dinsdag 28 februari 2017

Ellen's III. Gesang (Hymne An Die Jungfrau) (1825) / Ave Maria (1826) / Eva Magdalena (1969)


"Ave Maria" is a popular and much-recorded setting of the Latin text "Ave Maria", a traditional Catholic prayer asking for the intercession of the "Blessed Virgin Mary", the mother of Jesus.
The first part of this prayer, the Scriptural part, is taken from the Gospel of St. Luke and joins together the words of the Angel Gabriel at the Annunciation (Luke 1:28) together with Elizabeth's greeting to Mary at the Visitation (Luke 1:42)
Later, probably by Pope Urban IV around the year 1262, Jesus' name was inserted at the end of the two passages.
"Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus".
The second half of the prayer ("Sancta Maria, Mater Dei, ora pro nobis nunc et in hora mortis nostrae") can be traced back to the 15th Century in a Roman Breviary
The current form of the prayer became the standard form sometime in the 16th century and was included in the reformed Breviary promulgated by Pope St. Pius V in 1568.

As I said above the prayer has been set to various musical settings over the course of time.
Already in 1788 Mozart had written a melody for the Catholic prayer.
A very famous musical setting is the Bach/Gounod setting from 1853, which I have covered here: Joop's Musical Flowers: Praeludium # 1 (1722) / Méditation sur le 1er Prélude de S. Bach (1853) / Ave Maria (1859)


After the Mozart, but before the Bach/Gounod setting, the prayer had been set to music by Franz Schubert around 1825.
In that year Franz Schubert composed "Ellens dritter Gesang" ("Ellens Gesang III", D. 839, Op. 52, No. 6, 1825), in English: "Ellen's Third Song", as part of his Opus 52, a setting of seven songs from Walter Scott's popular epic poem The Lady of the Lake (1810).
 


The particular poem "Hymn To The Virgin" (verse XXIX from Canto Third) from Walter Scott's The Lady of the Lake, was first translated into German in 1819 by Adam Storck (1780–1822) and contained in Storck's Fräulein vom See (1819)



Storck's translation then became the basis for Schubert's book of songs, Liederzyklus vom Fräulein vom See (Song Cycle Of The Lady Of The Lake), composed in 1825. There the "Ave Maria" song is called "Ellen's III. Gesang (Hymne An Die Jungfrau)" ("Ellen's Third Song (Hymn To The Virgin)".

An edition of the songs set to both the German words by Storck and to Scott's original English words was published in 1826 as Schubert's Op. 52, under the title "Sieben Gesänge aus Walter Scotts Fräulein vom See" (Seven Songs from Walter Scott's Lady of the Lake).
 


The opening words and refrain of Ellen's song, namely "Ave Maria" (Latin for "Hail Mary"), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer "Ave Maria". The Latin version of the "Ave Maria" is now so frequently used with Schubert's melody that it has led to the misconception that he originally wrote the melody as a setting for the Latin "Ave Maria".


The first recording I could find is one with the German lyrics by Adam Storck.

(o) Edith Clegg (1898) (as "Ave Maria")
Recorded October 11, 1898 in Maiden Lane, London
Matrix y-8-1
Released on Berliner's Gramophone E 3023


See page 23/24 on the next link:




Listen here:


Or here:




(c) Albert Piccaluga (1903) (as "Ave Maria")
Recorded January 1903 in Paris
Matrix 1398f
Released on Disque Pour Gramophone (Gramophone and Typewriter) # 2-32666 (or 2-32667?)
Also released on Zonophone X-82064



In 1904 Albert Piccaluga recorded a version in Paris for the Columbia-label (# 50591)




And in March 1905 Albert Piccaluga recorded a version in Paris for the Odeon-label
Matrix xP 1317
Released on Odeon X 36034


And in January 1907 Albert Piccaluga recorded a version in Paris for the APGA-label
Released on APGA # 1573





(c) Olga von Türck-Rohn (1904) (as "Ave Maria")
Recorded Ocober 1904 in Vienna
Matrix 2421h
Released on G&T 43649




(c) Josef Hollman (1906) (as "Ave Maria") 
(instrumental)
Recorded February 1, 1906 in New York
Released on Victor 64001 and Victrola 64001
 

Or here:

>



(c) Maud Powell (1910) (as "Ave Maria") 
(instrumental)
Recorded May 25, 1910 in New York
Released on Victrola 74177


Listen here:




(c) Julia Culp (1910) (as "Ave Maria") 
with the German lyrics by Adam Storck
Otto Bake, piano
Recorded 1910 in Berlin
Released on Anker E 9453
 
with the German lyrics by Adam Storck
Recorded July 1912 in Berlin
Matrix xxB 5740
Released on Odeon # 76342, also on 53267 and O-6444

with the German lyrics by Adam Storck
Recorded in March 1910 in Berlin
Released on Edison Amberol Cylinder # 15086 and Edisin Blue Amberol # 26137






(c) John McCormack (1914) (as "Ave Maria") 
with the English lyrics by Sir Walter Scott
Recorded March 25,1914 in New York
Released on Victor 88484 and Victrola 8033





(c) Lucy Isabelle Marsh (1915) (as "Ave Maria") 
(with the English lyrics by Sir Walter Scott)
Recorded January 6, 1915 in Camden, New Jersey
Released on Victor 55052






(c) Frieda Hempel (1921) (as "Ave Maria")  
with the German lyrics by Adam Storck
Recorded 1921 in Berlin
Matrix 341av
Released on Grammophon # 043370




And here:




(c) Marie Rappold (1921) (as "Ave Maria") 
with English lyrics by ??
Albert Spalding: violin
Recorded June 1921 in New York
Released on Edison 82258
 


Listen here:





(c) Emmy Heckmann-Bettendorf  (1922) (as "Ave Maria")
with the German lyrics by Adam Storck
Max Saal (harp)
Recorded January 27, 1922 in Berlin
Matrix 2-5721
Released on Parlophon P-1492

with the German lyrics by Adam Storck
Recorded February 1923 in Berlin
Matrix 1068as
Released on Grammophon # B 24198 (72838)






(c) Olga Haley (1925) (as "Ave Maria")
Recorded November 1925 in London
Matrix 04201
Released on Vocalion K-05257
 




(c) Lotte Lehmann (1927) (as "Ave Maria")  
with the German lyrics by Adam Storck
Recorded December 6, 1927
Matrix xxb 7874
Released on Odeon O-8719 and on Decca PG 25797







(c) Emmy Bettendorf  (1929) (as "Ave Maria") 
with the German lyrics by Adam Storck
Paul Mania (organ) Recorded February 18, 1929 in Berlin Released on Parlophon P-9378-I
 
with the German lyrics by Adam Storck
Recorded around August 1933 in Berlin
Released on Odeon O-11891






(c) Erna Berger (1933) (as "Ave Maria")  
with the German lyrics by Adam Storck
Max Saal (harp)
Recorded in 1933 in Berlin
Matrix 5589 1/2  BD8
Released on Grammophon (Polydor) # 10098

with the German lyrics by Adam Storck
Leo Rosenek: conductor
Recorded June 23, 1934 in Vienna
Matrix 2WX766-2
Released on Electrola DB 2291 (32-4807) and Victor 8423
 




(c) Marian Anderson (1936) (as "Ave Maria")  
with the German lyrics by Adam Storck
Kosti Vehanen: piano
Recorded February 4, 1936 in New York
Released on Victor 14210
 

Listen here:




(c) Rosa Ponselle (1939) (as "Ave Maria") 
with the Latin lyrics of the prayer
Mischa Schmidt: violin
Recorded November 1, 1939
Matrix: 2A 042212
Released on HMV VB 74
 



Or here:


Or to a cleaned-up version here:



During a political rally in Baltimore for Dwight Eisenhower, John Charles Thomas had been asked to sing until he made his appearance. Thomas knew that Ponselle, a friend of the Eisenhowers, was in the audience, and he asked the crowd to help him persuade her to come to the microphone. Several minutes of deafening applause accompanied her to the stage. They agreed to do a popular duet, and then Rosa sang Schubert’s Ave Maria, one of Eisenhower’s favourites. She did not know that her voice was being broadcast through loudspeakers outside, nor that it was being recorded.

(c) Rosa Ponselle (1952)
Recorded September 25, 1952 in Baltimore
General Eisenhower Baltimore Rally Concert

Not released until 1995 on the next CD, where you can listen to a sample




(c) Deanna Durbin (1940) (as "Ave Maria")  
with the Latin lyrics of the prayer
Recorded February 28, 1940 in Los Angeles
Released on Decca 3061 and Brunswick 02975



Listen here:


Deanna also sang her version in the movie: "It's A Date".




