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Showing posts with label Jubilee singers. Show all posts
Showing posts with label Jubilee singers. Show all posts

Monday, December 5, 2022

The Meaning Behind The Lyrics To "Wade In The Water"



Ms.Fluzo, July 19, 2010

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Edited by Azizi Powell

This pancocojams post presents some information about the African American Spiritual "Wade In The Water" and presents various theories about what that song means and how it was used by enslaved African Americans.

This post showcases the version of Wade In The Water that was recorded by Ella Jenkins and the the Goodwill Spiritual Choir of Chicago in 1960s. The lyrics to that version of "Wade In The Water" are found at https://genius.com/Ella-jenkins-wade-in-the-water-lyrics .

The content of this post is presented for historical, religious, and cultural purposes/

All copyrights remain with their owners.

Thanks to the unknown composers of "Wade In The Water". Thanks also to Ella Jenkins and the Goodwill Spiritual Choir of Chicago for their musical legacies. Thanks to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
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This post is part of an ongoing pancocojams series on the African American Spiritual "Wade  In Water" and songs that are based on that Spiritual. Google "Wade In The Water Pancocojams  or click the "Wade In The Water" tag below for other pancocojams posts in that series.
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INFORMATION ABOUT THE AFRICAN AMERICAN SPIRITUAL "WADE IN THE WATER" 
Excerpt #1
From https://en.wikipedia.org/wiki/Wade_in_the_Water
"Wade in the Water" (Roud 5439) is an African American jubilee song, a spiritual—in reference to a genre of music "created and first sung by African Americans in slavery.

[...]

In his 1925 book, Crisis, W. E. B. Du Bois mentioned "Wade in the Water" as performed by the Norfolk Jubilee Quartet. DuBois wrote that "You'll never tire of the melodious rich blended voices of the Norfolk Jubilee Quartet, Sunset Four, and Harrod's Jubilee Singers."[18]: 155, 259 "...
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Read my comment in this post's discussion section about this meaning of the word "jubilee". 

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Excerpt #2
From 
https://yonamariemusic.com/yona/blog/249/the-meanings-behind-wade-in-the-water The Meanings Behind Wade In The Water, by Yona Marie, March 16 2022
..."Wade In The Water's Official Publishing

This popular song likely has origins that date at least back to the 1870s. John Wesley Work Jr. spent three decades at the HBCU Fisk University, collecting a series of songs from the original Fisk Jubilee Singers.

The original Fisk Jubilee Singers were active in the 1870s, and John decided to revive their works with a new smaller group called The Sunset Four Jubilee Singers.

The lyrics to this song were first published in 1901 in New Jubilee Songs as Sung by the Fisk Jubilee Singers by John Wesley Work Jr. and his brother Frederick J. Work.

The first recording of it was performed by the Sunset Four Jubilee Singers and released by Paramount Records in 1925. "....

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ONLINE EXCERPTS ABOUT THE MEANINGS OF THE SPIRITUAL "WADE IN THE WATER"
These excerpts are given in no particular order. and are numbered for referencing purposes only.

More than one of these viewpoints about the meaning of the Spiritual "Wade In The Water" can be true at the same time.    

I. THE "WADE IN THE WATER" SPIRITUAL REFER TO THE ISREALITES FLEEING EGYPT 
Excerpt 1
From https://en.wikipedia.org/wiki/Wade_in_the_Water

Interpretations of the lyrics

Many of the songs in the original Fisk Jubilee Singers songbooks dealt with themes from both the Old and New Testament. According to a 2002 article written by Dave Watermulder, J. Amber Hudlin, and Ellie Kaufman at George Washington University, the song reflects the Israelites' escape out of Egypt as found in Exodus.[29]"...

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Excerpt #2
From https://artandtheology.org/2020/09/07/wade-in-the-water-artful-devotion/
..."Then Moses stretched out his hand over the sea, and the LORD drove the sea back by a strong east wind all night and made the sea dry land, and the waters were divided. And the people of Israel went into the midst of the sea on dry ground, the waters being a wall to them on their right hand and on their left. The Egyptians pursued and went in after them into the midst of the sea, all Pharaoh’s horses, his chariots, and his horsemen. And in the morning watch the LORD in the pillar of fire and of cloud looked down on the Egyptian forces and threw the Egyptian forces into a panic, clogging their chariot wheels so that they drove heavily. And the Egyptians said, “Let us flee from before Israel, for the LORD fights for them against the Egyptians.”....
—Exodus 14:19–31

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II. THE "WADE IN THE WATER" LYRICS ARE CODED INSTRUCTIONS TO PEOPLE TRYING TO ESCAPE SLAVERY (THIS THEORY IS ASSOCIATED WITH HARRIET TUBMAN & THE UNDERGROUND RAILROAD) 

Excerpt #1
From https://en.wikipedia.org/wiki/Wade_in_the_Water
...."Songs of the Underground Railroad

According the PBS Newshour—while it "has not been proven, it is believed"—that "Wade in the Water" was one of the songs associated with the Underground Railroad—a network of secret routes and safe houses used by slaves in the United States to find freedom.[5]

It is believed that Harriet Tubman, who made thirteen trips to the South and helped free more than 70 people, used this song to warn slaves to get off the trail and into the water to prevent dogs—used by the slavers—from finding them.[5][7][6][30]: 18 

