American Folk songs of black/afram origin

[EndDomination]

It only gets deeper and deeper, I know Led Zeppelin and Aerosmith use quite a few Afro-American folk songs.

 

[IllmaticDelta]

Dem Bones

Dem Bones — also called Dry Bones and Dem Dry Bones — is a well-known spiritual song. The melody was composed by African-American author and songwriter James Weldon Johnson (1871–1938). Some sources also credit his brother, J Rosomond Johnson.[1] First recorded by Bascomb Lunsford in February 1928, Brunswick 231. Both a long and a shortened version of the song are widely known. The lyrics are inspired by Ezekiel 37:1-14, where the Prophet visits the "Valley of Dry Bones"[2] and prophesies that they will one day be resurrected at God's command, picturing the national resurrection of Israel.

Dem Bones, Dry Bones or Dem Dry Bones is a well-known traditional spiritual song, used allegedly to teach basic anatomy to children (although its description is not anatomically correct). The melody was written by African-American author and songwriter James Weldon Johnson (1871–1938). Two versions of this traditional song are used widely, the second an abridgement of the first. The lyrics are based on Ezekiel 37:1-14, where the prophet visits the Valley of Dry Bones and causes them to become alive by God's command.

Chorus

The chorus of the song is as follows:

Dem bones, dem bones, dem dry bones.
Dem bones, dem bones, dem dry bones.
Dem bones, dem bones, dem dry bones.
Now hear the word of the Lord.

Verses

followed by the verses:

Toe bone connected to the foot bone
Foot bone connected to the leg bone
Leg bone connected to the knee bone...

The hand of the Lord was upon me, and carried me out in the spirit of the Lord, and set me down in the midst of the valley which was full of bones

And caused me to pass by them round about: and, behold, there were very many in the open valley; and lo, they were very dry.
And he said unto me, Son of man, can these bones live? And I answered, O Lord God, thou knowest.
Again he said unto me, Prophesy upon these bones, and say unto them, O ye dry bones, hear the word of the Lord.

Ezekiel, 37:1-4.

In which a bizarre vision of Jewish cultural resurrection becomes a song to teach children how human bones fit together, thanks to African-American preachers.

Ezekiel, priest from a long line of high priests and possible epileptic, was part of the Babylonian Captivity--when, after the kingdom of Judah had been conquered by the Babylonian Empire, the Jews had been deported en masse to Babylon. Around 595 BC, Ezekiel began having prophetic visions, often filled with lurid, strange imagery, that went on for some twenty years and at times left him paralyzed and, some have argued, psychotic; the Book of Ezekiel is a compendium of them.

Ezekiel believed that the Judeans' calamity was a just punishment by God upon a morally wayward people, but he prophesized that a remnant of the true Chosen People, now exiled in Babylon and their kingdom lost, would one day return and reunite, if not as a political nation, then as a religious fraternity.

So in one vision, Ezekiel wanders a valley strewn with ancient corpses. God asks him whether the bones that he sees on the ground could live again, then makes the bones stir in the wind, rise and link together. He drapes them in sinew and flesh, and at last breathes life into them. So Israel is resurrected, if only for a moment.

Some 2500 years pass. The Jews return from Babylon, are conquered again; Babylonia falls to the Persians. The Romans rise and collapse, bequeathing in death a new religion (in which the book of Ezekiel is shelved in the Old Testament) to their barbarian successors. Barbarians become kings, aristocrats, priests. Their kingdoms send ships to America, found colonies; Africans are shipped over as slaves, converted to Christianity.



By the late 19th Century, Ezekiel's vision had become a popular sermon topic for black ministers in the U.S., particularly in the South. In God's Trombones the writer James Weldon Johnson recounted

"I remember hearing in my boyhood sermons that were current, sermons that passed with only slight modifications from preacher to preacher and from locality to locality. Such sermons [included] "The Valley of Dry Bones," which was based on the vision of the prophet in the 37th chapter of Ezekiel..."

Black ministers took the Bible as a starting point for long, improvised sermons, favoring great dramatic passages that could serve as cogent metaphors for a people living under Jim Crow--the parting of the Red Sea, the fall of Jericho and the walk through the valley of dry bones. The ministers would extravagantly riff off of the actual verse, so while Ezekiel only wrote one line about the bones assembling ("there was a noise, and behold a shaking, and the bones came together, bone to his bone"), the ministers broke the image down and drew it out: Listen! On the day of resurrection, the leg bone! will be connected to the thigh bone! The arm bone...will be connected to the elbow bone! The back bone...will be connected to the neck bone!

