His Eye Is on the Sparrow
"His Eye Is on the Sparrow" is a Gospel hymn written in 1905 by lyricist Civilla D. Martin and composer Charles H. Gabriel, it is most associated with actress-singer Ethel Waters. Mahalia Jackson's recording of the song was honored with the Grammy Hall of Fame Award in 2010; the theme of the song is inspired by the words of David in the Psalms and Jesus in the Gospel of Matthew in the Bible: "I will instruct thee and teach thee in the way which thou shalt go: I will guide thee with mine eye. "Look at the birds of the air. Are you not of more value than they?" and "Are not two sparrows sold for a farthing? and one of them shall not fall on the ground without your Father. But the hairs of your head are all numbered. Fear ye not therefore, ye are of more value than many sparrows". Sometimes it was sung with the altered title'His Eye is on the Tiny Bird' and this version was recorded by actress Violet Carson in 1972. Civilla Martin, who wrote the lyrics, said about her inspiration to write the song based on the scriptures: Early in the spring of 1905, my husband and I were sojourning in Elmira, New York.
We contracted a deep friendship for a couple by the name of Mr. and Mrs. Doolittle—true saints of God. Mrs. Doolittle had been bedridden for nigh twenty years, her husband was an incurable cripple who had to propel himself to and from his business in a wheel chair. Despite their afflictions, they lived happy Christian lives, bringing inspiration and comfort to all who knew them. One day while we were visiting with the Doolittles, my husband commented on their bright hopefulness and asked them for the secret of it. Mrs. Doolittle's reply was simple: "His eye is on the sparrow, I know He watches me." The beauty of this simple expression of boundless faith gripped the hearts and fired the imagination of Dr. Martin and me; the hymn "His Eye Is on the Sparrow" was the outcome of that experience. The song has been performed extensively by both Christian and secular artists. 1951: Sister Rosetta Tharpe with Marie Knight. RCA Records released the song as the second single from the album on June 8, 2012, four months after Houston's death.
This version is Houston's last original single, second posthumous one. The song made its debut only one day after the premiere of "Celebrate". AllMusic called it a "piano and choir" showcase for Houston, citing it as a highlight of the soundtrack although admitting "Houston sounds as commanding as one can expect from a recording." Entertainment Weekly editor Melissa Maerz called it "a gorgeously rippling solo" with Houston "testif that Jesus is watching over her." Jody Rosen of Rolling Stone panned the cover, saying "Houston sings – and croaks – in a voice octaves lower than in her prime. At times the song has a ravaged magnificence, but it's painful." There are many arrangements of the hymn. These include: 1963, in The Reader's Digest Family Songbook of Faith and Joy 1975, in The Josh White Songbook 1986: Five American Gospel Songs for solo voice and piano by Luigi Zaninelli includes a concert arrangement of it 1999: Six Gospel Hymn Preludes has an arrangement for solo organ by Wilbur Held 2007, in Songs of Comfort and Hope: Vocal Solos for Memorial and Funeral Services Civilla Durfee Martin Selected Songs by Charles H. Gabriel texts and MIDI sequences of 44 songs, including "His Eye Is on the Sparrow" Piano version and background of His Eye Is On The Sparrow Free
Gospel music is a genre of Christian music. The creation, performance and the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, as an entertainment product for the marketplace. Gospel music has dominant vocals with Christian lyrics. Gospel music can be traced with roots in the black oral tradition. Hymns and sacred songs were repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella; the first published use of the term "gospel song" appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, Fanny Crosby. Gospel music publishing houses emerged; the advent of radio in the 1920s increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, gospel music concerts became quite elaborate.
Gospel blues is a blues-based form of gospel music. Southern gospel used all tenor-lead-baritone-bass quartet make-up. Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, it peaked in popularity in the mid-1990s. Bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, is quite popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora, produced in the UK; some proponents of "standard" hymns dislike gospel music of the late 19th and early 20th centuries. Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. Gospel music features Christian lyrics; some modern gospel music, isn't explicitly Christian and just utilizes the sound.