In 1993, Arthur C. Jones—a University of Denver Professor in the Musicology, Ethnomusicology and Theory Department, published the first edition of this book, Wade in the water: the wisdom of the spirituals.[7] Jones established "The Spirituals Project" in 1998 at the university's Lamont School of Music, to preserve and revitalize the "music and teachings of the sacred folk songs called spirituals"—"created and first sung by African Americans in slavery."[1] Jones referenced "Wade in the water" in describing how Harriet Tubman and others improvised on "already existing spirituals", employing them "clandestinely in the multilayered struggle for freedom."[7]: 51, 55 

In 2002, Maryland Public Television in collaboration with the Maryland Historical Society and Maryland State Archives, produced "Pathways to Freedom: Maryland and the Underground Railroad" as a teaching guide, which included a section on how songs that many slaves knew had "secret meanings" that they could be "used to signal many things." They cited the example of Harriet Tubman using "Wade in the Water" to "tell escaping slaves to get off the trail and into the water to make sure the dogs slavecatchers used couldn’t sniff out their trail. People walking through water did not leave a scent trail that dogs could follow."[31] Certain songs were believed to have contained explicit instructions to fugitive slaves on how to avoid capture and the route to take to successfully make their way to freedom.[32]"

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Excerpt #2
From https://www.proz.com/kudoz/english/religion/739524-%22god%E2%80%99s-a-gonna-trouble-the-water%22.html WADE IN THE WATER ON THE UGRR by Calvin Earl |  posted in: African American History, Blog, Spirituals, Underground Railroad |  1, June 1, 2017
" “Wade In The Water is one of the spirituals that has many secret codes embedded within the song that was used to give guidance to the slave as he embarked on his journey to freedom on the Underground Railroad. The lyrics in this spiritual talk not only about the religious ceremony as it pertains to the Christian Church where the religious rite of sprinkling water onto a person’s forehead or of immersion in water, or as John the Baptist baptized people in the river symbolizing purification or regeneration and admission into life as a Christian. ‘Wade in the water, ‘God’s gonna trouble the water’ for the slaves trying to escape from slavery on the Underground Railroad, meant the first thing the slave master would do would be to send out the bloodhounds to track the slaves down. The bloodhounds could track the slaves easily on land, but the lyrics “God’s gonna trouble the water” tell the slave to actually find a body of water and then walk or wade in the water in that way the bloodhounds would lose the scent of the escaping slave and the slave would be safe from the dogs tracking them down.

Also in the lyrics ‘See that band all dressed in red, looks like the band that Moses led’ -It is thought that the lyrics reference Harriet Tubman whose nickname was ‘Moses of her people’. Many of the spirituals lyrics have dual meanings in the songs and in this song Moses and Harriet Tubman’s names are interchangeable because Harriet like the story in the Bible where Moses led the slaves to freedom, Harriet did the same for the slaves in the 1800’s in America.”…

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Excerpt #3
From https://yonamariemusic.com/yona/blog/249/the-meanings-behind-wade-in-the-water The Meanings Behind Wade In The Water, by Yona Marie, March 16 2022
…”Wade In The Water And The Underground Railroad

Although it is not confirmed, it is widely taught that Harriet Tubman, who made several trips to the South and helped free more than 70 people in the mid-19th century, used this song as a part of the journey.

 While the lyrics generally have a more religious interpretation, this song was used as a code for the slaves to get off the trail and into the water. Slavers used dogs to find escaped slaves, and the water helped hide their scent.

It is important to note that spirituals like these were already popular in the black community even before Harriet Tubman took this journey.

She is said to have taken several spirituals that were well-known and could be used to signal many different messages. Since blacks were often known to sing, white people wouldn't be alarmed by hearing it."...

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Excerpt #4
From https://www.youtube.com/watch?v=vg_8L96E3eU Wade In The Water- Ella Jenkins

[This is the link for the YouTube sound file of "Wade In The Water" that is embedded in this pancocojams post.]  

P La, 2017 [comment]
"This beautiful song help slaves escape to freedom by telling them to run to the river because the dogs can not pick up your scent once your in the water ๐Ÿ˜Š not only this song but many other songs slaves sung to help give them instructions to freedom so the master would not know what they were talking about bout think they were just singing a song ๐Ÿ˜Šthis is a very powerful message"

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Excerpt #5
From https://artandtheology.org/2020/09/07/wade-in-the-water-artful-devotion/ "Wade in the Water (Artful Devotion)", Posted on September 7, 2020 by Victoria Emily Jones
..."According to oral lore, Harriet Tubman used the song “Wade in the Water” to communicate strategy to slaves traveling the Underground Railroad: its coded language alerted freedom seekers that bounty hunters were on their trail with bloodhounds and that they should jump into the river so that the dogs couldn’t track their scent. This popular myth about the song has not been confirmed, and the National Park Service, which preserves historical sites associated with the Underground Railroad and promotes research on the topic, suggests that it’s probably not true."...
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The hyperlinked words "probably not true" leads to the website https://www.nps.gov/hatu/planyourvisit/upload/MD_TubmanFactSheet_MythsFacts_2.pdf Myths & Facts About Harriet Tubman

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III. 
THE "GOD'S GONNA TROUBLE THE WATER" LYRICS OF WADE IN THE WATER REFER THE BIBLE CHAPTER /VERSE JOHN 5: Verses 2-9 
Excerpt #1
From https://yonamariemusic.com/yona/blog/249/the-meanings-behind-wade-in-the-water The Meanings Behind Wade In The Water, by Yona Marie, March 16 2022

..."This song ["Wade In TheWater"] references the Israelites’ crossing of the Jordan River into the promised land. Deuteronomy 30 verses 11-16 is a message from Moses directly to those who were following him to freedom

[…]

The new testament also gives us more insight into what it means when God is going to trouble the water when you look at the King James version. John 5:4 explains these waters below:

"For an angel went down at a certain season into the pool, and troubled the water: whosoever then first after the troubling of the water stepped in was made whole of whatsoever disease he had."

