporary Choir from the Solomon Is. singing in Suva, during their tour of Fiji, 2009.

****
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Visitor comments are welcome.

The REAL Sources & Meanings of The Saying "Hold My Mule"

Edited by Azizi Powell

[Revised October 29, 2017]

This post provides definitions of the vernacular saying "Hold my mule" and also includes early examples of that saying in secular and religious contexts.

The content of this post is presented for cultural, etymological, educational, and religious purposes.

All copyrights remain with their owners.

Thanks also to all those who are quoted in this post. Thanks to the Rev. Shirley Caesar, the vocalist who is featured in this post for her musical legacy. Thanks also to the publisher of the video that is featured in this post.

Click these links for two other pancocojams post that includes information about the phrase "hold my mule":
http://pancocojams.blogspot.com/2016/11/the-black-gospel-source-of-u-name-it.html The Black Gospel Source of The "U Name It Challenge" (Thanksgiving Church Remix)

and

http://pancocojams.blogspot.com/2014/11/shirley-caesar-shouting-john-hold-my.html for another rendition of Shirley Caesar's - "Shouting John "(Hold My Mule) with videos, lyrics, and comments.

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WHAT "HOLD MY MULE MEANS"
In its literal sense, the person saying "hold my mule" asks someone to hold on to his or her belonging/s (such as his or her mule, shoes, purse, or hat) so that he or she is able to or better able to perform a particular activity. However, for the most part, "hold my mule" is a figurative expression that signals that something out of the ordinary is about to happen or that onlookers want something out of the ordinary (like a fight) to go down (to occur).

In a church context, a person who says "Hold my mule" is signaling that he or she or someone else is about to do a Holy dance (i.e. "get his or her shout on", "get happy"; "cut a step", "go in").

In a street context, "Hold my mule" is an announcement that the person saying this expression or someone else is about to escalate a verbal confrontation or is about to get into a physical confrontation - or that people are looking forward to an increase in confrontation as a result of verbal exchanges such as "throwing shade" (insulting, dissin someone etc.)

Urban dictionary.com definition:
The definition for "hold my mule" that is found in urban dictionary.com differs from the one that I've indicated. The definition of that saying in that website (which I've also read on at least one other website) is that "hold my mule" means "to refrain from a particular action (such as fighting)". I think that definition is either in error or it is a change from the old meaning of "hold my mule", perhaps because of that saying's similarity to the infinitive "to hold someone back" (from doing something).

http://www.urbandictionary.com/define.php?term=hold+my+mule
hold my mule
Southern expression: To refrain from beating some one's ass.
Origin: Has something to do with Jesus and his mule.

Son: Mommy, my teacher called me a dummy.
Mom: Lawd! Somebody hold my mule!

Tom: I heard that you got fired.
Dan: Yeah, I had to hold my mule on them beeotches!

Trina: Girl! They repossessed my car!
Keshia: Hold my mule!!!
by CatSuga October 10, 2006
-snip-

I (also) think that contributor's statement that the Biblical origin of "hold my mule" is wrong.

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NON-RELIGIOUS USES OF THE SAYING "HOLD MY MULE"
1. Old Time Dance Song "Hold My Mule"
The earliest use of this phrase that I've found is the African American old time music song "Hold My Mule". "Hold My Mule" is a variant form of the African American old time [19th century] dance tune "Jim Along Josie". The song "Hold My Mule" is included in Dorothy Scarborough's 1925 book On The Trail Of Negro Folk Songs (pps 105-106)

Hold my mule while I dance Josey, [3x]
Oh, Miss Susan Brown.

Wouldn't give a nickel if I couldn't dance Josey [3x]
Oh, Miss Susan Brown.

Had a glass of buttermilk and I danced Josey [3x]
Oh, Miss Susan Brown.
-snip-
Anglo-American collector Dorothy Scarborough wrote "We find reference to this old song and dance* in a dance-song given me by Mr. E, R, Boyd, Jr. This is danced like a Virginia reel.

