Edited by Azizi Powell
This is Part I of a three part series that showcases three examples out of a number of African American Spirituals that mention the angel Gabriel blowing his trumpet.
This post showcases lyrics to what may be the earliest version of "In That Great Gettin' Up Mornin'". This post also provides explanations of the meanings of "that great gettin[g] up morning" and "fare thee well". An explanation of the words "the moon a-bleeding" which is also included in this post. In addition, a video performance of a later version of "In That Great Gettin' Up Mornin'" is presented in the Addendum to this post.
Click http://pancocojams.blogspot.com/2014/08/ill-hear-that-trumpet-sound-lyrics-and.html for Part II of this series. Part II showcases the Spiritual "I'll Hear That Trumpet Sound".
Click http://pancocojams.blogspot.com/2014/08/spirituals-blow-gable-blow-blow-your.html for Part III of this series. Part III showcases the Spiritual "Blow Gable Blow" and the Spiritual "Blow Your Trumpet, Gabriel".
The content of this post is provided for historical, cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those unknown people who composed these songs and thanks to those who collected these songs. Thanks also to all those who are quoted in this post and thanks to the performers of this song and the publisher of this video on YouTube.
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INFORMATION ABOUT THE ANGEL GABRIEL AND HIS TRUMPET
From http://en.wikipedia.org/wiki/Gabriel
"In Abrahamic religions, Gabriel (Hebrew: Gaḇrîʼēl, God is my strength; Arabic: جبريل, Jibrīl or جبرائيل Jibrāʾīl) is an angel who typically serves as a messenger sent from God to certain people...
In the Bible, Gabriel is mentioned in both the Old and New Testaments...
The trope of Gabriel blowing a trumpet blast to indicate the Lord's return to Earth is especially familiar in Negro spirituals. However, though the Bible mentions a trumpet blast preceding the resurrection of the dead, it never specifies Gabriel as the trumpeter. Different passages say different things: the angels of the Son of Man (Matthew 24:31); the voice of the Son of God (John 5:25-29); God's trumpet (I Thessalonians 4:16); seven angels sounding a series of blasts (Revelation 8-11); or simply "a trumpet will sound" (I Corinthians 15:52)."...
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INFORMATION ABOUT THE ORIGINAL VERSION OF IN THAT GREAT GETTIN' UP MORNIN'
Here's information about the original version of the Spiritual entitled "In That Great Getting Up Mornin'":
"The Negro student who brought this spiritual to his instructors at Hampton University shortly after the civil war reported that he had heard it sung at one of the secret midnight meetings held by the slaves in the pre-war days. The student states “I have heard my uncle sing this hymn and he told me how it was made. It was made by an old slave who knew nothing about letters or figures. He could not count the number of rails he would split when his master tasked him with splitting 150 a day. But he tried to lead a Christian life and he dreamed of the Great Judgment, and told his fellow-servants about it, and then made a tune to it and sung it in his camp-meetings. -From Religious Folk Songs Of The Negro As Sung In Hampton Institute (Originally published in 1874)reprinted in Album: Hootenanny Tonight [1959 Folkways Record album No 2511; Notes on the record by Irwin Silber]
Recorded at two hootenannies in New York City in the Spring of 1959.
Side 1 Band 3; Sung by Leon Bibb with Laura Duncan, Betty Sanders, and Pete Seeger"
http://media.smithsonianfolkways.org/liner_notes/folkways/FW02511.pdf
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LYRICS: IN THAT GREAT GETTIN' UP MORNIN'
(African American Spiritual: composer unknown)
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
When you see the moon a’bleedin
Fare ye well, fare ye well
When you hear the rumblin’ thunder
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
Oh pick up your golden trumpet
Fare ye well, fare ye well
Oh blow you trumpet, Gabriel
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
Lord, how loud can I blow it?
Fare ye well, fare ye well
Blow it so the people will know it.
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
Blow one blast calm and easy
Fare ye well, fare ye well
To wake my people that are sleeping
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
In that great gettin' up mornin'
Fare ye well, fare ye well
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WHAT DOES "THAT GREAT GETTIN UP MORNING" MEAN IN THE SPIRITUAL WITH THAT NAME?
"That great getting up mornin[g]" is a Biblical reference [Revelations] to "Judgment Day", last day of earth, when Jesus comes back. According to Revelations, on Judgment day all the dead are raised up, and those who were formerly dead and those who are living are judged by God and go to heaven or hell depending on that judgment.
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WHAT DOES "FARE THEE WELL" MEAN IN THE SPIRITUAL "IN THAT GREAT GETTIN' UP MORNIN'"?
"Fare thee well" is an old fashioned way of saying "farewell" ("goodbye"). It means that you hope that good things happen to the person who is leaving. In the context of the Spiritual, "fare thee well" may just mean goodbye or it may also mean that the singer hopes that on judgment day she or he hopes that people will fare well , i.e. they will go to heaven instead of hell.
Another also archaic [18th or 19th century meaning of "fare thee well" is "to a fare-thee-well", meaning "a condition of utmost perfection". For example: "He played the part of the martyr to a fare-thee-well."
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WHAT DOES "THE MOON A'BLEEDING" MEAN IN THE SPIRITUAL "IN THAT GREAT GETTIN' UP MORNIN'"?
The first verse of the Spiritual "In That Great Gettin Up Mornin'" which a young Hampton Institute student shared with his instructors in 1874 contains a reference to "the moon a’bleedin". I wonder if that enslaved man who composed that song did so during the United States civil war purposely included that reference to the blood moon so that the song would refer to the last days of slavery as well as the last days of earth. Singing that song with that coded meaning would have helped those slaves endure the difficulties of their life knowing that a better day was coming.
Here's some information about the meaning of the blood moon:
From http://en.wikipedia.org/wiki/Blood_Moon_Prophecy "The idea of a "blood moon" serving as an omen of the coming of the end times comes from the Book of Joel, where it is written "the sun will turn into darkness, and the moon into blood, before the great and terrible day of the LORD comes."[1] This phrase is again mentioned by Saint Peter during Pentecost, as recorded in Acts.
As with most eclipses, the moon appeared red during the April 15 [2014] eclipse.[4][5] The red color is caused by Rayleigh scattering of sunlight through the Earth's atmosphere, the same effect that causes sunsets to appear red."
-snip-
http://en.wikipedia.org/wiki/Rayleigh_scattering "Rayleigh scattering (pronounced /ˈreɪli/ RAY-lee), named after the British physicist Lord Rayleigh,[1] is the (dominantly) elastic scattering of light or other electromagnetic radiation by particles much smaller than the wavelength of the light."
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ADDENDUM: BONUS VIDEO
GOSPEL - In that Great Gettin'up Morning - by London Adventist Chorale
tedMEDIA Published on Oct 29, 2012
-snip-
Although "In that Great Gettin' Up Mornin'" is considered to be a Spiritual. The term "Gospel" usually doesn't refer to religious songs until after the Civil War, and particularly in the beginning of the 20th century. However, Spirituals can be sung in the manner of Gospel songs. For example, it has become a common practice to sing a verse or verses of “In That Great Gettin' Up Morning “ with gospelized versions of the Spiritual "Ride On King Jesus". Click http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for an example of that song.
Also, here's a link to an arrangement of "In That Great Gettin' Up Morning" that is sung by Mahalia Jackson: http://www.metrolyrics.com/great-gettin-up-morning-lyrics-mahalia-jackson.html.
Notice that the editor of that page indicates that "In That Great Gettin' Up Morning" was written by Mahalia Jackson. While this version of that Spiritual may have been written by Mahalia Jackson, the earliest version of that song was collected in 1874 and its composer was an unknown enslaved African American man.
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Showing posts sorted by relevance for query fare thee well. Sort by date Show all posts
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Tuesday, August 12, 2014
Sunday, September 26, 2021
Information & Selected Comments About The 19th Century & 20th Century Bawdy Folk Character Deacon Jones (with lyrics)
Edited by Azizi Powell
This pancocojams post presents information and comments about the bawdy* African American folk character Deacon Jones. These comments are from the Mudcat folk music forum.
*"Bawdy" = "raunchy", "risque'", "indecent", "dirty"
The content of this post is presented for folkloric and entertainment purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post.
-snip-
Click https://pancocojams.blogspot.com/2021/09/louis-jordan-his-tympany-five-deacon.html for the closely related pancocojams post entitled "Louis Jordan & His Tympany Five -"Deacon Jones" (YouTube video & discussion thread comments)".
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SELECTED COMMENTS ABOUT DEACON JONES FROM MUDCAT FOLK MUSIC FORUM
From https://mudcat.org/thread.cfm?threadid=98843 Lyr Req: Deacon Jones
He is famously mentioned in "Alabama Jubilee," and called "The black sky-pilot of old Dixie Land" in Skidmore and Walker's 1917 "It Takes a Long Tall Brown Skin Gal to Make a Preacher Lay His Bible Down." But those songwriters were working off an earlier and much raunchier tradition.
The Mississippi Shieks have a verse:
Old Deacon Jones he was a preachin' king,
They caught him round the house tryin' to shake that thing."
But the Shieks couldn't have gotten away with putting the original "Deacon Jones" on a record. Making it hard now, of course, to reconstruct the song."
-GUEST,Bob Coltman, Date: 09 Feb 07
**
2. "About all I remember is one line from one of the 'acceptable' songs, "Alabama Jubilee" (American Memory), "You ought to see Deacon Jones when he rattles them bones."
Paul Laurence Dunbar, in his Lyrics of Lowly Life, 1896, included his "Deacon Jones Grievance." Everybody used to know Deacon Jones.
We seen to have lost much of the Deacon Jones repertoire. Nothing in Randolph-Legman, Cray, or Stag Lines."