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Excerpt #2
From https://www.umcdiscipleship.org/resources/history-of-hymns-wade-in-the-water History of Hymns: "Wade in the Water" by C. Michael Hawn, Oct. 14, 2015
..."The refrain of “Wade in the Water” is based upon the narrative of John 5:2-9. It is the story of the pool by the Sheep Gate—Bethzatha in Hebrew. A portion of this passage follows: “Now there is at Jerusalem by the sheep market a pool, which is called in the Hebrew tongue Bethesda, having five porches. In these lay a great multitude of impotent folk, of blind, halt, withered, waiting for the moving of the water. For an angel went down at a certain season into the pool, and troubled the water: whosoever then first after the troubling of the water stepped in was made whole of whatsoever disease he had ”(John 5:2-4, KJV) Perhaps, among other possibilities, this is a reference of healing in body and soul."...

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IV. THE "WADE IN THE WATER" SPIRITUAL HAS RELIGIOUS MEANINGS FOR PEOPLE'S EVERY DAY LIFE
Excerpt #1
From https://yonamariemusic.com/yona/blog/249/the-meanings-behind-wade-in-the-water The Meanings Behind Wade In The Water, by Yona Marie, March 16 2022

...."Deeper Religious Interpretation

The waters of the Jordan represent freedom from oppression, breakthrough, and deliverance that we all can relate to in some way. Howard Thurman, a well-known dean at HBCU Howard University, described the troubled waters in his book "The Negro Spiritual Speaks of Life and Death" as a huge moment of transformation.

Howard wrote, "The ‘troubled waters’ meant the ups and downs, the vicissitudes of life. Within the context of the ‘troubled’ waters of life, there are healing waters, because God is in the midst of the turmoil.” God is going to trouble the water, and you may be uncomfortable, but it's ultimately what will make you a better person on the other side.

[…]

Stirred or troubled waters may shake up your faith, but God calls us to wade in the water and go through the troubling with faith in Him in order to get to the other side, the Promise Land.”…

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Excerpt #2
From https://blackhistory360.wordpress.com/2011/02/18/decoding-wade-in-the-water/ "DECODING WADE IN THE WATER" published by WALTER RHETT, 8 FEBRUARY 2011
….”People think the song is about Moses and Exodus, but the troubled waters the spiritual refers to are in a New Testament verse. The conventional wisdom of history contends the song sent a signal to runaway slaves: Use the river so the hounds can’t trace you. Tonight is the moment for flight; move swiftly; the reaction will be fierce.

[…]

You can’t imagine the joy of my surprise. When I found out what following that trouble meant.

[...]

The fourth verse of John 5 that describes how the angel stirs the waters of the pool is left out of several excellent bible manuscripts and a debate rages about whether it was actually in the original manuscript written by John. The word, “troubled” or “stirred,” in the original Greek refers to “an uncertain affinity.” In other words, the angel brings forth a power whose source was unknown by observation or direct sensory means.

But its results were consistent and clear. This affinity had the ability to heal afflictions and was transferred to the waters; its blessing received by the first one in. Christ transfers this blessing, by word and deed, to all who believe in faith. But like the healing at the Bethesda pool, often the benefits of god’s grace only come in certain seasons.

The spiritual, “Wade in the Water,” tells how to practice faith; and, like algebra, it re-orders the events. In the bible story, the water is troubled first. In the spiritual, those who will be blessed are urged to step into the waters first, before the angel of god comes. The song stresses meeting hardships with courage and “stiddy” faith; gather now and get ready, the healing is promised. Gather now, so that all will be among the first received and delivered by the gifts of grace that spring forth in dark times.

[…]

So in the legacy of “Wade in the Water,” we know, dramatic change can come to our lives. John, the youngest of the disciples, in just 22 days of his life, records the dramatic witness of Christ. The miracle John describes in Jerusalem at the Bethesda pool waters is not recorded in any of the other three gospels.

So “Wade in the Water” is more than instructions for running away, which only a small number of border state slaves were able to do. It is a song text of a dramatic story of god’s ability to restore and redeem. The African songs known as the spirituals are witness and memory. They are a text for the inner heart. They express its highest calling.”…

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Excerpt
From  https://artandtheology.org/2020/09/07/wade-in-the-water-artful-devotion/ Wade In The Water ("Artful Devotion)" by Victoria Emily Jones, Sept. 7, 2020
..."In the documentary God’s Greatest Hits, pastor and gospel recording artist Wintley Phipps says, “‘Wade in the Water,’ to me, . . . means people who are afraid of moving forward, progressing, taking a step, and facing uncertainty—go ahead, wade in the water. Take that step. As terrifying as it may seem at that very moment, it’s gonna be alright, and the miracle we seek is gonna happen.”

[...]

“Wade in the Water” affirms that God is going to stir things up; he’s going to do something big. Just like he did when he brought Israel up out of Egypt."...

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Sunday, March 22, 2020

What The Word "Jubilee" REALLY Means In Reference To Black American Religious Songs & African American Religious Singing Groups

Edited by Azizi Powell

This pancocojams post provides information about the word "jubilee" that was used to refer to African American religious songs and religious singing groups.