*Previously Scarborough wrote that "this old song" was "Josey" also known as "Jim Along, Josey". To clarify, Dorothy Scarborough's informants were White, but the song examples that they shared with her were from African Americans. Also, as clarification, the children's form of "Jim Along Josey" that is most familiar today in the United States (whose verses replace one verb after another, such as "jump" in "Jump Jim Along Jim Along Josie, jump Jim Along, Jim along Jo" with "run" etc) is just one form of the "Josie"/"Josey song. Click http://www.youtube.com/watch?v=N2Pq1qm_b4E for an example of the most widely known form of "Jim Along Josie" today. Note: "jim along" probably means the same thing as the movement phrase "get along".

In the context of the "Hold My Mule" (and other "Josie"/"Josey" songs), "Josey" is the name of a dance or the name of a dance step. But in other "Josey" songs, the word "josie", "josey" is a female's or male's name/nickname, and also the name of a particular type of woman's coat that was once quite fashionable (a "joseph").

Click http://mudcat.org/thread.cfm?threadid=52464#1233225 for a comment that I wrote in 2004 on the Mudcat folk music forum about the various meanings of the word "Josie" (josey)

**
2. "Hold my mule" = an exclamation used to indicate that some confrontation is "fixin' (getting ready) to occur
For instance, in some online videos of "throwing shade" that I've watched, it appears to me that the saying "hold my mule" is spoken mirthfully by an onlooker as an indication that the shade (insults) being thrown (exchanged) are getting good (or "bad" depending on your point of view), and as a result, someone may get so angry that a real confrontation may occur.

(I'm not going to link to any video of throwing shade besides "Welcome To Reading and Shade 101"
http://www.youtube.com/watch?v=XZvTX4o3LAI because the people acting like famous R&B and Pop singers routinely use profanity.)
The legends' panel" was one of the recommendations of other videos about "reading and throwing shade" that was given in that video's summary. In a couple of the legends panel's parody videos, the saying "hold my mule" was "spoken" by Whitney Houston with the same intent that I indicated above (in point #2)

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RELIGIOUS USE OF THE SAYING "HOLD MY MULE" [Revised November 27, 2016]
The Gospel Song "Shouting John" (also known as "Hold My Mule") is the most commonly used name for a Gospel song that was popularized in the 1980s by African American Gospel singer Pastor Shirley Caesar.

"Praise The Lord While I Have A Chance" is the actual name of the Gospel song that Shirley Caesar and her choir sand after her "Shouting John"/"Hold My Mule" story. Click http://www.thelyricarchive.com/song/1005551-133923/While-I-Have-a-Chance for the lyrics to that song. Also, click http://www.allmusic.com/artist/james-bignon-mn0000134307/biography for biographical information about James Bignon.

I don't know if Shirley Caesar is the author of the "Shouting John"/"Hold My Mule" story, but there's no doubt that that story was popularized by that Gospel singer since she first recorded it as a prelude to her rendition of "Praise The Lord" etc." in 1988. And certainly Shirley Caesar's "Shouting John" story has become much more well known as a result of Dj Suede's production of the "U Name It Challenge".

A clip of the introduction to Shirley Caesar's rendition of "Shouting John" ("Hold My Mule") was used in a viral dance challenge meme "U Name It" in November 2016. Here's information about that dance challenge:
From http://www.billboard.com/articles/columns/chart-beat/7587981/gospel-legend-shirley-caesar-soars-thanks-to-remix-memes-of-hold
"Gospel icon Shirley Caesar's remix of "Hold My Mule," featuring Albertina Walker and Milton Brunson, kicks onto Billboard's Hot Gospel Songs chart (dated Dec. 3) at No. 2, propelled by its No. 1 debut on Gospel Streaming Songs, as it surges by 7,510 percent to 821,000 U.S. streams in the week ending Nov. 17, according to Nielsen Music. The 79-year-old vocalist and pastor originally recorded the track in 1988. (Caesar first reached a Billboard chart in 1975.)
-snip-
* Date corrected Nov. 25, 2016; I had initially written the late 1950s.