The Rev. J.M. Gates' sermon on the valley of dry bones, from 1926, shows how it was done




The sermon lent itself naturally to musical accompaniment (James Weldon Johnson and his brother, J. Rosmond Johnson, have been credited with the most well-known melody), and recordings by the Famous Myers Jubilee Singers, from 1928, (Black Vocal Groups Vol. 4.) and the Four Gospel Singers (Charlotte, N.C. Gospel), from 1931, show the richness of the musical variations in this period.



It was the Delta Rhythm Boys who developed "Dry Bones" as most people know it, introducing the song's major hook--the use of half-step increases for each bone connection, and half-step decreases with each bone unlinked, a simple trick that added suspense and, above all, catchiness to the song.

"Dry Bones" devolved into a pop novelty (here's Herman Munster's version), akin to "Davy Crockett" or "Purple People Eater," with "now hear the word of the Lord" sometimes replaced by the generic "and that's the way of the world.". And ultimately, "Dry Bones" became a standard of American childhood, sung in student musicals, on bus rides, in summer camp, on field trips. And true to the theory that kids can and will make any song's lyrics dirty, I recall my friends and I would crack each other up with lines like "the leg bone is connected to the ass bone" and many other worse variations.



Popkiss paused, looked up from his Testament, stretched out his arms on either side. The men were very silent in their pitch-pine pews.

"Oh my brethren, think on that open valley, think on it with me...a valley, do I picture it, by the shaft of a shut-down mine, where, under the dark mountain side, the slag heaps lift their heads to the sky, a valley such as those valleys in which you yourself abide...Know you not those same dry bones?...You know them well...Bones without flesh and sinew, bones without skin and breath...

Must we not come together, my brethren, everyone of us, as did the bones of that ancient valley, quickened with breath, bone to bone, sinew to sinew, skin to skin...Unless I speak falsely, an exceeding great army."

 

[IllmaticDelta]

I'm embarrassed yet fulfilled to just now discover Sister Rosetta Tharpe the guitarist GAWDDESS

...Godmother of Rock & Roll

BLACKEXCELLENCE

 

[IllmaticDelta]

It only gets deeper and deeper, I know Led Zeppelin and Aerosmith use quite a few Afro-American folk songs.

yes sir


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In My Time of Dying

"In My Time of Dying" (also called "Jesus Make Up My Dying Bed" or a variation thereof) is a traditional gospel music song that has been recorded by numerous musicians. The title line, closing each stanza of the song, refers to a deathbed and was inspired by a passage in the Bible from Psalms 41:3 "The Lord will strengthen him upon the bed of languishing, thou wilt make all his bed in his sickness".[1]

Early versions
The lyrics "Jesus goin' a-make up my dyin' bed" appear in historian Robert Emmet Kennedy's Mellows – A Chronicle of Unknown Singers published in 1925, on Louisiana street performers, and also listed in the Cleveland Library's Index to Negro Spirituals.[2][3] The variation "He is a Dying-bed maker" appears in the song "When I's Dead and Gone" as transcribed in 1924 or 1925 in the south-east.[4] In October 1926, Reverend J. C. Burnett recorded "Jesus Is Going to Make Up Your Dying Bed", but it was never issued.[1] A biographer noted that Blind Willie Johnson may have heard Burnett's song or otherwise learned some of his lyrics.[1]

Blind Willie Johnson recorded the song during his first recording session on December 3, 1927 as "Jesus Make Up My Dying Bed" and the second take was released as his first single in 1928, backed by "I Know His Blood Can Make Me Whole" (Columbia 14276-D). Johnson performed the song as a gospel blues with his vocal and slide guitar accompaniment, using an open D tuning with a capo resulting in a pitch of E♭.[1] An initial pressing of 9,400 records showed Columbia's confidence in the song, who normally released fewer records for major stars such as Bessie Smith.[1] "A later pressing of 6,000 made this a massive debut record" and one of Johnson's most successful records.[1]

In 1928 Rev. B.J. Hill and The Jubilee Gospel Team recorded "Lower My Dying Head" (QRS R7015, 195-) as a cappela song. In December 1929, Charlie Patton recorded a version with somewhat different lyrics as "Jesus Is A-Dying Bed Maker" (Paramount 12986-A). On August 15, 1933, Josh White recorded the song as "Jesus Gonna Make Up My Dying Bed" (Banner 32859). White later recorded it in 1944–1946 as "In My Time of Dying", which inspired several popular versions.

