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[00:00:09] Society for the Preservation of African-American Arts Singers: singing and chains) Moses, Oh Moses. Well, you know, I hear the horses coming- [00:00:13][3.6]

[00:00:19] Dr. Ray Thompson: On behalf of the Edward H. Nabb Research Center for Delmarva History and Culture at Salisbury University, I'd like to welcome you to an exceptional evening. You're about to be treated to African-American Tradition and Voice, Slave Spirituals, and Gospel music. You may have asked yourself why is the Nabb Center hosting a gospel music and slave spiritual concert. And the answer to that is simply that the Nabb Center is committed to preserving the history and culture of all peoples of the Eastern Shore. Tonight's presentation will open up a world which may be entirely unknown to some of you in our audience. Two separate groups and musical traditions will present uplifting and thoughtful renditions of gospel music and slave spirituals. We're fortunate to have the gospel choir of Salisbury University here to perform for us. We're just as fortunate to have the Society for the Preservation of African-American Art Singers, performing this evening as well. I'd like to say just a few words of introduction about these two amazing groups. When we at Nabb Center met Barry Foreman last spring, we knew we wanted to showcase his group in a university setting. The Singers of the Society for the Preservation of African American Arts have been, for a number of years, educating people in the tri-state region on the importance of specific sort of hymnody, slave songs, and Negro spirituals. Their songs have origins in the African homelands from which the slaves came. Separated by thousands of miles of land and water from their original homes, African-Americans, both slave and free, long maintained a remembrance of their African origins. The strength of the oral tradition and an equally strong, unique musical background allowed the continuation of traditions and ideas which might have otherwise been lost. Created the Society for the Preservation of African-American Arts with the goal of exposing and reviving some of the slave songs and Negro spirituals that had helped shape the African culture. The members of the Society are local singers from various parts of the Eastern Shore of Maryland. During the past five years, the singers have performed throughout the Eastern Shore at the old Princess Anne Days, the historical Avalon Theater in Easton, the Marva Theater in Pocomoke, at Fort McHenry in Baltimore, and at the Hampton Historical Site outside Baltimore. They have also performed for various schools and colleges throughout the tri-state region, performing spiritual hymns, traditional slave songs, and reenacting accurate accounts of slave life on plantations during the 1800s. The group strives to inform audiences about the importance of the role slave music played in African American history. Our second group. The Gospel Choir at Salisbury University needs no introduction to many of us, as we have been entranced for many years by the concerts that they have had here at the university for more than a quarter of a century. My introduction to the Gospel choir was in the fall of 1983, when, as part of the Delmarva Folklife Festival, a very energetic and enthusiastic group of Gospel choristers gathered to perform on what is now Red Square in the center of the university. To perform before an attentive audience of students and community folks. The gospel choir traces its origin to September the 23rd, 1983. And that may well be the very time when I heard them sing the first time. Currently, consisting of 45 individuals, the gospel choir works under the direction of President Ricky Felton and their faculty advisor, Deborah Johnson. The purpose of the choir is to spread the gospel through song. The choir performs at local churches on the Eastern Shore and in an annual concert at the University in the spring. Tonight we'll hear first a series of slave spirituals from the Society for the Preservation of African American Arts, then from the Gospel Choir, and finally from Deborah Johnson herself, the advisor of the Gospel Choir, who will end the concert with a hymn composed by Charles Albert Tinley, one of the Eastern Shore's most renowned composers and ministers. A man whose powerful music has moved generations of Americans. Without further ado, would you join me in welcoming to society for the preservation of African-American arts. [00:04:49][270.7]

[00:04:56] SPAAA Singers: Moses, Moses - Well, you know I hear the horses coming, Moses, Moses is coming, Praise God! [00:05:17][20.6]

[00:05:18] Barry Foreman: Well, Now (together)Moses! I see the river! [00:05:25][7.2]

[00:05:27] SPAAA Singers: I see the river Jordan! Moses, I see the river Jordan, Moses oh Moses I see Pharaoh, I see Pharaoh. [00:06:06][39.2]