Here are quotes from http://www.learngospelmusic.com/forums/index.php?topic=36922.0 about the phrase "Hold my mule":

BigFoot_BigThumb December 06, 2006,
"Isn't this based upon the Shirley Caeser song "Hold My Mule" where the old man tells the church folks to literally "hold his mule" while he gives praise out in the middle of his field while he's plowing? I take it that you haven't heard this song. If not, the song is about an old man who goes to this saddidy church where he likes to shout, and they come to his house to tell him that they don;t carry on like that in this church. Well, this man has a testimony and he tells them since I can't shout in your church, "hold my mule" cuz I'm gonna praise him right here. So I guess that person is just using a saying to indicate that they're about to give God some praise. It's a country thang."
-snip-
"saddity" = African American Vernacular English word meaning "high society" (snobbisn).

Click http://www.gospelweb.net/ChurchHumor6/HoldMyMule.htm for a version of this fictional story.

Here's a video of Shirley Caesar singing this song:

Shirley Caesar "Shouting John Hold My Mule"



chj333, Uploaded on Feb 15, 2010

Shirley Caesar "Shouting John pt1"
-snip-
Here are three other comments about the saying "Hold my mule" from http://www.learngospelmusic.com/forums/index.php?topic=36922.0

vtguy84, December 06, 2006
"It's a simple Southern expression that just means "Pardon me." You usually hear it in the church before someone gets their praise on. I have also heard it outside of the church where if someone is ready to go off on another person, they will be like "Hold my mule while I go handle this issue."

To my knowledge, it has no Biblical symbolism."

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SisterT on December 06, 2006

It means hold my shoes while I get my praise on!

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uniquepraise on December 06, 2006

Quote from: SisterT on December 06, 2006, 11:10:24 AM
"It means hold my shoes while I get my praise on! LOL! :D

"And my hat! ;D"

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RELATED LINK
http://pancocojams.blogspot.com/2014/03/what-reading-someone-throwing-shade-no.html
What "Reading Someone", "Throwing Shade", & "No Tea No Shade" Mean

****
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Visitor comments are welcome.

The Christmas Song "Behold That Star" & Its African American Composer Thomas W. Talley

Edited by Azizi Powell

This post showcases the Christmas song "Behold That Star" and its African American composer Thomas Washington Talley.

The content of this post is presented for historical, religious, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT THOMAS W. TALLEY & BEHOLD THAT STAR
From
http://tennesseeencyclopedia.net/entry.php?rec=1683
Thomas Washington Talley (1870-1952)

..."The majority of Talley’s teaching career, from 1903 to 1942, was spent at Fisk, where he taught chemistry, biology, and science, and was chair of the Chemistry Department for twenty-five years. Having earned a doctorate from Walden University in Nashville in 1896, he also spent two postgraduate summers, 1914 and 1916, at Harvard. In 1931 he finished a degree from the University of Chicago.

Although Talley’s profession was teaching and chemistry research, he made significant contributions to the study of American music, specifically black folk music. Music was a constant throughout Talley’s life. He joined the Fisk music program in 1888 and sang bass and toured with the New Fisk Jubilee Singers in 1890. He was a member of a quartet, active in the Mozart Society at Fisk, and conducted the Fisk choir for several seasons. Talley also participated in music activities at the Fisk Union Church.

Around the age of fifty, at the end of World War I, Talley began collecting rural black traditional songs. He sought texts from the Middle Tennessee countryside and elsewhere through an active network of friends, family, students, and colleagues, and recalled songs from memory or from his travels. In 1922 Macmillan published these folksongs as Negro Folk Rhymes (Wise and Otherwise) containing 349 secular folksongs (some with music notations), an essay by Talley, and an introduction by Walter Clyde Curry, literature professor at Vanderbilt University. This successful publication was the first serious collection of folksongs from Tennessee, the first compilation of black secular folksong, and the first to be assembled by a black scholar.