-Q (Frank Staplin), Date: 09 Feb 07 - 02:10 PM
**
3. "Hello Q,
"Deacon Jones" seems to be on the same pattern as "Uncle Bud," though I can't put together any very helpful lines. On the sound sample referenced above, the best I can do sounds like:
DEACON JONES
[ My honey when he get the wall, ?? ]
Bet a hundred dollar he could f--k* 'em all,
Jack off the one and put the turn [?] to two, Cho
Got anywhere ... [ ? ] to him,
F--k* the devil any ... [ ? ] slim. Cho"
-GUEST,Bob Coltman, Date: 09 Feb 07
-snip-
*This word is fully spelled out in these lyrics.
**
4. "Though Louis Jourdan's estate apparently has a policy of not releasing his "Deacon Jones" lyrics -- perhaps because he made it as a successful mainstream R&B man and wanted to leave his less creditable songs behind him -- these lyrics do appear in an article about him, which calls it "some of his greatest ethnic performances."
They are, of course, cleaned up, and excerpted. Can anyone quote his version in its complete form?
DEACON JONES
As sung by Louis Jourdan (part only)
Who gets all the chicken breast
And leaves all the gizzards for the rest?
Deacon Jones, yes yes yes ...
And when a sister's feeling blue,
Who's always there to woo?
Deacon Jones, oh yeah ...
And before any of the church money is spent,
Who takes out his usual ten percent?
You guessed it ... Deacon Jones.
That at least gives you a notion what the general shape of it is. Bob
-GUEST,Bob Coltman, Date: 09 Feb 07
...5. "Meanwhile, I found a clip of Louis Jordan (correct this time; above I inadvertently spelled him like the French actor) doing the opening of his "Deacon Jones." This makes it clear that his version is recomposed as a pop song -- so beyond this, I think we can eliminate his version as of any interest to this thread. Still, for completeness' sake, and because it's fun, here is his take on the good(?) Deacon:
(Spoken) Good evening, brothers and sisters, I'm very sorry to announce that Deacon Jones will not be present at the services today. Had a slight accident. But he wants everybody to be happy -- because when you're happy, that's what counts. Brothers and sisters and sisterettes, Deacon Jones sends his deepest regrets --
(Sung)
To the members of the flock who are new around here,
There is something 'bout the Deacon that I want to make clear:
Who's honored and respected? (Band members:) Deacon Jones!
Who's SO unaffected? (all) Deacon Jones,
When the sinner's moanin' low,
Who will share his tale of woe,
(All:) Lordy Lord, hallelujah, Deacon Jones!
Who's so handsome and goodlookin'? Deacon Jones!
Who can smell a rooster cookin'? Deacon Jones!
Who gets all the chicken breast,
An' leaves the giblets for the rest?
(clip fades here)
--GUEST,Bob Coltman, Date: 10 Feb 07
6. "
DEACON JONES
As sung by Louis Jordan and His Tympany Five
Brothers an' sisters an' sisterettes,
Deacon Jones sends his deepest regrets.
To the members of the flock who are new around here,
There's somethin' 'bout the deacon that I want to make clear:
Who's honored an' respected? (Deacon Jones!)
Uh-huh, an' who's so kind an' unaffected? (Deacon Jones!)
Mm-hmm, an' when a sinner's moanin' low,
Who will listen to his tale of woe?
(Lordy, Lordy, hallelujah, Deacon Jones!)
Now, who's handsome an' good lookin'? (Deacon Jones!)
Mm-hmm, an' who is it that can smell a rooster cookin'? (Deacon Jones!)
Mm-hmm, an' who gets all the chicken breast,
An' leaves the giblets for the rest?
(Lordy, Lordy, hallelujah, Deacon Jones!)
CHORUS: Oh, Deacon Jones! (Deacon Jones!)
Oh, Deacon Jones! (Deacon Jones!)
Oh, Lordy, Lordy, hallelujah, Deacon Jones!
Oh, Deacon Jones! (Deacon Jones!)
Deacon Jones! (Deacon Jones!)
Oh, Lordy, Lordy, hallelujah, Deacon Jones!
Now, who is loved by all his neighbors? (Deacon Jones!)
Mm-hmm, an' who is it that will help you with your labors? (Deacon Jones!)
Uh-huh, he'll help you beat the rug,
An' also help you find a cider jug.
(Lordy, Lordy, hallelujah, Deacon Jones!)
Now, who's in charge of the contributions? (Deacon Jones!)
Mm-hmm, an' who attends to the distributions? (Deacon Jones!)
Mm-hmm, an' before any of the dough is spent,
Who is it that takes out his ten percent?
(Lordy, Lordy, hallelujah, Deacon Jones!)
CHORUS
Now, who attends the fraternal meetin's? (Deacon Jones!)
That's right, an' who extends all the hearty greetin's? (Deacon Jones!)
Mm-hmm, an' who's in charge of all the dues,
An' who's the only one with shoes?
(Lordy, Lordy, hallelujah, Deacon Jones!)
Now, who's the first to church on Sunday? (Deacon Jones!)
Mm-hmm, an' who's the last at work on Monday? (Deacon Jones!)
That's right, an' all the balance of the week,
Who is it that goes fishin' down the creek?
(Lordy, Lordy, hallelujah, Deacon Jones!)
CHORUS
- Jim Dixon, 30 May 11
**
7. "Oh, this is a fun one, Bob. Jim did a great job on the transcription, but I found an entirely different "Deacon Jones" recording on Spotify. It's a pretty good recording had trouble understanding part of it [especially the first verse about singin'], but I'll do what I can:
DEACON JONES
As sung by Louis Jordan (March 3, 1944)
[spoken] Fellas, I'm very sorry that Deacon Jones couldn't get here for this session, but he told me to tall all of youse guys to be happy; 'cause when you're happy, that's what counts.
Brothers an' sisters an' sisterettes,
Deacon Jones sends his deepest regrets.
To the members of the flock who are new around here,
There's somethin' 'bout the deacon that I want to make clear:
Now, who's good for sister's singin'? [???] (Deacon Jones!)
That's right, that's right, and who is it that will keep her phone a-ringin'? (Deacon Jones!)
And when she's left all alone at night,
Who is it that will make her see the light?
(Lordy, Lord, hallelujah, Deacon Jones!)
Now, who's loved by all the congregation? (Deacon Jones!)
Mm-hmm, an' who does the sisters come to for consolation? (Deacon Jones!)
Yes, and when a sister's feelin' blue,
Who is it that consoles her in her pew?
(Lordy, Lord, hallelujah, Deacon Jones!)
CHORUS:
Hey, Deacon Jones! (Deacon Jones!)
Oh, Deacon Jones! (Deacon Jones!)
Oh, Lordy, Lord, hallelujah, Deacon Jones!
Oh, Deacon Jones! (Deacon Jones!)
Deacon Jones! (Deacon Jones!)
Oh, Lordy, Lord, hallelujah, Deacon Jones!
Now, who's the country's greatest lover? (Deacon Jones!)
That's right, brother, and who is it that will make all other cats take cover? (Deacon Jones!)
Uh-huh, and when your gal is leavin' you,
Now, tell me, who is she goin' to?
(Lordy, Lord, hallelujah, Deacon Jones!)
Now, who does the sisters pray for? [???] (Deacon Jones!)
Mm-hmm, an' who does all the husbands' labor? (Deacon Jones!)
Mm-hmm, an' when a husband sets a trap,
Who is it that always beats the rap?
(Lordy, Lord, hallelujah, Deacon Jones!)
CHORUS
Album title: Complete Jazz Series, 1943-1945
Fun, but certainly a lot tamer than what Bob was looking for...
Jo Stafford sang this song with the Pied Pipers, but her version is very tame.-Joe Offer, 31 May 11
**
8. "That same album has another recording from October 4, 1943, that is half from Jim's version and half from the 1944 version I transcribed.
DEACON JONES
As sung by Louis Jordan (October 4, 1943)
[spoken] Good evening, brothers and sisters, I'm very sorry to announce that Deacon Jones will not be present at the service today. He had a slight accident, but he wants everybody to be to be happy; because when you're happy, that's what counts.
Brothers an' sisters an' sisterettes,
Deacon Jones sends his deepest regrets.
To the members of the flock who are new around here,
There's somethin' 'bout the deacon that I want to make clear:
Who's honored an' respected? (Deacon Jones!)
Now, who's so unaffected? (Deacon Jones!)
When a sinner's moanin' low,
Who will share his tale of woe?
(Lordy, Lord, hallelujah, Deacon Jones!)
Now, who's handsome an' good lookin'? (Deacon Jones!)
Mm-hmm, who can smell a rooster cookin'? (Deacon Jones!)
The good old deacon. Now, who gets all the chicken breast,
An' leaves the giblets for the rest?
(Lordy, Lord, hallelujah, Deacon Jones!)
CHORUS:
Deacon Jones! (Oh, Deacon Jones!)
Deacon Jones! (Oh, Deacon Jones!)
Lordy, Lord, hallelujah, Deacon Jones!
Now, who will keep a sister singin'? (Deacon Jones!)
Mm-hmm, who will also keep her phone a-ringin'? (Deacon Jones!)
Yes, yes. And when she's left all alone at night,
Who is it that will help her see the light?
(Lordy, Lord, hallelujah, Deacon Jones!)
Now, who's loved by all the congregation? (Deacon Jones!)
Yes, yes, brother. And who give them consolation? (Deacon Jones!)
Mm-hmm, when a sister's feelin' blue,
Who is it that consoles her in her pew?
(Lordy, Lord, hallelujah, Deacon Jones!)