[00:06:38] Barry Foreman: I see the horses, I see. [00:06:44][5.1]

[00:06:44] SPAAA Singers: Be the horses of Moses. I see the horses coming, Oh, they're coming with us. Well, now. I've seen the river, I've see the river Jordan, Moses. [00:07:27][43.4]

[00:07:31] Barry Foreman: Where are you now? I see the river. [00:07:36][4.9]

[00:07:37] SPAAA Singers: Joy of Moses is coming, praise God. [00:07:49][11.5]

[00:07:54] Barry Foreman: Hello! Hello! Anybody out there? Anybody out there? All right. Yes. This is a celebration of African-American music. We're not here at a funeral, are we? Huh? Okay. We're the SPAAA singers, stands for Society for the Preservation of African-American Arts. Now, what we do, we go around with different folks, and we educate just a little bit about the precursor called gospel. Foundation songs, songs that grew through the strain, some happy. The reason why we're dressed the way we do, I know it makes a few people a little bit itchy or squirmy about the things on my dress, but the thing is, its history and American history as well. Yes, so enough of my sermon for right now, we're going to go back to the 1800s. We're going go way back. So the next song we're gonna do is a morning song. Y'all got morning songs? How many of y'all have morning songs up in here? When y'all get up in the morning. Y'all sing morning songs, before ya'll go to work? Huh? Well we got a morning song we gon sing. [00:09:32][98.2]

[00:09:34] Gloria Combs: Wake up, Jacob, there is a-breakin 'em... [00:09:37][3.0]

[00:09:38] Barry Foreman: I'se on my way [00:09:40][1.8]

[00:09:42] Gloria Combs: Wake up, Jacob, there's a-breakin 'em... [00:09:45][2.9]

[00:09:46] Barry Foreman: I'se on my way. [00:09:47][1.7]

[00:09:49] SPAAA Singers: Wake up, shake up, day's a-breakin and, I'm on my way. Wake up shake up days a-breakin and, I am on my way. Wake up Jacob day's a-breakin and I'm on my way, wake up, Jacob day's a-breakin and, I'm waking up on my own way. Away, away, I'm going to heaven, when I die I do love the Lord. I'm going to heaven when I die I do love the Lord Away, away, I'm gonna go to heaven (gets quiet) When I die, I do, (gets loud) love the lord I'm goin' to heaven, when I, die I, do, Love the lord... Wake up, Jacob day's a-breakin and I'm on my way. Wake up Jacob day's a-breakin, I'm on my way [00:10:46][57.6]

[00:10:50] Barry Foreman: And that's one of my most-(claps) Let me tell you. They're really doing that time around the late 1800s, you see. You know, people were really upset. You think they'd be upset, late 1800? The slave owners, as well as the slaves. The slaves want to be treated. (inaudbile) That it had certain words in it. Like, you heard us sing the word for, you know, I see the river. You know, certain gospel songs have the word river in it, you know come find out what that river was. Anybody know? Anybody have any idea what that river was? It was something like the Underground Railroad. Anybody else have any clue who? There it is, the Ohio River. They knew that when they crossed the Ohio River, they knew they'd be safe on the other side. Safe, so the next song we're gonna do has to do- has something to do with a sickle song. [00:11:56][66.4]

[00:12:15] Barry Foreman: When Israel was an Egyptian land. [00:12:17][2.1]

[00:12:20] SPAAA Singers: Let my people Go [00:12:23][3.8]

[00:12:29] Barry Foreman: Oh, press so hard he couldn't stand. [00:12:34][5.6]

[00:12:34] SPAAA Singers: Let my people go. Go down Moses way down in Egypt land. Tell ole Pharaoh. [00:13:08][34.1]

[00:13:10] Barry Foreman: Pharaoh! [00:13:10][0.0]

[00:13:13] SPAAA Singers: Let my people go. [00:13:18][4.8]

[00:13:23] Barry Foreman: Let all of us combine between. [00:13:25][2.7]

[00:13:28] SPAAA Singers: Let my people go. [00:13:32][4.0]

