vrijdag 24 juni 2022

Further Along (1911) / Farther Along (1916) / We'll Understand It All By And By (1921) / Father Alone (1938)


"Farther Along" (or "Further Along" originally) is an American Southern gospel song of disputed authorship. The song deals with a Christian's dismay at the apparent prosperity of the wicked, when contrasted with the suffering of the righteous. The repeated theme is that, "farther along" (in Heaven, perhaps), the truth will be revealed.  (Wikipedia)

Its lyrics first appeared as song No. 628 "Further Along" in the hymnal Select Hymns for Christian Worship and General Gospel Service, published in 1911. 
The song was attributed to one of its editors Barney Elliot Warren with the text "Arr. B. E. W." 
 



In 1916 "Farther Along" was published in the songbook Harmonic Chimes by the Harmonic Publishing Company in Morristown, TN.
Here the song was credited to Rev. William Buel Stevens (link) a Church of God preacher, who it is surmised authored the lyrics while struggling with the death of his son. 




In 1921 the song appeared (as "We'll Understand It All By And By") in a volume called Eureka Sacred Carols.
Here the song is attributed to the Free Will Baptist preacher, the Rev. W.E. Lindsay, with an arrangement by G.C. Adams.
 


In 1937 "Farther Along" got it's most influential publication in the collection Starlit Crown, published by the Stamps-Baxter Music Company. 
In this collection the song is credited to J.R. Baxter Jr. and the Burnette Sisters are mentioned being the first to perform the song. 
Williams B. Stevens happened to hear the Burnette Sisters perform it on the radio and would claim to be the author of the song’s lyrics. 

Subsequently, from the 1938 songbook Gospel Quartets onward, Stamps-Baxter attributed the words to W.B.S. and music to W.B. Stevens and arranged by J.R. Baxter, Jr.



As we saw above, the 1916 version, from the Harmonic Chimes songbook, has been assigned, both musically and lyrically, to W.B. Stevens. 
But comparing the music notes of the 1937 Stamps-Baxter version above with the 1916 Harmonic Chimes version, I see clear differences.
In fact the melody of the 1937 Stamps-Baxter version is more in tune with the above mentioned 1921 version, from the Eureka Sacred Carols, with words and melody by W.E. Lindsay !!!

David Hamrick has made a note-for-note comparison of both songs, and his conclusion is quite clear.




"Farther Along" was also set to the music of alternate tunes:   SEE: Farther Along

And other men who were being cited as the original authors of the song, were Rev. W. A. Fletcher from Oklahoma and W. P. Jay, a preacher for the Church of the Nazarene, born in Arkansas.



The first recorded version seems to be titled "Father Alone" rather than "Farther Along".

(o) J.H. Howell's Carolina Hillbillies (1938) (as "Father Alone")
Recorded January 29, 1938 in Charlotte, NC
Released on Montgomery Ward M-7757


This version is still on my wish-list !!!!



(c) The Stamps Quartet (1938) (as "Farther Along")
Recorded May 13, 1938 in Dallas, TX
Released on Vocalion 04236
Also released on Okeh 04236 and Columbia 37769
 






(c) Swan's Silvertone Singers (1952) (as "Father Alone")
Recorded May 15, 1951 in New York
Released on King 4516
 



Listen here:




(c) Soul Stirrers (1956) (as "Farther Along")
Recorded February2, 1956 in Hollywood, CA.
Released on Specialty SP 892



Listen here:




(c) The Harmonizing Four (1957) (as "Farther Along")
Recorded May 1957 in Chicago
Released on Vee Jay VJ 845
 



Listen here:




(c) Elvis Presley (1967) (as "Farther Along")
with The Jordanaires and The Imperial Quartet
Recorded May 27, 1966 in Nashville, TN
Released on the album How Great Thou Art



Listen here:




(c) The Flying Burrito Brothers (1970) (as "Farther Along"
Recorded end 1969 in Hollywood, CA
Released May 1970 on their album Burrito Deluxe



Listen here: 




(c) The Byrds (1971) (as "Farther Along")
Recorded July 25, 1971 in London, UK
Released November 1971 on their album Farther Along


Listen here:


The Byrds' recording of the song became more poignant in the years following its release, after "Farther Along" was sung by ex-Byrd Gram Parsons and then-current member of the Eagles, Bernie Leadon, at White's funeral in 1973. Gram Parsons was especially shaken by White's death and later conceived his final song (before his own death), "In My Hour of Darkness", as a partial tribute to White.



