donderdag 25 april 2013

I'll See You In The Spring, When The Birds Begin To Sing (1927) / Fare Thee Honey Fare Thee Well (1937) / Titanic (1948)

As I said in the playlist before ("Dink's Song" / "Fare Thee Well"), Georgia White's "Fare Thee Honey Fare Thee Well" IS NOT TO BE CONFUSED with Libby Holman's and Josh White's "Fare Thee Well" , recorded in 1942 on the Decca-label, although the label says the composer is ALSTON. And that name also is on the label of Libby Holman's and Josh White's "Fare Thee Well".

SEE NEXT LINK for Libby Holman's and Josh White's "Fare Thee Well".

The first recording of "Fare Thee Honey Fare Thee Well" seems to be:

(o) Georgia White (1937)
With Piano Bass And Guitar
Recorded October 5, 1937 in New York
Label:  Decca 7405 A;
Matrix: 62642A

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Listen here:

(c) Connie Boswell (1938)  (#11 hit USA)
Recorded April 9, 1938, Los Angeles CA.
Released on Decca 1862

Connie Boswell With Ben Pollack And His Pick-A-Rib Boys - Mr. Freddie Blues / Fare Thee Honey Fare Thee Well (Shellac) at Discogs

(c) Count Basie (1939)
Recorded January 26, 1939 in New York
Released on Decca 2780

Listen here:

(c) Hollywood Flames (1954)
Super-rare recording, released on Money 202

Marv Goldberg's R&B Notebooks - HOLLYWOOD FLAMES

Georgia White's "Fare Thee Honey Fare Thee Well", in his turn, has a striking resemblance with "I'll See You In The Spring, When The Birds Begin To Sing" (which also has the "Fare Thee Honey Fare Thee Well"-chorus.
Recorded by the Memphis Jug Band on October 20, 1927 (Victor 21066)

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Listen here:

The song was also recorded in Chicago in January 1928 by Johnnie Head under the title of "Fare Thee Blues" (Paramount 12628). He recorded 2 parts, here's part 1:

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Listen here:

Joe Calicott covered it in 1930 as "Fare Thee Well Blues".
Recorded on February 20, 1930 in Memphis, Tenn.
Released on Brunswick 7166.

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And the tune was also used by Leadbelly as the basis of a ballad ("The Titanic") on the sinking of the Titanic ("Fare Thee Titanic Fare Thee Well").
Recorded in October 1948

It's refrain of “Fare thee, Titanic, fare thee well” in his turn is strongly reminsicent of Virginia Liston’s 1926 "Titanic Blues".

Listen here:

Or here:

Virginia Liston - Titanic Blues 1925 : Virginia Liston : Free Download & Streaming : Internet Archive 

But already in October 1916 the Leighton Brothers recorded a version of "Fare Thee Honey Fare Thee Well", which unfortunately was destroyed.

Looking at the sheet music, I think this version is different in lyrics and music to the versions above.

A recording by Marie Cahill of a few days earlier was released on Victor 45125. I couldn't find a sample of that one either, but I think it's the same version as the Leighton Brothers.

NOTE: musically speaking "Fare Thee, Honey, Fare Thee Well" has also a little resemblance to "Careless Love" (AKA "Loveless Love").

SEE NEXT LINK: ----Joop's Musical Flowers: Careless Love (1923)

Dink's Song (1904) / Fare Thee Well (1942)


John A. Lomax tells how he found the song in 1904, when he made his first field trip for Harvard University: "I found Dink scrubbing her man's clothes in the shade of their tent across the Brazos river from the A. & M. College in Texas. Professor James C. Nagle of the College faculty was the supervising engineer of a levee-building company and he had invited me to come along and bring my Edison recording machine. The Negroes were trained levee workers from the Mississippi River.

'Dink knows all the songs,' said her companion. But I did not find her helpful until I walked a mile to a farm commissary and bought her a pint of gin. As she drank the gin, the sounds from her scrubbing board increased in intensity and in volume. She worked as she talked: 'That little boy there ain't got no daddy an' he ain't got no name. I comes from Mississippi and we never saw these levee niggers, till us got here. I brung along my little boy. My man drives a four-wheel scraper down there where you see the dust risin'. I keeps his tent, cooks his vittles and washes his clothes. Some day Ize goin' to wrap up his wet breeches and shirts, roll 'em up in a knot, put 'em in the middle of the bed, and tuck down the covers right nice. Then I'm going on up the river where I belong.' She sipped her gin and sang and drank until the bottle was empty.