Subgenres include contemporary gospel, urban contemporary gospel, Southern gospel, modern gospel music. Several forms of gospel music utilize choirs, use piano or Hammond organ, drums, bass guitar and electric guitar. In comparison with hymns, which are of a statelier measure, the gospel song is expected to have a refrain and a more syncopated rhythm. Several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer said "the music was tuneful and easy to grasp... rudimentary harmonies... use of the chorus... varied metric schemes... motor rhythms were characteristic... The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism". Patrick and Sydnor emphasize the notion that gospel music is "sentimental", quoting Sankey as saying, "Before I sing I must feel", they call attention to the comparison of the original version of Rowley's "I Will Sing the Wondrous Story" with Sankey's version.
Gold said, "Essentially the gospel songs are songs of testimony, religious exhortation, or warning. The chorus or refrain technique is found." According to Yale University music professor Willie Ruff, the singing of psalms in Gaelic by Presbyterians of the Scottish Hebrides evolved from "lining out" – where one person sang a solo and others followed – into the call and response of gospel music of the American South. Coming out of the African-American religious experience, American gospel music can be traced to the early 17th century, with foundations in the works of Dr. Isaac Watts and others. Gospel music has roots in the black oral tradition, utilizes a great deal of repetition, which allows those who could not read the opportunity to participate in worship. During this time and sacred songs were lined and repeated in a call and response fashion, Negro spirituals and work songs emerged. Repetition and "call and response" are accepted elements in African music, designed to achieve an altered state of consciousness we sometimes refer to as "trance", strengthen communal bonds.
Most of the churches relied on foot-stomping as rhythmic accompaniment. Guitars and tambourines were sometimes available, but not frequently. Church choirs became a norm only after emancipation. Most of the singing was done a cappella; the most famous gospel-based hymns were composed in the 1760s and 1770s by English writers John Newton and Augustus Toplady, members of the Anglican Church. Starting out as lyrics only, it took decades for standardized tunes to be added to them. Although not directly connected with African-American gospel music, they were adopted by African-Americans as well as white Americans, Newton's connection with the abolition movement provided cross-fertilization; the first published use of the term "Gospel Song" appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes, it was used to describe a new style of church music, songs that were easy to grasp and more singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement.
Prior to the meeting of Moody and
The Four Tops are a vocal quartet from Detroit, Michigan, USA, who helped to define the city's Motown sound of the 1960s. The group's repertoire has included soul music, R&B, adult contemporary, doo-wop and show tunes. Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel; the Four Tops were among a number of groups, including the Miracles, the Marvelettes and the Vandellas, the Temptations, the Supremes, who established the Motown Sound heard around the world during the 1960s. They were notable for having Stubbs, a baritone, as their lead singer, whereas most male and mixed vocal groups of the time were fronted by a tenor; the group was the main male vocal group for the successful songwriting and production team of Holland–Dozier–Holland, who crafted a stream of hit singles for Motown. These included two Billboard Hot 100 number-one hits for the Tops: "I Can't Help Myself" in 1965 and "Reach Out I'll Be There" in 1966.
After Holland-Dozier-Holland left Motown in 1967, the Four Tops were assigned to a number of producers Frank Wilson, but with less success. When Motown left Detroit in 1972 to move to Los Angeles, the Tops stayed in Detroit but signed a new recording deal with ABC Records' Dunhill imprint. Recording in Los Angeles, they continued to have chart singles into the late 1970s, including the million-seller "Ain't No Woman", their second release on Dunhill, produced by Steve Barri and the composers Dennis Lambert and Brian Potter. In the 1980s, the Four Tops recorded for Casablanca Records, Arista Records and Motown, returning to that label on two occasions for brief stays. Apart from their album Indestructible, Universal Music Group controls the rights to their entire post-1963 catalog and their 1956 single, "Could It Be You". A change of lineup was forced on the group when Lawrence Payton died on June 20, 1997; the group continued as a three-piece under the name the Tops, before Theo Peoples was recruited as the new fourth member.