Walt Disney used Schubert's song in the final part of his 1940 film "Fantasia", with the Philadelphia Orchestra and chorus joined by soprano Julietta Novis.
Released date of the film was November 13, 1940
The text for this version is sung in English, and was written by Rachel Field.

Ave Maria! Heaven's Bride.
The bells ring out in solemn praise,
for you, the anguish and the pride.
The living glory of our nights,
of our nights and days.
The Prince of Peace your arms embrace,
while hosts of darkness fade and cower.
Oh save us, mother full of grace,
In life and in our dying hour,
Ave Maria!



Listen here




(c) Dorothy Maynor (1940) (as "Ave Maria")  
with the German lyrics by Adam Storck after Walter Scott
Arpad Sandor: piano
Recorded December 18, 1940 in recital at the Library of Congress
Released on Victor 15752
 

Or here:




(c) Richard Tauber (1941) (as "Ave Maria")  
with the Latin lyrics of the prayer
Recorded Augustus 25, 1941 in London
Released on Parlophone RO 20501


Or here:




(c) Vera Lynn (1943) (as "Ave Maria") 
with the English lyrics by Sir Walter Scott
Recorded December 1942
Released on Decca F-8256


Listen here:





(c) Bing Crosby (1945) (as "Ave Maria")  
with the Latin lyrics of the prayer
Recorded July 30, 1945 in Los Angeles




In 1944 Bing also sang a version in the movie "Going My Way" (released May 3, 1944)




(c) Beniamino Gigli (1947) (as "Ave Maria")  
with the Latin lyrics of the prayer
Recorded November 26, 1947 in London
Matrix 2EA10684-1
Released on HMV DB6619 and Victor 12-0400



Listen here:




(c) Perry Como (1949) (as "Ave Maria")  
with the Latin lyrics of the prayer
Recorded September 30, 1949 in New York City
Released on RCA Victor 28-0436






(c) Sarah Vaughan (1951) (as "Ave Maria")  
with the English lyrics by Sir Walter Scott adapted by T. Baker
Recorded January 17, 1951 in New York
Matrix CO 45114
Released on Columbia 39207
 





(c) Irmgard Seefried (1952) (as "Ave Maria")  
(with the German lyrics by Adam Storck)
Erik Werba (piano)
Recorded September 13, 1952 in Vienna.
Released on Deutsche Grammophon Gesellschaft # 46007
 
with the German lyrics by Adam Storck
Released November 1966 on the next album



Listen here:





(c) Stevie Wonder (1967) (as "Ave Maria")  
with the Latin lyrics of the prayer


Listen here:





(c) Curd Borkmann (1969) (as "Eva Magdalena") 
German lyrics by Karl Götz and Kurt Hertha


Listen here:




(c) Malcolm Roberts (1969) (as "Eva Magdalena") 
English lyrics by G.Whitehead and T.Gardner


Listen here:




(c) D.C. Lewis (1971) (as "Eva Magdalena") 
Dutch lyrics by Jochem van Renesse


Listen here:




(c) Nana Mouskouri (1975) (as "Ave Maria")  
with German lyrics by Brigitte Otto


Listen here:





(c) Nina Hagen (1989) (as "Ave Maria")   
with German lyrics by Brigitte Otto


Listen here:




(c) Celine Dion (1998) (as "Ave Maria")  
with the English lyrics by Sir Walter Scott and the Latin lyrics


Listen here:





(c) Barbra Streisand (2001) (as "Ave Maria") 
with the Latin lyrics of the prayer






(c) Michael Bublé (2011) (as "Ave Maria")   
with the Latin lyrics of the prayer


Listen here:




In 2014 Fairuz recorded a version in memory of her ex-husband Assi Rahbani, who wrote the lyrics of this version of "Ave Maria".