[00:13:36] Barry Foreman: Christ our Lord, we all are free. [00:13:40][3.6]

[00:13:41] SPAAA Singers: Let my people go. Go down, Moses... Way down in Egypt land. Tell ole, Tell ole Pharaoh. [00:14:13][32.8]

[00:14:32] Barry Foreman: And I tell you, that song will stir us up a little something. So let's move on. Now, our next song, how many of y'all have a song that you can sing when you get tired? Y'all see when y'alls get tired, huh? Mm-hmm, it's okay. I think we had a song like Mother would be out working in the field some time, and she just couldn't go on anymore. And I'm telling you, she had to sit down. We don't have a chair, we can sit down right now, but just imagine her sitting down in the middle of that field. Come on. [00:15:14][41.5]

[00:15:15] Hosanna Watkins: You sit down mother, sit down, sit and you take your rest, you got it. And I lay your head among my saviors' breast. Well, now. [00:15:32][17.2]

[00:15:33] SPAAA Singers: I love you, Lord, my Savior and my God. Sit down, Sit down, oh, sit down, well, now. [00:15:50][17.1]

[00:15:50] Hosanna Watkins: You've got the grace, sit down. You've got to raise your hands. You've gotta raise your hand. Oh, my favorite breath. [00:16:05][14.5]

[00:16:06] Well, now. I love the Lord, my Savior and my God. Sit down, sit down, oh sit down. [00:16:20][13.9]

[00:16:22] Hosanna Watkins: Well now, sit down mother sit down, sit it down and take your rest. You've got to lay your head upon my, my savior's breast,. [00:16:38][15.8]

[00:16:39] SPAAA Singers: Well now, I love the Lord. My Savior and my God. Sit down, sit down, oh sit down. Heal my Sit on down, sit down, oh sit down Come on, sit on down Sit down, Sit down. Oh sit down [00:17:10][30.4]

[00:17:21] Barry Foreman: Before we go any further, we're going to do some introductions. We have Nora Cornish. We have Angela Foreman. She's our spot singer in training tonight, she's with us. And we have Hosanna Watkins. Gloria Combs, and yours truly, Barry Foreman. [00:17:45][24.1]

[00:17:49] Barry Foreman: The next song we're going to do, has to do with a time when a lot of slaves are being sold. And it was a hard time. Can you imagine today, being sold away from your family? Mother cries so much when she is sold away from her family. So she's going to sing a song for us that kind of brings that home. [00:18:22][33.3]

[00:18:27] Nora Cornish: Sometimes I feel like a motherless child. O Sometimes I feel like a loveless child. Oh, sometimes I feel like I'm a Motherless child. A long way from home. A long way from home. Sometimes, I feel like I'm all most gone. Sometimes I feel like almost gone. Sometimes I feel like I'm almost gone. A long way from home. Oh, oh, oh-oh, oh Oh, Jerusalem, a long way from home. [00:20:00][92.4]

[00:21:25] Barry Foreman: Amen. Amen. Amen. Amen. Amen. It drives it home doesn't it? Amen, amen, amen. I tell you, we didn't have much back then, in those days. But I tell ya, we did have prayer. Amen. We didn't know how much and we had to pray. We didn't know where we had pray so long. We needed to get over it sometimes. But Sister Gloria is gonna bring that forward. [00:21:52][26.5]

[00:21:53] Gloria Combs: Well, I didn't know I had Well I didn't know I had to pray for all. Come on. Well I did know I have to pray, for all Well I didn't know, I didn't know, I didn't know the Lord didn't know, I didn know I had to pray for all Well I didn't know I had to pray for all I didn't know I had to pray so hard. Well, I didn't know I, didn't' know, I, didn't go Lord, didn't go Lord. I didn't know I'd have to pray, so hard Well, which day has my dream gone? Well, well, which way has my dreams gone? [00:22:46][53.1]

[00:22:47] Barry Foreman: Well... [00:22:47][0.0]