CHORUS:
Deacon Jones! (Oh, Deacon Jones!)
Deacon Jones! (Oh, Deacon Jones!)
Lordy, Lord, hallelujah, Deacon Jones!
Now, who's the country's greatest lover? (Deacon Jones!)
Yes, yes, who makes all the other cats take cover? (Deacon Jones!)
Uh-huh, and when your gal is leavin' you,
Now, just tell me, who is she goin' to?
(Lordy, Lord, hallelujah, Deacon Jones!)
Now, who takes up all the contributions? (Deacon Jones!)
Yes, yes, an' who attends to the distributions? (Deacon Jones!)
An' before any of the dough is spent,
Who is it that takes out his ten percent?
(Lordy, Lord, hallelujah, Deacon Jones!)
CHORUS:
Deacon Jones! (Oh, Deacon Jones!)
Deacon Jones! (Oh, Deacon Jones!)
Lordy, Lord, hallelujah, Deacon Jones!
Deacon Jones! (Oh, Deacon Jones!)
Deacon Jones! (Oh, Deacon Jones!)
Lordy, Lord, hallelujah,
Lordy, Lord, hallelujah,
Lordy, Lord, hallelujah, Deacon Jones!
Album title: Complete Jazz Series, 1943-1945
-Joe Offer, 31 May 11
**
9. "FARE THEE WELL DEACON JONES
Gather round me, children, while I tell the news.
Hates to tell you 'bout it 'cause I gets the blues.
No one saw the thing that happened but my wife,
But you can bet she saw the deacon when he lost his life.
Fare thee well; Deacon Jones has passed away. (Fare thee well.)
Fare thee well; Deacon Jones has passed away. (Fare thee well.)
Elder Brown, go ring the bell.
Deacon Jones fell in the well.
Fare thee well; Deacon Jones has passed away. (Fare thee well.)
Go and tell Deacon Jones fell in the well (in the well).
Go and tell Deacon Jones fell in the well (in the well).
He was down there drinkin' juice
When the bucket it broke loose.
Fare thee well, Deacon Jones; fare thee well.
You will find Deacon Jones down in the well, in the well.
You will find Deacon Jones down in the well, in the well.
He fell in last night at nine
And his dice jumped in behind.
Fare thee well, Deacon Jones; fare thee well; fare thee well.
Listen, brother Sammy, did you bring your horn?
'Course you got to serenade us while we mourn.
Ev'rybody, bow your heads and start to pray.
Brother Sammy's gonna blow it till the judgment day.
We took the congregation, led 'em to the well,
Led 'em to to the spot where the deacon fell.
The deacon stuck his head from a tree up high,
Said, "I would 'a' been dead but the well was dry."
-Jim Dixon, 16 Feb 14
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Saturday, April 18, 2026
"Great Big House In New Orleans" Play Party Song (Videos, Information, And Lyrics)
Great Big House in New Orleans | Music Class Lessons
@mrkylesonthetrack, June 5, 2023
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Edited by Azizi Powell
Addendum #1 lists some folk songs that I believe are related to "Great Big House In New Orleans"
Addendum #2 to this post presents my thoughts about the significance of the lyrics "chicken pie" instead of "pumpkin pie" in the song "Great Big House In New Orleans".
The content of this post is presented for historical, folkloric, socio-cultural, and recreational and purposes.
All copyrights remain with their owners.
Thanks to the performers of this song, thanks to all those who are quoted in this post, and thanks to the publishers of these examples on YouTube.
-snip-
Some of the content of this pancocojams post was published in this 2014 post: ""Great Big House In New Orleans" (Play Party Song) Information, Lyrics, Origins"
https://pancocojams.blogspot.com/2014/02/videos-of-great-big-house-in-new.html. That post has seven comments (including my replies) as of April 18, 2026 and that 2014 post is still available on this pancocojams blog.
Click https://pancocojams.blogspot.com/2026/04/play-party-songs-general-information.html for a related pancocojams post. That post presents information and opinions about white default and color blindness as they are exemplified in American play party songs. That post also present information about the Black American contribution to play party songs. The song "Great Big House In New Orleans" is featured as an example of these points.
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INFORMATION ABOUT (UNITED STATES) "PLAY PARTY SONGS"
AI Overview (result of my April 18, 2026 question: What does "play party songs mean?)
"A play party song is a traditional American folk song used
for social gatherings featuring singing and dancing, popular from the mid-1800s
to 1930. These songs allowed young people to dance and socialize without
instruments, which were often banned by strict religious practices. They
functioned as a combination of music, dance, and choreographed games.
Origins: Originating in the 1830s, particularly in the Southern and Midwestern US, they were a "route around" religious bans on dancing to music.
Performance: No instruments were used; instead, songs were
accompanied by clapping and singing to guide movements.
Content: Many songs derived from British and European folk
games, often taking on the quality of structured children's games or dancing
games.
Modern Context: While the social events faded, they are still used by music educators to teach movement and song in classrooms."
****INFORMATION ABOUT THE PLAY PARTY SONG "GREAT BIG HOUSE IN NEW ORLEANS"
AI Overview #1 [This AI write-up is a result for my April 18, 2026 question "What is the oldest documentation of the play party song "Great Big House In New Orleans?"]
"Great Big House in New Orleans" is a traditional
American play-party song that originated and was commonly sung by settlers
during the 1850s onward. While rooted in 19th-century folk tradition, it was
frequently documented throughout the 20th century in collections of American
folk music, including recordings in the 1960s.
Origin: The song was popular during the 1850s as a play-party song—a form of sung game popular among pioneers.
Context: It is part of the African American folk tradition,
later commonly used in children's music education and, often in Kodály-based
curriculum, to teach musical elements.
Documentation: Variants of the song were recorded and
collected throughout the mid-20th century.
AI Overview #2- [This AI write-up is a result for my April 18, 2026 question "What is the African American influence on the play party song "Great Big House In New Orleans"
" "Great Big House in New Orleans" is a traditional
American folk song and play-party game rooted in African American musical
traditions, often featuring a pentatonic scale and rhythmic, interactive dance.
The song reflects the cultural landscape of 19th-century New Orleans,
frequently used in educational settings to teach folk music and rhythmic play.
Folk Song Context: It is frequently categorized as an
"American Play party" song or a traditional children's folk song.
Performance Structure: The song involves interactive,
call-and-response style performances where children (or performers) personalize
the lyrics—specifically the "filled with..." line—to include various
flavors like pumpkin pie, banana, or chocolate.
Cultural Roots: The song embodies the playful, rhythmic, and
communal music traditions of New Orleans, which were heavily influenced by the
cultural blending of African Americans.
African American Rhythms: It fits within the tradition of
rhythmic, educational music frequently associated with African American musical
contributions to folk culture in Louisiana.
While often sung in classrooms, it is related to the broader
history of African Americans in New Orleans, particularly the musical, festive
culture associated with social gatherings, which flourished in sites such as
Congo Square."
-snip-
It's interesting that this AI write up didn't include any mention of "chicken pie" in its sentence that the "filled with..." line—to include various flavors like pumpkin pie, banana, or chocolate."
This is especially note worthy since "chicken pie" is the type of pie that is given in the oldest documented lyrics for this song and "chicken pie" may be equated with African Americans more than the other flavors of pie that were mentiones.
As an aside, most of the contemporary examples of this song have the "pumpkin pie" referent I have also come across "apple pie" but haven't come across any "banana pie or "chocolate" pie. I also haven't come across any examples of sweet potato pie which is probably because those syllables don't fit the beat of this play party song.
However, it should be noted that pumpkin pie and sweet potato pie look very similar but don't taste the same. As an African American, I believe that we strongly prefer "sweet potato pie" to "pumpkin pie and generally consider sweet potato pie to be an African American dessert and pumpkin pie to be a White American dessert.
****
LYRICS AND PERFORMANCE INSTRUCTIONS: "GREAT BIG HOUSE IN NEW ORLEANS"
1. Great big house in New Orleans,
Forty stories high;Ev'ry room that I been in,
Filled with chicken pie.
2. Went down to the old mill stream,
To fetch a pail of water;
Put one arm around my wife,
The other 'round my daughter.
3. Fare thee well, my darling girl,
Fare thee well, my daughter;
Fare thee well, my darling girl,
With the golden slippers on her.
Movements:
1. First verse: students form a circle, holding hands, walk keeping a steady beat, then stop.
2. Went down to the old mill stream,
(every other student moves to the center, holding hands with arms below waist)
To fetch a pail of water;
(outside circle moves behind inner circle, placing arms over the shoulders of the inner circle and holds hands)
Put one arm around my wife,
(keeping hands held, outside circle raises arms to ceiling, bringing them down behind the back of the inner circle)
The other 'round my daughter.
(keeping hands held, inner circle rises arms to ceiling, bringing them down behind the backs of the outer circle)
3. Third verse: keeping arms around the outer circle, the whole circle walks to a steady beat.
Source: http://musicnotes.net/SONGS/04-GREATB.html
Origin: USA - Louisiana Play Song
-snip-
Other performance instructions are given with the videos below.
****
SHOWCASE VIDEOS
With the exception of Showcase Video #1, these examples are presented in chronological order based on their posting dates with the oldest dated examples given first.
Multiple versions of a song are presented to showcase some of the different ways this singing game is sung and played.
Showcase Video #2:G3 Great Big House in New Orleans
ESMusicISB, Sep 19, 2012
Watch as Ms. H's class sing and dance to the American folk song "Great Big House in New Orleans."