Peoples took over the role of lead singer when Stubbs suffered a stroke in 2000, with Ronnie McNeir joining the group. On July 1, 2005, Benson died of lung cancer. Payton's son Roquel Payton replaced him. Levi Stubbs died on October 17, 2008. Fakir, McNeir, Roquel Payton, Harold "Spike" Bonhart, who replaced Peoples in 2011, are still performing together as the Four Tops. Fakir is the only surviving founding member of the group; as of January 1st, 2019 Harold Spike Deleon Bonhart was replaced by Alexander Morris. Morris a pastor in the city of Detroit was born into a musical family, his mother Betty L. Morris-January was lead singer of the 50’s gospel group The January Sisters, his father, the Late Reverend Joseph A. Morris was a prominent pastor in the city of Detroit, but in his early years was a jazz musician, playing for Gene Calloway, older sister of Cab Calloway. Morris known for his songwriting and production, has worked with many artist throughout the music industry, as of January 1st 2019 has taken the lead vocal position once held by Levi Stubbs.
All four members of the group began their careers together while they were high-school students in Detroit. At the insistence of their friends, Pershing High students Levi Stubbs and Abdul "Duke" Fakir performed with Renaldo "Obie" Benson and Lawrence Payton from Northern High at a local birthday party; the quartet named the group the Four Aims. With the help of Payton's songwriter cousin Roquel Davis, the Aims signed to Chess Records in 1956, changing their name to the Four Tops to avoid confusion with the Ames Brothers. Over the next seven years, the Tops had unsuccessful tenures at Chess, Red Top, Riverside Records and Columbia Records. Without any hit records to their name, they toured developing a polished stage presence and an experienced supper club act, as well as supporting Billy Eckstine. In 1963, Berry Gordy, Jr. who had worked with Roquel Davis as a songwriter in the late 1950s, convinced the Tops to join the roster of his growing Motown record company. During their early Motown years, the Four Tops recorded jazz standards for the company's Workshop label.
In addition, they sang backup on Motown singles by the Supremes and the Vandellas and others. In 1964, Motown's main songwriting and production team, Holland–Dozier–Holland, created a complete instrumental track without any idea of what to do with it, they decided to craft the song as a more mainstream pop song for the Four Tops and proceeded to create "Baby I Need Your Loving" from the instrumental track. On its release in mid-1964, "Baby I Need Your Loving" made it to number 11 on the Billboard pop chart. However, the song proved to be much more popular on trend-setting radio stations in key U. S. has since grown in popularity over the years to be one of the group's classic tracks. After the single's success, the Tops were pulled away from their jazz material and began recording more material in the vein of "Baby I Need Your Loving"; the first follow-up single, "Without the One You Love", just missed both the pop and R&B Top 40 charts, but "Ask the Lonely", written and produced by Motown A&R head Mickey Stevenson with Ivy Hunter, was a Top 30 pop hit and a Top 10 R&B hit in early 1965.
From there, the group began to make its mark. After their first number 1 hit, "I Can't Help Myself" in June 1965, the Four Tops released a long series of successful hit
Berry Gordy III is an American record executive, record producer, film producer and television producer. He is best known as the founder of the Motown record label and its subsidiaries, the highest-earning African-American business for decades. Berry Gordy III was born on November 28, 1929 in Detroit, to the middle-class family of Berry Gordy II, who had relocated to Detroit from Oconee in Washington County, Georgia, in 1922; the first Berry Gordy was the son of a white plantation owner, James Gordy, in Georgia and his female slave. His half-brother, was the grandfather of President Jimmy Carter. Berry Gordy II was lured to Detroit by the job opportunities for black people offered by the booming automotive businesses. Gordy Jr. developed his interest in music by writing songs and opening the 3-D Record Mart, a record store featuring jazz music and 3-D glasses. The store was unsuccessful, Gordy sought work at the Lincoln-Mercury plant, but his family connections put him in touch with Al Green, owner of the Flame Show Bar Talent Club, where he met the singer Jackie Wilson.