The original Edison record of 'Dink's Song' was broken long ago, but not until all the Lomax family had learned the tune. The one-line refrain, as Dink sang it in her soft lovely voice, gave the effect of a sobbing woman, deserted by her man. Dink's tune is really lost; what is left is only a shadow of the tender, tragic beauty of what she sang in the sordid, bleak surroundings of a Brazos Bottom levee camp.

Lomax continues to say: "The lyrics and music of Dink's Song' are to me uniquely beautiful. Professor Kittredge praised them without stint. Carl Sandburg compares them to the best fragments of Sappho. As you might expect, Carl prefers Dink to Sappho.

"When I went to find her in Yazoo, Mississippi, some years later, her women friends, pointing to a nearby graveyard, told me, Dink's done planted up there.' I could find no trace of her little son who 'didn't have no name.'

"Dink's Song" was published in 1934 in John and Alan Lomax's "American Ballads and Folk Songs"

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The first artist that recorded "Dink's Song" (as "Fare Thee Well") was Libby Holman with guitar accompaniment by Josh White. Strangely she begins with the last chorus (see lyrics above)

(o) Libby Holman 1942 (Fare Thee Well)
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(c) Josh White 1944 (Fare Thee Well)

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Libby Holman's and Josh White's "Fare Thee Well" IS NOT TO BE CONFUSED with Georgia White's "Fare Thee Honey Fare Thee Well", recorded in 1937 on the Decca-label, although the label says the composer is ALSTON. And that name also is on the label of Libby Holman's and Josh White's "Fare Thee Well".
The version by Georgia White has different lyrics and the melody is also different.

SEE NEXT LINK for Georgia White's "Fare Thee Honey Fare Thee Well".

But here are some covers of the version originally recorded by Libby Holman and Josh White.

(c) Burl Ives 1951 (Fare Thee Well O Honey)

Listen here (it's at 5 min 29 sec in the next YT)

(c) Burl Ives (1955) (Sad Man's Song (Fare Thee Well, O Honey))


(c) Cisco Houston 1954 (Dink's Song)

(c) Herta Marshall (1957) (Fare Thee Well)  

Listen here:

(c) Guy Carawan 1957 (released 1960) (Dink's Song)

(c) Jack Elliott 1958 (Dink's Song)

Listen here: 

(c) Pete Seeger 1959 (Dink's Song)

(c) Barbara Dane (1959) (Dink's Blues)
Recorded on location at the Newport Folk Festival, Rhode Island on July 11-12, 1959...
Barbara Dane, vocal; Frank Hamilton, guitar; Bill Lee, bass

(c) Leon Bibb 1959)

(c) Judi Resnick 1961

(c) Dave Van Ronk 1961 (Dink's Song)

(c) Bob Dylan 1961

Listen here:

(c) Carlyn Hester 1962

(c) Jack McDuff 1961 (Dink's Blues)

(c) Jack McDuff 1963 (Dink's Blues)

(c) Bob Gibson 1964 (Fare Thee Well (Dink's Song)

(c) Tom Paxton incorporated "Fare Thee Well" in 1964 in his tribute to Cisco Houston: "Fare Thee Well, Cisco"


(c) Limeliters (1963)  (Faretheewell (Dink' s Song)

(c) Catherine McKinnon 1965

(c) Benji Aronoff 1965

(c) Carly Simon 1960's (Dink's Blues) (CD: Clouds in my Coffee)

(c) Fred Neil (1966)  (Faretheewell (Fred's Tune))

Listen here:

(c) Big 3 (1968) (Nora' s Dove) (Dinks Song)

(c) Leon Bibb 1969

(c) Rick Cunha 1980

(c) John Stewart 1998 (Dink's Blues) (Cassette : Bandera)

(c) Odetta (and Dr.John) (1999) (Dink's Blues)

(c) Roger McGuinn (2001) (Dink's Song)

Listen here:

(c) Jeff Buckley 2003 (recorded 1993)

(c) Gabriel Rios (2007) (Dink's Song)

(c) Oscar Isaac 2013 (Fare Thee Well (Dink's Song))
     Oscar Isaac and Marcus Mumford 2013 (Fare Thee Well (Dink's Song))

Both versions above are from the soundtrack of the Coen Brother's movie "Inside Llewyn Davis".

zaterdag 20 april 2013

Happy Day (1913) / Oh Happy Day (1967)

"Oh Happy Day" is a 1967 gospel music arrangement of an 18th century hymn. Recorded by the Edwin Hawkins Singers, it became an international hit in 1969, reaching No. 4 in the US and No. 2 in the UK pop charts.
In Germany and The Netherlands " Oh Happy Day"  topped the charts for 2 weeks.
It has since become a gospel music standard.

Edwin Hawkins’ funk style arrangement of the hymn "Happy Day" has a long pedigree: It began as a hymn written in the mid-18th century ("O happy day, that fixed my choice") by English clergyman Philip Doddridge (based on Acts 8:35) set to an earlier melody (1704) by J. A. Freylinghausen. By the mid-19th century it had been given a new melody by Edward F. Rimbault, who also added a chorus, and was commonly used for baptismal or confirmation ceremonies in the UK and USA.

The Doddridge/Rimbault song was first recorded by the Trinity Choir
Trinity Choir consisted of the following singers:
Olive Kline (vocalist: soprano vocal)
Marguerite Dunlap (vocalist: contralto)
Harry MacDonough (vocalist: tenor vocal)
Reinald Werrenrath (vocalist: baritone vocal)

Happy Day - Trinity Choir
Label: Victor 17499
Matrix B-13601.
Recorded July17, 1913 (Camden, New Jersey)

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Listen here:

A song which suggests that we can be happy when we do what Jesus tells us to do that we might have salvation from sin is "O Happy Day" (#428 in "Hymns for Worship Revised", and #592 in "Sacred Selections for the Church").

The text was written by Philip Doddridge (1702-1751). His hymns were produced in the 1730′s and 1740′s, with perhaps a few around 1750, but very few were published during his lifetime, having been circulated only in manuscript. However, in 1755, four years after his death, a collection of them was made and printed by his friend Job Orton, and "O Happy Day," under the heading "Rejoicing in our Covenant engagements to God (2 Chron. 15:15)," was first included in it.

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The refrain ("Oh Happy Day, Oh Happy Day, when Jesus washed my sins away! He taught me how to watch and pray, and live rejoicing every day".)  which was not part of Doddridge's hymn above here, but was added later in 1854, seems to have been adapted from a secular song, "Happy Land, Whate'er My Fate In Life May Be," that was either written or arranged by Rimbault.

Edward Francis Rimbault was born in London, England, on June 13, 1816. After studying first with his organist and composer father Stephen Francis Rimbault, he was a student of Samuel S. Wesley and William Crotch, becoming a noted organist in London. A highly respected music scholar, he was editor of the Motet Society and founded the Musical Antiquarian Society in 1840. Universities at Harvard, Stockholm, and Gottingen all awarded Rimbault honorary doctorate degrees, and he became a fellow of the Society of Antiquaries in 1842.

This music first appeared in The Wesleyan Sacred Harp published at Boston, MA, in 1854 by William McDonald. There it was set to "Jesus, My All To Heaven Has Gone" by John Cennick, with Doddridge’s text given as an alternate. (Second Hymn)

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The 20th century saw its adaptation from 3/4 to 4/4 time and this new arrangement by Edwin Hawkins, which contains only the repeated Rimbault refrain ("Oh Happy Day, Oh Happy Day, when Jesus washed my sins away! He taught me how to watch and pray, and live rejoicing every day").
All of the original verses being omitted.

The Edwin Hawkins Singers began as The Northern California State Youth Choir of the Church of God in Christ, Inc. and was founded in 1967 by Hawkins and Betty Watson. Members were aged 17–25. As was common in gospel circles they produced and distributed their own LP: " Let Us Go Into the House of the Lord" , recorded live in church.
"Oh, Happy Day", featuring Dorothy Morrison as lead vocalist, was picked up by a local DJ, KSAN's Bob Mcclay, and subsequently released commercially. Aretha Franklin had already brought strong gospel stylings to the pop charts with songs such as "Think" (1968), but a hymn had never “crossed over” before. "Oh Happy Day" soared into the US Top 5, winning a Grammy and massive sales worldwide.

