Thursday, July 30, 2015

Conway Twitty~ "Who Will Pray For Me"



Conway Twitty (born Harold Lloyd Jenkins; September 1, 1933 – June 5, 1993) was an American musician and singer.

He had success in the country, rock, R&B, and pop genres.

He held the record for the most number one singles of any act, with 40 No. 1 Billboard country hits[citation needed], until George Strait broke the record in 2006.

From 1971 to 1976, Twitty received a string of Country Music Association awards for duets with Loretta Lynn.

Although never a member of the Grand Ole Opry, he was inducted into both the Country Music and Rockabilly Halls of Fame.



Conway Twitty
Conway Twitty 1974.JPG
1974 promotional photo
Background information
Birth name Harold Lloyd Jenkins
Born September 1, 1933
Friars Point, Coahoma County, Mississippi, U.S.
Origin Helena, Phillips County
Arkansas
Died June 5, 1993 (aged 59)
Springfield, Missouri, U.S.
Genres Country, rock and roll
Occupation(s) Singer-songwriter
Instruments Vocals, guitar
Years active 1955-1993
Labels MCA, Elektra, MGM, Decca, Sun Records, Warner Bros. Records
Associated acts Loretta Lynn, Sam Moore, Jerry Lee Lewis, The Twitty Bird Band, Joni Lee

 

Biography

Early life

 

Conway Twitty was born on September 1, 1933 in Friars Point in Coahoma County in northwestern Mississippi.

He was named by his great uncle, after his favorite silent movie actor, Harold Lloyd.

The Jenkins family moved to Helena, Arkansas when Harold was ten years old. In Helena, Harold formed his first singing group, the Phillips County Ramblers.[citation needed]

Two years later, Harold had his own local radio show every Saturday morning. He also played baseball, his second passion.

He received an offer to play with the Philadelphia Phillies after high school (Smiths Station High School), but he was drafted into the US Army.

He served in the Far East and organized a group called The Cimmerons to entertain fellow GIs.[1]

Wayne Hause, a neighbor, suggested that Harold could make it in the music industry. Soon after hearing Elvis Presley's song "Mystery Train", Harold began writing rock and roll material.

He went to the Sun Studios in Memphis, Tennessee and worked with Sam Phillips, the owner and founder, to get the "right" sound.[citation needed]

Stage name

 

Accounts of how Harold Jenkins acquired his stage name of Conway Twitty vary.

Allegedly, in 1957, Jenkins decided that his real name wasn't marketable and sought a better show business name.

In The Billboard Book of Number One Hits Fred Bronson states that the singer was looking at a road map when he spotted Conway, Arkansas, and Twitty, Texas, and chose the name Conway Twitty.

Another account says that Jenkins met a Richmond, Virginia, man named W. Conway Twitty Jr. through Jenkins' manager in a New York City restaurant.

The manager served in the US Army with the real Conway Twitty.

Later, the manager suggested to Jenkins that he take the name as his stage name because it had a ring to it.

In the mid-1960s, W. Conway Twitty subsequently recorded the song "What's in a Name but Trouble", lamenting the loss of his name to Harold Jenkins.

Pop and rock & roll success

 

In 1958 using his new stage name, Conway Twitty's fortunes improved while he was with MGM Records, and an Ohio radio station had an inspiration, refraining from playing "I'll Try" (an MGM single that went nowhere in terms of sales, radio play, and jukebox play), instead playing the B-side, "It's Only Make Believe", a song written between sets by Twitty and drummer Jack Nance when they were in Hamilton, Ontario, playing at the Flamingo Lounge.[2]

The record took nearly one year to reach and stay at the top spot on the Billboard pop music charts in the US, as well as No. 1 in 21 other countries, becoming the first of nine top 40 hits for Twitty.

That same year, country singer Tabby West of ABC-TV's Ozark Jubilee heard Twitty and booked him to appear on the show.[1]

For a brief period, due to voice similarities, some believed "It's Only Make Believe" was actually recorded by Elvis Presley, using "Conway Twitty" as a pseudonym.

Twitty would go on to enjoy rock and roll success with songs including "Danny Boy" (Pop No. 10) and "Lonely Blue Boy" (Pop No. 6).