Listen here:




More versions here:





op Geen opmerkingen:

maandag 20 februari 2017

Poor Mourner (1896) / Moanish Lady (1927) / You Shall Be Free (1928) / Oh Mo'nah (1931) / We Shall Be Free (1944) / I Shall Be Free (1962)

"Oh Mo'nah!" will be forever identified with Nat Gonella, who recorded the song a few times, beginning December 1931 in London, with the Roy Fox band.
But the song was credited to Ted Weems and Joe "Country" Washburn, who recorded their version 3 months earlier in Chicago.
In turn Weems and Washburn based their song on a black spiritual "Poor Mourner" or "You Shall Be Free", some verses of which were published in the "Negro Singers' Own Book" as early as 1846.

In 1911 Howard W. Odum published "You Shall Be Free" in Vol. 24, No. 94 of "The Journal Of American Folklore", as song No. 86 in "Negro Folk-Song and Folk-Poetry" series
He stated that it 'was originally adapted from a religious song, "Mourner, You Shall Be Free". The song was widespread.




In 1915 E.C. Perrow published "Oh Mourner" in Vol. 28, No. 108 of "The Journal Of American Folklore", as song No. 1 in "Songs And Rhymes From The South", part VII "Songs of the Plantation"


I. OH, MOURNER! (2) (From Mississippi; negroes; MS. of F. R. Rubel; 1909.)

Some folks say that a nigro (sic) won't steal;
I caught two in my corn feild (sic).One had a shovel and the other had a hoe;
If that ain't stealing, I don't know.
Oh, Moana, you shall be free, (twice)When the good Lord sets you free.

Some folks say that a nigro won't rouse;
I caught two in my smoke house.
One had a middling, and the other had a ham;
If that ain't stealing, I'll don't know.

I went to a chicken coop on my knees;
I thought I heard a chicken sneeze.(3)
Way down yonder on Punkin Creek
Where those nigros grow leben feet,

Heels stick out so far behind
Chickens roost there most all the time.
I had a wife and I fed her on grease;
Every time I knocked her down she hollowed "police!"

Ain't no use in me workin' so hard;
I got a gal in the white folks yard.
She fetch me meat and she fetch me lard.
Ain't a bit of use in me workin' so hard.(4)

(2)  This song shows the tendency of a large number of distinct songs to drift together into
one.
(3) This stanza is in the college song Polly Wolly Doodle
(4) Compare another version from Mississippi:
I got a gal in de white folk's ya'd, She brings me chicgn en she brings me la'd She steals me ham an' she steals me meat She thinks I'm wukkin', but I'm walkin', de street.

In E.C. Perrow's notes, this is typewritten beneath the long version of "Oh, Mourner!": "THIS BALLAD WAS GOTTEN FROM A NIGRO NAMED RASMUS MOORE February 24 1909."


In 1925 the song was published in "On The Trail Of Negro Folk-Songs" by Dorothy Scarborough.
It appereared under different titles:

As "Ole Marse John"



As "Po' Mournah!"


As "Great Big Nigger Sittin' On A Log".


As "Fragment From Pore Mournah"


As "There Was An Old Nigger, His Name Was Dr. Peck"


As "Po' Mona".


As "Ain't No Use O' My Workin' So Hard"




In 1928 the songcluster is extensively discussed in Newman I. White's book "American Negro Folk-Songs" on pages 134 -140



In 1926 Sigmund Spaeth published a version in "Read 'Em and Weep" under the title "Mona (You Shall Be Free)" and commented that it 'represents the more sophisticated development of Negro folk music, with only a suggestion of the spiritual in the background'.


And in 1934 it was published as "When De Good Lord Sets You Free" in John and Alan Lomax's "American Ballads and Folk Songs" (pages 254-258)




The first recording seems to be by an anonymous quartet.
Unfortunately I haven't heard a sample yet.

(o) Anonymous Male Quartet (pre June 1896)  (as "Poor Mourner")

Released on Berliner Disc # 854




(c) Standard Quartette (1896)  (as "Poor Mourner")

Released on Columbia Cylinder # 9017


Listen here:




(c) Cousins and DeMoss (1898)  (as "Poor Mourner")
Samuel William Cousins and Ed DeMoss

Samuel Williams Collins, born 1875 in Boston, MA


Released on Berliner Disc # 3010


Listen here:




(c) Dinwiddie Colored Quartet (1902)  (as "Poor Mourner")
Recorded October 29, 1902
Released on Victor Monarch Disc # 1715




Listen here:




(c) Pete Hampton (1904) (as "Poor Mourner")
Recorded February/March 1904 in London, England
Released on Odeon 2438