In addition, Talley accumulated stories from African American rural communities and compiled a manuscript of folk narratives. The unpublished work was entitled “Negro Traditions,” a version of which was later published in 1993. Talley also wrote an original composition, “Behold That Star,” which has since entered the Christmas music repertoire.

Talley retired from Fisk around 1942. He worked for the War Department during World War II. Talley moved to Jefferson City, Missouri, in 1943 but eventually returned to Nashville, where he spent his last years writing about the sciences."

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From http://folio.furman.edu/projects/anthems/pdf/Behold_That_Star.pdf "Behold That Star An Original Jubilee Carol by Thomas Washington Talley, Date: First Half of 20th Century"
... "[Thomas Washington] Talley was a gifted musician. He sang bass and toured with the New Fisk Jubilee Singers. He was director of Fisk's Mozart Society and for a time conducted the Fisk Choir. Seeking a Christmas spiritual for the Jubilee Singers to perform and finding none that was suitable, he composed "Behold That Star." At what date is not known.

Marian Anderson (1897–1993) performed Talley's spiritual in a 1916 arrangement made for solo voice and piano by Harry T. Burleigh (1866–1949). In this version for chorus and solo voices I have kept Burleigh's original accompaniment, and have arranged a choral refrain, alternating with verses set in a call-and-response pattern between soloists and choir."

[written by Albert Blackwell, February 2, 2012]

****
From http://mudcat.org/thread.cfm?threadid=152562 posted by Mary in Kentucky, Date: 10 Dec 01 - 04:05 PM
"Talley, Thomas W. Negro Folk Rhymes. A New expanded edition, with Music. Edited...by Charles K. Wolfe. Music transcriptions by Bill Ferreira. Knoxville: Univ. of Tennessee Press, 1991. Rev. ed. of Negro folk rhymes, wise and otherwise, published 1922 by the Macmillan Company.* Contains music (ISBN 0-87049-673-5)...

The following are quotes mentioning "Behold That Star" from the introduction [of that book]:

...Florence Hudson Botsford invited Talley to contribute a song to her collection, Folk Songs of Many Peoples, and he sent her an original composition called 'Behold That Star'." (pp. xviii-xix)...

During the [second world] war, Talley did classified work for the War Department; he returned to Nashville during this time and began working on a book-length manuscript entitled "A Concept of the Magnetic Atom." During his latter years, he seemed to view this as his life's work and he produced several drafts of it. It had little to do with folklore. He continued to compose music and completed a mass which was never published. His song "Behold That Star" entered the Christmas music repertoire and was widely reprinted in anthologies. In the early 1970s, the piece was performed on a national broadcast by Leonard Bernstein and the New York Philharmonic, with Leontyne Price singing. By this time the song had become so pervasive that Talley's name had been detatched from it, and Bernstein announced that he regretted that he did not know who had composed the song." (pp. xx-xxi).

The above information was gathered by Masato Sakurai.
-snip-
* The original 1922 edition of Thomas W. Talley's Negro Folk Rhymes Wise & Otherwise is available online at http://www.gutenberg.org/files/27195/27195-h/27195-h.htm
Warning: What is now known as "the n word" is fully spelled out in this book.

**Folk Songs of Many Peoples, Volume 1 by Florence Hudson Botsford was published by Womans Press , Harvard University in 1921. It is available online as a Google book http://books.google.com/books/about/Folk_Songs_of_Many_Peoples.html?id=0aQQAAAAYAAJ

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LYRICS OF "BEHOLD THAT STAR"
(Thomas W. Talley)

Refrain:
Behold that star!
Behold that star up yonder,
Behold that star!
It is the star of Bethlehem.

1. There was no room found in the inn.
It is the star of Bethlehem.
For Him who was born free from sin.
It is the star of Bethlehem. Refrain

2. The wise men travelled from the East. [1]
It is the star of Bethlehem.
To worship Him, the Prince of Peace.
It is the star of Bethlehem. Refrain

3. A song broke forth upon the night.
It is the star of Bethlehem.
From angel hosts all robed in white.
It is the star of Bethlehem. Refrain

Source:
http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/behold_that_star.htm
1. Or: The wise men came on from the east.