[00:22:48] SPAAA Singers: Which way, oh which way, which way Lord? Which way Lord, or which way has my to be? Which way has my redeemer gone, oh Lord? Which way has my redeemer gone, oh lord? Which way, which way, oh which way Lord, which way Lord. Which way has my redeemer gone? Well, one day I know I'll be around. Where? Well, on day I'll know I will be around Where? Well, One day, oh one day, Oh one day Lord, one one day One day I will [00:23:39][51.5]

[00:23:41] Barry Foreman: Way, way, way up! [00:23:43][1.7]

[00:23:43] SPAAA Singers: One day, I know I'll wear a crown. Well, one day I know, I'll bear a crown! One day! One day oh! One day Lord! One day lord! One day I'll know I, wear a, crown! [00:24:05][22.0]

[00:24:11] Barry Foreman: Yeah, yeah, yeah! I tell you, you may be skipping around just a little bit in this program, but the next song we're going to do is one of the most famous songs, single songs. In this song you may hear something about a ship. Anybody think you know what a ship might have been? [00:24:39][28.4]

[00:24:40] Barry Foreman: Thank you the Ole ship Zion. [00:24:40][0.0]

[00:24:45] Barry Foreman: What do you think that signal would have been? Yes, the old ship would've been, we're going on a trip, we're gonna hit the Underground Railroad. We're gonna get on the Underground Railroad. Get on board if you wanna be free. Okay, all right, let's get on board, Alright Sister Nora is gonna lead us. [00:25:06][21.2]

[00:25:08] Nora Cornish: There's the old ship of Zion here's the o-o-ole ship of Zion. Here's the ole ship of Zion. [00:25:21][13.4]

[00:25:28] SPAAA Singers: Here Lord go get on, board. [00:25:29][1.0]

[00:25:35] Nora Cornish: Oh it has landed many a thousand. It has landed a many a thousand. It has landed a many a thousand. [00:25:36][0.4]

[00:25:36] SPAAA Singers: Here Lord, go on and get on board. [00:25:36][0.0]

[00:27:10] Nora Cornish: Well, It has landed a many a thousand. It has landed a many a thousand. It.Has. Landed a many a thousand. [00:27:11][0.9]

[00:27:11] SPAAA Singers: Here Lord, go on and get on board. [00:27:11][0.0]

[00:27:14] Nora Cornish: It ain't no danger, in God's waters. It ain't. It ain't. It aint no danger in God's water. It ain't no danger in God's Water, just.. [00:27:26][12.2]

[00:27:50] SPAAA Singers: Oh here Lord, go on and get on board. [00:27:51][1.1]

[00:28:23] Nora Cornish: Its the old ship of Zion. Well. [00:28:39][16.1]

[00:28:41] SPAAA Singers: Here's the old ship of Zion Here's the old ship of Zion.Get on board, get on board. [00:28:44][3.5]

[00:29:42] Barry Foreman: And in our research we found that there were different versions of songs back in the 1800s, like the next song we're going to do is Steal Away. I want you to listen to the first version. [00:29:50][8.0]

[00:29:53] SPAAA Singers: Steal away. Steal away. Steal away to Jesus. Steal away. Steal away home.I ain't got longed to stay here. Steal away. Steal away. Steal away to Jesus. Way. Steal the way home. I ain't got long to stay here. [00:31:06][73.5]

[00:31:17] Barry Foreman: Man, no! When you went up to the Appalachian Mountains, they had a different version. I mean, Westwood didn't do places like that. And I wonder how, you know, they got them. Did they phone it in or? You know, of course they got it. You know. But it was so different. They had stations, of courses they do their judicious with it. You know they kind of changed it up to make their own. So we found in the Appalachian mountains, they sang it a little different with something like this... [00:31:49][31.7]

[00:31:50] SPAAA Singers: Steal away, steal away, steal away to my Jesus! Steal away. Steal away. Steal away. Steal away I ain't got long to stay here. [00:31:56][6.2]

[00:32:12] Nora Cornish: My Lord, He called me, called me above the thunder, the trumpet's now within my soul. Cause I ain't got long to stay here. [00:32:20][8.2]