(c) Fisk Jubilee Quartet (1911) (as "Po' Mo'ner Got a Home At Last")
Recorded February 10, 1911 in Camden, New Jersey
Released on Victor 16843
 





(c) Land Norris (1924) (as "You Ought To Be Arrested And Put In Jail")
Recorded August 26, 1924
Released on Okeh 40374




Listen here:




(c) Uncle Dave Macon (1926) (as "Shout Mourner You Shall Be Free")
Recorded September 8, 1926 in New York
Released on Vocalion 15445 and Vocalion 5007
 



Now folks, talk about your gentle in-folks
I'm going to give you the genteel

Banjo instrumental

Hot dog!

I saw Sal when she went out, I saw Sal pick out her route
Seen her lock the door, and I seen her hide the key
She's a mighty sharp nigger, but she can't fool me

Chorus:
Shout mourner, you shall be free
Shout mourner, you shall be free
When the good Lord sets you free

Did you have a song, baby, did you have a song

Oh, Miss Doe said you treated me mean
I'm a-tired of livin' on your pork and beans
You [she] may be warm, but I don't know
She ain't so warm 'til she melts the snow

Did you have a song, baby, did you have a song

Chorus

[Oh my little honey what happened in the lot
Keep out running in the buzzard trot]
The big mule throwed so the little mule kicks
That big nigger throwed the little in a ditch

Did you have a song, baby, did you have a song

Chorus

Me and my partner and two or three more
Hanging around Sam LaFevre's door
Buying whiskey and buying gin
Just a-getting right to go again

Gotta have a song, baby, gotta have a song

Listen here





Though the proper title of the song is "You Shall Be Free", in 1927 Frank Stokes (a Memphis blacksmith and noted songster) and Dan Sane, recorded the song as just "You Shall".
Perhaps the record company didn't like the original title, or some of the verses.
One stanza was collected frequently: "Some Folks Say That A Nigger Won't Steal...But I Caught Twenty In My Cornfield....".
Frank Stokes cut out the offensive term and shifted the target; he sang: "Some Folks Say That A Preacher Won't Steal...I Caught About Eleven In A Watermelon Field...."
They've been altered, but some of Stokes' verses can be traced back at least to 1846 and the publication of "The Negro Singers Own Book". This was a songster, in the original use of the term: a collection of song lyrics, intended for the use of minstrel show entertainers. They sold for a dime apiece and thousands of these pocket-sized books were printed.

This early recording from Frank Stokes and Dan Sane (as the Beale Street Sheiks) was probably the inspiration for Woody Guthrie and Leadbelly to record "We Shall Be Free", also with the Priest verses. 

And in 1962 Bob Dylan got the inspiration from Woody Guthrie and Leadbelly's "We Shall Be Free" to record his "I Shall Be Free", released on his "The Freewheelin' Bob Dylan" LP. (SEE FURTHER ON IN THIS TOPIC)

Well here's Frank Stokes' version with the Priest verses

(c) Beale Street Sheiks (1927)  (as "You Shall")
Frank Stokes (v/g) and Dan Sane (g)
Recorded August 1927 in Chicago
Released on Paramount 12518
 



Now, it's our Father who art in Heaven
The preacher owes me ten dollars, he paid me seven
Thy kingdom come, thy will be done
If I hadn't took the seven, Lord, I wouldn't have got none

Had to fight about it
What he owed me
My money, yeah

Ah, well, some folks said that a preacher wouldn't steal
I caught about eleven in the watermelon field
Just a-cuttin' and a-slicin' got to tearing up the vine
They's eatin' and talkin' most all the time

They was hungry
Leave the rind, brother, you shall
Save my vines
Don't rob me, yeah
My melons, yeah

Ah, well, you see that preacher layin' behind the log
A hand on the trigger got his eye on the hog
The hog said "Mmm", the gun said "Biff"
Jumped on the hog with all his grip

He had pork chops, you shall
Had backbone
Had spare ribs, you shall
Now, when the good Lord set me free

Now, when I first moved to Memphis, Tennessee
I was crazy about the preachers as I could be
I went out on my front porch a-walking about
Invite the preacher over to my house
He washed his face, he combed his head
Next thing he wanna do was slip in my bed
I caught him by the head, man, kicked him out the door
Don't 'low my preacher at my house no more