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THREE EXAMPLES OF "BEHOLD THAT STAR"
These examples are posted in chronological order based on their posting dates with the oldest dated exampls given first.]

Example #1: Behold That Star" (1963)- The Patterson Singers


JayEm86, Uploaded on Nov 29, 2008
-snip-
The Patterson Singers' rendition of Thomas W. Talley's "Behold That Star" is what I call a "gospelized song", that is, a song that is arranged and sung in a manner of African American Gospel song. There are many different types of African American Gospel music, but the tempo is usually increased in a "gospelized" song.

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Example #2: Morehouse/Spelman Choirs - Behold The Star



mikep793, Uploaded on Dec 13, 2010

Christmas Concert
-snip-
"Behold That Star" is often categorized as a Spiritual. However, "Behold That Star" differs considerably from African American Spirituals in that it has a known composer and its lyrics are usually fixed. I describe "Behold That Star" as a Christmas song which was composed in the manner of African American Spirituals.

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Example #3: Behold That Star



Bel Canto Singers Bahamas, Published on Dec 19, 2012

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Thanks to Thomas Washington Talley for his life worth, including composing the Christmas song "Behold That Star". Thanks to all those who are quoted in this post. Thanks to the vocalists & musicians who are showcased in this post & thanks to the publishers of those examples on YouTube.

Thank you for visiting pancocojams.

Visitor comments are welcome.

Three Gospel Versions of "Jesus Lover Of My Soul"

Edited by Azizi Powell

This post showcases Gospel interpretations of the song "Jesus Lover Of My Soul" by the Reverend James Cleveland & The Voices of Cornerstone Church Choir, The Edwin Hawkins Singers, & the Les Humphries Singers. This post also includes the lyrics of that song as composed by Charles Wesley, lyrics as sung by the Les Humphries Singers. In addition, this post included general information about the hymn "Jesus, Lover Of My Soul", as well as brief information about the featured vocalists of these three Gospel interpretations of that hymn.

The content of this post is presented for religious, historical, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT "JESUS LOVER OF MY SOUL"
From http://biblestudycharts.com/HH_Jesus_Lover_of_My_Soul.html

Note: This website includes an instrumental sound file of this hymn as it is often performed & sung.

Of the 6500 hymns written by Charles Wesley, this is generally considered to be his finest. It is still found in nearly every published hymnal and has been translated into almost every known language. It is interesting to note, however, that when Charles first presented this text to his brother, John for approval, it was rejected as being too sentimental. It was not until after the author’s death that the song came into general use. It was first published in 1740 in a collection of 139 hymns know as Hymns and Sacred Poems.

-snip-
Click http://en.wikipedia.org/wiki/Charles_Wesley for information about Charles Wesley.
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LYRICS: JESUS LOVER OF MY SOUL
(Charles Wesley)

Jesus, lover of my soul, let me to Thy bosom fly,
While the nearer waters roll, while the tempest still is high.
Hide me, O my Savior, hide, till the storm of life is past;
Safe into the haven guide; O receive my soul at last.

Other refuge have I none, hangs my helpless soul on Thee;
Leave, ah! leave me not alone, still support and comfort me.
All my trust on Thee is stayed, all my help from Thee I bring;
Cover my defenseless head with the shadow of Thy wing.

Wilt Thou not regard my call? Wilt Thou not accept my prayer?
Lo! I sink, I faint, I fall—Lo! on Thee I cast my care;
Reach me out Thy gracious hand! While I of Thy strength receive,
Hoping against hope I stand, dying, and behold, I live.

Thou, O Christ, art all I want, more than all in Thee I find;
Raise the fallen, cheer the faint, heal the sick, and lead the blind.
Just and holy is Thy Name, I am all unrighteousness;
False and full of sin I am; Thou art full of truth and grace.