In 1957 Wilson recorded "Reet Petite", a song Gordy had co-written with his sister Gwen and writer-producer Billy Davis. It became a modest hit, but had more success internationally in the UK, where it reached the Top 10 and later topped the chart on re-issue in 1986. Wilson recorded six more songs co-written by Gordy over the next two years, including "Lonely Teardrops", which topped the R&B charts and got to number 7 in the pop chart; the Gordy siblings and Davis wrote "All I Could Do Was Cry" for Etta James at Chess Records. Gordy reinvested the profits from his songwriting success into producing. In 1957, he began building a portfolio of successful artists. In 1959, with the encouragement of Miracles leader Smokey Robinson, Gordy borrowed $800 from his family to create an R&B record company. Gordy wanted to name the new label Tammy Records, after the song recorded by Debbie Reynolds. However, that name was taken, he chose the name Tamla Records; the company began operating on January 12, 1959.
"Come to Me" by Marv Johnson was issued as Tamla 101. United Artists Records picked up "Come to Me" for national distribution, as well as Johnson's more successful follow-up records such as "You Got What It Takes", co-produced by Gordy, who received a co-writer credit, though the song was written and recorded by guitarist Bobby Parker for Vee Jay records a year and a half earlier. Gordy's next release was the only 45 issued on his Rayber label, featuring Wade Jones with an unnamed female backup group; the record is now one of the rarest issues from the Motown stable. Berry's third release was "Bad Girl" by the first release on the Motown record label. "Bad Girl" was a solid hit in 1959. Barrett Strong's "Money" appeared on Tamla and charted on Gordy's sister's label, Anna Records, in February 1960, it was The Miracles who gave the label its first million-selling hit single, with the 1960 Grammy Hall of Fame smash, "Shop Around" and this song, its follow up hits,"You've Really Got a Hold on Me", "Mickey's Monkey","What's So Good About Goodbye", "I'll Try Something New", made The Miracles the label's first stars.
The Tamla and Motown labels were merged into a new company, Motown Record Corporation, incorporated on April 14, 1960. In 1960, Gordy signed an unknown singer, Mary Wells, who became the fledgling label's second star, with Smokey Robinson penning her hits "You Beat Me to the Punch", "Two Lovers", "My Guy"; the Miracles' hit "Shop Around" peaked at No. 1 on the national R&B charts in late 1960 and at No. 2 on the Billboard pop charts on January 16, 1961, which established Motown as an independent company worthy of notice. In 1961, the Marvelettes' "Please Mr. Postman" made it to the top of both charts. Gordy's gift for identifying and bringing together musical talent, along with the careful management of his artists' public image, made Motown a major national and international success. Over the next decade, he signed such artists as the Supremes, Marvin Gaye, the Temptations, Jimmy Ruffin, the Contours, the Four Tops, Gladys Knight & the Pips, the Commodores, the Velvelettes and the Vandellas, Stevie Wonder and the Jackson 5.
Though he signed various white acts on the label, he promoted African-American artists but controlled their public image, dress and choreography for across-the-board appeal. In 1972, Gordy relocated to Los Angeles, where he produced the commercially successful biographical drama film on Billie Holiday, Lady Sings the Blues, starring Diana Ross, Richard Pryor, Billy Dee Williams; the studio, over Gordy's objections, rejected Williams after several screen tests. However, known for his tenacity prevailed, the film established Williams as a major movie star. Berry Gordy soon after produced and directed Mahogany starring Ross and Williams. In 1985, he produced the cult martial arts film The Last Dragon, which starred martial artist Taimak and one of Prince's proteges, Vanity. Although Motown continued to produce major hits throughout the 1970s and 1980s by artists including the Jacksons, Rick James, Lionel Richie and long-term signings S
"Steal Away" is an American Negro spiritual. The song is well known by variations of the chorus: Songs such as "Steal Away to Jesus", "Swing Low, Sweet Chariot", "Wade in the Water" and the "Gospel Train" are songs with hidden codes, not only about having faith in God, but containing hidden messages for slaves to run away on their own, or with the Underground Railroad."Steal Away" the song was composed by Wallace Willis, a slave of a Choctaw freedman in the old Indian Territory, sometime before 1862. Alexander Reid, a minister at a Choctaw boarding school, heard Willis singing the songs and transcribed the words and melodies, he sent the music to the Jubilee Singers of Fisk University in Tennessee. The Jubilee Singers popularized the songs during a tour of the United States and Europe. "Steal Away" the song is a standard Gospel song, is found in the hymnals of many Protestant denominations. An arrangement of the song is included in the oratorio A Child of Our Time, first performed in 1944, by the classical composer Michael Tippett.