-snip-
Here's instructions for this singing game written by Anthony Meehl, 2014 from a video that is no longer available:
1st vs [verse]
march to beat around circle
2nd vs
#1's march to middle and join hands (went down to the old mill stream)
#2's march to middle and join hands over the top of #1's. (to fetch a pail of water)
#2's bring hands over the top (put one arm around my wife)
#1's bring hands over the top (the other round my daughter)
3rd vs
keep hands joined and slide feet to the beat around the circle. Hope this helps :)
****
Showcase Video #3: Great Big House In New Orleans
HelenIn Harmony, Published on Sep 9, 2013
Midwest Play-Party Singing Dance
Filmed November, 2010 - 3rd Grade
Great Big House in New Orleans
Forty stories high
Ev'ry room that I've been in
Filled with pumpkin pie.
Went down to the old mill stream
To fetch a pail of water
Put one arm around my wife
The other round my daughter
Fair thee well, my darling girl
Fair thee well, my daughter
Fair thee well, my darling girl...
With the golden slippers on her
****
Showcase Video #4: MUSIC TEACHER RESOURCES - Great Big House
Kate Fellin, Published on Oct 18, 2013
TEACHING TIPS: Students stand in a circle alternating between boys and girls. (We used lanyards to differentiate between the groups, which also works). Boys go in four steps and back out; girls go in four steps and back out. Boys go in four and hold hands, then girls go in four steps and hold hands in front of boys. Girls raise arms over the boys' heads and put them behind their backs, then boys raise their arms and put them behind the girls' backs. The interlocked circle moves clockwise (to the left) for eight counts, then they raise their arms and step back to their original positions. For a more advanced version (that we did), the outer circle moves clockwise one window so that they are standing next to a new person for the dance. The words are "Great Big House in New Orleans/Forty stories high/Every room that I've been in/Filled with pumpkin pie./Went down to the old mill stream/To fetch a pail of water./Put one arm around my wife/The other round my daughter./Fare thee well, my darlin' girl/Fare thee well, my daughter/Fare thee well, my darlin' girl/With golden slippers on her."
****
Showcase Video #5 - Tinder Great Big House game
SHOWCASE VIDEOS
With the exception of Showcase Video #1, these examples are presented in chronological order based on their posting dates with the oldest dated examples given first.
Multiple versions of a song are presented to showcase some of the different ways this singing game is sung and played.
Showcase Video #2:G3 Great Big House in New Orleans
ESMusicISB, Sep 19, 2012
Watch as Ms. H's class sing and dance to the American folk song "Great Big House in New Orleans."
-snip-
Here's instructions for this singing game written by Anthony Meehl, 2014 from a video that is no longer available:
1st vs [verse]
march to beat around circle
2nd vs
#1's march to middle and join hands (went down to the old mill stream)
#2's march to middle and join hands over the top of #1's. (to fetch a pail of water)
#2's bring hands over the top (put one arm around my wife)
#1's bring hands over the top (the other round my daughter)
3rd vs
keep hands joined and slide feet to the beat around the circle. Hope this helps :)
****
Showcase Video #3: Great Big House In New Orleans
HelenIn Harmony, Published on Sep 9, 2013
Midwest Play-Party Singing Dance
Filmed November, 2010 - 3rd Grade
Great Big House in New Orleans
Forty stories high
Ev'ry room that I've been in
Filled with pumpkin pie.
Went down to the old mill stream
To fetch a pail of water
Put one arm around my wife
The other round my daughter
Fair thee well, my darling girl
Fair thee well, my daughter
Fair thee well, my darling girl...
With the golden slippers on her
****
Showcase Video #4: MUSIC TEACHER RESOURCES - Great Big House
Kate Fellin, Published on Oct 18, 2013
TEACHING TIPS: Students stand in a circle alternating between boys and girls. (We used lanyards to differentiate between the groups, which also works). Boys go in four steps and back out; girls go in four steps and back out. Boys go in four and hold hands, then girls go in four steps and hold hands in front of boys. Girls raise arms over the boys' heads and put them behind their backs, then boys raise their arms and put them behind the girls' backs. The interlocked circle moves clockwise (to the left) for eight counts, then they raise their arms and step back to their original positions. For a more advanced version (that we did), the outer circle moves clockwise one window so that they are standing next to a new person for the dance. The words are "Great Big House in New Orleans/Forty stories high/Every room that I've been in/Filled with pumpkin pie./Went down to the old mill stream/To fetch a pail of water./Put one arm around my wife/The other round my daughter./Fare thee well, my darlin' girl/Fare thee well, my daughter/Fare thee well, my darlin' girl/With golden slippers on her."
****
Showcase Video #5 - Tinder Great Big House game
LincolnMusic185, Apr 14, 2016
****
Showcase Video #6-Great Big House-Younger Group
Showcase Video #7 - Ms. Amy's singing “Great Big House in New Orleans”
ADDENDUM #1 - SOME RELATED SONGS
The "Great Big House In New Orleans/forty stories high/filled with chicken pie" lines in the song "Great Big House In New Orleans" reminds me of the African American old time song "Riding In A Buggy Miss Mary Jane".
Sally got a house in Baltimo',
Baltimo', Baltimo'
Sally got a house in Baltimo'
And it's full of chicken pie.
I got a gal in Baltimo',
Baltimo', Baltimo'
I got a gal in Baltimo',
And she's sixteen stories high.
Click http://pancocojams.blogspot.com/2012/12/riding-in-buggy-miss-mary-jane-video.html for a post about that song.
"Great Big House's" verses also could serve as floaters for versions of "Li'l Liza Jane".
Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for a post about that song.
****
ADDENDUM #2 - WHAT "CHICKEN PIE" INSTEAD OF "PUMPKIN PIE" MIGHT SUGGEST IN BLACK AMERICAN ANTE-BELLUM SONGS
Click http://pancocojams.blogspot.com/2014/02/the-cultural-regional-racial.html for a post about the cultural, regional, and racial associations of sweet potato pie.
-snip-
It's also important to note that when chicken was available during slavery in the southern United States, it appears that it was served as a pie and not fried as is stereotypically attributed to Black Americans. Nowadays, "chicken pie" is most commonly known in the United States as "chicken pot pie".
****
This concludes Part I of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showcase Video #6-Great Big House-Younger Group
Kristine Schaeffer, Jun 11, 2019
****Showcase Video #7 - Ms. Amy's singing “Great Big House in New Orleans”
Morgan Co. R-1 School District
Feb 4, 2024
ADDENDUM #1 - SOME RELATED SONGS
The "Great Big House In New Orleans/forty stories high/filled with chicken pie" lines in the song "Great Big House In New Orleans" reminds me of the African American old time song "Riding In A Buggy Miss Mary Jane".
Sally got a house in Baltimo',
Baltimo', Baltimo'
Sally got a house in Baltimo'
And it's full of chicken pie.
I got a gal in Baltimo',
Baltimo', Baltimo'
I got a gal in Baltimo',
And she's sixteen stories high.
Click http://pancocojams.blogspot.com/2012/12/riding-in-buggy-miss-mary-jane-video.html for a post about that song.
"Great Big House's" verses also could serve as floaters for versions of "Li'l Liza Jane".
Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for a post about that song.
****
ADDENDUM #2 - WHAT "CHICKEN PIE" INSTEAD OF "PUMPKIN PIE" MIGHT SUGGEST IN BLACK AMERICAN ANTE-BELLUM SONGS
Unlike the song "Li'l Liza Jane" ("Little Liza Jane") and many other folk songs, with one interesting exception*, all the lyrics to online versions of "Great Big House In New Orleans" are the same. I'm not sure if this is because each of these websites used the same source or not. I would be very surprised to learn that there weren't any variant forms of this song when it was a naturally occurring part of children's and youth's social play and not as it is taught to students in school as is done nowadays.
*The exception to the lyrics is the substitution of "pumpkin pie" for "chicken pie", giving the lyrics "Ev'ry room that I been in/Filled with chicken pie."
The "chicken pie"* lyric is important because among 19th century African Americans, chicken was considered a luxury. As such, the reference in the song "Great Big House In New Orleans" to the each room of a forty story high house being filled with chicken pie is a grandiose image that reflects more than the singer's desire for comfort and good living. In that song, to fantasize about chicken pie is important because the singer might have experienced a number of days without adequate food.
Chicken pie would have satisfied the hunger of the enslaved people singing that song much more than a dessert would, particularly a dessert that he or she might not have been that familiar with. The change in the lyrics of this song from "chicken pie to pumpkin pie" might still have cultural implications in the 21st century United States as it appears from online discussions (and from my experience) that pumpkin pie isn't a dessert that African Americans are familiar with. My sense is that we African Americans prefer the similar dessert of sweet potato pie - a dessert which many White Americans apparently aren't that familiar with.
*The exception to the lyrics is the substitution of "pumpkin pie" for "chicken pie", giving the lyrics "Ev'ry room that I been in/Filled with chicken pie."
The "chicken pie"* lyric is important because among 19th century African Americans, chicken was considered a luxury. As such, the reference in the song "Great Big House In New Orleans" to the each room of a forty story high house being filled with chicken pie is a grandiose image that reflects more than the singer's desire for comfort and good living. In that song, to fantasize about chicken pie is important because the singer might have experienced a number of days without adequate food.
Chicken pie would have satisfied the hunger of the enslaved people singing that song much more than a dessert would, particularly a dessert that he or she might not have been that familiar with. The change in the lyrics of this song from "chicken pie to pumpkin pie" might still have cultural implications in the 21st century United States as it appears from online discussions (and from my experience) that pumpkin pie isn't a dessert that African Americans are familiar with. My sense is that we African Americans prefer the similar dessert of sweet potato pie - a dessert which many White Americans apparently aren't that familiar with.
Click http://pancocojams.blogspot.com/2014/02/the-cultural-regional-racial.html for a post about the cultural, regional, and racial associations of sweet potato pie.