Dorothy Combs Morrison - Lead Vocal
Edwin Hawkins - Choir Director, Arranger, Piano
Betty Watson - Co-Director, Soprano
Choir Members - Walter Hawkins, Tramaine Hawkins, Elaine Kelly, Margarette Branch, Rueben Franklin, Donald Cashmere, Ruth Lyons and 40 others.
Drums, bass and percussion - unconfirmed
Produced by La Mont Bench.
Recorded live 1967, Ephesian Church of God in Christ, Berkeley, California.
Independently released on the LP "Let us go into the house of the Lord" (1968) (Century Records 31016)

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Listen here to The Northern California State Youth Choir :

"Oh Happy Day" was commercially released as a 7" single on Pavilion Records April 1969.
On the label it says here: The Edwin Hawkins Singers (formerly Northern California State Youth Choir).

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Other versions
In addition to the Hawkins Singers, the song has been recorded by a number of other artists:

-Jack Jones recorded the song on his 1969 album A Jack Jones Christmas.

-Dee Felice Trio included the song on their 1969 album In Heat.

-Dorothy Morrison also sang it in September 1969 at the Big Sur Festival with Joan Baez.
"Oh Happy Day" – Dorothy Morrison and the Combs Sisters with Baez
  (opens with Baez rehearsing same number with Morrison and in the background Stephen Stills and John Sebastian)

-Glen Campbell recorded the song for a primarily country/MOR audience, reaching the top 40 on three different Billboard charts in 1970.

-Brook Benton 1970 on album "The Gospel Truth"  (Cotillion Label)

-Joan Baez included the song on her 1971 album Carry It On, and later her 1976 live album From Every Stage.

-Brooklyn Christian pop band Sonseed included a version on their 1981 album First Fruit.

-Aretha Franklin included a live recording on her 1987 gospel album One Lord, One Faith, One Baptism in which she sings the song in a duet with Mavis Staples.

-Club Nouveau included the song on their 1992 album A New Beginning. The single charted at No. 45 on the US R&B Chart.

-Ryan Toby at the age of 15, performed the song in the 1993 motion picture Sister Act 2: Back in the Habit.

-In 1995, The Sisters of Glory, a gospel group that featured Thelma Houston, CeCe Peniston, Phoebe Snow, Lois Walden, and Albertina Walker, included the composition on their album Good News in Hard Times released on Warner Bros.

-BeBe Winans recorded the song on his 1997 self-titled solo debut album BeBe Winans.

-It is the closing track on the live album Royal Albert Hall October 10, 1997, by Spiritualized.

-Ray Charles live in 2003. This was recorded for a PBS Special entitled: Ray Charles - Gospel Christmas with the Voices of Jubilation.

-Aaron Neville recorded the song for his 2005 album Gospel Roots.

-Queen Latifah & Jubilation Choir perform the song on the 2009 album "Oh Happy Day: An All Star Music Celebration".

-Greg Buchanan recorded an instrumental harp rendition of the song on his album The Lighter Side.

-Elvis Presley recorded the song as well. It appears on Disc 2 of the collection Peace In The Valley: The Complete Gospel Recordings.
And here's Elvis from "That's The Way It Is" (1970) Las Vegas International Hotel

-Skeeter Davis recorded the song ca 1975 during a (re)recording session for K-Tel in Nashville.

-An 8 minute live version by Nina Simone was included in the posthumous release The Definitive Rarities Collection – 50 Classic Cuts.

More cover-versions HERE:

zaterdag 13 april 2013

Swing Low, Sweet Chariot (1909)

"Swing Low, Sweet Chariot" is a historic American Negro spiritual. The earliest known recording was in 1909, by the Fisk Jubilee Singers of Fisk University.