I don't like 'em
They'll rob you
Steal your daughter
Take your wife from you, yeah
Eat your chicken
Spend your money, you shall
They'll rob you
Plantation, you shall

Pray, mourner, in the morning, you shall
Feel the spirit
Help me tell it, you shall
Now, when the good Lord set me free

Listen here:




(c) Carlonina Tar Heels (1927)  (as "When the good Lord sets you free")
Recorded August 15, 1927 in Charlotte, New Carolina
Released on Victor 20931
 



Listen here




(c) Lions Quartet (1927)  (as "Moanin' Lady")
Recorded September 27, 1927 in Seattle, Washington
Released on Columbia 1167-D




(c) Jules Allen (1928) (as "Po' Mourner")
Recorded April 21, 1928 in El Paso, Texas
Released on Victor 23834



Jules Allen sang the racist version of this black spiritual



(c) Bill and Belle Reed (1928) (as "You Shall Be Free")
Recorded October 17, 1928 in Johnson City, Tennessee
Released on Columbia 15336-D



(c) Four Dusty Travelers (1929) (as "Po' Mourner")
Recorded October 15, 1929
Released on Columbia 14477-D


Listen here:




(c) World Famous Williams Jubilee Singers (1930)  (as "Po-Mona")
Recorded September 6, 1930 in Chicago
Released on Brunswick 7191




(c) Cotton Pickers Quartet (1931) (as "Pore Mourner")
Recorded January 26, 1931 in New York City
Released on Okeh 8868




With new lyrics in 1931 by Ted Weems and Country Wasburn the song was released on the B-side of the Ted Weems 78 "I Love To Hear A Military Band", which was a small US hit.
But the next year the song became very succesfull in the UK through many cover-versions.

(c) Ted Weems and his Orchestra (1931)  (as "Oh! Mo'nah")
Vocals by Country Washburn.
Recorded September 24, 1931 in Chicago
Released on Victor 22822




Listen here:




(c) The Masqueraders (=Savoy Hotel Orpheans) (1932) (as "Oh Mo'nah")
Vocals: Eddie Collis
Recorded December 22, 1931 in London
Released on Columbia CB-401
 


Listen here:




Next came the first of many versions on which Nat Gonella handled the vocals.
It became pretty much his theme song.
Rcorded under the Roy Fox and his Band moniker, but at the time Fox fell ill with pleurisy and his doctors sent him to Switzerland to recover; leaving Lew Stone in charge. Roy Fox was absent from November 1931 to April 1932.

(c) Roy Fox and his Band (1932) (as "Oh' Mo'nah")
Vocals: Nat Gonella (with Al Bowlly in chorus)
Recorded December 30, 1931 in London
Released on Decca F-2763 and Rex 9892 and Brunswick 6457




Listen here:




(c) Harry Roy and his R.K. Olians (1932) (as "Oh! Mo'nah!")
Vocals: Harry Roy, Bill Currie and Ivor Moreton
Recorded January 1932 in London
Released on Broadcast 809
 

Listen here




(c) Ambrose and his Orchestra (1932) (as "Oh Mo'nah")
Vocals: Sam Browne
Recorded January 1, 1932 in London
Released on HMV B-6127






(c) Billy Cotton and his Band (1932) (as "Oh! Mo'nah")
Vocals Cyril Grantham
Recorded January 2, 1932 in London
Released on Regal MR-494

Listen here:




(c) Ray Starita and his Ambassadors (1932) (as "Oh! Mo'nah")
Vocals: Nat Gonella
Recorded January 5, 1932 in London
Released on Sterno 861
 


Also released on Solex B-53 (as by The London Rhythm Kings)


Listen here:




(c) Buddy Lewis and his Orchestra (=Harry Bidgood) (1932) (as "Oh! Mo'nah")
Vocals: Fred Douglas
Recorded January 9, 1932 in London
Released on Panachord 25158



Also released on May-Fair G-2075 (as by Al Conway and his Orchestra)



Listen here:




(c) Bert and John Firman (1932) (as "Oh! Monah")
Vocals: Cavan O'Connor
Recorded January 29, 1932 in London
Released on Zonophone 6052

Also released on Zonophone 2873 (as by The Rhythmic Eight)