In 1974 by Ike Turner re-used the title of the first recorded version from 1938 ("Father Alone").
His version has slighty different lyrics, credited to Spencer Taylor.
Turner's rendition was nominated for a Grammy Award for Best Soul Gospel Performance.

(c) Ike Turner (1974) (as "Father Alone")
Recorded October 1973 in Inglewood, CA
Released United Artists XW-460 W
 



Listen here:



As we see on the label, Ike Turner's version is credited to Spencer Taylor. 
He was the leader of the American gospel group Hi Way Que C's, who also recorded a version of "Father Alone" (rewritten/arranged by Taylor) in 1965 for the Peacock-label.

(c) Hi Way Que C's (1965) (as "Father Alone")
Released on Peacock Records 3042
 


Listen here:




(c) Dolly Parton, Linda Ronstadt and Emmylou Harris (1987) (as "Farther Along"
(arrangement by John Starling and Emmylou Harris)
Recorded 1986 in the Complex, West Los Angeles, CA
Released on the Trio album.


Listen here:




More versions here:







The "Bye and Bye" tag, used at the end of the chorus of "Farther Along", is frequent in the African-American tradition, also used in the old hymn, "(We'll Understand It Better) Bye And Bye".


zaterdag 18 juni 2022

Samson et Dalila Acte 2 op. 47 (Mon Cœur S'ouvre a Ta Voix) (1877) / My Heart At Thy Sweet Voice (1906) / Oriental Fox Trot (1922) / When I Write My Song (1947) / Night (1960)


"Mon cœur s'ouvre à ta voix", known in English as "Softly awakes my heart", or more literally "My heart opens itself to your voice", is a popular mezzo-soprano aria from Camille Saint-Saëns's opera Samson et Dalila, It is sung by Dalila in act 2 as she attempts to seduce Samson into revealing the secret of his strength.
Samson et Dalila, known in English as Samson and Delilah, is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire.  
It was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater (now the Staatskapelle Weimar) on 2 December 1877 in a German translation.

Although the orchestration was not yet complete, act 2 was presented in a private performance in 1870 just prior to the outbreak of the Franco-Prussian War with Saint-Saëns playing the orchestral parts, which were largely improvised, on the piano. 
Composer Augusta Holmès (Dalila), painter Henri Regnault (Samson), and Romain Bussine (High Priest) rendered their roles from part books.

The French public reacted negatively to Saint-Saëns's intention of putting a Biblical subject on the stage, causing him to abandon working further on the opera for the next two years.

In 1872, when visiting Weimar in Germany, Franz Liszt persuaded Saint-Saëns to finish Samson and Delilah, even offering to produce the completed work at the grand-ducal opera house in Weimar.
So for the next 3 years Saint-Saëns was working completing the opera.

In 1875 acclaimed mezzo-soprano Pauline Viardot, for whom Saint-Saëns wrote the role of Dalila, organized and performed in a private performance of act 2 at a friend's home in Croissy, with the composer at the piano. Viardot was a great admirer of the work and she hoped that this private performance would encourage Halanzier, the director of the Paris Opéra who was in attendance, to mount a full production. Although Saint-Saëns completed the score in 1876, no opera houses in France displayed any desire to stage Samson et Dalila. Liszt's sustained support however led to the work being mounted in Weimar in 1877.

The opera was performed for the first time in France at the Théâtre des Arts in Rouen on March 3, 1890 with Carlotta Bossi as Dalila and Jean-Alexandre Talazac as Samson, this time with a much warmer reception by the audiences.


