When The Saints Go Marching In.

There are so many varieties and contributed authors of this song that it grew and spread from the original song.

1. Oh lord, I’m just a weary pilgrim,
Plodding (traveling) thru this world of sin;
Getting ready for that City
Oh! When the saints go marching in.

Refrain:
When the saints go marching in,
When the saints go marching in;
Lord I want to be in that number
When the saints go marching in.

2. We will march around the Throne.
We will march around the Throne!
We will all say hallelujah!
When the saints go marching in. [Refrain]

3 My father loved the Savior,
What a soldier he had been!
But his steps will be more steady
When the saints go marching in. [Refrain]

4 And mother, may God bless her,
I can see her now, as then;
With a robe of white around her
When the saints go marching in. [Refrain]

5. Up there I’ll see the Savior
Who redeemed my soul from sin,
With extended hands He’ll greet me
When the saints go marching in. [Refrain]

6. When the band start playing.
When the holy band start playing.
We will all say “Thank you Jesus!”
When the saints go marching in. [Refrain]

The origin of this song is unclear. Some of the earlier versions outside of New Orleans  are sung different. The song was sung in a melodious, slow and stately tune. It’s primarily sung in the tradition of Negro Spirituals.

I have to disagree with the accrediting of

Luther G. Presley (March 6, 1887 – December 6, 1974)  with the song because the lyrics existed before his birth.  It’s wasn’t new in New Orleans predating the Civil War. Perhaps he added the present day lyrics…I do not know, but it was sung at funerals of slaves predating 1863.

It was a song sung to deal with the burden and afflictions of slavery. That a good person had gone on to a better life at death, a life much better life than the drudge work, unpaid labor, and severe  oppression of slavery. It was a celebration that evil system of things had not won.  I seriously doubt Mr. Presley would have a reason to have created such a song.

 

—————-Earlier Versions——–

It’s quite known there are no official version of the song. Each generation, region had their own version or style. Louis Armstrong popularized the song jazz style recorded by Decca Records, 1938.

WHEN THE SAINTS GO MARCHING IN

Hey! We are following the footsteps of those who’ve gone before and we’ll all be reunited on that new and sunlit shore.

Oh, when the saints go marching in, [Repeat] oh, Lord, I want to be in that number when the saints go marching in.

And when the sun refuse to shine, [Repeat] oh, Lord, I want to be in that number when the sun refuse to shine.
Oh, when the trumpet sound its call, [Repeat] oh, Lord, I want to be in that number when the trumpet sounds that call.

Oh, when the new world is revealed, [Repeat] oh, Lord, I want to be in that number when the new world is revealed.

Oh, when the saints go marching in, [Repeat] oh, Lord, I want to be in that number when the saints go marching in.

Oh when the drums begin to bang, Oh when the drums begin to bang, Oh Lord I want to be in that number, When the saints go marching in.

Oh when the stars fall from the sky, Oh when the stars fall from the sky, Oh Lord I want to be in that number, When the saints go marching in.

Oh brother Charles you are my friend, Oh brother Charles you are my friend, Yea you gonna be in that number, When the saints go marching in.

Oh when the saints go marching in, Oh when the saints go marching in, Oh Lord I want to be in that number, When the saints go marching in.

Often the first two words of the common third verse line (“Lord, how I want…”) are sung as either “Oh how,” “Oh, Lord” or even “Lord, Lord” as cue notes to the simple melody at each third line.

Arrangements vary considerably. The simplest is just an endless repetition of the chorus. Verses may be alternated with choruses, or put in the third of four repetitions to create an AABA form with the verse as the bridge.

Some traditional arrangements often have ensemble rather than individual vocals. It is also common as an audience sing-along number. Versions using call and response are often heard, e.g.:

Call: Oh when the Saints
Response: Oh when the Saints!

The response verses can echo the same melody or form a counterpoint melody, often syncopated opposite the rhythm of the main verses, and a solo singer might sing another counterpoint melody (solo soprano or tenor) as a 3rd part in more complex arrangements.

The call and response method is mostly used in African American’s churches.