In addition, this post showcases two YouTube examples of late 19th century recordings of the African American early Gospel "Old Time Religion" by The Fisk Jubilee Singers and by Pace Jubilee Singers.

In comparison, the Addendum of this post showcases a mid 20th century rendition of "Old Time Religion" by the Golden Gospel Singers, an African American music group.

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

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and all those who are featured in this post for their cultural legacies.
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Click and for these pancocojams post that showcases The Golden Gate Quartet's 1937 version and the Jubalaires' 1947 version of "The Preacher And The Bear". Those renditions of that once very popular song feature "Old Time Religion" as the chorus.

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INFORMATION ABOUT THE WORD "JUBILEE" THAT WAS USED IN REFERENCE TO BLACK AMERICAN RELIGIOUS SONGS AND RELIGIOUS SINGING GROUPS
Excerpt #1:
From https://www.merriam-webster.com/dictionary/jubilee
[...]

3. often capitalized : a year of emancipation and restoration provided by ancient Hebrew law to be kept every 50 years by the emancipation of Hebrew slaves, restoration of alienated lands to their former owners, and omission of all cultivation of the land

[...]

5: a religious song of African Americans usually referring to a time of future happiness"

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Excerpt #2:
From https://en.wikipedia.org/wiki/Fisk_Jubilee_Singers
..."the Jewish year of Jubilee."... was a reference to Jubilee described in the book of Leviticus in the Bible. Each fiftieth Pentecost was followed by a "year of jubilee" in which all slaves would be set free.[3] Since most of the students at Fisk University and their families were newly freed slaves,[5] the name "Jubilee Singers" seemed fitting."...

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Excerpt #3
From https://en.wikipedia.org/wiki/Jubilee_quartet
" "Jubilee quartets were popular African-American religious musical groups in the first half of the 20th century. The name derives from the Fisk Jubilee Singers, a group of singers organized by George L. White at Fisk University in 1871 to sing Negro spirituals. The members of the original Fisk Jubilee Quartet (1909-1916) were Alfred G. King (first bass), James A. Myers (second tenor), Noah W. Ryder (second bass), and John W. Work II (first tenor).[1] Students at other historically black schools, such as Hampton Institute, Tuskegee Institute and Wilberforce University, followed suit.

The early jubilee quartets featured close harmonies, formal arrangements and a "flatfooted" style of singing that emphasized restrained musical expression and technique derived from Western musical traditions. Early quartets reinforced their respectable image by adopting uniforms that a university glee club might wear and discouraging improvisation.

In time, however, the popularity of the jubilee style spread from the universities to black churches, where quartets, singing before audiences with a tradition of enthusiastic response, began to absorb much of the energy and freedom of Gospel music coming out of Holiness churches. Groups such as the Golden Gate Quartet—originally named the Golden Gate Jubilee Quartet—infused their performances of spirituals with the rhythmic beat of blues and jazz and gradually began including gospel standards written by Thomas A. Dorsey and others in their repertoire. The Gates and other jubilee quartets gained nationwide popularity through radio broadcasts, records and touring in the 1930s and 1940s.

Other groups, such as the Dixie Hummingbirds and the Original Five Blind Boys of Alabama (formally known as the Happyland Jubilee Singers) that had begun singing in the conventional jubilee style went further, creating the more improvisational and fervent style of quartet singing known as "hard Gospel". That new style largely eclipsed jubilee singing by the 1950s."...
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This excerpt is quoted in the 2018 pancocojams post entitled "The Influence Of Black American Jubilee Singers On South Africa's Isicathamiya Music (article excerpts with video examples)" http://pancocojams.blogspot.com/2018/11/the-influence-of-black-american-jubilee.html

Here's another quote that was included in that pancocojams post:

From https://www.coursehero.com/file/p1366g1/Virginia-Jubilee-Singers-an-African-American-minstrel-troupe-toured-South/
"Introduction to World Music-...
Course: MUSIC 009
School: Pennsylvania State University
..."Virginia Jubilee Singers, an African-American minstrel troupe, toured South Africa in 1890, performing in concert halls for white South Africans and in churches and community halls for black South Africans. While on tour the Virginia Jubilee Singers sang spirituals such as "Steal Away" and "The Gospel Train" along with traditional minstrel songs such as "The Old Folks at Home" and "Old Black Joe." Both white and black South Africans were extremely impressed with the American minstrel performances, but the music, particularly the spirituals, appealed especially to the black South African people, who could relate to the longing for freedom and justice communicated in the songs. Soon black South Africans began forming their own minstrel troupes. The music of the minstrel troupes was typically a four-part singing style. Gradually the South African minstrel music, known as isikhunzi (lit. "coon" style), incorporated more traditional South African dances and songs."...

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INFORMATION ABOUT THE GOSPEL SONG "OLD TIME RELIGION"
Excerpt #1:
"("Give Me That") "Old-Time Religion" (and similar spellings) is a traditional Gospel song dating from 1873, when it was included in a list of Jubilee songs[1]."....
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[citation] 1. "Pike, The Jubilee Singers, Item 198
-dnip-
The insert in that article shows a portion of the Fisk Jubilee Singers' musical score for "Old Time Religion".

The beginning of that Wikipedia article includes dubious theories that "Some scholars, such as Forrest Mason McCann, have asserted the possibility of an earlier stage of evolution of the song, in that "the tune may go back to English folk origins"[2] (later dying out in the white repertoire but staying alive in the work songs of African Americans)." end of quote.