"Lonely Blue Boy", originally titled "Danny", was recorded by Presley for the film King Creole but was not used in the soundtrack.[citation needed]

In 1960, Twitty appeared in three feature films: College Confidential, Sex Kittens Go to College and Platinum High School.

Country music career

 

Twitty always wanted to record country music and, beginning in 1965, he did just that.

His first few country albums were met with some country DJ's refusing to play them because he was known as a rock 'n' roll singer.

However, he finally broke free with his first top five country hit, "The Image of Me", in July 1968, ensued by his first number one country song, "Next in Line", in November 1968.

Few of his singles beginning in 1968 ranked below the top five.

In 1970, Twitty recorded and released his biggest country hit, "Hello Darlin'", which spent four weeks at the top of the country chart and is one of Twitty's most recognized songs.

In 1971 he released his first hit duet with Loretta Lynn, "After the Fire Is Gone".

It was a success, and many more followed, including "Lead Me On" (1971), "Louisiana Woman, Mississippi Man" (1973), "As Soon as I Hang Up the Phone" (1974), "Feelins'" (1975), "I Still Believe in Waltzes", "I Can't Love You Enough", and many others.

Together, Conway and Loretta (as they were known in their act), won four consecutive Country Music Association awards for vocal duo (1972–75) and a host of other duo and duet awards from other organizations throughout the 1970s.

In 1973, Twitty released "You've Never Been This Far Before", which was not only No. 1 in country for three weeks that September but also reached No. 22 on the pop charts.

Some more conservative disc jockeys refused to play the song, believing that some of the lyrics were too sexually suggestive.

In 1978, Twitty issued the single "The Grandest Lady of Them All" honoring the Grand Ole Opry, but for the first time since 1967, a single of his failed to reach top ten status as some radio stations refused to play a song honoring the property of a competitor (broadcast by WSM-AM).

Nevertheless, the single reached the top 20, peaking at No. 16 but it was well below expectations, and this set in motion the changes that were to take place in his career, including a new hairstyle, changing from the slicked-back pompadour style to the curlier style he would keep the rest of his life.

However, Twitty's popularity and momentum were unaffected by the song as his next 23 consecutive singles all made it into the top 10, with 13 peaking at No. 1, including "Don't Take It Away", "I May Never Get to Heaven", "Happy Birthday Darlin'" and remakes of major pop hits such as "The Rose" and "Slow Hand".

In 1985, going by all weekly music trade charts, the song "Don't Call Him a Cowboy" became the 50th single of his career to achieve a No. 1 ranking.

He would have five more through 1990, giving him a total of 55 No. 1 hits.

George Strait eclipsed the feat of 50 No. 1 hits in 2002 with his single "She'll Leave You With a Smile" and then reached No. 1 for the 56th time in 2007 when the single "Wrapped" hit the top on the Media Base 24/7 list.

Throughout much of Twitty's country music career his recording home was Decca Records, later renamed MCA.

He signed with the label in late 1965 but left in 1981 when it appeared MCA was marketing and promoting newer acts, plus management at the label had changed and other factors brought on the decision.

He joined Elektra/Asylum in 1982.

That label merged with its parent company, Warner Bros. Records in 1983.

He stayed on with Warner Bros. Records through early 1987 but then went back to MCA to finish out his career.

In 1993, shortly before he died, he recorded a new album, Final Touches.

Baseball

 

Twitty joined entrepreneur Larry Schmittou and other country music stars, such as Cal Smith, Jerry Reed, Larry Gatlin, and Richard Sterban, in 1977 as investors in the Nashville Sounds, a minor league baseball team of the Double-A Southern League that began play in 1978.[3]

He threw out the ceremonial first pitch at the team's innaugrial home opener at Herschel Greer Stadium on April 26, 1978.[4]

Twitty City

 

Twitty lived for many years in Hendersonville, Tennessee, just north of Nashville, where he built a country music entertainment complex called Twitty City at a cost of over $3.5 million.T
witty and Twitty City were once featured on the TV series Lifestyles of the Rich and Famous. and was also seen in the Nashville episode of the BBC series Entertainment USA, presented by Jonathan King.

Opened in 1982 it was a popular tourist stop throughout the 1980s and into the early 1990s; it was shut down in 1994 following a year-long tribute show called Final Touches, when fans and peers in the music business dropped by.

The complex was auctioned off and bought by the Trinity Broadcasting Network the #1 Faith-based network in the world; now known as Trinity Music City, USA, it is open to the public, with free tours.