[00:32:21] SPAAA Singers: Cause ain't got long to stay here. Oh now, Steal away, Steal away, Steal away to my Jesus! Children, Steal away, Steal away, ain't that long stay here. [00:32:33][12.7]

[00:32:34] Nora Cornish: Green trees are bending, Poor sinners stand a-trembling, The trumpet sounds it in my soul, but ain't I long stay here. Ain't got a long stay here. [00:32:44][9.7]

[00:32:45] SPAAA Singers: Steal away, Steal away, Steal away to my Jesus! Children! Steal away. Ain't got long stay. Steal away Steal away to the Jesus children Steal away, Steal away, I ain't long to stay-y here. [00:33:12][26.5]

[00:33:20] Barry Foreman: Thank you very much. I know our songs may not be in order, but we decided to add just one more song. We may have to let it be the last one. But oh, don't worry about these. This is what every day life is like. Um, we're gonna do, since we have our, our class is in training, we are going to do a little bit of wade and water. Is that okay? Thank you. Keep it up, everybody. Way to go. [00:33:51][31.7]

[00:33:55] Nora Cornish: Wade [00:33:55][0.0]

[00:33:58] SPAAA Singers: In the water, come on lets wade. In the water children, come on and wade! Wade in the water. Well, God's gonna trouble the water. [00:34:17][19.3]

[00:34:19] SPAAA Singers: Come on, let's wade in the water. Come on let's waaaaaade. Wade in the water children, come on and wade in the water. You know God's gonna trouble the water. [00:34:43][24.0]

[00:34:45] Angela Foreman: Well, see them chillin' all dressed in white. [00:34:50][5.8]

[00:34:51] SPAAA Singers: When God's gonna trouble the water Oh [00:34:55][4.2]

[00:34:59] Angela Foreman: They look like the children of the Israelites. [00:35:02][3.2]

[00:35:09] SPAAA Singers: Come on and wade in the water, Come on let's wade in the water children. Come on, let's, wade in the water. Gods gonna trouble the water. [00:35:28][19.2]

[00:35:28] Angela Foreman: Well, see them children all dressed in red. [00:36:05][37.1]

[00:36:05] And the waters come on lets wade in the water children. Come on and wade, wade in the water. You know God's gonna trouble the water. [00:36:21][16.1]

[00:36:26] Angela Foreman: Well see his children all dressed in white. [00:36:29][2.7]

[00:36:29] SPAAA Singers: God's gonna trouble the water [00:36:29][0.0]

[00:36:39] Angela Foreman: They say they look like the children of the Israelites. [00:36:43][4.6]

[00:36:45] SPAAA Singers: Well God's gonna trouble the water, go on and wade, wade, in the water. Come on and waaaaaade, in water children, waaaaaaade in water, I'll tell you God's gonna trouble the water [00:37:10][25.5]

[00:37:17] Nora Cornish: See them children all dressed in red. [00:37:19][1.4]

[00:37:24] SPAAA Singers: God's gonna trouble through water. [00:37:27][3.2]

[00:37:29] Nora Cornish: You know it's got! To be to the children that Moses led. [00:37:33][3.9]

[00:37:36] SPAAA Singers: God's gonna trouble through water. [00:37:39][3.2]

[00:37:41] Nora Cornish: Oh, well you see them children all dressed in white! [00:37:41][0.6]

[00:37:47] SPAAA Singers: God's gonna trouble the water. [00:37:49][2.0]

[00:37:52] Nora Cornish: You know its Got to be the children of the Israelites [00:37:57][4.4]

[00:37:59] SPAAA Singers: God's gonna trouble the water. [00:38:03][3.5]

[00:38:04] Nora Cornish: You know I step in the water and the water was low. [00:38:09][4.7]

[00:38:11] SPAAA Singers: God's going to trouble the waaater. [00:38:15][3.3]

[00:38:16] Nora Cornish: You know they killed my body but not my soul [00:38:22][5.5]