Asserting that this and other African American Spirituals and early Gospel songs* may have had come from White Europeans is an attempt to give White people credit for African American cultural products.

*"Old Time Religion" has been a Spiritual or an early Gospel song. I usually refer to it as an early Gospel song because no documentation of the song has been found before 1873 and Spirituals are usually considered to be those African American religious songs that were sung during slavery in the United States (i.e.prior to the end of the American Civil War -1865).

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Excerpt #2:
From https://mudcat.org/thread.cfm?threadid=99510
Subject: Lyr Add: Old Time Religion (Old Gospel)
From: Q (Frank Staplin)
Date: 01 Mar 07 - 09:41 PM

Lyr. Add: OLD TIME RELIGION
^^ Arr. Charles Davis Tillman

Refrain:
'Tis the old time religion, (3x)
And it's good enough for me.
2.
It was good for our mothers. (3x)
And it's good enough for me.
3.
Makes me love everybody. (3x)
And it's good enough for me.
4.
It has saved our fathers. (3x)
And it's good enough for me.
5.
It will do when I am dying. (3x)
And it's good enough for me.
6.
It will take us all to heaven (3x)
And it's good enough for me.

Heard by Charles Tillman (1861-1943) at an 1889 Black camp meeting in Lexington, SC, titled "My Old Time Religion." Tillman arranged and published it with other gospel songs in one of his Songbooks, 1891. He published 20 songbooks, all very rare. For a time he was song leader at the Indian Springs Holiness Camp Meeting at Flovilla, Georgia (still held yearly).
The lyrics above are from Cyberhymnal; I have not seen the Songbook and am not sure that these are the words he published.

The origin and date of composition of this gospel song are unknown. The song is generally presumed to be African-American, the evidence for this being first publication in Marsh, "The Story of the Jubilee Singers; with Their Songs," c. 1880. Their version is given in the text following the Tillman version.


http://www.cyberhymnal.org/htm/o/l/oldtimer.htm

Lyr. Add: THIS OLD TIME RELIGION
^^ Version by the Jubilee Singers, c. 1880

Refrain (sung after each verse):
Oh! this old time religion,
This old time religion,
This old time religion,
It is good enough for me.
1.
It is good for** the mourner,
It is good for the mourner,
It is good for the mourner,
It is good enough for me.
2.
It will carry you home to heaven,
It will carry you home to heaven,
It will carry you home to heaven,
It is good enough for me.
3.
It brought me out of bondage* (3x)
It is good enough for me.
4.
It is good when you are in trouble, etc.

No. 36, with score, p. 158, J. B. T. Marsh, 1880's, "The Story of the Jubilee Singers; with Their Songs," Revised edition (seventy-fifth thousand), Houghton, Mifflin and Company, Boston.
*Verse post-Emancipation. **Sheet music shows a marked pause before the last three syllables.

The song in my opinion is old gospel, although often called a 'spiritual.'
Previous threads at Mudcat, and the three versions in the DT, are parody.

An entry at pdmusic gives a date of 1865; source not given, probably an error or opinion. It would not be surprising to find that the song appeared soon after the Civil War; camp meetings were flowering again. The well-known Des Plaines Camp Meeting in Illinois began in the early 1860's as did others.
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This comment is given "as is" except for my note that the link no longer works.
The link given in that comment no longer works.
The "DT" mentioned in that comment stands for the "Digital Tradition", a compilation of song lyrics with notes that is found on Mudcat. The parody songs can be identified using Google Search [Old Time Religion parodies Mudcat].

Charles Tillman was a White American collector of songs.

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SHOWCASE YOUTUBE EXAMPLES
Example #1: Bioshock Infinite Music - (Give Me That) Old-Time Religion (1873) by Fisk Jubilee Singers



jsparakov, Mar 28, 2013

Fisk Jubilee Singers - (Give Me That) Old-Time Religion (1873)
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Here's information about the Fisk Jubilee Singers from https://en.wikipedia.org/wiki/Fisk_Jubilee_Singers
"The Fisk Jubilee Singers are an African-American a cappella ensemble, consisting of students at Fisk University. The first group was organized in 1871 to tour and raise funds for college. Their early repertoire consisted mostly of traditional spirituals, but included some songs by Stephen Foster. The original group toured along the Underground Railroad path in the United States, as well as performing in England and Europe. Later 19th-century groups also toured in Europe.

The Singers were organized as a fundraising effort for Fisk University."...

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Example #2: Pace Jubilee Singers - Old Time Religion *HQ*



Jack Mckay Fletcher, Oct 9, 2013

Pace Jubilee Singers - Old Time Religion

Mixed Vocals with Organ
Christian Gospel
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Here's some information about Pace Jubilee Singers
From https://en.wikipedia.org/wiki/Pace_Jubilee_Singers
"The Pace Jubilee Singers were a gospel group founded by Charles Henry Pace in Chicago in 1925, and one of the first gospel groups to be recorded. They recorded more than 40 songs for Victor and for Brunswick Records in 1926–29, including spirituals arranged by Pace, and songs and hymns by Pace and Charles Albert Tindley and others. They performed in close harmony style, usually accompanied by piano or organ. Thomas A. Dorsey was briefly associated with them. In their later recordings, Hattie Parker is identified as soloist.[1]"...

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ADDENDUM- A CONTEMPORARY EXAMPLE OF "OLD TIME RELIGION" BY AFRICAN AMERICAN SINGING GROUPS
Old Time Religion



Golden Gospel Singers - Topic, Nov 8, 2014


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Visitor comments are welcome.