(o) Fisk University Jubilee Quartet (1909)
Bass vocal: Noah Walker Ryder , Alfred Garfield King
Tenor vocal: John Wesley Work II , J. A. Myers
Recorded on December 1, 1909 in Camden, New Jersey
Matrix Number/Take Number: B-8420/3
Released on Victor 16453

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The Fisk University Jubilee Qt also recorded "Swing Low, Sweet Chariot" on December 27, 1911 on Edison Cylinder BA 5216.

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"Swing Low, Sweet Chariot" was 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 before 1862. He was inspired 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). Many sources claim that this song and "Steal Away" (also composed by Willis) had lyrics that referred to the Underground Railroad, the resistance movement that helped slaves escape from the South to the North and Canada. Alexander Reid, a minister at the Old Spencer Academy, 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. It was published in the Fisk Jubilee's Songbook (1873)

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The Jubilee Singers popularized the songs during a tour of the United States and Europe.

There may be an older version by the Standard Quartette on cylinder from circa 1895:

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Also see this Columbia 1894 brown-wax cylinder announcement, from Bill Bryant’s papers.

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This version was found in a trash of cylinders and was released in September 2016.

Another early version

(c) Apollo Jubilee Quartette (1912)
Recorded February 26, 1912
Matrix 19773=2 - (IS=8/12)
Released on Columbia A-1169

Columbia matrix 19773. Swing low, sweet chariot / Apollo Quartette - Discography of American Historical Recordings

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Listen here:

And here's another early version:

(c) Tuskegee Institute Singers (1916)
Recorded February 14, 1916
Matrix/Take: B-16512 / 3
Released on Victor 17890

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Listen here:  Swing Low, Sweet Chariot - Tuskegee Institute Singers.mp3

And another cover from the same year:

(c) Kitty Cheatham (1916)
Recorded March 09, 1916
Matrix/Take: B-16998/7
Released on Victor 45086

Victor matrix B-16998. Swing low, sweet chariot / Kitty Cheatham - Discography of American Historical Recordings

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Listen here:

Browse All Recordings | Swing low, sweet chariot, Take 7 (1916-03-09) | National Jukebox

Harry Thacker Burleigh's arrangement of Swing Low, Sweet Chariot was originally published for solo voice in 1917 following the success of Deep River.
Burleigh 's setting was published in 1920 for mixed chorus by G. Ricordi & Co., New York.

Antonín Dvořák, Burleigh's professor at the National Conservatory of Music, used the tune of Swing Low, Sweet Chariot in his Symphony No. 9, "From the New World."

Burleigh had learned many of the old plantation songs from the singing of his blind maternal grandfather, Hamilton Waters, who in 1832 bought his freedom from slavery on a Maryland plantation. Waters became the town crier and lamplighter for Erie, Pennsylvania, and as a young boy Burleigh helped guide him along his route. The family was Episcopalian and young Harry sang in the men and boys choir. Burleigh also "remembered his Mother's singing after chores and how he and his [step] father and grandfather all harmonized while helping her." At various times in his long life — he died in 1949 at age 81 — Burleigh described his student days with Dvorak. Taken together, Burleigh's writings provide insight into Dvorak's ongoing Negro music education while he was composing what would become the Symphony "From the New World": "Dvorak used to get tired during the day and I would sing to him after supper ... I gave him what I knew of Negro songs – no one called them spirituals then – and he wrote some of my tunes (my people's music) into the New World Symphony." Dvorak began working on various "American" themes in mid-December 1892, filling eleven pages of a sketchbook. Burleigh wrote: "Part of this old 'spiritual' ['Swing Low Sweet Chariot'] will be found in the second theme of the first movement ... given out by the flute. Dvorak saturated himself with the spirit of these old tunes and then invented his own themes. There is a subsidiary theme in G minor in the first movement with a flatted seventh [a characteristic passed on to jazz, known as a "blue note"] and I feel sure the composer caught this peculiarity of most of the slave songs from some that I sang to him; for he used to stop me and ask if that was the way the slaves sang."