Many recordings of the song have been made including versions by Nat King Cole. Songs of the Underground Railroad Banks, Frances. "Narrative" from The WPA Oklahoma Slave Narratives edited by Julie P. Baker. University of Oklahoma Press, 1996. ISBN 0-8061-2792-9 Flickinger, Robert Elliott; the Choctaw Freedmen and the Story of Oak Hill Industrial Academy, Valliant, McCurtain County, Oklahoma. Pittsburgh: Presbyterian Board of Missions for Freedmen, 1914. University of Nebraska Press, 2004. ISBN 0-8032-4787-7 Pike, G. D; the Jubilee Singers and Their Campaign for Twenty Thousand Dollars, Lee And Shepard, Publishers, 1873. "Raymond Dobard, Ph. D. professor of art and art history on hidden meanings in spirituals"
Martha and the Vandellas
Martha and the Vandellas were an American all-female vocal group formed in 1957. The group achieved fame in the 1960s with Motown. Selected members of the group were inducted into the Rock and Roll Hall of Fame in 1995. Formed in 1957 by friends Annette Beard, Rosalind Ashford and Gloria Williams, the group included Martha Reeves, who moved up in ranks as lead vocalist of the group after Williams' departure in 1962; the group signed with and recorded all of their singles for Motown's Gordy imprint. The group's string of hits included "Come and Get These Memories", "Heat Wave", "Quicksand", "Nowhere to Run", "Jimmy Mack", "Bless You" and "Dancing in the Street", the latter song becoming their signature single. During their nine-year run on the charts from 1963 to 1972, Martha and the Vandellas charted over twenty-six hits and recorded in the styles of doo-wop, R&B, blues and roll and soul. Ten Vandellas songs reached the top ten of the Billboard R&B singles chart, including two R&B number ones, six Top Ten Pop Hits on the Billboard Hot 100.
Teenagers Rosalind Ashford and Annette Beard first became acquainted after a local music manager hired them to be members of a girl group he named The Del-Phis. Ashford & Beard, along with then-lead vocalist Gloria Williams, performed at local clubs, private events, church benefits, YMCA events and school functions, they were being coached by Maxine Powell at Detroit's Ferris Center. One of the group's first professional engagements was singing background for singer Mike Hanks; the group had up to six members, shortened to four. After another member left the group, she was replaced by Alabama-born vocalist Martha Reeves, a member of a rival group, the Fascinations, had been a member of another group, the Sabre-Ettes. In 1960, the group signed their first recording contract with Checker Records, releasing the Reeves-led "I'll Let You Know"; the record flopped. The group recorded for Checkmate Records, a subsidiary of Chess Records, recording their first take of "There He Is"; that record, featuring Williams on lead vocals flopped.
Separated, Reeves returned to a solo career performing under the name Martha LaVaille, in hopes of getting a contract with emerging Detroit label Motown. After Motown staffer Mickey Stevenson noticed Reeves singing at a prominent Detroit club, he offered her his business card for an audition. Reeves showed up at Motown on a wrong date. Stevenson upset, told Reeves to look out for clients and other matters. Soon Reeves became Stevenson's secretary and was responsible for helping acts audition for the label. By 1961, the group, now known as The Vels, were recording background vocals for Motown acts. Prior to her success as lead singer of The Elgins, Sandra Edwards recorded the song "Camel Walk", in 1962, which featured the Vels in background vocals; that year, the quartet began applying background vocals for emerging Motown star Marvin Gaye, singing on Gaye's first hit single, "Stubborn Kind of Fellow" After Mary Wells failed to make a scheduled recording session feigning a short illness, the Vels recorded what was a demo recording of "I'll Have to Let Him Go".
Motown was so impressed by the group's vocals – and Martha's lead vocals in the song – that the label CEO Berry Gordy offered to give the group a contract. Figuring that being in show business was too rigorous, Williams opted out of the group. With Williams out, the remaining trio of Ashford and Reeves renamed themselves The Vandellas, after Detroit's Van Dyke Street and Reeves' favorite singer, Della Reese. Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland–Dozier–Holland, titled "Come and Get These Memories", it became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks, it became their first million-seller and got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance.