Listen here





(c) Jazz-Sinfonie-Orchester Joe London (1932) (as "Oh! Mo'nah")
(= Richard Forst mit Gesang Raimund Gessner)
Recorded December 1931 in Berlin
Matrix 3079
Released on Brilliant #44, on Silverton #44 and on Tempo 1254
 


Listen here




(c) Barnabas von Geczy (1932) (as "Oh Monah!")
Recorded March 4, 1932 in Berlin
Released on Parlophon B.48171
Master 133464


Listen here:  geczy_monah.mp3



(c) Irene Ambrus (1932) (as "Die Neue Mo'nah")
Recorded April 20, 1932
Matrix Bi 639
Released on Gloria 10304
 


Listen here:




(c) Sam Baskini mit seinem Tanz-Orchester (1932) (as "Oh! Mo'nah")  
German lyrics by Charles Amberg
Recorded April 28, 1932
Released on Telefunken A 1088

Listen here:




(c) Eugen Rex (1932) (as "Oh! Mo'nah!")
mit Quartett-Gesang und Ilja Livschakoff Tanzorchester
German lyrics by Charles Amberg
Recorded May 18, 1932 in Berlin
Matrix 4737 ½ BD
Released on Grammophon 857-B, 889-A and 24633 A
Also released on Polydor 889 (as Fred Marley Tanz Orchester)


Listen here:




(c) Bob Scholte (1932) (as "Oh! Kovacs")  
Dutch lyrics by Kovacs Lajos=Louis Schmidt
Recorded May 1932 in Berlin
Released on Parlophon B.17728


Listen here: 




(c) Windy City Four (1933) (as "Oh Monah!")
Recorded April 13, 1933
Matrix C-549-2
Released on Vocalion 1738
 


Also released on Banner 32770 (as by Maple City Four)
Also released on Perfect 15774 (as by Maple City Four)
Also released on Conqueror 8167 (as by Maple City Four)
Also released on Melotone 12699 (as by Maple City Four)

Listen here:




(c) Nat Gonella and his Georgians (1934) (as "Oh Monah")
Recorded November 2, 1934 in London
Released on Parlophone R-1982





(c) Bill Boyd and his Cowboy Ramblers (1936) (as "You Shall Be Free Monah")
Recorded October 27, 1936 in San Antonio, Texas
Released on Bluebird BB-6694


Listen here:


Or here:




(c) Nat Gonella and his Georgians (1941) (as "Oh! Mo'nah")
Vocals: Nat Gonella
Recorded February 7, 1941 in Leeds
Released on Columbia FB-2581
 


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(c) Woody Guthrie and Friends (as "We Shall Be Free")
Woody Guthrie (vocals), Leadbelly (vocal-guitar),  Sonny Terry (Harmonica-wooos! and vocals) and Cisco Houston( guitar vocals)
Recorded April 25, 1944
Matrix # MA124-1


Released in 1962 on Folkways 2483



Lyrics: WE SHALL BE FREE

In the morning . . . we shall be free
All day . . . we shall be free
Hear me say . . .'we shall be free
When the good Lord sets you free.

I was down in the hen house the other night
Awful dark I didn't have no light
I reached for a chicken, got me a goose
A man come out, I had to turn him loose.

I jumped a gully . . . we shall be free
I jumped a rose bush . . . we shall be free
Got some flapjacks . . . we shall be free
When the good Lord sets you free.

Preacher and the rooster had a terrible fight
Preacher knocked the rooster clean out of sight
Preacher told the rooster that would be all right
Meet ya at the hen house tomorrow night.

In the mornin' . . . we shall be free
In the mornin' . . . we shall be free
In the mornin' . . . we shall be free
When the good Lord sets you free.

I was down in the hen house on my knees
I thought I heard a chicken sneeze
Only the rooster sayin' his prayers
Thanking his God for the hens up stairs.

Here‘s to the preacher . . . we shall be free
He's a-singin' . . . we shall be free
Take up collection . . . we shall be free
When the good Lord sets you free.

Oh some folks say you think too hard
Put all your faith and trust in God
Matter's no difference, don't you see
A hog can't run too fast for me.

Get my hepes up . . . we shall be free
Get that hog eye . . . we shall be free
Get them chitt'lin's . . . we shall be free
When the good Lord sets you free.

Some people say a preacher won‘t steal
But I caught two down in my corn field
One had a bushel, the other had a peck
The other had a roastin' ear down his neck.