-snip-
It's also important to note that when chicken was available during slavery in the southern United States, it appears that it was served as a pie and not fried as is stereotypically attributed to Black Americans. Nowadays, "chicken pie" is most commonly known in the United States as "chicken pot pie".
****
This concludes Part I of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, February 25, 2014
"Great Big House In New Orleans" (Play Party Song) Information, Lyrics, Origins
Edited by Azizi Powell
Latest Update: April 18, 2026
This pancocojams post showcases three YouTube videos of the play party song "Great Big House In New Orleans" (also known as "Great Big House").
People may think that they are being "color-blind" by not mentioning race (when they are teaching children folk songs and at other times). However, by not mentioning race they are actually reinforcing the viewpoint that only White people are responsible for accomplishments. This is because both online and offline "White" is the default race (just as "male" is the default gender). When no race is mentioned for an individual (unless the discussion is about some criminal act or something that is stereotypically considered to be the purview of a particular race/ethnicity), people automatically assume that that person is White (just as people automatically assume that people posting online are male).
Regardless of their race or ethnicity, children shouldn't be led to believe that White people were the only composers of play party songs or other folk songs.
-snip-
Added July 21, 2023:
One way that American play party songs and other American folk songs may be mislabeled as being White play party songs and/or White folk songs (only) and not Black or another American race/ethnic group is the inclusion of a topical referent as simple as "pumpkin pie" instead of "chicken pie".
Most online examples of the play party song "Great Big House In New Orleans", the lyrics refer to "every room that I been in/filled with pumpkin pie."
"Pumpkin pie" is largely a dessert that White Americans are familiar with while Black Americans are much more familiar with the similar looking, but different tasting "sweet potato pie". Click https://www.cincinnati.com/story/entertainment/2022/11/24/pumpkin-vs-sweet-potato-pie-thanksgiving-debate/69626826007/ for the 2022 article entitled "Pumpkin vs. sweet potato pie: The epic battle of the Thanksgiving desserts" by Haadiza Ogwude . Here's one quote from that article:
Read the Addendum to this post about the possible meaning/s of "chicken pie" in pre-Civil war Black American songs.
****
LYRICS AND PERFORMANCE INSTRUCTIONS: "GREAT BIG HOUSE IN NEW ORLEANS"
1. Great big house in New Orleans,
Forty stories high;
Ev'ry room that I been in,
Filled with chicken pie.
2. Went down to the old mill stream,
To fetch a pail of water;
Put one arm around my wife,
The other 'round my daughter.
3. Fare thee well, my darling girl,
Fare thee well, my daughter;
Fare thee well, my darling girl,
With the golden slippers on her.
Movements:
1. First verse: students form a circle, holding hands, walk keeping a steady beat, then stop.
2. Went down to the old mill stream,
(every other student moves to the center, holding hands with arms below waist)
To fetch a pail of water;
(outside circle moves behind inner circle, placing arms over the shoulders of the inner circle and holds hands)
Put one arm around my wife,
(keeping hands held, outside circle raises arms to ceiling, bringing them down behind the back of the inner circle)
The other 'round my daughter.
(keeping hands held, inner circle rises arms to ceiling, bringing them down behind the backs of the outer circle)
3. Third verse: keeping arms around the outer circle, the whole circle walks to a steady beat.
Source: http://musicnotes.net/SONGS/04-GREATB.html
Origin: USA - Louisiana Play Song
-snip-
Other performance instructions are given with the videos below.
Latest Update: April 18, 2026
This pancocojams post showcases three YouTube videos of the play party song "Great Big House In New Orleans" (also known as "Great Big House").
This post also includes general information about play party songs and lyrics & performance directions for "Great Big House In New Orleans".
My comments about the probable African American origin of this play party song are also included in this post.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song. Thanks to the performers of this song who are featured in these showcases videos. Thanks also to all those who are quoted in this post, and thanks to the publishers of these examples on YouTube.
****
INFORMATION ABOUT PLAY PARTY SONGS
"Play party songs" is a reference for 19th century American group movement songs that took the place of dancing at social events since dancing was prohibited in those communities. Those movement songs had no instrumental music and touching another person while playing those "singing games" was greatly regimented.
Online articles about play party songs routinely refer to the European sources of those songs and routinely omit any acknowledgement that a number of play party songs are of African American origin or have had African American influences. For example, the album notes to "American Play Parties" by Pete Seeger, Mika Seeger, and Rev. Larry Eisenberg FW07604 provides this description of play party songs:
"To evade the religious prohibition against dancing in certain American communities, young people in the 19th century devised an ingenious solution—they adapted children’s games, which were permitted. The result was so-called play parties. Participants sang creative songs to cue movements, and the events were great “mixers.” The only element lacking was instrumental music." http://www.folkways.si.edu/TrackDetails.aspx?itemid=19300 [This website is no longer available.]
The author of that album's notes wrote that "Anglo-American" as the cultural group that is the source of the play party songs which are found on that album.
However, I believe that at least three songs of the fourteen songs that are included on that album are of African American origin: "Shake Them 'Simmons Down", "Goodbye Liza Jane", and "Great Big House in New Orleans". Other songs on that album may also be of African American origin or those versions of the song may have been African American influenced. Yet no one reading those album notes would know that.
****
MY STATEMENT ABOUT THE PROBLEM WITH CATEGORIZING PLAY PARTY SONGS AND OTHER FOLK SONGS AS WHITE AMERICAN ORIGIN WHEN THOSE SONGS MIGHT BE OF AFRICAN AMERICAN ORIGIN OR OF CROSS RACIAL ORIGINS
For the sake of historical documentation, and for psychological reasons, I strongly believe that it's important to acknowledge that African Americans also contributed to America's play party repertoire Providing the information that some American folk songs are of African American origin helps build and reinforce group esteem in a population that is still being maligned and a population that is still experiencing the effects and consequences of personal racism and of institutional racism.
By "folk songs/play party that have cross racial origins" I mean those compositions that may have been influenced by both Black and White (and/or other) cultures perhaps being shared back and forth among those cultures to the extent that it is impossible to determine which racial/ethnic group was their first or the most prominent source.
My comments about the probable African American origin of this play party song are also included in this post.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song. Thanks to the performers of this song who are featured in these showcases videos. Thanks also to all those who are quoted in this post, and thanks to the publishers of these examples on YouTube.
****
INFORMATION ABOUT PLAY PARTY SONGS
"Play party songs" is a reference for 19th century American group movement songs that took the place of dancing at social events since dancing was prohibited in those communities. Those movement songs had no instrumental music and touching another person while playing those "singing games" was greatly regimented.
Online articles about play party songs routinely refer to the European sources of those songs and routinely omit any acknowledgement that a number of play party songs are of African American origin or have had African American influences. For example, the album notes to "American Play Parties" by Pete Seeger, Mika Seeger, and Rev. Larry Eisenberg FW07604 provides this description of play party songs:
"To evade the religious prohibition against dancing in certain American communities, young people in the 19th century devised an ingenious solution—they adapted children’s games, which were permitted. The result was so-called play parties. Participants sang creative songs to cue movements, and the events were great “mixers.” The only element lacking was instrumental music." http://www.folkways.si.edu/TrackDetails.aspx?itemid=19300 [This website is no longer available.]
The author of that album's notes wrote that "Anglo-American" as the cultural group that is the source of the play party songs which are found on that album.
However, I believe that at least three songs of the fourteen songs that are included on that album are of African American origin: "Shake Them 'Simmons Down", "Goodbye Liza Jane", and "Great Big House in New Orleans". Other songs on that album may also be of African American origin or those versions of the song may have been African American influenced. Yet no one reading those album notes would know that.
****
MY STATEMENT ABOUT THE PROBLEM WITH CATEGORIZING PLAY PARTY SONGS AND OTHER FOLK SONGS AS WHITE AMERICAN ORIGIN WHEN THOSE SONGS MIGHT BE OF AFRICAN AMERICAN ORIGIN OR OF CROSS RACIAL ORIGINS
For the sake of historical documentation, and for psychological reasons, I strongly believe that it's important to acknowledge that African Americans also contributed to America's play party repertoire Providing the information that some American folk songs are of African American origin helps build and reinforce group esteem in a population that is still being maligned and a population that is still experiencing the effects and consequences of personal racism and of institutional racism.
By "folk songs/play party that have cross racial origins" I mean those compositions that may have been influenced by both Black and White (and/or other) cultures perhaps being shared back and forth among those cultures to the extent that it is impossible to determine which racial/ethnic group was their first or the most prominent source.
People may think that they are being "color-blind" by not mentioning race (when they are teaching children folk songs and at other times). However, by not mentioning race they are actually reinforcing the viewpoint that only White people are responsible for accomplishments. This is because both online and offline "White" is the default race (just as "male" is the default gender). When no race is mentioned for an individual (unless the discussion is about some criminal act or something that is stereotypically considered to be the purview of a particular race/ethnicity), people automatically assume that that person is White (just as people automatically assume that people posting online are male).
Regardless of their race or ethnicity, children shouldn't be led to believe that White people were the only composers of play party songs or other folk songs.
-snip-
Added July 21, 2023:
One way that American play party songs and other American folk songs may be mislabeled as being White play party songs and/or White folk songs (only) and not Black or another American race/ethnic group is the inclusion of a topical referent as simple as "pumpkin pie" instead of "chicken pie".
Most online examples of the play party song "Great Big House In New Orleans", the lyrics refer to "every room that I been in/filled with pumpkin pie."