Plenteous grace with Thee is found, grace to cover all my sin;
Let the healing streams abound; make and keep me pure within.
Thou of life the fountain art, freely let me take of Thee;
Spring Thou up within my heart; rise to all eternity. Amen
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ONE INTERPRETATION OF THE HYMN "JESUS LOVER OF MY SOUL" BY CHARLES WESLEY
There are a number of tunes used for the hymn "Jesus Lover Of My Soul". Here's a sound file of one way of singing this hymn:

Jesus, Lover of my Soul



sesamonte, Uploaded on Nov 2, 2008

A Christian hymn written by Charles Wesley in 1740. The tune used in this rendition is by Joseph Holbrook (1862). Sung by Altar of Praise Chorale.
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FEATURED GOSPEL EXAMPLES
These examples are presented in chronological order.

Example #1: Jesus, Lover Of My Soul - Edwin Hawkins Singers



vijaypush, Uploaded on Jan 20, 2011

Groupe célèbre pour leur extraordinaire interprétation de "Oh! Happy Day"
-snip-
Here is information about the Edwin Hawkins Singers from
http://en.wikipedia.org/wiki/Edwin_Hawkins

Edwin Hawkins (born 18 August 1943, Oakland, California) is a Grammy Award-winning American gospel and R&B musician, pianist, choir master, composer, and arranger. He is one of the originators of the urban contemporary gospel sound. He (and the Edwin Hawkins Singers) are best known for his arrangement of "Oh Happy Day" (1968–69), which was included on the Songs of the Century list...

Altogether Hawkins has won four Grammy Awards...

In 2007, Hawkins was inducted into the Christian Music Hall of Fame and attended the formal awards show in 2009.

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Example #2: Les Humphries Singers - Jesus Lover of my Soul 1970



fritz51326, Uploaded on Jan 24, 2009

Les Humphries Singers - Jesus Lover of my Soul 1970

Jesus, lover of my soul,
Let me to Thy bosom fly,
While the nearer waters roll,
While the tempest still is high.

Jesus, lover of my soul,
Let me to Thy bosom fly,
While the nearer waters roll,
While the tempest still is high.

Hide me in your heart in your heart
Till the storm of happiness;
Safe me to my heaven's God
and receive my soul at last
and receive my soul at last.

Hide me in your heart in your heart
Till the storm of happiness;
Safe me to my heaven's God
and receive my soul at last
and receive my soul at last.

Jesus, lover of my soul,
Let me to Thy bosom fly,
While the nearer waters roll,
While the tempest still is high.

Jesus, lover of my soul,
Let me to Thy bosom fly,
While the nearer waters roll,
While the tempest still is high.

Hide me in your heart in your heart
Till the storm of happiness;
Safe me to my heaven's god
and receive my soul at last
and receive my soul at last.

Hide me in your heart in your heart
Till the storm of happiness;
Safe me to my heaven's god
and receive my soul at last
and receive my soul at last.

Jesus, lover of my soul,
Jesus, lover of my soul,
Jesus, lover of my soul,
Jesus, lover of my soul....
-snip-
Here is information about the Les Humphries Singers from http://en.wikipedia.org/wiki/Les_Humphries_Singers

The Les Humphries Singers was a 1970s musical group formed in Hamburg, Germany in 1969 by the English born Les Humphries (born John Lesley Humphreys, 10 August 1940, in Croydon, Surrey, England - died 26 December 2007, in Basingstoke, Hampshire, England), who had been inspired to do his own version of the Edwin Hawkins Singers... The Les Humphries Singers performed a mix of popular music and gospel covers and had some success in Europe with this approach...

The Les Humphries Singers at the time brought something from the flair of the hippie movement into contemporary German-produced (but English-sung) pop music, especially due to their mixed ethnic background and peculiar fashion sense...

Years active: 1969 – 1980

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Example #3: "Jesus, Lover of My Soul" (1980)- Rev. James Cleveland and the Voices of Cornerstone.