Personal Life

 

Twitty was married three times. His first marriage lasted from 1953 to 1954.

He had married because he had gotten the girl pregnant with his son, Michael.

His second marriage, and longest, was to his wife Mickey.

Twitty married Mickey in 1956 and had his three other children by her, Kathy, Joni Lee, and Jimmy Twitty.

By 1984, after 28 years of marriage, the stress of her husband being away so often took its toll on Mickey, and she and Conway divorced.

In 1987, Twitty married his 36 year old office secretary, Delores "Dee" Henry.
They were married until Twitty's death.

Death

 

In June 1993, Twitty became ill while performing at the Jim Stafford Theatre in Branson, Missouri, and was in pain while he was on his tour bus.

He died in Springfield, Missouri, at Cox South Hospital, from an abdominal aortic aneurysm, aged 59, two months before the release of what would be his final studio album, Final Touches.

Four months after Twitty's death, George Jones included a cover of "Hello Darlin'" on his album High-Tech Redneck.

Twitty is buried at Sumner Memorial Gardens in Gallatin, Tennessee in a red granite vault, under the name "Harold L. Jenkins".

There is space reserved next to him for his wife.[5]

Posthumous releases

 

Since his death, Twitty's son Michael and grandson Tre have been carrying on his musical legacy.

His most recent chart appearance on the country charts was a duet with Anita Cochran, "I Want to Hear a Cheating Song" (2004), which was made possible by splicing Twitty's vocal from old recordings and even interviews, recorded over the years.

As a result, Twitty's isolated vocal track transferred to a digital multi-track and digitally re-assembled into the new performance.

Similar to the electronic duets of Patsy Cline and Jim Reeves, Hank Williams and Hank Williams, Jr. or Nat King Cole and Natalie Cole, Cochran added her vocal to the already-produced backing tracks along with Twitty's reconstructed vocal.[citation needed]

Currently, Bear Family Records offers a single-disc collection featuring 30 songs entitled "Conway Rocks," in addition to "The Rock'n'Roll Years," a comprehensive 8-disc box set showcasing his complete early recordings as a rock artist.[citation needed]

Legal issues

 

Taxes

 

Twitty's success in country music was a key factor in his winning a 1983 case, Harold L. Jenkins (a/k/a Conway Twitty) v. Commissioner in United States Tax Court.

The Internal Revenue Service denied Twitty's attempt to deduct from his taxes, as an "ordinary and necessary" business expense, payments he had made in order to repay investors in a defunct fast-food chain called Twitty Burger.

The chain went under in 1971.

The general rule is that the payment of someone else's debts is not deductible. Twitty alleged that his primary motive was "protecting his personal business reputation."

The court opinion contained testimony from Twitty about his bond with country music fans.[6]


Estate

Twitty married three times.

His widow in 1993, Dee Henry Jenkins, and his four grown children from the previous marriages, Michael, Joni, Kathy and Jimmy Jenkins, engaged in a public dispute over the estate.

Twitty's will had not been updated to account for the third marriage, but Tennessee law reserves one third of any estate to the widow.

After years of probate, the four children received the rights to Twitty's music, name and image.

The rest of the estate went to public auction, where much of the property and memorabilia was sold after his widow rejected the appraised value.

In 2008, controversy again erupted in his family when the four remaining children sued Sony/ATV Music Publishing over an agreement that Twitty and his family signed in 1990.

The suit alleged that the terms of the agreement were not fully understood by the children, although they were all adults at the time.

It sought to recover copyrights and royalty revenue that the document assigned to the company.[7]

55 No.1 hits

 


Twitty was the only singer to have 55 No. 1 hits[citation needed] in his career until George Strait eventually eclipsed the long-held record. Conway's 55th and final No. 1 was "Crazy in Love" in 1990 on the Cashbox country chart.

His final No. 1 on the Billboard country charts was "Desperado Love" in 1986. His first No. 1 was "It's Only Make Believe" in 1958 on the Hot 100 pop chart.

 He is best known for his 1970 No. 1 single "Hello Darlin'."[citation needed]

There were multiple weekly music charts in circulation during much of Conway's career: Billboard, Record World, Cashbox, Gavin, Radio, and Records.

Billboard is the lone surviving publication of the group.