In 1932 Martha Emmons published a nine-stanza, nine-refrains, version that she heard in Waco, Texas, under the title "Tone de Bell Easy".[5] Two years later John and Alan Lomax printed a composite with 11 stanzas and 9 refrains.[6]

 

[IllmaticDelta]

Hambone

The Bo Diddley riff actually goes all the way back to West Africa, and the "patted juba" rhythms of pre-slavery days. In the American South, enslaved Africans were denied access to their traditional drums (white slaveholders were afraid of the way blacks used drums for communication), so they patted out the rhythms on their bodies. "Hambone," as it was called, became an Afro-American musical tradition, and its polyrhythmic syncopations affected everything from tap-dancing to cheerleading.

The Juba dance or hambone, originally known as Pattin' Juba (Giouba, Haiti: Djouba), is a style of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks. "pattin' Juba" would be used to keep time for other dances during a walkaround. A Juba Dance performance could include:

* counter-clockwise turning, often with one leg raised,
* stomping and slapping (v.s.),
* various steps such as "the Jubal Jew", "Yaller Cat", "Pigeon Wing" and "Blow That Candle Out".

The dance traditionally ends with a step called "the Long Dog Scratch". Modern variations on the dance include Bo Diddley's "Bo Diddley Beat" and the step-shows of African American and Latino Greek organizations

It's the same thing as the Bo Diddley beat

The Bo Diddley Beat is a kind of syncopated five-accent clave rhythm. The Bo Diddley beat is named after Bo Diddley, who introduced and popularised the beat with his self-titled debut single. Although Bo Diddley was a rhythm and blues musician essentially, the beat is widely used in rock and roll and pop music.[2][3][4]

 

[Pit Bull]

@IllmaticDelta

Not to put it on the level of the culture being posted in here but do you have any New Jack Swing threads?

 

[IllmaticDelta]

@IllmaticDelta

Not to put it on the level of the culture being posted in here but do you have any New Jack Swing threads?

I haven't started any

 

[IllmaticDelta]

featured in the movie

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A Negro work song/bad man ballad based on an Alabama turpentine worker named Lazarus. According to the legends he worked and lived in the piney wood mountains of northern Alabama working in the turpentine mills. Some dispute over pay caused Lazarus to tear up the place and “walk the table,” a practice of jumping upon the dinner table at the factory and walking it’s length placing one’s foot in every plate. He then broke into the commissary and stole the payroll. This would, of course, cause a riot, and for this action the “High Sheriff” was called in the arrest “Poor Lazarus.” The sheriff sent out his deputies and they cornered Lazarus “up between two mountains”15 where they gunned him down. They hauled his remains back to the commissary where they laid him out and sent for his family but he apparently died before they could get there

James Carter (December 18, 1925 – November 26, 2003) was an American singer. He was born a Mississippi sharecropper and as a young man was several times an inmate of the Mississippi prison system. He was paid $20,000, and credited, for a four-decade-old lead-vocalist performance in a prison work song used in the 2000 film O Brother, Where Art Thou?

In 1959, Carter was a prisoner in Camp B of Parchman Farm, Mississippi State Penitentiary near Lambert, Quitman County, Mississippi,[1] when Alan Lomax and Shirley Collins recorded him in stereo sound leading a group of prisoners singing "Po' Lazarus", an African-American "bad man ballad" (which is also a work song), while chopping logs in time to the music. The recording and an iconic cover photograph of the prisoners in striped uniforms were issued on volume nine, Bad Man Ballads, in Alan Lomax's 1959 Southern Journey LP series on Atlantic Records.[2]

Decades later, the recording was licensed for use in the soundtrack to the Coen brothers' film O Brother, Where Art Thou? with music produced by T-Bone Burnett. Burnett's soundtrack topped the Billboard charts for many weeks and went on to win a Grammy for Album of the Year. Alan Lomax's daughter Anna Lomax Chairetakis (now Anna Lomax Wood), director of the The Alan Lomax Archive, and Don Fleming, director of Licensing for the Archive, hoped that Carter was still alive and determined to track him down:

Searching through the archives of the Mississippi penal system, Social Security files, property records and other public records and various databases, the record's producer, T-Bone Burnett; the Lomax archives; and an investigative journalist for a Florida newspaper found Mr. Carter in Chicago with his wife, Rosie Lee Carter, a longtime minister of the Holy Temple Church of God.

