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Info. The older version of this song was called “John Brown's Body,” and was sung by soldiers in the Massachusetts regiment of the Union army to tease a fellow.
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On Union-occupied St. Or it could mean union - a greater cause for the numerous soldiers who had no particular investment in ending American slavery. Finally, it was always possible to hear the lyrics as a powerful promise of racial liberation. Local Search Site Search. Home Delivery.

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Sending your article. Your article has been sent. Single Page 1 2. Tweet ShareThis. Sorry, we could not find your e-mail or password. Please try again, or click here to retrieve your password. Forgot your password? John Browns fold arms and rock a baby ,had a cold upon his chest. John Browns fold arms and rock a baby ,had a cold upon his chest, and the covered it with camphorated oil. John Browns fold arms and rock a baby , had a sneeze upon his chest.

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Some videos may not be played. Please disable blocking extensions so Bussongs. Small Medium Large John Browns baby had a cold upon his chest. Show more. The tune arose out of the folk hymn tradition of the American camp meeting movement of the late 18th and early 19th century. According to an account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion.

Various other authors have published additional verses or claimed credit for originating the John Brown lyrics and tune. The "flavor of coarseness, possibly of irreverence" [2] led many of the era to feel uncomfortable with the earliest "John Brown" lyrics. This in turn led to the creation of many variant versions of the text that aspired to a higher literary quality. The most famous of these is Julia Ward Howe 's " The Battle Hymn of the Republic ", which was written when a friend suggested, "Why do you not write some good words for that stirring tune?

Numerous informal versions and adaptations of the lyrics and music have been created from the mids down to the present, making "John Brown's Body" an example of a living folk music tradition. Specialists in nineteenth-century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody.

The melody was either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly.

John Browns Baby

Early versions of "Say, Brothers" included variants, developed as part of this call-and-response hymn singing tradition such as:. Brothers will you meet me Oh! Sisters will you meet me Oh! Mourners will you meet me Oh! Sinners will you meet me Oh! Christians will you meet me. This initial line was repeated three times and finished with the tag "On Canaan's happy shore. The familiar "Glory, glory, hallelujah" chorus—a notable feature of both the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition some time between and the s.

Folk hymns like "Say, Brothers" "circulated and evolved chiefly through oral tradition rather than through print. The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African-American and white worshipers, throughout the early s, spread predominantly through Methodist and Baptist camp meeting circuits.


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    • For example, in words and the tune were published in The Union Harp and Revival Chorister , selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the " Glory Hallelujah " chorus; and the opening line "Say my brother will you meet me". In December a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". Some researchers have maintained that the tune's roots go back to a "Negro folk song", [14] an African-American wedding song from Georgia, [15] or to a British sea shanty that originated as a Swedish drinking song.

    Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music-making that took place in the revival movement.

    John Brown's Baby | Kids Song Lyrics - leondumoulin.nl

    It has been suggested that "Say Brothers, Will You Meet Us", popular among Southern blacks, already had an anti-slavery sub-text, with its reference to "Canaan's happy shore" alluding to the idea of crossing the river to a happier place. At a flag-raising ceremony at Fort Warren , near Boston, on Sunday May 12, , the "John Brown" song was publicly played "perhaps for the first time". Newspapers reported troops singing the song as they marched in the streets of Boston on July 18, , and there was a "rash" of broadside printings of the song with substantially the same words as the undated "John Brown Song!

    Marsh copyrighted on July 16, , also published by C. Hall see images displayed on this page. Other publishers also came out with versions of the "John Brown Song" and claimed copyright. In , George Kimball wrote his account of how the 2nd Infantry Battalion of the Massachusetts militia, known as the "Tiger" Battalion, collectively worked out the lyrics to "John Brown's Body". Kimball wrote:. We had a jovial Scotchman in the battalion, named John Brown … and as he happened to bear the identical name of the old hero of Harper's Ferry, he became at once the butt of his comrades. If he made his appearance a few minutes late among the working squad, or was a little tardy in falling into the company line, he was sure to be greeted with such expressions as "Come, old fellow, you ought to be at it if you are going to help us free the slaves"; or, "This can't be John Brown—why, John Brown is dead.

    The pictured page, , of the hymnal is the bottom half of the page. Mary S. Dana is the author of Hymn No.