Tuesday, November 6, 2018

Fisk Jubilee Singers' 1909 Sound File Of "Swing Low, Sweet Chariot" (with three other renditions of this Spiritual)

Edited by Azizi Powell

This is Part II of a three part pancocojams series about The Fisk Jubilee Singers.

Part II presents information about "Swing Low Sweet Chariot" and provides the standard lyrics for this Spiritual.

This post also showcases a 1909 sound file of The Fisk Jubilee Singers' rendition of "Swing Low Sweet Chariot". Additional examples of this song are also showcased in this post for comparison purposes.

Click https://pancocojams.blogspot.com/2018/11/online-excerpts-about-early-history-of.html for Part I of this series. Part I presents several online excerpts about the early history of The Fisk Jubilee Singers.

Part III showcases a 1909 sound file of The Fisk Jubilee Singers' rendition of "O Lord, I've Done What You Told Me To Do" riot". Additional examples of this song are also showcased in this post for comparison purposes. Two versions of lyrics for this song are also included in this post.

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

All copyrights remain with their owners.

Thanks to the original Fisk Jubilee Singers for their musical legacy, and thanks to all those who are featured in YouTube examples that are embedded in this post. Thanks also to all those who are quoted in this post and thanks to the publishers of these YouTube examples.
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Visit YouTube to view contemporary videos of this choral group that is part of Fisk University, a private historically Black university in Nashville, Tennessee.

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INFORMATION ABOUT "SWING LOW, SWEET CHARIOT"
From https://en.wikipedia.org/wiki/Swing_Low,_Sweet_Chariot
""Swing Low, Sweet Chariot" is an African American* Spiritual. The earliest known recording was in 1909, by the Fisk Jubilee Singers of Fisk University.

In 2002, the Library of Congress honored the song as one of 50 recordings chosen that year to be added to the National Recording Registry. It was also included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts.

History
"Swing Low, Sweet Chariot" may have been written by Wallis Willis, a Choctaw freedman in the old Indian Territory in what is now Choctaw County, near the County seat of Hugo, Oklahoma sometime after 1865. He may have been[weasel words] inspired[citation needed] by the Red River, which reminded him of the Jordan River and of the Prophet Elijah's being taken to heaven by a chariot (2 Kings 2:11). Some sources[1][2] claim that this song and "Steal Away"[3] (also sung by Willis) had lyrics that referred to the Underground Railroad, the freedom movement that helped black people escape from Southern slavery to the North and Canada.

Alexander Reid, a minister at the Old Spencer Academy, a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Nashville, Tennessee. The Jubilee Singers popularized the songs during a tour of the United States and Europe.

The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists. Perhaps the most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival.

Oklahoma State Senator Judy Eason McIntyre from Tulsa proposed a bill nominating "Swing Low, Sweet Chariot" as the Oklahoma State official gospel song in 2011. The bill was co-sponsored by the Oklahoma State Black Congressional Caucus. Oklahoma Governor Mary Fallin signed the bill into law on May 5, 2011, at a ceremony at the Oklahoma Cowboy Hall of Fame; making the song the official Oklahoma State Gospel Song.[citation needed]

Traditional lyrics
Chorus:
Swing low, sweet chariot
Coming for to carry me home
Swing low, sweet chariot
Coming for to carry me home

I looked over Jordan, and what did I see?
(Coming for to carry me home)
A band of angels coming after me
(Coming for to carry me home)

Chorus:
If you get there before I do
(Coming for to carry me home)
Tell all of my friends, that I'm coming there too
(Coming for to carry me home)

Chorus (3×)"...
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*The Wikipedia page for this song [on November 6, 2018] refer to this song as an "American negro spiritual". I've changed that referent to "African American spiritual" because African American is the formal referent that has been most often used (since at least the early 1970s)most often for the population that was referred to as "American Negroes". Also, spelling "Negro" with a small "n" is generally considered (by African Americans and many others) to be highly offensive.

Also note that this is the only African American Spiritual that I know of which has an identified probable composer. To my knowledge, composers for all the other African American Spirituals are given as "unknown".
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Click https://en.wikipedia.org/wiki/Talk:Swing_Low,_Sweet_Chariot for a discussion of "Swing Low, Sweet Chariot".

A commenter posting to that page notes that 'Swing Low, Sweet Chariot' "refers to 2 Kings 2:1. (Prophet Elijah being taken up to heaven by a chariot)."

Also, commenters on that page discuss the custom of "Swing Low, Sweet Chariot" being sung by attendees of United Kingdom rugby games.

A pancocojams post about this custom will be published ASAP and its link will be added here.

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EXCERPT ABOUT THE FISK JUBILEE SINGERS' RECORDING OF "SWING LOW, SWEET CHARIOT"
From https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Swing%20Low%20article.pdf "Swing Low, Sweet Chariot”—The Fisk University
Jubilee Quartet (1909)"
Added to the National Registry: 2002
Essay by Toni P. Anderson (guest post)
"In December 1909, the Fisk University Jubilee Quartet, a male foursome carrying on the legacy of the original Fisk Jubilee Singers of the 1870s, entered the Victor Studios in Camden, New Jersey, to record 12 songs chosen from their concert repertory. Ten of the songs would
eventually be released on five different discs. Among the titles was “Swing Low, Sweet Chariot,” one of the best-known and beloved Negro spirituals now firmly established in the canon of American folksong. In just one or two takes per title, the Victor recording captured the
quartet’s rich blend and sophisticated performance style. These were the first recordings of the artistic, concert versions of spirituals associated with Fisk University and its accomplished musicians.