"Pumpkin pie" is largely a dessert that White Americans are familiar with while Black Americans are much more familiar with the similar looking, but different tasting "sweet potato pie". Click https://www.cincinnati.com/story/entertainment/2022/11/24/pumpkin-vs-sweet-potato-pie-thanksgiving-debate/69626826007/ for the 2022 article entitled "Pumpkin vs. sweet potato pie: The epic battle of the Thanksgiving desserts" by Haadiza Ogwude . Here's one quote from that article:
"people, predominantly in the Northeast, and sweet potato pie
is eaten by Black people, mainly in the South. But that would be an
oversimplification of the complex history of two iconic American desserts.
[…]
Black and white southern cooks implemented sweet potatoes
into their culinary repertoire because they were easier to grow than pumpkins
due to the warmer climate of the region. In turn, cooks from the North
preferred to use the more accessible gourds.
Because many enslaved Africans did not have access to
pumpkins or the yams they were used to, they improvised with sweet potatoes and
were able to create new recipes reminiscent of home. Now this innovation has
become a staple of Black American culture."..
-end of quote-.
Here's another article that notes the regional divide and often the racial divide in the United States between pumpkin pie and sweet potato pie".
https://www.csmonitor.com/The-Culture/2022/1122/What-s-in-a-pie-History-culture-and-a-taste-of-home
What’s in a pie? History, culture, and a taste of home.
By Kendra Nordin Beato, November 22, 2022
"If you grew up in the northern United States, it’s likely
you associate pumpkin pie with Thanksgiving. But travel south of the
Mason-Dixon Line, and another orange-colored pie reigns supreme on the holiday
table – sweet potato pie.
Historically, pumpkins don’t grow well in the Southern heat. But that’s not the only reason for the absence of pumpkin pie. Thanksgiving was originally perceived as a holiday forced on the South by the victorious North after the Civil War. The arrival of pumpkins was just another pie in the face.
There’s more to the story. Sweet potatoes are also central
to Black Southern cuisine; they’re tied up in the history of the slave trade,
the yam, and plantation cooks. “…
-end of quote-
Read the Addendum to this post about the possible meaning/s of "chicken pie" in pre-Civil war Black American songs.
****
LYRICS AND PERFORMANCE INSTRUCTIONS: "GREAT BIG HOUSE IN NEW ORLEANS"
1. Great big house in New Orleans,
Forty stories high;
Ev'ry room that I been in,
Filled with chicken pie.
2. Went down to the old mill stream,
To fetch a pail of water;
Put one arm around my wife,
The other 'round my daughter.
3. Fare thee well, my darling girl,
Fare thee well, my daughter;
Fare thee well, my darling girl,
With the golden slippers on her.
Movements:
1. First verse: students form a circle, holding hands, walk keeping a steady beat, then stop.
2. Went down to the old mill stream,
(every other student moves to the center, holding hands with arms below waist)
To fetch a pail of water;
(outside circle moves behind inner circle, placing arms over the shoulders of the inner circle and holds hands)
Put one arm around my wife,
(keeping hands held, outside circle raises arms to ceiling, bringing them down behind the back of the inner circle)
The other 'round my daughter.
(keeping hands held, inner circle rises arms to ceiling, bringing them down behind the backs of the outer circle)
3. Third verse: keeping arms around the outer circle, the whole circle walks to a steady beat.
Source: http://musicnotes.net/SONGS/04-GREATB.html
Origin: USA - Louisiana Play Song
-snip-
Other performance instructions are given with the videos below.
****
FEATURED EXAMPLES
These examples are presented in chronological order based on their posting dates with the oldest dated examples given first.
Multiple versions of a song are presented to showcase some of the different ways this singing game is sung and played.
Example #1:G3 Great Big House in New Orleans
ESMusicISB, Sep 19, 2012
Watch as Ms. H's class sing and dance to the American folk song "Great Big House in New Orleans."
-snip-
Here's instructions for this singing game written by Anthony Meehl, 2014 from a video that is no longer available:
1st vs [verse]
march to beat around circle
2nd vs
#1's march to middle and join hands (went down to the old mill stream)
#2's march to middle and join hands over the top of #1's. (to fetch a pail of water)
#2's bring hands over the top (put one arm around my wife)
#1's bring hands over the top (the other round my daughter)
3rd vs
keep hands joined and slide feet to the beat around the circle. Hope this helps :)
****
Example #2: Great Big House In New Orleans
HelenIn Harmony, Published on Sep 9, 2013
Midwest Play-Party Singing Dance
Filmed November, 2010 - 3rd Grade
Great Big House in New Orleans
Forty stories high
Ev'ry room that I've been in
Filled with pumpkin pie.
Went down to the old mill stream
To fetch a pail of water
Put one arm around my wife
The other round my daughter
Fair thee well, my darling girl
Fair thee well, my daughter
Fair thee well, my darling girl...
With the golden slippers on her
****
Example #3: MUSIC TEACHER RESOURCES - Great Big House
Kate Fellin, Published on Oct 18, 2013
TEACHING TIPS: Students stand in a circle alternating between boys and girls. (We used lanyards to differentiate between the groups, which also works). Boys go in four steps and back out; girls go in four steps and back out. Boys go in four and hold hands, then girls go in four steps and hold hands in front of boys. Girls raise arms over the boys' heads and put them behind their backs, then boys raise their arms and put them behind the girls' backs. The interlocked circle moves clockwise (to the left) for eight counts, then they raise their arms and step back to their original positions. For a more advanced version (that we did), the outer circle moves clockwise one window so that they are standing next to a new person for the dance. The words are "Great Big House in New Orleans/Forty stories high/Every room that I've been in/Filled with pumpkin pie./Went down to the old mill stream/To fetch a pail of water./Put one arm around my wife/The other round my daughter./Fare thee well, my darlin' girl/Fare thee well, my daughter/Fare thee well, my darlin' girl/With golden slippers on her."
****
RELATED SONGS
The "house in New Orleans/forty stories high/filled with chicken pie" lines in the song "Great Big House In New Orleans" reminds me of the African American old time song "Riding In A Buggy Miss Mary Jane".
Sally got a house in Baltimo',
Baltimo', Baltimo'
Sally got a house in Baltimo'
And it's full of chicken pie.
I got a gal in Baltimo',
Baltimo', Baltimo'
I got a gal in Baltimo',
And she's sixteen stories high.
Click http://pancocojams.blogspot.com/2012/12/riding-in-buggy-miss-mary-jane-video.html for a post about that song.
"Great Big House's" verses also could serve as floaters for versions of "Li'l Liza Jane".
Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for a post about that song.
****
ADDENDUM - WHAT "CHICKEN PIE" INSTEAD OF "PUMPKIN PIE" MIGHT SUGGEST IN BLACK AMERICAN ANTE-BELLUM SONGS
Click http://pancocojams.blogspot.com/2014/02/the-cultural-regional-racial.html for a post about the cultural, regional, and racial associations of sweet potato pie.
-snip-
It's also important to note that when chicken was available during slavery in the southern United States, it appears that it was served as a pie and not fried as is stereotypically attributed to Black Americans. Nowadays, "chicken pie" is most commonly known in the United States as "chicken pot pie".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
FEATURED EXAMPLES
These examples are presented in chronological order based on their posting dates with the oldest dated examples given first.
Multiple versions of a song are presented to showcase some of the different ways this singing game is sung and played.
Example #1:G3 Great Big House in New Orleans
ESMusicISB, Sep 19, 2012
Watch as Ms. H's class sing and dance to the American folk song "Great Big House in New Orleans."
-snip-
Here's instructions for this singing game written by Anthony Meehl, 2014 from a video that is no longer available:
1st vs [verse]
march to beat around circle
2nd vs
#1's march to middle and join hands (went down to the old mill stream)
#2's march to middle and join hands over the top of #1's. (to fetch a pail of water)
#2's bring hands over the top (put one arm around my wife)
#1's bring hands over the top (the other round my daughter)
3rd vs
keep hands joined and slide feet to the beat around the circle. Hope this helps :)
****
Example #2: Great Big House In New Orleans
HelenIn Harmony, Published on Sep 9, 2013
Midwest Play-Party Singing Dance
Filmed November, 2010 - 3rd Grade
Great Big House in New Orleans
Forty stories high
Ev'ry room that I've been in
Filled with pumpkin pie.
Went down to the old mill stream
To fetch a pail of water
Put one arm around my wife
The other round my daughter
Fair thee well, my darling girl
Fair thee well, my daughter
Fair thee well, my darling girl...
With the golden slippers on her
****
Example #3: MUSIC TEACHER RESOURCES - Great Big House
Kate Fellin, Published on Oct 18, 2013
TEACHING TIPS: Students stand in a circle alternating between boys and girls. (We used lanyards to differentiate between the groups, which also works). Boys go in four steps and back out; girls go in four steps and back out. Boys go in four and hold hands, then girls go in four steps and hold hands in front of boys. Girls raise arms over the boys' heads and put them behind their backs, then boys raise their arms and put them behind the girls' backs. The interlocked circle moves clockwise (to the left) for eight counts, then they raise their arms and step back to their original positions. For a more advanced version (that we did), the outer circle moves clockwise one window so that they are standing next to a new person for the dance. The words are "Great Big House in New Orleans/Forty stories high/Every room that I've been in/Filled with pumpkin pie./Went down to the old mill stream/To fetch a pail of water./Put one arm around my wife/The other round my daughter./Fare thee well, my darlin' girl/Fare thee well, my daughter/Fare thee well, my darlin' girl/With golden slippers on her."
****
RELATED SONGS
The "house in New Orleans/forty stories high/filled with chicken pie" lines in the song "Great Big House In New Orleans" reminds me of the African American old time song "Riding In A Buggy Miss Mary Jane".