Chairetakis and Fleming flew to Chicago to personally present Carter with a royalty check.[3] Carter who had spent much of his adult life working as a shipping clerk, told them he did not remember having sung the song 40 years previously. Fleming then informed him that the soundtrack album was outselling the latest CDs of Michael Jackson and Mariah Carey. "I told him, you beat both of them out," Mr. Fleming said. "He got a real kick out of that. He left the room to roll a cigarette and when he came back, he said, You tell Michael that I'll slow down so that he can catch up with me." Carter flew to Los Angeles to attend the Grammy Award ceremony and to Tennessee for the benefit concert held in Ryman Auditorium in Nashville, which featured repeat performances by the performers of other numbers on the soundtrack (although Carter himself did not perform).

As the other prisoners have not been identified (and likely never will be), the official credit for the artist on the soundtrack is for "James Carter & the Prisoners".

Carter died November 26, 2003, in Chicago, at age 77.[4

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Down to the River to Pray

Down in the River to Pray" (also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a gospel song. The exact origin of the song is unknown. Research suggests that it was composed by an African-American slave.[1]


Lyrics and versions


The earliest known version of the song, titled "The Good Old Way," was published in Slave Songs of the United States in 1867.[1] The song (#104) is credited to "Mr. G. H. Allan" of Nashville, Tennessee, who was likely the transcriber rather than the author.

According to some sources, the song was published in The Southern Harmony and Musical Companion in 1835, decades before the effort to gather and publish African-American spirituals gained momentum in the Reconstruction Era.[2] There is in fact a song called "The Good Old Way" in the Southern Harmony Hymnal.[3] That song, however, is a Manx hymn with a completely different melody and lyrics.[4] The lyrics begin as follows:

Lift up your heads, Immanuel's friends
And taste the pleasure Jesus sends
Let nothing cause you to delay
But hasten on the good old way

Another version, titled "Come, Let Us All Go Down," was published in 1880 in The Story of the Jubilee Singers; With Their Songs, a book about the Fisk Jubilee Singers.[5] That version also refers to a valley rather than a river.

In some versions, "in the river" is replaced by "to the river". The phrase "in the river" is significant, for two reasons. The more obvious reason is that the song has often been sung at outdoor baptisms (such as the full-immersion baptism depicted in O Brother, Where Art Thou?).[2] Another reason is that many slave songs contained coded messages for escaping. When the slaves escaped, they would walk in the river because the water would cover their scent from the bounty-hunters' dogs.[6] Similarly, the "starry crown" could refer to navigating their escape by the stars.[7] And "Good Lord, show me the way" could be a prayer for God's guidance to find the escape route, commonly known as "the Underground Railroad."

 

[Bootzilla]

 

[IllmaticDelta]

cont from my last post





He's in the Jailhouse Now

"In the Jailhouse Now" is an American novelty blues song originally found in vaudeville performances from the early 20th century,[1] usually credited to Jimmie Rodgers. The song's first two verses trace the exploits of Ramblin’ Bob, who cheats at cards and gets caught, while the final verse tells about taking a girl named Susie out on the town and winding up in jail together.[2]

The earliest copyright for the song is a 1915 version by two African-American theater performers named Davis and Stafford.
The song has been covered many times, most frequently with Jimmie Rodgers’ version. Artists who have sung it include Tommy Duncan, Webb Pierce, Pink Anderson, Johnny Cash, Jim Jackson, Leon Russell, Mother McCree's Uptown Jug Champions (featuring Jerry Garcia), Merle Haggard, Doc Watson, Prism, Suzy Bogguss (with Chet Atkins), and Tim Blake Nelson with The Soggy Bottom Boys in the film and soundtrack for O Brother, Where Art Thou?. It was also one of the first songs learned by a teenage Joan Baez. The song shows up under different titles including "He's in the Jailhouse Now," and some versions use the line "She's in the graveyard now" in the chorus.[5]

Prior to 1930, several different versions of it were recorded and copyrighted. The earliest is Davis and Stafford's 1915 version, which has verses about a man named Campbell cheating at a card game and a corrupt election.[6] In 1924, Whistler's Jug Band from Louisville, Kentucky, recorded it under the title "Jail House Blues," which was the same title as a famous blues tune by Bessie Smith but was, in fact, the same song as "In the Jailhouse Now".[7]

