Slave Songs of the United States

Originally published in 1867 and reprinted in a more modern edition, this book of Slave Songs provides insights into performance practice and African-American cultural of the middle of the 19th century. Following the dialect and the purpose of each song as presented in the introductory material is a bit challenging but also rewarding. Especially fascinating was the explanation on the "shout" and the use of the music in religious settings. Meaningful as a primary source and a direct understanding of the use of the language in music, this book of songs is an important and necessary resource for historians of African-American music. Aside from some of the musical flaws in the notation, the music is generally clear with a nice balance of text and actual music. Thankfully this book exists, for without it, much of this music would be lost due to its lack of usage in modern culture. A careful study reveals many great and meaningful songs virtually unknown in today's world. Perhaps some of the songs could and should be included in the canon of fine American folk music.

No doubt about it, this is an essential book in the field of American music history, black music history, ethnomusicology, etc. However, one would do better to buy the 1995 Dover edition--the reprinting is much clearer and legible, and the paper stock is smoother. And the price is the same, plus you get a preface (undated) by Harold Courlander. Sorry, this Applegate printing is just not as good.

There are 136 songs in this book, most of which are no longer sung. They are simply amazing, musically and theologically. An example: "Come and Go With Me", collected in Augusta, GA, presents a major scale with a flat 6th and 7th, and the tune ends on the 4th. Unfortunately, the collectors, as went on for generations as standard procedure, did not acknowledge the names of any of their sources. The original "Michael Row the Boat Ashore" is in here; it is a rowing song from the sea islands, addressed to the archangel Michael as a prayer for safe passage; these lyrics are more striking than the familiar ones. Here are the complete lyrics to "Come and Go With Me", which is singular both in its scale and its notion that heaven is in the present, to be accepted rather than earned: Ole Satan is a busy ole man He roll stones in my way Master Jesus is my bosom friend He roll 'em out my way Oh, come and go with me Oh, come and go with me Oh, come and go with me A-walking in the heaven I roam I did not come here myself my Lord It was my Lord who brought me here And I really do believe I'm a child of God A-walking in the heaven I roam Oh, come and go with me Oh, come and go with me Oh, come and go with me A-walking in the heaven I roam It was reported that the freed slaves did not want to remember their old songs. And we all have reasons for forgetting a painful past. But look at these songs; they are the heart and soul's truth of life. It is not too late to learn from these people. Put this music in your heart. Water spring that never dry, Hallelu, Hallelu The more we dig, the more it spring, Hallelujah!

Those who love spirituals often find the origins of spirituals in general to be elusive, if not impossible to track with any degree of reliability. Though this collection of spirituals is quite limited in terms of being highly localized (versus attempting to comprehend all of the spirituals of all of the South), it covers many of the best-loved Negro spirituals. Published first in 1867, it provides perhaps the strongest link for the largest grouping of spirituals, contemporaneous (or nearly so) with the music it attempts to capture. For those who love the Negro spiritual, this is a 'must have' for your collection.

This book gives great insight in to the true meaning of African American slaves songs. This book also discusses the origin and uses of the songs and provides footnotes for most of the colloquials and variations in dialect for each song.