More covers:

(c) Mabel Garrison 1921
Recorded April 28, 1921
Mx B24244-1
Released on Victrola 64969

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Listen here BELOW:

(c) The Southern Four (1921)
Recorded December 7, 1921
Released on Edison Diamond disc 51364

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Listen here BELOW:

(c) C. Carroll Clark (1921)

Released on Black Swan 2024


Swing low, sweet chariot · The Spirituals Database

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In 1922 Roland Hayes recorded a version in London, England of the Burleigh arrangement.
This was released in the US in 1924 on Vocalion B 21003

Black Recording Artists, 1877–1926: An Annotated Discography - Google Boeken

Swing low, sweet chariot · The Spirituals Database

Roland Hayes - Steal Away / Swing Low, Sweet Chariot (Shellac) at Discogs

Roland Hayes had already recorded a version of "Swing Low" in 1918 for the Columbia-label

[78-L] Roland Hayes discography?

(c) Morehouse College Quartet (1923)
Released on Okeh 4887

Morehouse College Quartette -- Swing Low, Sweet Chariot / Down By The Riverside

Listen here:

(c) Associated Glee Clubs of America (1926)
Released on Victor 35770

Associated Glee Clubs Of America - Prayer Of Thanksgiving / Swing Low Sweet Chariot (Shellac) at Discogs

Victor matrix CVE-34536. Swing low, sweet chariot / Associated Glee Clubs of America - Discography of American Historical Recordings

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(c) Paul Robeson (1926)
Recorded January 07, 1926
Matrix/Take: BVE-33119
Released on Victor 20068B

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Listen to Paul Robeson in the next YT:

(c) Dame Nellie Melba (1926)
Recorded Small Queens Hall, London, 17
December 1926, piano Harold Craxton.
Released on  on HMV DB 989
This is Melba’s very last recording

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(c) Kanawha Singers (1928)
Released on Brunswick 3801

Kanawha Singers - Climbing Up De Golden Stairs / Swing Low, Sweet Chariot (Shellac) at Discogs

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(c) Glen Gray and the Casa Loma Orchestra (1937)
Released on Decca 1396

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(c) Bing Crosby (1938)
Released on Decca 25052

78 RPM - Bing Crosby - Brahms' Lullaby (Cradle Song) / Swing Low, Sweet Chariot - Decca - USA - 25052

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(c) Charioteers (1939)
Released on  Brunswick 8468

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Glenn Miller (1946) on RCA Victor 20-1834

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The Jordanaires 1950 on Decca 14555

Blackwood Brothers Qt (1950) on Blackwood Bros rec. 1162

Blackwood Brothers Qt (1952) on RCA 20-4793

Christine Clark (1956) on Savoy 4075A

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Laurel Aitken (1960) on the Blue Beat label:

The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists. Joan Baez had sung the song in 1968 it at the Newport Folk Festival. But perhaps her most famous performance during this period was at the legendary 1969 Woodstock festival.

The most well-known version is by Eric Clapton in 1975, possibly influenced by Laurel Aitken's version

UB40 (2003)
Official England Rugby World Cup 2003 song

"Swing LOW Sweet Chariot" is NOT to be confused with "Swing DOWN Sweet Chariot" as recorded by Elvis Presley in 1960, which has a different melody and different lyrics too.

Elvis's "Swing Down Sweet Chariot" might have been originally recorded by The Golden Gate Quartet, who recorded "Swing Down Chariot" in June 1946, which however starts with "Swing Low Sweet Chariot", as recorded originally by the Fisk Jubilee Singers.

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Listen here:

In 1961 The Staple Singers recorded an album for the Vee Jay-label, which contained the both Chariot-versions:  The uptempo "Swing Down Chariot" and the slow "Swing Slow Sweet Chariot".

Beyonce also sang the Golden Gate Quartet variation in the 2003 movie "Fighting Temptations"

More versions here:

The Originals © by Arnold Rypens - SWING LOW SWEET CHARIOT

zondag 7 april 2013

Solidaritätslied (1932) / Voorwaarts en niet vergeten (1933) / Forward! We've Not Forgotten (1935)

Solidaritätslied („Vorwärts und nicht vergessen, …“)
(Solidarity Song ("Forward and don't forget, ...")