JayEm86, Uploaded on Apr 21, 2009
-snip-
Here is information about Rev. James Cleveland from http://en.wikipedia.org/wiki/James_Cleveland

The Reverend Dr. James Cleveland (December 5, 1931 -February 9, 1991) was a gospel singer, arranger, composer and, most significantly, the driving force behind the creation of the modern gospel sound, bringing the stylistic daring of hard gospel and jazz and pop music influences to arrangements for mass choirs. He is known as the King of Gospel music.

Born in Chicago, he began singing as a boy soprano at Pilgrim Baptist Church, where Thomas A. Dorsey was minister of music and Roberta Martin was pianist for the choir. He strained his vocal cords as a teenager while part of a local gospel group, leaving the distinctive gravelly voice that was his hallmark in his later years. The change in his voice led him to focus on his skills as a pianist and later as a composer and arranger. For his pioneering accomplishments and contributions, he is regarded by many to be one of the greatest gospel singers to ever live.

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ACKNOWLEDGEMENT AND THANKS
Thanks to the featured vocalists and musicians. Thanks also to those who posted online information about these vocalists and thanks to those who uploaded the videos and the lyrics to this song.

Finally, thank you for visiting pancocojams.

Visitor comments are welcome.

Vintage Gospel - God Specializes (Have You Any Rivers)

Edited by Azizi Powell

Dorinda Clark Cole - God Specializes



Uploaded by BlessedByTheBest on Apr 30, 2006

Dorinda sings "God Specializes." This is at the old edifice of West Angeles COGIC! Where Bishop Charles E. Blake is Pastor!

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This post features four videos of the vintage ("old school" Gospel song "God Specializes" (also known as "Have You Any Rivers" and "Got Any Rivers"). I'm presenting these videos for their spiritual value, and also as a means of beginning an exploration of the differences between expected congregational "etiquette" in Black American churches and in White American churches. I also provide some history of how the chorus of this song was composed.

First, as background, here's an excerpt of my comments on October 28, 2008 on a Mudcat discussion thread that I started about this song http://mudcat.org/thread.cfm?threadid=115499:
"I remember the song "God Specializes" from my childhood or youth in New Jersey *(1950s, 1960s). But because I wasn't sure about all of the words to that song, I decided to an online search. As a result of that search, I found an interesting discussion on namethathymn.com God Specializes.

Unlike most gospel songs that have a known composer, there are multiple & significantly different versions of "God Specializes" (also known as "Have You Any Rivers). The words of the chorus appear to be more consistent than the words to the verses. But given that this song has a known composer - Oscar C. Eliason, why does it seem that the words of this gospel song been subjected to the folk process to the extent it has appeared to have been? It's also possible that the tune of this song might be different - though the tunes sung on three YouTube videos I watched were the same."
-snip-
Here's the comment I referred to which was posted on July 20, 2008 as a Forum Guest by Vic Eliason: on http://www.namethathymn.com/hymn-lyrics-detective-forum/index.php?a=vtopic&t=876
"My father is Oscar C. Eliason. Dad wrote the chorus in 1929.

He was dying of TB in a Minneapolis hospital and an elderly minister came by one evening and prayer was offered. The next day be began to improve and he continued to improve to such an extent that the Doctors admitted that something out of the ordinary had happened. As he was getting better he saw an adv. in the Minneapolis Star Tribune by a construction company that used the slogan. He changed the words to:

Got any rivers you think are uncrossable
Got any mountains you can't tunnel through
God specializes in things thought impossible
He does the things others cannot do.

because it spread from mouth to mouth it became altered in many interesting ways.

The story of how the verses were written in the later years is a very interesting one...

What a joy to know that this little chorus has touched and encouraged so many lives.

God Bless you."
-snip-
I attempted to contact Vic Eliason at that business phone number he included in that comment. I spoke to someone who answered the phone, and was informed that he was unavailable at that time. I left a message indicating that I was seeking information about the song "Got Any Rivers". But, unfortunately, I never received a response to my query.

For the record (no pun intended), Oscar C. Eliason, the composer of "Got Any Rivers", is a White American.
-snip-
Update:
The "Gospelized" rendition of "God Specializes" was composed in 1958 by African American Gloria Griffin, a member of the Roberta Martin Singers.