The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise; the next two singles, "Live Wire" and "In My Lonely Room" were less successful singles, failing to reach the Pop Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged on radio stations, it did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, one of the most played singles in history.
Between 1964 and 1967, singles like "Wild One", "Nowhere to Run", "Love (Makes Me Do Foolis
Swing Low, Sweet Chariot
"Swing Low, Sweet Chariot" is an American negro spiritual. The earliest known recording was by the Fisk Jubilee Singers of Fisk University. In 2002, the Library of Congress honored the song as one of 50 recordings chosen that year to be added to the National Recording Registry, it was 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" 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 after 1865. He may have been inspired by the sight of the Red River, by which he was toiling, which reminded him of the Jordan River and of the Prophet Elijah's being taken to heaven by a chariot; some sources claim that this song and "Steal Away" had lyrics that referred to the Underground Railroad, the freedom movement that helped black people escape from Southern slavery to the North and Canada.
Alexander Reid, a minister at the Old Spencer Academy, a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Tennessee; the Jubilee Singers popularized the songs during a tour of the United States and Europe. In 1939, Nazi Germany's Reich Music Examination Office added the song to a listing of "undesired and harmful" musical works; the song enjoyed a resurgence during the folk revival. The most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival. Oklahoma State Senator Judy Eason McIntyre from Tulsa proposed a bill nominating "Swing Low, Sweet Chariot" as the Oklahoma State official gospel song in 2011; the bill was co-sponsored by the Oklahoma State Black Congressional Caucus. Oklahoma Governor Mary Fallin signed the bill into law on May 5, 2011, at a ceremony at the Oklahoma Cowboy Hall of Fame. Chorus: Chorus: Chorus The song has been used in films and television.
1931 Dirigible - sung by Clarence Muse 1936 Dimples - hummed by the Hall Johnson Choir 1936 The Lonely Trail - sung by a choir 1938 Everybody Sing - swing version sung by Judy Garland in blackface at an audition, with special lyrics. 1938 Room Service - sung by the Marx Brothers 1943 Dixie - sung by Bing Crosby and a chorus 1948 A Date with Judy 1950 Young Man with a Horn - sung by a chorus 1971 The Hard Ride - sung by Bill Medley 1976 The Shaggy D. A. - sung by a dog in the dog pound 1982 Honkytonk Man 1993 Addams Family Values - sung by Gomez Addams on his deathbed 1993 Mister Rogers' Neighborhood Episode 1663 - sung by François Clemmons 2016 The Birth of a Nation A popular early recording was by the Fisk University Jubilee Quartet for Victor Records on December 1, 1909 and two years the Apollo Jubilee Quartette recorded the song on Monday, February 26, 1912, Columbia Records, New York City. Since numerous versions have been recorded including those by Bing Crosby, Kenny Ball and His Jazzmen, Louis Armstrong, Sam Cooke, Vince Hill, Peggy Lee, Paul Robeson (recorded January 7, 1926 for Victor -.
The noted jazz accordionist/composer John Serry Sr. recorded the composition with the jazz guitarist Tony Mottola as members of the Biviano Accordion & Rhythm Sextette in 1947 for Sonora Records on the album Accordion Capers. British rock musician Eric Clapton recorded a reggae version of the song for his 1975 studio album There's One in Every Crowd. RSO Records released it with the B-side "Pretty Blue Eyes" as a seven-inch grammophone single in May the same year, produced by Tom Dowd, his version reached various singles charts, including Japan, the Netherlands, New Zealand and the United Kingdom. "Swing Low, Sweet Chariot" has been sung by rugby players and fans for some decades, there are associated gestures, sometimes used in a drinking game, which requires those who wrongly perform the gestures to buy a round of drinks. 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 black player 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, when Oti scored his hat-trick the song was heard around the ground. The song is still sung at matches by English supporters; the England national rugby union team returned from the 2003 Rugby World Cup triumph in Australia on a plane dubbed "Sweet Chariot". 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 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.1999's tournament featured Russell Watson re