The first recording of the aria from Act II "Mon Cœur S'ouvre a Ta Voix", I could find is from 1899-1900, released on a cylinder of the French branch of the Bettini-label.
The Bettini-label was founded by Gianni Bettini, who started his operations in New York and around 1898 went to Paris to establish the French Société des Micro-Phonographes Bettini.
The performers on this recording are simply described as Duo Mezzo-Soprano & Tenor.

(o) Duo Mezzo-Soprano & Tenor (1899) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded in Paris, France
Released on Micro-Phonographe Bettini
 





But "Mon Cœur S'ouvre a Ta Voix" was probably recorded the year before, when Gianni Bettini still was in New York and recorded a version by the soprano Rosalia Chalia.

(o) Mme. (Rosalia) Chalia (1898) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded in New York
Released on Bettini #19


See page 26 on the next link:  A true mirror of sound : Bettini




(c) Charlotte Marie Agussol (1901) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded 1901 in Paris
Matrix 693G
Released on Berliner / G&T 33143




(c) Mme. Guillon-Brasseur (1901) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded 1901 in Paris
Matrix 3737G / 3738G
Released on Berliner 33231 and Berliner 33240






(c) Mary Boyer (1902) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded 1902 in Paris 
Released on Pathe Cylinder # 234





(c) Rosa Olitzka (1902) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded 1902 in Paris ? 
Matrix 1315F 
Released on Berliner / G&T 33170 

Listen here:




(c) Felia Litvinne (1902) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded December 29, 1902 in Paris 
Matrix 1360F / 2254F 
Released on Gramophone 33160 
Also released on Victor 5112



Listen here: at 6 minutes and 50 seconds in the YT below




(c) Ernestine Schumann-Heink (1903) (as "Mein Herz" ("Dalilah's Grand Aria"
Released on Columbia 1380
 





(c) Louise Homer (1903) (as "Mon Cœur S'ouvre a Ta Voix")  
Recorded November 2, 1903 in New York
Released on Victor 85014 (US) and Victor 74020 Canada)






(c) Emil Keneke (1906) (as "My Heart At Thy Sweet Voice")
with Arthur Pryor's Band
Recorded March 30, 1906 in Philadelphia
Released on Victor 31564
 




(c) Mme. (Marie) Delna (1907) (as "Mon Cœur S'ouvre a Ta Voix")  
Released on Pathe 4876
 






(c) Mr. (Jean) Bedetti (1908) (as "Mon Cœur S'ouvre a Ta Voix")
Released on Pathe 8532
 





(c) Jeanne Gerville-Réache (1909) (as "Mon Cœur S'ouvre a Ta Voix"
Recorded April 29, 1909 in Camden, New Jersey
Released on Victrola 88184
 




Listen here:




On April 24, 1909 Saint-Saëns' Samson Et Dalila got the first UK stage premiere at Covent Garden in London, with Louise Kirkby Lunn playing the role of Dalila, earning the praise of the composer Saint-Saëns, who attended the British premiere of the opera at Covent Garden, declaring Lunn to be his ideal interpreter. 
2 months later Louise Kirkby Lunn also made a recording of "Mon Cœur S'ouvre a Ta Voix".

(c) Madame (Louise) Kirkby Lunn (1909) (as "Mon Cœur S'ouvre a Ta Voix")
Recorded June 29, 1909 in  London
Released in 1909 on Gramophone Monarch Record 2-033002
 


Listen here:




Probably the first version with English lyrics was recorded in 1908.

(c) Corinne Morgan (1908) (as "My Heart At Thy Sweet Voice")
Recorded February 27, 1908 in Camden, New Jersey
Released on Victor 5414 and Victor 16192







In 1922 Paul Whiteman recorded a medley, which consisted of Cesar Cui's "Orientale" and Saint-Saëns' "Mon Cœur S'ouvre a Ta Voix"

(c) Paul Whiteman (1922) (in medley "Oriental Fox Trot")
Recorded June 16, 1922 in Camden, New Jersey
Released on Victor 18940
 


 
Or here (concerning part starts at 1 min and 40 sec in the YT below)




(c) Marian Anderson  (as "Softly Awakes My Heart")
Recorded September 4, 1930 in London
Released on His Master's Voice C-2047
 




Listen here: 




(c) Larry Clinton (1938) (as "My Heart At Thy Sweet Voice")
with Bea Wain (vocals)
Recorded August 15, 1938 in New York
Released on Victor 26024
 





In 1947 Saint-Saëns' "Mon Cœur S'ouvre a Ta Voix" was adapted by Bill Anson and Ted Mossman and introduced as "When I Write My Song" by Herb Jeffries on the Exclusive-label.