In 1927, Earl McDonald's Original Louisville Jug Band made another recording of the song.[8] Two African-American bluesmen also recorded the song prior to Rodgers: Blind Blake (in 1927), and Jim Jackson (in January 1928). Jackson also copyrighted the song before Rodgers.[9] Finally, in 1930, the Memphis Sheiks (a pseudonym for the Memphis Jug Band) recorded it in a version that scholars have often claimed, albeit mistakenly, was a cover of Jimmie Rodgers.[10] The version of the melody and lyrics that they used, is clearly derived from the Louisville Jug Band performances, not Rodgers. On some of the Memphis Sheiks' records, an African-American vaudeville performer named Bert Murphy is given credit for writing the song.[11]

Shortly after Rodgers recorded the song, three additional versions appeared that were decidedly not covers of Rodgers. Boyd Senter and his Senterpedes did a jazz version in 1929 for Victor Records (issued on #22010, and later reissued on Bluebird Records #5545);[12] Gene Kardos and His Orchestra also did a jazz version in 1932 for Victor; and Billy Mitchell did a stride piano and shouter version of it in 1936 for the Bluebird label.[13]

After Rodgers, the best-known version of the song was by Webb Pierce, who had a No. 1 country hit with the song in 1955.[14] Pierce's version spent No. 1 on the Billboard country chart for 21 weeks, becoming the third song in the chart's history to spend as long on the chart; previously, Eddy Arnold ("I'll Hold You in My Heart (Till I Can Hold You in My Arms)," 1947) and Hank Snow ("I'm Movin' On," 1950) achieved the feat. For 58 years, those three songs held the longevity record for most weeks at No. 1 with 21 weeks, with only a handful of songs coming within a month of matching the record into the early 1960s. Finally, on August 10, 2013, "Cruise" by Florida Georgia Line surpassed Pierce's "In the Jailhouse Now" for most weeks at No. 1 when it spent its 22nd week at No. 1.

When Johnny Cash recorded the song in 1962, he used lyrics that are different from Jimmie Rodgers' versions which Cash learned from the African-American jug band musicians in Memphis.[15] In spite of this, most writers claim that Cash was covering Jimmie Rodgers' song, which further obscures that the song originated with African-American performers and was kept alive in a vaudeville and jug band tradition for many decades.[16]

The song regained popularity years later when Sonny James recorded a live version during a 1976 concert at Tennessee State Prison. James' version included backing by the Tennessee State Prison Band, and peaked at No. 15 on the Hot Country Singles chart in 1977.

The Jimmie Rodgers version was sung by Gene Autry in his 1941 movie "Back in the Saddle."

In O Brother, Where Art Thou?, "Delmar" (Tim Blake Nelson) sings a rendition, with "Pete" (John Turturro) yodeling between the verses, prior to the Soggy Bottom Boys' main number, "Man of Constant Sorrow". The other "Soggy Bottom Boys" songs are lip-synched, but Tim Blake Nelson sings his own vocals on this song, while Turturro's yodeling is actually performed by Pat Enright of the Nashville Bluegrass Band.[17]

In 1979, the song was done in a blackface performance in the musical One Mo' Time by Vernel Bagneris.[18] The musical was revived on Broadway in 2002. The version of the song used in the show was the same as that recorded by the Louisville Jug Bands in the 1920s.[19]

Brad Paisley used the chorus for the end of "Mr. Policeman," a song on his 2007 album 5th Gear. New lyrics were written to provide an ending to the song's story.

 

[IllmaticDelta]

Walking in Jerusalem

https://books.google.com/books?id=a...Q6AEIHzAB#v=onepage&q=jes like john&f=false

negro spiritual also known as "I Want To Be Ready" it appears in John Works American Negro Songs and Spirituals. Bill Monroe recored and says of his learning of the song:

"Where got this song was down in Norwood, North Carolina. I was visting some friends of mine and
they knew these colored folks, you know, and they had been fans of mine. They had this number "Walking In Jerusalem Just Like John" and wanted me to learn and record it. I went by the people's house and I talked to this man, I believe that maybe he was a preacher...it's been so long ago, but anyway he wanted me to record it and sing it on the Grand Ole Opry. They sang it for me there kind of like the way I sing it"

 

[IllmaticDelta]

On My Way to Canaan's Land

1800s- Traditional spiritual usually known as "I'm on my Way to Canaan's Land" or just "I'm On My Way." According to one author, Bernice Johnson Reagon, the song come from the traditional "If You Go Don't Hinder Me." The Pace Jubilee Singers 1927 recording was titled "I'll Journey On." The Carter's recording surely came from Leslie Riddle/Pauline Gary. During the 60s Civil Rights movement the song was changed to "I'm on my Way to Freedom Land." Carters-1930

African-American spiritual from the slavery era was originally known as "I'm On My Way to Canaan Land". It was recorded by the Golden Gate Jubilee Quartet, by the Pace Jubilee Singers in 1927 under the title, "I'll Journey On", and also by the Carter family in the 1930s.

