When the Saints Go Marching in Recorder When the Saints Go Marching in History When the Saints Go Marching in YouTube When the Saints Go Marching in Piano When the Saints Go Marching in MP3 When the Roll Is Called Up Yonder When the Levee Breaks The Soul Stirrers
| When the Saints Go Marching in Recorder | When the Saints Go Marching in History | When the Saints Go Marching in YouTube | When the Saints Go Marching in Piano | When the Saints Go Marching in MP3 | When the Roll Is Called Up Yonder | When the Levee Breaks | The Soul Stirrers |
| When_the_Saints_Go_Marching_In | When_the_Saints_Go_Marching_In_in_sports | Louis_Armstrong | Katharine_Purvis | New_Orleans_Saints | St_Kilda_Saints | Zanzithophone | List_of_pre-1920_jazz_standards | Shake_It_All_About_(album) | 2006_NFL_season | Saints_FC | Jazz_funeral | Frankie_and_Johnny_(album) | Marching_In | Victor_Denisov | One_Fish,_Two_Fish,_Blowfish,_Blue_Fish | Avalon_Sunset | Virgil_Oliver_Stamps |
"When the Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. The precise origins of the song are not known. Though it originated as a Christian hymn, it is often played by jazz bands. The song is sometimes confused with a similarly titled composition "When the Saints are Marching In" from 1896 by Katharine Purvis (lyrics) and James Milton Black (music).
Luther G. Presley, who wrote the lyrics, and Virgil Oliver Stamps, who wrote the music, popularized the tune as a gospel song. A similar version was copyrighted by R.E. Winsett. Although the song is still heard as a slow spiritual number, since the mid 20th century it has been more commonly performed as a "hot" number. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by a great many jazz and pop artists.
Both vocal and instrumental renditions of the song abound. Louis Armstrong was one of the first to make the tune into a nationally known pop tune in the 1930s. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance numbers that went back at least to Buddy Bolden's band at the start of the 20th century.
In New Orleans, the song is traditionally used as a funeral march at "jazz funerals". While accompanying the coffin to the cemetery, a band plays the tune as a dirge. Returning from the interment, the band switches to the familiar upbeat "hot" or "Dixieland" style of play.
The tune was brought into the early rock and roll repertory by Fats Domino and (as "The Saint's Rock and Roll") by Bill Haley & His Comets. Haley's version eschewed the traditional lyrics in favor of verses that introduced the members of his band (who then performed instrumental breaks).
It is nicknamed "The Monster" by some jazz musicians, as it seems to be a frequent request for Dixieland bands, and some musicians dread being asked to play it several times a night. The musicians at Preservation Hall in New Orleans got so tired of playing the song that in the 1960s a sign announcing the band's fee schedule ran $1 for standard requests, $2 for unusual requests, and $5 for "The Saints". By 2012 the price had gone up to $20.
This tune is a popular rallying song for sports teams. It is the anthem of Southampton F.C., St Patrick's Athletic, St Kilda Football Club, St George Illawarra Dragons, Northampton Saints, Christies Beach Football Club, St Johnstone Football Club and the St Helens RLFC. The song is played after every home goal scored by the St. Louis Blues.
The Rhodesian Light Infantry, also known as "The Saints", used it as their regimental march.
As with many numbers with long traditional folk use, there is no one "official" version of the song or its lyrics. This extends so far as confusion as to its name, with it often being mistakenly called "When the Saints Come Marching In". As for the lyrics themselves, their very simplicity makes it easy to generate new verses. Since the first, second, and fourth lines of a verse are exactly the same, and the third standard throughout, the creation of one suitable line in iambic tetrameter generates an entire verse.
It is impossible to list every version of the song, but a common standard version runs:
Often the first two words of the common third verse line ("Lord, how I want...") are sung as either "Oh, Lord" or even "Lord, Lord" as grace notes to the simple melody at each 3rd 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 4 repetitions to create an AABA form with the verse as the bridge.
One common verse in "hot" New Orleans versions runs (with considerable variation) like thus:
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.:
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 song is apocalyptic, taking much of its imagery from the Book of Revelation, but excluding its more horrific depictions of the Last Judgment. The verses about the Sun and Moon refer to Solar and Lunar eclipses; the trumpet (of the Archangel Gabriel) is the way in which the Last Judgment is announced. The phrase "I want to be in that number" refers to the specific number of "144,000 who had been redeemed from the earth", given as prophecy in Revelation. The Bible speaks of these people as being "sealed" as "servants of God", without specifically calling them saints. As the hymn expresses the wish to go to Heaven, picturing the saints going in (through the Pearly Gates), it is entirely appropriate for funerals.
This is not a comprehensive list, but includes some notable versions.
As mentioned in the article on the song itself, in the 1930s, Louis Armstrong helped make The Saints into a jazz standard.
The tune was brought into the early rock and roll repertory by Fats Domino as one of the traditional New Orleans numbers he often played to rock audiences. Domino would usually use "The Saints" as his grand finale number, sometimes with his horn players leaving the stage to parade through the theater aisles or around the dance floor.
Judy Garland sang it in her own pop style.
Bruce Springsteen with The Seeger Sessions Band Tour includes the song as an encore for some shows.
Woody Guthrie sang a song called "When The Yanks Go Marching In" in 1943.
In 1983, Aaron Neville, along with New Orleans musicians Sal and Steve Monistere and Carlo Nuccio and a group of players for the New Orleans Saints American football team) recorded a popular version of the song incorporating the team's "Who Dat?" chant.
Many supporters of association football teams sing versions of the song, "Saints" is often replaced with the name or nickname of the club, for example, "When the Saints Go Marching In" (Southampton FC), "When the Reds Go Marching In (Liverpool FC)", "When the Spurs Go Marching In" (Tottenham Hotspur) or "When the Stripes Go Marching In", as a rally song during football matches. The St Kilda Football Club, an Australian rules football Club use a variation as their theme song. The main variation being in the chorus 'oh how I want to be in St Kilda'.
The rhythm of "When the Saints Go Marching In" was adapted by Dick Powell's Four Star Television for its legal drama, The Law and Mr. Jones starring James Whitmore, which ran on ABC from 1960-1962.
His Master's Voice A.L. 3307.
A techno remix of this song, titled "Saints Go Marching," is a playable song in some versions of Dance Dance Revolution.
The song has been used as a fight song for many schools, including Providence College and Saint Joseph's University. The Baylor University Golden Wave Marching band plays the song during Baylor football games right after a touchdown is scored. The song is also the inspiration for the nickname of the New Orleans Saints.
The musical Urinetown includes a parody homage of "Saints" entitled "Run, Freedom Run" as its protest theme.