(c) Herb Jeffries (1947) (as "When I Write My Song"
with Buddy Baker and his Orchestra
Released June 1947 on Exclusive 16-X
 





Or here:






(c) Xavier Cugat and His Orchestra (1949) (as "When I Write My Song"
with Buddy Clark (vocals)
Recorded July 1947
Released November 1949 on Columbia 38615 



Or here:







(c) Eddie Heywood and Bob Eberly (1947) (as "When I Write My Song"
Recorded September 4, 1947 
Released on Decca 24195






 The aria's melody also appears in the song "Night", written by John Lehmann and Herb Miller and recorded in 1960 by Jackie Wilson. 

(c) Jackie Wilson (1960) (as "Night")
Released on Brunswick 9-55166




Listen here:




 A montage of the last two lines of this aria has also been recorded by English alternative rock band Muse, and is included in the track titled "I Belong to You (+Mon Cœur S'ouvre à Ta Voix)" of their 2009 album The Resistance.

(c) Muse (2009) (as "I Belong to You (+Mon Cœur S'ouvre à Ta Voix)")



Listen here: "Mon Cœur" starts at 2 min and 15 sec in the YT below





More versions here:




zaterdag 11 juni 2022

You'd Better Run On (1937) / You Better Run On (1939) / I Feel Like My Time Ain't Long (1941) / Run On (1941)


In 1972 Elvis Presley did an informal gospel session with the Stamps Quartet, recorded and filmed for the documentary Elvis On Tour. Only 2 songs of that session ended up in the documentary.
The other 4 songs of that session finally ended up on the gospel compilation Amazing Grace in 1994.

"You Better Run" was one of the songs recorded during that session. Elvis probably knew the song from a version by the Norfolk Jubilee Singers, who recorded the song in 1939 for the Decca-label.
But 2 years earlier, the Heavenly Gospel Singers already recorded a version for Bluebird.


(o) Heavenly Gospel Singers (1937) (as "You'd Better Run On")
Recorded February 16, 1937 in Charlotte, NC
Released on Bluebird B-6928


Listen here: 



In 1941 the Heavenly Gospel Singers recorded a new version retitled "Run On".

(c) Heavenly Gospel Singers (1941) (as "Run On")
Recorded October 1, 1941 in Atlanta, GA
Released on Bluebird B-9011
 




(c) Gospel Light Jubilee Singers (1939) (as "You Better Run On")
Recorded February 1, 1939 in Rock Hill, S.C.
Released on Bluebird B-8196


Listen here:   




(c) Norfolk Jubilee Singers (1940) (as "You Better Run"
Recorded August 23, 1939 in New York
Released on Decca 7758
 


Listen here:




(c) Selah Jubilee Singers (1941) (as "I Feel Like My Time Ain't Long")
Recorded February 21, 1941 in New York
Released on Decca 7847

Recorded March 25, 1942 in New York
Released in 1943 on Okeh 6713
 



Listen here:




Elvis Presley sang a version of "You Better Run" during a jamsession, when filming the documentary movie Elvis On Tour. Elvis sang bass to Charlie Hodge's lead on this traditional gospel song.

(c) Elvis Presley (1972) (as "You Better Run")
with J.D. Sumner and The Stamps
Recorded March 31, 1972 in RCA Studio C, Hollywood, CA
Released in 1994 on Amazing Grace.





In 1979 Ry Cooder integrated some of the lyrics of "You Better Run" in the last part of "Look At Granny Run Run".


Listen here: 




More versions here: 





NOT to be confused with "You Better Run", which is a different song originally recorded in 1923 by Homer Rodeheaver and the Wiseman Sextet.