[00:38:23] SPAAA Singers: God's gonna trouble the water. [00:38:26][3.0]

[00:38:28] SPAAA Singers: Come on and wade in the water. Come on, let's wade in the water, children. Come on let's, wade, in the, water. I'll tell you, God's gonna trouble the water. [00:38:51][23.0]

[00:38:53] Nora Cornish: I'll tell you [00:38:53][0.5]

[00:38:54] SPAAA Singers: God's gonna trouble the water. [00:38:57][3.4]

[00:38:56] SPAAA Singers: So water, I tell you, God's gonna trouble the water. [00:39:01][5.0]

[00:39:02] Angela Foreman: Water! (trilling) [00:39:04][1.4]

[00:39:40] SU Gospel Choir leader: (Audience claps) Come on, let's give one more hand for the society. I've asked them to grab the preservation box, please. They did a great job, great job. Here we have the Salisbury University gospel choir advisor, Sister Debbie Johnson, she wants to say hello. [00:39:58][17.8]

[00:40:02] Debbie Johnson: Thank you for allowing us to be here tonight and we, let's give another hand to this wonderful group. May God bless you as you continue to spread the heritage of our people. Thank you so so much. [00:40:19][16.3]

[00:40:19] SU Gospel Choir leader: So much. This song is called Emmanuel. It says, come let us adore him, kneel down before him, worship and adore him. It's a great song. So if you know it, feel free to join in with us. [00:40:36][17.0]

[00:40:36] SU Gospel Choir: Come let Us adore him. Kneel down before him. Worship and adore him. Come. Come let us adore him. Kneel down before him. Worship and adore him. Come let us adore him. Kneel down before him. Worship and adore him.Come let us adore him. Kneel down before him. Worship and adore him. [00:42:54][138.1]

[00:42:54] SU Gospel Choir leader: Say Emmanuel! [00:42:54][0.0]

[00:42:54] SU Gospel Choir: Emanuel. [00:42:54][0.0]

[00:42:54] SU Gospel Choir leader: Say Emmanuel! [00:42:54][0.0]

[00:42:54] SU Gospel Choir: Emanuel. [00:42:54][0.0]

[00:42:54] SU Gospel Choir leader: Everybody Say. [00:42:54][0.0]

[00:42:54] SU Gospel Choir: Emanuel! [00:42:54][0.0]

[00:42:54] Everbody say, Emanuel. [00:42:53][-0.4]

[00:42:56] SU Gospel Choir: Emmanuel, Emmanuel! We worship you. [00:43:00][3.5]

[00:43:00] SU Gospel Choir leader: Everybody say [00:43:00][0.0]

[00:43:00] Come let Us adore him. Kneel down before him. Worship and adore him. Come. Come let us adore him. (repeated x4) [00:43:00][0.0]

[00:44:29] SU Gospel Choir leader: Said Emmanuel. [00:44:29][0.5]

[00:44:34] SU Gospel Choir: Emmanuel. [00:44:34][0.0]

[00:44:34] SU Gospel Choir leader: Said Emmanuel. [00:44:34][-0.1]

[00:44:37] SU Gospel Choir: Emmanuel. [00:44:37][0.0]

[00:44:37] SU Gospel Choir leader: Oh, Emmanuel,. [00:44:39][1.4]

[00:44:42] SU Gospel Choir: Emmanuel. [00:44:42][0.0]

[00:44:42] SU Gospel Choir leader: Oh Everybody sing with me. [00:44:44][2.3]

[00:44:44] SU Gospel Choir: Emmanuel. [00:44:44][0.0]

[00:44:48] SU Gospel Choir leader: Said Emmanuel! [00:44:48][0.4]

[00:44:49] SU Gospel Choir: Emmanuel. [00:44:49][0.0]

[00:44:54] SU Gospel Choir leader: Said Emmanuel, come on all these sopranos. Said Emmanuel [00:44:56][2.9]

[00:44:58] SU Sopranos: Emmanuel. [00:44:58][0.0]