Sally got a house in Baltimo',
Baltimo', Baltimo'
Sally got a house in Baltimo'
And it's full of chicken pie.
I got a gal in Baltimo',
Baltimo', Baltimo'
I got a gal in Baltimo',
And she's sixteen stories high.
Click http://pancocojams.blogspot.com/2012/12/riding-in-buggy-miss-mary-jane-video.html for a post about that song.
"Great Big House's" verses also could serve as floaters for versions of "Li'l Liza Jane".
Click http://pancocojams.blogspot.com/2014/02/five-examples-of-song-lyrics-for-lil.html for a post about that song.
****
ADDENDUM - WHAT "CHICKEN PIE" INSTEAD OF "PUMPKIN PIE" MIGHT SUGGEST IN BLACK AMERICAN ANTE-BELLUM SONGS
Unlike the song "Li'l Liza Jane" ("Little Liza Jane") and many other folk songs, with one interesting exception*, all the lyrics to online versions of "Great Big House In New Orleans" are the same. I'm not sure if this is because each of these websites used the same source or not. I would be very surprised to learn that there weren't any variant forms of this song when it was a naturally occurring part of children's and youth's social play and not as it is taught to students in school as is done nowadays.
*The exception to the lyrics is the substitution of "pumpkin pie" for "chicken pie", giving the lyrics "Ev'ry room that I been in/Filled with chicken pie."
The "chicken pie"* lyric is important because among 19th century African Americans, chicken was considered a luxury. As such, the reference in the song "Great Big House In New Orleans" to the each room of a forty story high house being filled with chicken pie is a grandiose image that reflects more than the singer's desire for comfort and good living. In that song, to fantasize about chicken pie is important because the singer might have experienced a number of days without adequate food.
Chicken pie would have satisfied the hunger of the enslaved people singing that song much more than a dessert would, particularly a dessert that he or she might not have been that familiar with. The change in the lyrics of this song from "chicken pie to pumpkin pie" might still have cultural implications in the 21st century United States as it appears from online discussions (and from my experience) that pumpkin pie isn't a dessert that African Americans are familiar with. My sense is that we African Americans prefer the similar dessert of sweet potato pie - a dessert which many White Americans apparently aren't that familiar with.
*The exception to the lyrics is the substitution of "pumpkin pie" for "chicken pie", giving the lyrics "Ev'ry room that I been in/Filled with chicken pie."
The "chicken pie"* lyric is important because among 19th century African Americans, chicken was considered a luxury. As such, the reference in the song "Great Big House In New Orleans" to the each room of a forty story high house being filled with chicken pie is a grandiose image that reflects more than the singer's desire for comfort and good living. In that song, to fantasize about chicken pie is important because the singer might have experienced a number of days without adequate food.
Chicken pie would have satisfied the hunger of the enslaved people singing that song much more than a dessert would, particularly a dessert that he or she might not have been that familiar with. The change in the lyrics of this song from "chicken pie to pumpkin pie" might still have cultural implications in the 21st century United States as it appears from online discussions (and from my experience) that pumpkin pie isn't a dessert that African Americans are familiar with. My sense is that we African Americans prefer the similar dessert of sweet potato pie - a dessert which many White Americans apparently aren't that familiar with.
Click http://pancocojams.blogspot.com/2014/02/the-cultural-regional-racial.html for a post about the cultural, regional, and racial associations of sweet potato pie.
-snip-
It's also important to note that when chicken was available during slavery in the southern United States, it appears that it was served as a pie and not fried as is stereotypically attributed to Black Americans. Nowadays, "chicken pie" is most commonly known in the United States as "chicken pot pie".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Sunday, June 8, 2014
African American Choir Directing Styles In Arrangements Of "Ride On King Jesus"
Edited by Azizi Powell
This post provides five examples of the African American Spiritual "Ride On King Jesus" with a special focus on the differences between the styles of the choir directors and the different arrangements of the renditions.
Click http://pancocojams.blogspot.com/2014/06/two-examples-of-ride-on-king-jesus-ride.html for two examples of "Ride On King Jesus" (with the second line "Ride On King Emmanuel").
Also, click http://pancocojams.blogspot.com/2014/06/five-additional-ride-on-king-jesus.html for historical versions of this Spiritual.
The content of this post is provided for religious, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks also to all of the choir directors, vocalists, and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos.
****
FEATURED EXAMPLES
In my opinion, arrangements of "Ride On King Jesus" with the combination of lyrics from the Spiritual "In That Great Gettin' Up Morning (perhaps also with perhaps lyrics from other Spirituals) are examples of what I call "Gospeled Spirituals". I define "Gospeled Spirituals" as African American Spirituals that are performed in a Gospel style. I'm not sure when these particular arrangements were first performed, but I think that it was probably in the 1980s.
These examples are presented in chronological order based on their posting date on YouTube, with the oldest examples given first.
Example #1: In HIS Presence Gospel Choir - "Ride On King Jesus"
myfleshdiesdaily Uploaded on May 6, 2007
One of our or should I say the crowds favorites. We originally got this from Stoneybrook but we rock it. Harder? Well, you be tha judge lol...sing yall!!!
-snip-
Here's the beginning lyrics:
Lyrics:
Ride on King Jesus
No man can-a hinder Thee*
Ride on King Jesus
No man can-a hinder Thee (repeat multiple times)
-snip-
This line may be "No man can-a hinder me".
"No man can-a hinder Thee" means "No man (no one) can stop You (meaning "Jesus").
"No man can-a hinder me" means "No man (no one can stop me (from following Jesus).
I've always believed that "No man can-a hinder Thee" is the earlier version of that line as its meaning fits with the first line, but that may be because that is the way I learned this song. Lyrics to a 19th century version of this song or a closely related song are found in the Addendum to this post. In that song the line is given as No man can hinder me (we).
The "a" [pronounced "ah) at the end of certain words is just a rhythmic addition which has no meaning.
This arrangement combines "Ride On King Jesus" with the African American Spiritual "In That Great Gettin' Up Morning".
This arrangement of "Ride On King Jesus" also includes these floating verses:
When I get to heaven I’m gonna wear a robe
No man can a hinder me*
Walk all over those streets of gold
No man can a hinder me
See King Jesus sittin on the throne
No man can a hinder me
Goin to a land where I never grow old
No man can a hinder me
-snip-
Other floating verses from African American Spirituals that have been sung in renditions of this song:
One of these mornings and it won’t be long
Look for me and I’ll be gone
Goin up to glory gonna sing and shout
Ain’t nobody there gonna put me out
-snip-
"It has become a common practice to sing a verse or verses of “In That Great Gettin' Up Morning" with "Ride On King Jesus".
Here's a link to an arrangement of "Great Gettin' Up Morning" that was sung by Mahalia Jackson: http://www.metrolyrics.com/great-gettin-up-morning-lyrics-mahalia-jackson.html.
Note that this page indicates that "In That Great Gettin' Up Morning" was written by Mahalia Jackson. While this version of that Spiritual may have been written by Mahalia Jackson, the earliest version of that song was collected in 1874, its composer being an unknown enslaved African American man.
****
Example #2: Apostolic Tabernacle Mass Choir sings Ride on King Jesus
dvejendla, Uploaded on May 7, 2007
Merced Apostolic Tabernacle Mass Choir singing Ride on King Jesus on Easter Sunday Morning '07
-snip-
This arrangement of "Ride On King Jesus" includes the same two floating verses that were sung in the rendition given as "Example #1"
Notice the number of women in that congregation who are wearing hats. Although it had long been traditional for females to wear hats during church services in many African American churches, that custom is dying or is rarely followed. This is even the case in many African American churches during the Easter church service, although probably more females wear hats on that Sunday service than during any other church service.
Click http://pancocojams.blogspot.com/2014/04/why-fewer-african-american-women-wear.html for a pancocojams post on that subject.
****
Example #3: Voices Of Testimony Ride On King Jesus
VoicesofTestimony, Uploaded on Jan 16, 2009
The Voices of Testimony minister during the Throw Back 80's Era with this favorite Ride on King Jesus!!!!
****
Example #4: Wilmington Chester Mass Choir- Ride On King Jesus
FreLi77, Uploaded on Feb 17, 2008
This is a classic clip of the late Rev. Ernest Davis Jr.'s Wilmington Chester Mass Choir sing "Ride On King Jesus" back in 1988. This was recorded by a local Philly TV station for an annual show called "Gospel Extravaganza".
-snip-
This arrangement combines the Spiritual "Ride On King Jesus" with the Spirituals "In That Great Gettin' Up Morning" and The Spiritual "Ain't That Good News". Here are my transcription of the lyrics for that arrangement with the optional words given in brackets:
Lyrics:
Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
[Ride on]
No man can-a hinder me (4x)
In that great gettin’ up morning
Fare thee well Fare thee well
In that great getting up morning
Fail thee well fair thee well
(repeat this verse multiple times)
No man can-a hinder me
No man can-a hinder me
No man can-a hinder me
No man can-a hinder me
I got a crown up in-a God’s kingdom
Ain’t-a that good news
I got a crown up in-a God’s kingdom
Ain’t-a that good news
I’mma gonna lay down this world*
[Gonna] Shoulder up my cross
Take it home to [my] Jesus
Ain’t-a that good news.
Take it home to my Jesus
Ain’t-a that good news.
(vamp)
*I think that the end of that line is usually sung as “this burden”.
The words "fare thee well" mean "farewell". "Farewell" is "used to express good wishes on parting." https://www.google.com/webhp?sourceid=navclient&ie=UTF-8&gws_rd=ssl#q=farewell+meaning
****
Example #5: Ride On King Jesus - Rev. Ernest Davis, Jr. & the Wilmington/Chester Mass Choir
Kadeem Graves, Published on Jun 21, 2012
This is from their 1991 video "He's Preparing Me: Live In Atlanta".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post provides five examples of the African American Spiritual "Ride On King Jesus" with a special focus on the differences between the styles of the choir directors and the different arrangements of the renditions.