Gospel singer and writer Dr Bernice Reagon, said that the song developed from a traditional song called "If You Go Don't Hinder Me," and also believed that Canaan was used as a reference to Canada, a possible destination for escaped slaves.

The song became one of the anthems of the Civil Rights movement in the sixties, with the words changed to "I'm on my way to Freedom land,"

 

[IllmaticDelta]

"Swing Low, Sweet Chariot" is an American negro spiritual. The earliest known recording was in 1909, by the Fisk Jubilee Singers of Fisk University. The song serves as the anthem of the England national rugby union team.

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


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

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

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

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

Use in rugby union
"Swing Low, Sweet Chariot" has been sung by rugby players and fans for some decades,[12] and there are associated gestures, sometimes used in a drinking game, which requires those who wrongly perform the gestures to buy a round of drinks.[13][14] It became associated with the English national side, in particular, in 1988. Coming into the last match of the 1988 season, against Ireland at Twickenham, England had lost 15 of their previous 23 matches in the Five Nations Championship. The Twickenham crowd had only seen one solitary England try in the previous two years and at half time against Ireland they were 0–3 down. However, during the second half England scored six tries to give them a 35–3 win. Three of the tries came in quick succession from Chris Oti making his Twickenham debut. A group of boys from the Benedictine school Douai following a tradition at their school games sang "Swing Low, Sweet Chariot" whenever a try was scored. When Oti scored his second try, amused spectators standing close to the boys joined in, and when Oti scored his hat-trick the song was heard around the ground.[12][15][16] The song is still regularly sung at matches by English supporters.[17]

The England national rugby union team returned from the 2003 Rugby World Cup triumph in Australia on a plane dubbed "Sweet Chariot".[18]


The song became the England Rugby World Cup theme for 1991, when performed by "Union featuring the England World Cup Squad". It reached number 16 on the UK singles chart.

The song was then covered in 1995 for that year's tournament by British reggae duo China Black together with South African male choral group, Ladysmith Black Mambazo. It reached number 15 on the chart, selling 200,000 copies.[citation needed]

1999's tournament featured Russell Watson record a version which had less success, only peaking at number 38 on the UK chart.[citation needed]

The song enjoyed more success in 2003's tournament, but included the album Homegrown, when recorded by UB40 and the United Colours of Sound. It originally peaked at number 23, but following England's victory in the tournament returned to reach number 15.[19][20] In the wake of the tournament, UB40 performed the song at a concert at the NEC Arena Birmingham that was attended by England rugby fans and captain Martin Johnson.[21]

A new version was recorded by Blake for the 2007 Rugby World Cup.

For 2011 Rugby World Cup in New Zealand popular all-girl group Our Lady Muse (O.L.M) released an England Rugby World Cup Song. An upbeat party anthem version of Swing Low, Sweet Chariot – The Song was premiered at the "Polo Rocks" concert in aid of The Prince's Trust.

 

[Bootzilla]

 

[IllmaticDelta]

"Make Me a Pallet on the Floor" (also "Make Me a Pallet on your Floor", "Make Me a Pallet" and "Pallet on the Floor") is a blues/jazz/folk song now considered as a standard. The song's origins are somewhat nebulous and can be traced back to the 19th century. It appeared in sheet music in 1908 as part of "Blind Boone's Southern Rag Medley No. One: Strains from the Alleys."[1] Various versions of the lyrics were first published in 1911 in an academic journal of ethnomusicology. Some sources attribute the modern score to W. C. Handy who later modified into a song known as "Atlanta Blues".[2]

An early recording of the song was made by Mississippi John Hurt (as "Ain't No Tellin'").

first published by white ethnomusicologist Howard Odum in 1911 in an academic journal. He wrote that he first heard it from an itinerant black guitar player in Lafayette County, Mississippi

MAKE ME A PALAT ON DE FLO'
Folk-song and Folk-poetry as found in the Secular Songs
of the Southern Negroes: Part 1 by Odum.

