The obvious implication of the word “hell” (end v. Leonard of Leonard & Jones for the Virginia Trio, and sung by them with immense success.” I suspect that this is either a contrafactum or burlesque of anther commercial spiritual. Cut that grass, John, in The Great Wesley Brothers’ Latest and Greatest Songster (New York: New York Popular Publishing Co., n.d. However Lane did write a sentimental plantation song called Good-by, old Suwanee River, which he dedicates to Sam Lucas (published by White, Smith & Co., 1878 – the year Lucas first played Uncle Tom on stage perhaps that song was written for the play?). Of 13 songs on deposit at LC, this is his only commercial spiritual. Notes: “The great jubilee song.” Internal refrain, minor key, lyrics index spirituals. Glory hallelujah (Boston: Oliver Ditson, 1883) Cover portrays the gate to heaven with the angel Gabriel and his horn, African Americans dressed in white. A retrogressive message about crossing over (more typical of the 1870s), no musical elements of spirituals.
Waitin’ for de Horn to Blow (Boston: Oliver Ditson, 1894)
The only relation to spirituals is lyrics, about traveling to heaven. The verse melody points toward ragtime with its large interval leaps and more sophisticated harmonies (it’s just missing the syncopation) the “refrain” is actually a bridge (the relative minor phrase in unison) that then reverts to the verse melody. Notes: Cover: “Carroll Johnson’s songs,” with three illustrations of Johnson, two in blackface, and a minstrel semi-circle.
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