This song was written in 1931 by Bertolt Brecht (lyrics) and Hanns Eisler (music). It was first sung by Ernst Busch in the film "Kuhle Wampe"
But Bertolt Brecht had already written the first version of the lyrics in 1929  as a response to the events that took place on May 1st 1929 : "Blutmai" (Bloody May).   Read about Blutmai here

Kuhle Wampe (full title: Kuhle Wampe, oder: Wem gehört die Welt?, is a 1932 German feature film about unemployment and left wing politics in the Weimar Republic. The script was conceived and written by Bertolt Brecht. He also directed the concluding scene: a political debate between strangers on a train about the world coffee market. The rest of the film was directed by Slatan Dudow. The film music was composed by Hanns Eisler.

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Hertha Thiele (Anni) (lady with tie) and Ernst Busch (Fritz) (just behind Anni)

Kuhle Wampe itself was a tent camp on the Müggelsee in Berlin. Wampe is Berlin dialect for "belly", so the title could also be rendered "Empty (or 'cool') Belly".
The film was released on May 14, 1932.
The climax of the film depicts the return home by train (a scene that Brecht wrote personally) of Anni (playede by Hertha Thiele) and Fritz (played by Ernst Busch) as well as a handful of workers, who argue with middle-class and wealthy men and women over the Situation of the worldwide financial crisis. One of the workers notes that the well-off will not change the world in any case, to which one of the wealthy asks quizzically, “Who else, then, can change the world?” Gerda (= Martha Wolter) replies, “Those who don’t like it”.
The film ends with the singing (by Fritz (= Ernst Busch) of "Solidaritätslied" (Solidarity Song), with lyrics by Brecht and music from Hanns Eisler.

BTW You can watch the complete film (with English subtitles) here:

Ernst Busch also recorded the first version of the song in Berlin in early 1932.

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Listen HERE:

Here's another German release from the same year:

Here's a British release from the same year:

Here's an Austrian release from the same year:

A lifelong communist, Ernst Busch fled Nazi Germany in 1933 with the Gestapo on his heels, settling first in the Netherlands. Here he also sang a Dutch version of "Solidaritätslied"
The original lyrics were adapted by the Dutch lyricist M.Vos.

In the Fall of 1935, in New York, USA, The New Singers recorded "Forward! We've Not Forgotten" (English lyrics by Henry Jordan) as the B-side of "The Internationale" on the Timely Records label.

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When the composer of "Solidaritätslied", Bertolt Brecht appeared before House Committee on Un-American Activities, they asked him: Are you the author of a song beginning with the words "Forward, not forgetting?" No, Brecht said politely, I'm not. Consternation. Are you saying you didnt write the song called "Solidarity", which opens with those words? That's right, said Brecht. There was a pause, while the prosecutor tried to work out how to deal with this. Then Brecht said, I did once write a song in German which had similar lyrics.

In 1964 Eric Bentley covered "Solidaritätslied" on his album "Songs of Hans Eisler".

On this album is also the first version of "To the Little Radio", which was covered by Sting in 1987 as "The Secret Marriage".

In 1970 the Dutch choir Morgenrood Rotterdam covered "Solidariteitslied" on an album

In 1972 the Dutch group De Volharding covered "Solidariteitslied" on the next EP:

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German band Lokomotive Kreuzberg recorded "Solidaritätslied" in 1972 on the next album

Covered in 1975 by the German Duo Hein & Oss on the next album

Recorded by German artist Hannes Wader in 1977;

In 1979 George Groot wrote another Dutch version of "Solidaritätslied". He was a member of the Dutch cabaret-group Don Quishocking. They recorded their version for the album "Trappen Op"

Covered in 1982 by Wim De Craene and Perte Totale ("Solidariteitslied") on the album "Boos Blijven" on the Varagram label. With an adaption by Wim De Craene, they brought it as a reggae-version

In 1987 Dutch singer Frits Lambrechts adapted a version as "Voorwaarts en niet Vergeten", which he also sang in 1988 at the funeral of Joop den Uyl (leader of the left-wing Partij van de Arbeid) and prime-minister of The Netherlands from 1973 to 1977.


In 1996 the Don Quishocking-version was covered in the theater production "Tip Top" in which it was sung by Jenny Arean and Lucretia van der Vloot.

(c) Jefferson Airplane (1989) (Solidarity)

This version with English lyrics by Bertolt Brecht and music by Jefferson Airplane's member Marty Balin is contained on the album "Jefferson Airplane".