" Make me a palat on de flo',
Make it in de kitchen behin' de do'.

"Oh, don't turn good man from yo' do',
May be a frien', babe, you don't know.

"Oh, look down dat lonesome lan',
Made me a palat on de flo'.

"Oh, de reason I love Sarah Jane,
Made me a palat on de flo'."

OTHER NAMES: “Atlanta Blues;” “Make Me One Pallet on Your Floor;” “Make Me a Bed on Your Floor;” “Pallet on the Floor;

pallet is a straw-filled tick or mattress or a small, hard, or temporary bed.

“Make Me a Pallet on Your Floor” has floating verses, possibly about life in the south (often Atlanta) and the singer's desire to return there. Held together by a chorus like, "Make me a pallet on your floor (x2), Make it soft, make it low, so my good gal won't know Make me a pallet..."

The song is referenced in the Journal of American Folklore XXIV 278 in 1911. A favorite amongst blues players, it was remembered as one of the Bolden Band's specialties. W. C. Handy used it as a strain in his 1917 recording "Sweet Child", and it was copywritten in 1923 as "Atlanta Blues".

Blues/Jazz pianist Junior Mance said in his on-stage intro about Atlanta Blues: "Now I'd to play a tune that's written by WC Handy. It's a tune that has two titles -- it's known as Atlanta Blues and the other title is, Make Me a Pallet on Your Floor. I don't understand the correlation of the two, but anyway, here it is. I'll call it, Atlanta Blues."

“Make Me a Pallet on Your Floor” appears in variety of settings. Mississippi John Hurt recorded an unusual version entitled “Ain’t No telling.” Gus Cannon recorded it on “Walk Right In” in 1963 at the age of 73. Many of the white string bands that recorded it in the 20’s and early 30’s and 40’s called it, “Make Me a Bed on Your Floor.”

Renditions
"Make Me a Pallet on the Floor" has been recorded or performed by a number of artists, mostly blues, jazz, folk and country American musicians. The following is an incomplete and roughly chronological list of interpretations.

• Mississippi John Hurt (1928)[3]
• Memphis Jug Band (1920s)
• Big Bill Broonzy (1930s)
• Jelly Roll Morton (1930s)
• Willie Brown
• Bunk Johnson
• Sidney Bechet
• Louis Armstrong and His All Stars (1954, Louis Armstrong Plays W. C. Handy)
• Ottilie Patterson
• Brownie McGhee
• Kid Ory (1956, Kid Ory's Creole Jazz Band 1956)
• The Weavers (1958, Traveling On With the Weavers, Vanguard VRS-9043)
• The Journeymen (circa 1960, debut album)
• Odetta and the Blues (1962, Odetta and the Blues)
• Bob Dylan on the Billy Faier Show (1962)
• Gus Cannon (1963)
• Tom Rush (1963, Blues Songs and Ballads")
• Sandy Denny (1967, Sandy and Johnny)
• Jo Ann Kelly
• Doc Watson (1975, Memories)
• David Bromberg (1976)
• Mike Wilhelm (1976)
• Rahsaan Roland Kirk (1977, Boogie-Woogie String Along for Real)
• Sam Chatmon (1978)
• Lucinda Williams (1979, Ramblin')
• Archie Shepp and Horace Parlan (1980, Trouble in Mind)
• Sharon, Lois & Bram (1980, Singing 'n' Swinging)
• Jim Post (1987, Jim Post & Friends)
• Mike Seeger (1996, Way Down In North Carolina)
• Sue Foley (2000)
• Gillian Welch (2003, Soul Journey)
• Entrance (2004, Wandering Stranger)
• Tangleweed (2005, Just a Spoonful)
• Irma Thomas (2006)
• Eddie Adcock
• The Wood Brothers (2008, Loaded)
• North Mississippi Allstars (live performances)
• Josh Ritter (2012, Bringing in the Darlings)
• Josh Garrels (2013, The Sea in Between DVD and soundtrack)
• Paul Kelly with Charlie Owen (2016, Death’s Dateless Night)

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It also happens to be one of the earliest Jazz tunes played by Buddy Bolden (father of jazz) between 1895-1907. In an interview with Jelly Roll Morton (Alan Lomax Library Of Congress)

I Thought I Heard Buddy Bolden Say

This is about one of the earliest blues. This, no doubt, is the earliest blues that was the real thing, that is a variation from the real barrelhouse blues. The composer was Buddy Bolden, the most powerful trumpet player I've ever heard or ever was known. The name of this was named by some old honky tonk people. While he played this, they sang a little theme to it. He was a favorite in New Orleans at the time.