Click http://pancocojams.blogspot.com/2014/06/two-examples-of-ride-on-king-jesus-ride.html for two examples of "Ride On King Jesus" (with the second line "Ride On King Emmanuel").
Also, click http://pancocojams.blogspot.com/2014/06/five-additional-ride-on-king-jesus.html for historical versions of this Spiritual.
The content of this post is provided for religious, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks also to all of the choir directors, vocalists, and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos.
****
FEATURED EXAMPLES
In my opinion, arrangements of "Ride On King Jesus" with the combination of lyrics from the Spiritual "In That Great Gettin' Up Morning (perhaps also with perhaps lyrics from other Spirituals) are examples of what I call "Gospeled Spirituals". I define "Gospeled Spirituals" as African American Spirituals that are performed in a Gospel style. I'm not sure when these particular arrangements were first performed, but I think that it was probably in the 1980s.
These examples are presented in chronological order based on their posting date on YouTube, with the oldest examples given first.
Example #1: In HIS Presence Gospel Choir - "Ride On King Jesus"
myfleshdiesdaily Uploaded on May 6, 2007
One of our or should I say the crowds favorites. We originally got this from Stoneybrook but we rock it. Harder? Well, you be tha judge lol...sing yall!!!
-snip-
Here's the beginning lyrics:
Lyrics:
Ride on King Jesus
No man can-a hinder Thee*
Ride on King Jesus
No man can-a hinder Thee (repeat multiple times)
-snip-
This line may be "No man can-a hinder me".
"No man can-a hinder Thee" means "No man (no one) can stop You (meaning "Jesus").
"No man can-a hinder me" means "No man (no one can stop me (from following Jesus).
I've always believed that "No man can-a hinder Thee" is the earlier version of that line as its meaning fits with the first line, but that may be because that is the way I learned this song. Lyrics to a 19th century version of this song or a closely related song are found in the Addendum to this post. In that song the line is given as No man can hinder me (we).
The "a" [pronounced "ah) at the end of certain words is just a rhythmic addition which has no meaning.
This arrangement combines "Ride On King Jesus" with the African American Spiritual "In That Great Gettin' Up Morning".
This arrangement of "Ride On King Jesus" also includes these floating verses:
When I get to heaven I’m gonna wear a robe
No man can a hinder me*
Walk all over those streets of gold
No man can a hinder me
See King Jesus sittin on the throne
No man can a hinder me
Goin to a land where I never grow old
No man can a hinder me
-snip-
Other floating verses from African American Spirituals that have been sung in renditions of this song:
One of these mornings and it won’t be long
Look for me and I’ll be gone
Goin up to glory gonna sing and shout
Ain’t nobody there gonna put me out
-snip-
"It has become a common practice to sing a verse or verses of “In That Great Gettin' Up Morning" with "Ride On King Jesus".
Here's a link to an arrangement of "Great Gettin' Up Morning" that was sung by Mahalia Jackson: http://www.metrolyrics.com/great-gettin-up-morning-lyrics-mahalia-jackson.html.
Note that this page indicates that "In That Great Gettin' Up Morning" was written by Mahalia Jackson. While this version of that Spiritual may have been written by Mahalia Jackson, the earliest version of that song was collected in 1874, its composer being an unknown enslaved African American man.
****
Example #2: Apostolic Tabernacle Mass Choir sings Ride on King Jesus
dvejendla, Uploaded on May 7, 2007
Merced Apostolic Tabernacle Mass Choir singing Ride on King Jesus on Easter Sunday Morning '07
-snip-
This arrangement of "Ride On King Jesus" includes the same two floating verses that were sung in the rendition given as "Example #1"
Notice the number of women in that congregation who are wearing hats. Although it had long been traditional for females to wear hats during church services in many African American churches, that custom is dying or is rarely followed. This is even the case in many African American churches during the Easter church service, although probably more females wear hats on that Sunday service than during any other church service.
Click http://pancocojams.blogspot.com/2014/04/why-fewer-african-american-women-wear.html for a pancocojams post on that subject.
****
Example #3: Voices Of Testimony Ride On King Jesus
VoicesofTestimony, Uploaded on Jan 16, 2009
The Voices of Testimony minister during the Throw Back 80's Era with this favorite Ride on King Jesus!!!!
****
Example #4: Wilmington Chester Mass Choir- Ride On King Jesus
FreLi77, Uploaded on Feb 17, 2008
This is a classic clip of the late Rev. Ernest Davis Jr.'s Wilmington Chester Mass Choir sing "Ride On King Jesus" back in 1988. This was recorded by a local Philly TV station for an annual show called "Gospel Extravaganza".
-snip-
This arrangement combines the Spiritual "Ride On King Jesus" with the Spirituals "In That Great Gettin' Up Morning" and The Spiritual "Ain't That Good News". Here are my transcription of the lyrics for that arrangement with the optional words given in brackets:
Lyrics:
Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
[Ride on]
No man can-a hinder me (4x)
In that great gettin’ up morning
Fare thee well Fare thee well
In that great getting up morning
Fail thee well fair thee well
(repeat this verse multiple times)
No man can-a hinder me
No man can-a hinder me
No man can-a hinder me
No man can-a hinder me
I got a crown up in-a God’s kingdom
Ain’t-a that good news
I got a crown up in-a God’s kingdom
Ain’t-a that good news
I’mma gonna lay down this world*
[Gonna] Shoulder up my cross
Take it home to [my] Jesus
Ain’t-a that good news.
Take it home to my Jesus
Ain’t-a that good news.
(vamp)
*I think that the end of that line is usually sung as “this burden”.
The words "fare thee well" mean "farewell". "Farewell" is "used to express good wishes on parting." https://www.google.com/webhp?sourceid=navclient&ie=UTF-8&gws_rd=ssl#q=farewell+meaning
****
Example #5: Ride On King Jesus - Rev. Ernest Davis, Jr. & the Wilmington/Chester Mass Choir
Kadeem Graves, Published on Jun 21, 2012
This is from their 1991 video "He's Preparing Me: Live In Atlanta".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, April 22, 2025
"Old Joe Clark" (Five YouTube Examples Of This Old Time Music/Bluegrass Music Song)
The Biscuit Eaters, Feb 9, 2023
****
Edited by Azizi Powell
This is Part II of a two part pancocojams series on the Old Time Music /Bluegrass Music tune & song "Old Joe Clark".
This post showcases five YouTube video examples of the United States Old Time Music /Bluegrass Music tune & song "Old Joe Clark".
Click https://pancocojams.blogspot.com/2025/04/general-information-comments-about.html for Part I of this pancocojams series. That post presents some general information and comments about the song/tune "Old Joe Clark". The Addendum of that post presents some information about and examples of floating verses from "Old Joe Clark" that are found in some other American Old Time Music/Bluegrass Music songs.
The earliest sources for these songs suggest that Black Americans were the originators of a number of the early verses for "Old Joe Clark" and the other American Old Time Music/Bluegrass Music songs that include those verses.
The content of this post is presented for historical, cultural, and entertainment purposes.
All copyrights remain with their owners.
Thanks to all those who are featured in these videos and sound file and thanks to all the publishers of these examples on YouTube.
****
ADDITIONAL SHOWCASE YOUTUBE VIDEOS/SOUND FILES
These videos are given in no particular order and are numbered for referencing purposes only.
EXAMPLE #1 - Old Joe Clark
OldTimeMusic, Feb 23, 2009
Callahan Brothers perform Old Joe Clark in the 1945 Jimmy Wakely western "Springtime in Texas".
****
EXAMPLE #2 - Old Joe Clark
Doc Watson, Mar 14, 2014
Provided to YouTube by Universal Music Group
Old Joe Clark · Doc Watson · Merle Watson · Sam Bush · Marty Stuart · T. Michael Coleman · Alan O'Bryant
Home Sweet Home
℗ 1998 Sugar Hill Records, A Welk Music Group Company
Released on: 1998-01-01
****
EXAMPLE #3 - Old Joe Clark
Dan D. Dirges, Jan 25, 2015
Dan D. Dirges performs the classic traditional folk song,
Old Joe Clark.
lyrics - Old Joe Clark
Old Joe Clark's a fine old man
Tell you the reason why
He keeps good likker 'round his house
that Good old Rock and Rye---------
Fare thee well, Old Joe Clark
Fare thee well, I say
Fare thee well, Old Joe Clark
I'm a going away------
Old Joe Clark, the preacher's son
Preached all over the plain
The only text he ever knew
Was High, low, Jack and the game
Old Joe Clark he had a mule
His name was Morgan Brown
And every tooth in that mule's head
Was sixteen inches around---------
Old Joe Clark had a yellow cat
She would neither sing or pray
She stuck her nose in the butermilk jar
And washed her sins away
Old Joe Clark he had a house
Fifteen stories high
And every story in that house
Was filled with chicken pie-----------
I went down to Old Joe's house
He invited me to supper
I stumped my toe on the table leg
And stuck my nose in the butter
Now I wouldn't marry a widder
Tell you the reason why
She'd have so many children
They'd make those biscuits fly------------
Sixteen horses in my team
The leaders they are blind
And every time the sun goes down
There's a pretty girl on my mind
Eighteen miles of mountain road
And fifteen miles of sand
If ever travel this road again
I'll be a married man-----------
****
EXAMPLE #4 - Old Joe Clark Singing Game Demo
Musicplay, Aug 9, 2017
****
This concludes Part II of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
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