The unaccompanied recording of the quartet showcased the talent of four Fiskites: John Wesley Work II (1st tenor), James Andrew Myers (2nd tenor), Alfred Garfield King (1st bass), and Noah Ryder (2nd bass). By the time of the 1909 recording session, Fisk University had earned a
reputation as being the “music conservatory” for aspiring black artists, primarily due to the immense fame of the original Fisk Jubilee Singers, who toured in the interest of the university from 1871-1878. Known for their precise, tight harmony, emotional pathos, and refined stage deportment, the Jubilee Singers, under the direction of George L. White and Ella Sheppard, presented a cultivated version of the spiritual to audiences throughout America and Europe."

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SHOWCASE EXAMPLES
Example #1: Swing Low Sweet Chariot - Fisk Jubilee Singers (1909)



Nathaniel Jordon, Published on Dec 22, 2012

Swing Low Sweet Chariots earliest known recording is of the Fisk Jubilee Singers in 1909. The song is at least 103 years old, but it is still known by most people. Note- the huge church-like building you see as the third picture is the home of the Fisk Jubilee Singers.

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Example #2: Swing Low, Sweet Chariot" (1958)- The Caravans



JayEm86, Published on May 21, 2008

"Swing Low, Sweet Chariot", originally from the "Mary Don't You Weep" LP, with Albertina Walker and Shirley Caesar providing lead vocals. This is Shirley Caesar's first recording session with the Caravans, beginning a career that would launch her, as well as fellow Caravans Inez Andrews, Albertina Walker, and Delores Washington into some of the most successful and influential solo gospel artists of the past 50 years (1958-2008).

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Example #3: Dixie Hummingbirds ---Swing Low Sweet Chariot



nipsipone, Published on Jun 19, 2009

From A New York City Concert ---1991 ----Acapella--

Ira Tucker (lead vocals), William Bright (vocals), Carlton Lewis, III (vocals), Cornell Mcknight (bass vocals), Torrey Nettles (drums/vocals), Willie Coleman (bass guitar & vocals) and Lyndon Baines Jones (guitar & vocals).
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Notice that the Dixie Hummingbirds include part of the Gospel song "Swing Down, Chariot" (And Let Me Ride") in their rendition of "Swing Low, Sweet Chariot".

Click http://pancocojams.blogspot.com/2014/09/five-examples-of-swing-down-sweet.html for a pancocojams post on the song "Swing Down, Chariot".

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Example #4: PAUL ROBESON SWING LOW SWEET CHARIOT



sarastrone, Published on Oct 28, 2010

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This concludes Part II of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Online Excerpts About The Early History Of The Fisk Jubilee Singers

Edited by Azizi Powell

This is Part I of a three part pancocojams series about The Fisk Jubilee Singers.

Part I presents several online excerpts about the early history of The Fisk Jubilee Singers.


Part II presents information about "Swing Low Sweet Chariot" and provides the standard lyrics for this Spiritual.

This post also showcases a 1909 sound file of The Fisk Jubilee Singers' rendition of "Swing Low Sweet Chariot". Additional examples of this song are also showcased in this post for comparison purposes.

Part III showcases a 1909 sound file of The Fisk Jubilee Singers' rendition of "O Lord, I've Done What You Told Me To Do" riot". Additional examples of this song are also showcased in this post for comparison purposes. Two versions of lyrics for this song are also included in this post.

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

All copyrights remain with their owners.

Thanks to the original Fisk Jubilee Singers for their musical legacy, and thanks to all those who are quoted in this post.
-snip-
Visit YouTube to view contemporary videos of this choral group that is part of Fisk University, a private historically Black university in Nashville, Tennessee.

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EXCERPTS ABOUT THE FISK JUBILEE SINGERS
These excerpts are presented in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From https://en.wikipedia.org/wiki/Fisk_Jubilee_Singers
"The Fisk Jubilee Singers are an African-American a cappella ensemble, consisting of students at Fisk University. The first group was organized in 1871 to tour and raise funds for college. Their early repertoire consisted mostly of traditional spirituals, but included some Stephen Foster songs. The original group toured along the Underground Railroad path in the United States, as well as performing in England and Europe. Later 19th-century groups also toured in Europe.

In 2002 the Library of Congress honored their 1909 recording of "Swing Low, Sweet Chariot" by adding it in the United States National Recording Registry.[1] In 2008 they were awarded a National Medal of Arts.

History
The Singers were organized as a fundraising effort for Fisk University. The historically black college in Nashville, Tennessee, was founded by the American Missionary Association and local supporters after the end of the American Civil War to educate freedmen and other young African Americans. The five-year-old university was facing serious financial difficulty. To avert bankruptcy and closure, Fisk's treasurer and music director, George L. White, a white Northern missionary dedicated to music and proving African Americans were the intellectual equals of whites,[2] gathered a nine-member student chorus, consisting of four black men … and five black women …. to go on tour to earn money for the university. On October 6, 1871, the group of students, consisting of two quartets and a pianist, started their U.S. tour under White's direction.[3] They first performed in Cincinnati, Ohio. Over the next 18 months, the group toured through Ohio, Pennsylvania, New York, Connecticut, Rhode Island, New Jersey, Massachusetts, Maryland, and Washington, D.C.[4]

[...]

The group traveled on to Columbus, where lack of funding, poor hotel conditions, and overall mistreatment from the press and audiences left them feeling tired and discouraged.