I thought I heard Buddy Bolden say
Dirty nasty stinkin' butt, take it away
A dirty nasty stinkin' butt, take it away
Oh Mister Bolden, play
I thought I heard Bolden play
Dirty nasty stinkin' butt, take it away
A funky butt, stinky butt, take it away
And let Mister Bolden play

Oh, this number is, no doubt, about 1902.

Alan Lomax: Tell about Buddy Bolden playing trumpet.

Oh well, I tell you, Buddy was the most powerful man in the history. Why, Buddy Bolden would play sometimes at most of the rough places. For instance, the Masonic Hall on Perdido and Rampart, which is a very rough section. Sometimes he'd play in the Globe Hall. That's in the downtown section on St. Peter and St. Claude. Very, very rough place. Was very often you could hear of killings on top of killings. It wouldn't make any difference. Many and many a time myself, I went on Saturdays and Sundays and look in the morgue and see eight and ten men that was killed over Saturday night. It was nothing for eight or ten killings on Saturday night. Occasionally, Buddy Bolden used to play in the Jackson Hall, which was a much nicer hall on the corner of Jackson Avenue and Franklin in the Garden District. Occasionally, he would play in the Lincoln Park. Anytime they could get him, that's where they'd have him. That is, any of those halfway rough places. I used to go out to Lincoln Park, myself, when Buddy Bolden was out there, because I used to like to hear him play and outblow everybody. I thought he was good myself. Anytime there was a quiet night in the Lincoln Park, why, little places I used to hang out, a corner—what the boys used to call a hang out corner—on Jackson and South Robertson. It was about ten or twelve miles to the Lincoln Park. Anytime that he had a quiet night, all he did was take his trumpet and turn it towards the city. It was at least about ten or twelve miles from the corner that we hung out. Maybe an affair wasn't so well publicized, so in order to get it publicized in a few seconds, old Buddy would just take his big trumpet and just turn it around towards the city and blow this very tune that I'm talking about. In other words, the tune is "I Thought I Heard Buddy Bolden Say." And the whole town would know that Buddy was there. And in few seconds, why, the parks would start to gettin' filled. It was nothing for Buddy to blow any place that you could hear his horn during those times.

Alan Lomax: Did you hear him, where?

Oh, I heard him, I heard him up until he went to the crazy house. Later he went to the crazy house. But I had an opportunity to be in the Jackson Hall once when he was playing at some matinee, a holiday. And there was a man standing at the stationary bar. A little bitty short fellow, seemingly he was sick, had rheumatism. And a great big husky guy steps on his foot. And I was just between 'em. And they got in an argument. And the little bitty guy didn't want to stand for it. Just pulled out a great big gun, almost as long as he was old. And shot. And if I hadn't pulled my stomach back, he'd a'shot me in the stomach. He killed this guy.

Make Me A Pallet On The Floor

This was one of the early blues that was in New Orleans, I guess many years before I was born. The title is "Make Me a Pallet on the Floor." A pallet is something that you get some quilts—in other words, it's a bed that's made on a floor without any four posters on 'em. A pallet is something that I can define in New Orleans. For instance, you have company come to your home, and you haven't enough beds for you and your company. So what you do, in order to get 'em to spend the night over, is to make yourself a pallet on the floor. So you'll say to your guests, you'll say to your guests "Well, you can stay overnight. It's perfectly all right. You're my friend, and I think it's rather dangerous—" During that time there was a lot of kidnappers in New Orleans, and there was no law against it, but only that you had the privilege to kill them. "It's rather dangerous, so maybe you better stay overnight and sleep in my bed, and I'll make me a pallet on the floor." So that's where the word "pallet" originated from. I don't think it's in the dictionary, though.

Alan Lomax: What about a woman when she has a man in her bed and she doesn't want her husband to smell him when he comes home? Isn't that where it comes from, too?

Well, I tell you when a woman has got a man, and she don't want her husband to know anything about it, it is very often—it has been known that from time and time again that the hard-working men in New Orleans has searched the women's underwear for stains and spots and so forth and so on. And sometimes they searched the bed for stains and spots, and so forth and so on. So in order to eliminate that—in that case, if they sure that the gentleman is on the job, so they make a pallet on the floor in that case also