[00:44:58] SU Gospel Choir leader: Said Emmanuel, oh come on sopranos sing with me. [00:45:03][5.3]

[00:45:07] SU Sopranos: Emmanuel! [00:45:07][0.0]

[00:45:11] SU Gospel Choir leader: Sweet Emmanuel. [00:45:12][0.6]

[00:45:12] SU Sopranos: Emmanuel. [00:45:12][0.0]

[00:45:17] SU Gospel Choir leader: Come on Altos show me what you got. [00:45:19][2.3]

[00:45:19] SU Altos: Emmanuel. [00:45:17][-2.4]

[00:45:18] SU Gospel Choir leader: Everbody say. [00:45:18][0.0]

[00:45:26] SU Gospel Choir: Emmanuel, come on all the guys in the building, Emmanuel. [00:45:34][8.7]

[00:45:45] SU Gospel Choir leader: Yeah! Say Emmanuel Come on everybody sing Say. [00:45:54][8.1]

[00:45:54] SU Gospel Choir: Emmanuel Eman, Eman you are, EMAN, EMan you are [00:46:04][9.8]

[00:46:11] SU Gospel Choir leader: Come on, everybody, say,. [00:46:13][2.2]

[00:46:14] SU Gospel Choir: Emmanuel. Emmanuel. [00:46:15][0.7]

[00:46:18] SU Gospel Choir leader: Say, Emmanuel! Emmanuel, everybody say Emmanuel, say Emmanuel Emmanuel, said we worship you Lord. [00:46:32][14.9]

[00:46:47] SU Gospel Choir: We worship you. (x2). [00:46:47][0.4]

[00:46:47] SU Gospel Choir: We worship you. (Applause) [00:46:47][0.0]

[00:47:22] SU Gospel Choir leader: Holiness holiness is what i long for holiness is what i need Holiness, holiness, that's what you are for me, that you are for me, the Lord can't have the same holiness, [00:47:52][30.4]

[00:47:54] SU Gospel Choir: Holiness. its what I long for. (repeat x 3) [00:47:54][0.1]

[00:47:59] SU Gospel Choir leader: Oh Oh, that's what I needed you for Oh, you made me [00:48:09][10.3]

[00:48:10] SU Gospel Choir: Yes, it's what you want from me [00:48:14][3.9]

[00:48:26] SU Gospel Choir leader: Righteousness is what I long for Righteous is what we all need Righteous, righteousness is what you want from me That's what you want from me Oh, God, brokenness, brokeness is what I long for. Brokenness is what we all need, oh, God. We need brokenness. Brokenness, brokeness. God, that's wha you want from me. I take my heart, and hold them (hold them). [00:50:15][108.1]

[00:51:27] SU Gospel Choir: And hold them [00:51:29][1.7]

[00:52:00] SU Gospel Choir leader: Come on, give me the praise, come on give God the praise. Come on give me praise. Yes, come to me. [00:52:12][11.5]

[00:58:19] SU Gospel Choir: And in total praise. [00:58:22][3.4]

[01:00:01] SU Gospel Choir leader: I lift my hands in total praise. [01:00:08][6.9]

[01:01:02] SU Gospel Choir: When the storms open Bye. Of raging. Stand by me. When the storm So life unbreaking, stand by me, when the world is crossing me. Like a ship out on the sea Thou who ruleth winds and waters Stand by me When the storms of life are raging Stand by me When the songs of life are raging Stand by me When the world is talking to you Like a ship out on the sea. Thou who ruleth winds and water, stand by me. When I'm growing old and feeble. Stand by me When I'm growing old And people stand by me When my life becomes a burden As I'm weary to be dead and... Aaaaaaaaaaaaaaah! You know it all about me Stand by me [01:04:07][184.9]

[01:04:20] Debbie Johnson: I'm going to have all the sleepers come out. Thank you. I just want to say thank you again to all of you for a wonderful evening. We really had a great walk through African American musical traditions from very early times. It's been most honor to talk to you. We really appreciate you for being here this evening and helping us understand your music. [01:04:20][0.0] [2337.5]