The group and their pastor, Henry Bennett, prayed about whether to continue with the tour. White went off to pray as well; he believed that they needed a name to capture audience attention. The next morning, he met with the singers and said "Children, it shall be Jubilee Singers in memory of the Jewish year of Jubilee."[2] This was a reference to Jubilee described in the book of Leviticus in the Bible. Each fiftieth Pentecost was followed by a "year of jubilee" in which all slaves would be set free.[3] Since most of the students at Fisk University and their families were newly freed slaves,[5] the name "Jubilee Singers" seemed fitting.

The Jubilee Singers' performances were a departure from the familiar "black minstrel" genre of white musicians' performing in blackface. One early review of the group's performance was headlined "Negro Minstrelsy in Church--Novel Religious Exercise," while further reviews highlighted the fact that this group of Negro minstrels were, oddly enough, "genuine negroes."[6] "Those who have only heard the burnt cork caricatures of negro minstrelsy have not the slightest conception of what it really is," Doug Seroff quotes one review of a concert by the group as saying.[7] This was not a uniquely American response to the group's performance, but was typical in audience receptions in Europe as well: "From the first the Jubilee music was more or less of a puzzle to the critics; and even among those who sympathised with their mission there was no little difference of opinion as to the artistic merit of their entertainments. Some could not understand the reason for enjoying so thoroughly as almost everyone did these simple unpretending songs."[8]

As the tour continued, audiences came to appreciate the singers' voices, and the group began to be praised. The Jubilee Singers are credited with the early popularization of the Negro spiritual tradition among white and northern audiences in the late 19th century; many were previously unaware of its existence.[9] At first the slave songs were never sung in public, according to Ella Sheppard; "they were sacred to our parents, who used them in their religious worship and shouted over them...It was only after many months that gradually our hearts were opened to the influence of these friends and we began to appreciate the wonderful beauty and power of our songs.[10] After the rough start, the first United States tours eventually earned $40,000 for Fisk University.[4][11]

[...]

In a tour of Great Britain and Europe in 1873, the group, by then with 11 members, performed "Steal Away to Jesus" and "Go Down, Moses" for Queen Victoria in April. They returned the following year, they sailed to Europe again, touring from May 1875 to July 1878. This tour raised an estimated $150,000 for the university, funds used to construct Fisk's first permanent building.[5] Named Jubilee Hall, the building was designated a National Historic Landmark in 1975 and still stands.[3][9][12].

The original Jubilee Singers disbanded in 1878 because of their grueling touring schedule.

[...]

The Jubilee Singers' performances were a departure from the familiar "black minstrel" genre of white musicians' performing in blackface. One early review of the group's performance was headlined "Negro Minstrelsy in Church--Novel Religious Exercise," while further reviews highlighted the fact that this group of Negro minstrels were, oddly enough, "genuine negroes."[6] "Those who have only heard the burnt cork caricatures of negro minstrelsy have not the slightest conception of what it really is," Doug Seroff quotes one review of a concert by the group as saying.[7] This was not a uniquely American response to the group's performance, but was typical in audience receptions in Europe as well: "From the first the Jubilee music was more or less of a puzzle to the critics; and even among those who sympathised with their mission there was no little difference of opinion as to the artistic merit of their entertainments. Some could not understand the reason for enjoying so thoroughly as almost everyone did these simple unpretending songs."[8]

As the tour continued, audiences came to appreciate the singers' voices, and the group began to be praised. The Jubilee Singers are credited with the early popularization of the Negro spiritual tradition among white and northern audiences in the late 19th century; many were previously unaware of its existence.[9] At first the slave songs were never sung in public, according to Ella Sheppard; "they were sacred to our parents, who used them in their religious worship and shouted over them...It was only after many months that gradually our hearts were opened to the influence of these friends and we began to appreciate the wonderful beauty and power of our songs.[10] After the rough start, the first United States tours eventually earned $40,000 for Fisk University.[4][11]"...

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Excerpt #2:
From http://www.buckschoral.org/news-and-archives/resources/spiritual-history/chapter-5/ "A History of the African-American Spiritual: How the African-American Spiritual has maintained its integrity in the face of major social and musical challenges"
[Based on an article by Thomas Lloyd published in the August 2004 issue of the Choral Journal of the American Choral Directors Association; all rights reserved.]
..."Seen in this context*, it was quite startling for white audiences to see on stage a group of nine former slaves, dressed not in the tatters of Jim Crow or the slick-city outfits of Zip Coon, but in simple, dignified suits and gowns, performing the spiritual songs of the slaves with a restraint, control, and expressive intensity that would take the audience’s breath away.”...
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"This context" probably refers to "black-face minstrelsy" as that is the focus of chapter 4 in this buckschoral.org series. Here's a link to that chapter: http://www.buckschoral.org/news-and-archives/resources/spiritual-history/chapter-4/ "Countering the images of black-face minstrelsy".

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Excerpt #3:
From https://pages.stolaf.edu/americanmusic/tag/fisk-jubilee-singers/ "African American Spirituals in post-slavery, pre-civil rights movement, America"
Posted on October 3, 2017 by Isaiah Pressman
..."the Fisk Jubilee Singers brought a style of singing and harmony to the white world that had been previously unknown and, in the process, won international fame for their university. While the Fisk Jubilee Singers were by not means the only African American musical ensemble singing spirituals,3 they are the most famous and remembered example to this day."...

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This concludes Part I of this three part series.

Thanks for visiting pancocojams.

Visitor comments are welcome.