The negro preacher often rebukes his flock for talking about each other in uncomplimentary terms. Sometimes the “sisters” who do not like the preacher retort variously, “I heard you talkin ’bout So and So, you know I did” or “We gwine talk ’bout you,” or “Yes, you knows it.” Slander and gossip are fast runners and the average negro assumes that somebody is talking about him or something which he has done. Out of this has grown the song “Talk about me” and others.
Yes, I know you goin’ talk ’bout me,
Yes, I know you goin’ talk ’bout me,
For you talk ’bout my father when he’s on his knees a prayin’,
An’ I know you goin’ talk ’bout me.
So likewise he sings “I know you’re goin talk about me” because “you talk about my mother when she’s on her bed a-dyin’”; he actually sings father, brother, mother, sister, mourner, preacher, to both “on his knees a prayin’”, and “on bed a dyin’.” A very popular stanza which is regularly sung in a number of songs goes: “You may talk about me just as you please, I’m goin’ to talk about you when I git on my knees.”
The old slave and plantation song asked: “Who’ll jine de Union?” saying, “Say, ef you belong to de union ban’, den here’s my heart an’ here’s my hand.” There have been societies known as “The Union” or “Union Band” both in the church and outside. The name “Union” itself is a favorite one among the negro societies and organizations. It was thought in the old days that a union band would march to heaven and that these only would be enabled to reach the destination. It is almost certain that a number of references in their songs referred to the Union army in and after the war. However, the exact origin of the song as it is now sung has not been found, but appears to be a general corruption of several old songs.
Get in the Union, Jesus is a listenin’,
Get in the Union, Jesus die.
Well, won’t you get in the Union?
Jesus is a listenin’, Jesus die.
Where was Ezekiel when the church fell down?
Down in de valley wid his head hung down.
Hypocrite, hypocrite, God do despise,
Tongue so keen till he will tell lies.
Upon the mountain Jehober spoke,
Out of his mouth come fier an’ smoke.
With this chorus are sung also as already given, “Satan, the snake in the grass”, “Ole satan weah mighty loose ole shoe”, etc. The “Hallelujah” so common among the old songs is less frequently heard now: it will be found to some degree in the shouting songs and songs of heaven.
Not the least among the warnings to the sinner were to be reckoned the times when “Gable” should blow his horn. “Gable” has been proverbial among the negroes; Gabriel and the trumpet are, however, significant in the same way among the whites in vulgar reference. Many ideas of “Gable’s” trumpet have appeared in the negro songs. Sometimes it is “blow louder, Gable.” “How loud mus’ I blow?” Reference has already been made to these lines. The song “Blow, Gable, blow” has changed considerably from the old plantation songs of the same name.
Blow Gable, at the judgment,
Blow Gable, at the judgment bar.
For my God is a talkin’ at the judgment,
For my God is a talkin’ at the judgment bar.
Now won’t you blow Gable at the judgment?
For my God is a preachin’ at the judgment bar.
Now won’t you blow Gable at the judgment bar?
Well, I’m goin’ to meet my preacher at the judgment bar.
In the same manner, making a four-line stanza of each one, are sung, “Goin’ to meet brother, mother, sister, etc.”, and also “My God is a walkin’, tryin’, etc.,” at the judgment bar. So, too, it is “prayin’ time, mournin’ time, singin’ time, shoutin’ time, tryin’ time, etc., at the judgment bar.” This song may be given as the last one of the class peculiar to warnings and admonitions to sinners. It closes with still other verses that give vivid pictures of the judgment bar.
Well, sinners, keep a prayin’ at the judgment bar.
Well, it’s too late to pray at the judgment bar.
Why didn’t you take heed at the judgment?
Some come crippled at judgment.
Oh, I look fer my mother, brother, sister, at de judgment.