I wasn't aware of that information until I received the visitor's comment found below from Afi Scruggs. Here's another excerpt from that comment:
"That group [The Roberta Martin Singers] introduced the song to Black churchgoers in 1958. Griffin's song has a vamp that is an integral part of the composition."
-snip-
Afi Scruggs' complete comment and my response to it are found below this post. Thanks Afi!

I also added the information about Gloria Griffin's composition of "God Specializes" to that Mudcat discussion thread on this song that I started in 2008. A guest to that forum, Donaldw1 wrote the following comment on that thread in March 25, 2010, but I didn't read it until after I had written this post:

"Please keep in mind Ms. Gloria Griffin who gospelized this song with the Roberta Martin Singers in the '50's."
Thanks, Donaldw1 for that information!
-snip-
It appears that most of the YouTube renditions of this song by White Americans use the title "Got Any Rivers". However, the title "God Specializes" appears to be favored by most African Americans. Among African Americans, "Have you any rivers" is the first verse of this song, and "God specializes" is the chorus.

I've found that the most of renditions of White choirs that I've found on YouTube, and the many of the lyrics of verses for that song that are posted on that name that hymn website are different than those that many African American choirs sing. Furthermore, although the tune & the tempo may be the same, the way African American choirs and White American choirs sing this song (and other songs), may be decidedly different. Also, the way African American congregations and White American congregations respond to this song and other songs while they are being sung reflect the significant differences those American populations have regarding church etiquette and the value given to reponsorial communication. For instance, notice the differences in the way this song is sung and the differences between the congregation responses in the following two videos:

Got Any Rivers



Uploaded by luciamaria81 on Mar 14, 2008

Jimmy Swaggart music video
-snip-
Note that Rev. Jimmy Swaggart does not sing any verses for that song, but repeats the chorus. The congregation remains seated, only responds during the "praise break", and then becomes silent again as Jimmy Swaggart sings the song again.

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God Specializes - Jennifer Foreman.avi



Uploaded by MisterBurks on Oct 30, 2010

First, let me apologize for the brightness of the video ... I accidentally turned on the BACK LIGHT feature of the camcorder and everything was recorded as white as snow (almost) :-)

Now, last Sunday (Oct. 24, 2010) at my church was an absolutely incredible experience !
The choir was singing old school gospel and the children did their thing in a skit and then the sermon ! ... Like i said, "incredible !" .

Anyway, this song was one of the highlights of my day and Jennifer Foreman was on her mark !
Yeah, ... INCREDIBLE !

I hope you enjoy this tidbit as much as i enjoy bringing it to you

[Second Mt. Olive Baptist Church, Houston, Texas.]
-snip-
In that video, members of the African American congregation offer encouragements to the musicians as they play chords for this song. During the renditon of this song - as the spirit moves them - members of the congregation clap their hands, and shout affirmations such as "Go 'head", "Come on now!", "Yeah". Also during the rendition, church members may stand facing the choir, some with one or both hands raised high in supplication. This manner of congregational responses are normal in most African American churches. It is also normal for some soloists to exhort the congregation to confirm what the words of the song say. For example, in the following short video clip, the soloist asks the congregation "Can I get a witness?" and also invites the congregation to say "Amen" and to sing along with her:

God Specializes!!! Fullness of Joy Ministries



Uploaded by drewdachoklit1 on Jul 6, 2007

Old School Church Meet and Greet at Fullness of Joy!!! Us doing what we do best, and that is having fun in the Lord!!! We love God and we have fun while doing it...
-snip-
The soloist is identified in comments as "Mother Boyd". Unfortunately, the name & location of the church isn't mentioned yet in the comments. I just posted a comment asking for that information.

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The lyrics to "God Specializes" as sung by Dorinda Clark in the first video on this post can be found in that Mudcat discussion thread whose link I provided earlier in this post. Additional lyrics can be found in the name that hymn link which I also provided.

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Visitor comments are welcome.