In the kitchen . . . we shall be free
Gettin' roastin' ears . . . we shall be free
Gettin' dried corn . . . we shall be free
When the good Lord sets you free.

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Only a few weeks later a little shorter version of the same song with slightly different lyrics was recorded by Leadbelly and friends

(c) Leadbelly and Friends (1944) (as "We Shall Be Free")
Leadbelly (vocal-guitar), Woody Guthrie (vocals), Sonny Terry (Harmonica-wooos! and vocals)
Recorded May 1944 in New York City
Matrix # MA196
This version was released in 1962 on a Leadbelly album on Folkways 2488



Lyrics:

In the mornin' ... we shall be free
I done tol' you ... we shall be free
I said it ... we shall be free
When the Good Lord sets you free.

I was down in the hen house, on my knees
Thought I heard a chicken sneeze
Nothin' but a rooster, sayin' his prayers
Thankin' his God for the pullets upstairs

He's a-preachin' ... we shall be free
Takin' up collection ... we shall be free
Prayin' on th' knees ... we shall be free
When the Good Lord sets you free

Now you tell it

Now, there's some folks says that the times is hard
Preacher said to put your trust in God
Matters no difference, don't you see
A hog can't run too fast for me

Gettin' my hopes up ... we shall be free
I done told ya ... we shall be free
Oh, preacher ... we shall be free
When the Good Lord sets you free

Ain't no use in me a-workin' so hard
I got a woman in the rich folks' yard
When they kill a chicken, she sends me the head
Thinks I'm a-workin', I'm a-layin' up in bed

Takin' it easy ... we shall be free
Two other women ... we shall be free
I thought you noticed ... we shall be free
When the Good Lord sets you free

Now you tell it

Oh, you see that preacher, sittin' on a log
Eyes on his trigger and his eyes on the hog
The gun said boom, lose his grip
He jumped on him with all of his zip

Gettin' my hopes up ...we shall be free
Gettin' a hog eye ... we shall be free
Gettin' them chit'lins ... we shall be free
When the Good Lord sets you free

Ain't no use in me a-workin' so hard
I got a woman in the rich folks' yard
When they kill a chicken, she sends me the feet
Thinks I'm a-workin', I'm a walkin' down the street

Havin' a big time ... we shall be free
Havin' a good time ...we shall be free
Seein' the women go by ... we shall be free
When the Good Lord sets you free

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(c) Bob Dylan (1963)  (as "I Shall Be Free")

"I Shall Be Free" is a rewrite of Lead Belly's "We Shall Be Free", which was performed by Lead Belly, Sonny Terry, Cisco Houston, and Woody Guthrie. Dylan copied the "talking blues" part using floating lyrics (the "Oh, there ain't no use in me workin' alla time" stanza), but omits its signature chorus ("We shall be free, when the good Lord sets you free").


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Or here:




Like I just said, Bob Dylan copied the "talking blues" part (with the floating lyrics) from Woody Guthrie and Leadbelly's "We Shall be Free".
But as I said earlier on in this topic Frank Stokes and Dan Sane's "You Shall" (1927) was probably the inspiration for Woody Guthrie and Leadbelly's "We Shall Be Free" (also with the Priest verses)
But Woody and Huddy also got inspiration from the "talking blues" part from Chris Bouchillon's "Talking Blues" (1927).  including 2 complete stanzas: the "Ain't no use in me a-workin' so hard" stanza and the "I was down in the hen house, on my knees" stanza


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(c) Carl Sandburg (1951)  (as "Moonish (Moanish) Lady")
Previously published in Carl Sandburg's "American Songbag" (1927)



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(c) Bill Haley (1958)  (as "Whoa Mabel!")
Lyrics adapted by Bill Haley, Milt Gabler, Rusty Keefer, Catherine Cafra
Recorded June 12, 1958 at Decca Studios, New York
Released on Decca 30741


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(c) The Cherokees (1967) (as "Oh Monah") 
Hit in Australia
Released December 1966 on the Go!!-label




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(c) Nat Gonella With Ted Easton's Jazzband (1970) (as "Oh Monah")  
Nr 6 Hit in The Netherlands in 1975


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(c) Havenzangers (1987) (as "Oh Mona!") 
Dutch lyrics by Tom Peters.

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