Radio and Records, emerging in 1973, was bought out by Billboard in 2006 (ending a 33-year run as an independent music survey) but the R&R brand was phased out in 2009 altogether.

Conway reached No. 1 on Radio and Records many times; quite a few of his No. 1 hits in the latter years of his career reached the top of this publication while peaking in the top five in Billboard.

The Gavin Report, founded in 1958, ended publication in 2002. Cashbox was in publication from 1942 through 1996.

As is the case with Radio and Records, Conway reached No. 1 on Cashbox with most of his recordings.

His 55th and final No. 1 hit, "Crazy in Love", reached No. 1 on Cashbox and No. 3 on Billboard in the fall of 1990.

Record World started out under the name Music Vendor in 1946.

The publication's name change took place in 1964.

Conway often reached No. 1 on the Record World country charts with singles that reached the No. 2 or No. 3 position on Billboard's chart.

Billboard began publication in 1894 and was completely different from what it appears today.

It wasn't until the 1930s that music sales and, later, jukebox play became a focal point of the publication.

In the late 1950s, Billboard unveiled their Hot 100 chart which has more commonly become known as the pop singles chart. Their country chart began in 1944 and is still in publication.

Twitty reached No. 1 40 times on the Billboard country chart from 1968 through 1986.

His 1958 single "It's Only Make Believe" reached No. 1 on Billboard's Hot 100, giving him an overall total of 41 Billboard No. 1 hits.

The 41 Billboard No. 1 hits are often what historians and critics[who?] point to whenever citing his No. 1 total even though, technically, he reached the top 14 additional times with other singles on the other weekly music charts.

Source: Wikipedia.org

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"The Battle Hymn Of The Republic"




"The Battle Hymn of the Republic", also known as "Mine Eyes Have Seen the Glory" outside of the United States, is a song by American writer Julia Ward Howe using the music from the song "John Brown's Body".

Howe's more famous lyrics were written in November 1861, and first published in The Atlantic Monthly in February 1862.

The song links the judgment of the wicked at the end of time (New Testament, Rev. 19) with the American Civil War. Since that time, it has become an extremely popular and well-known American patriotic song.

 
"The Battle Hymn of the Republic"
Cover of the 1862 sheet music for "The Battle Hymn of the Republic"
Cover of the 1862 sheet music for "The Battle Hymn of the Republic"
Lyrics Julia Ward Howe, 1861
Music William Steffe, 1856; arranged by James E. Greenleaf, C. S. Hall,
and C. B. Marsh, 1861

Music sample

 

 

History

 

Oh! Brothers

 

The "Glory, Hallelujah" tune was a folk hymn developed in the oral hymn tradition of camp meetings in the southern United States and first documented in the early 1800s.

 In the first known version, the text includes the verse "Oh! Brothers will you meet me(3X)/On Canaan's happy shore?"[1] and chorus "There we'll shout and give him glory (3x)/For glory is his own";[2] this developed into the familiar "Glory, glory, hallelujah" chorus by the 1850s.

The tune and variants of these words spread across both the southern and northern United States.[3]

As the "John Brown's Body" Song

 

At a flag-raising ceremony at Fort Warren, near Boston, on Sunday May 12, 1861, the John Brown song, using the well known "Oh! Brothers" tune and the "Glory, Hallelujah" chorus, was publicly played "perhaps for the first time".

The American Civil War had begun the previous month.

In 1890, George Kimball wrote his account of how the 2nd Infantry Battalion of the Massachusetts militia, known as the "Tiger" Battalion, collectively worked out the lyrics to "John Brown's Body". Kimball wrote:

We had a jovial Scotchman in the battalion, named John Brown. ...and as he happened to bear the identical name of the old hero of Harper's Ferry, he became at once the butt of his comrades. If he made his appearance a few minutes late among the working squad, or was a little tardy in falling into the company line, he was sure to be greeted with such expressions as "Come, old fellow, you ought to be at it if you are going to help us free the slaves"; or, "This can't be John Brown—why, John Brown is dead." And then some wag would add, in a solemn, drawling tone, as if it were his purpose to give particular emphasis to the fact that John Brown was really, actually dead: "Yes, yes, poor old John Brown is dead; his body lies mouldering in the grave."[4]

According to Kimball, these sayings became by-words among the soldiers and, in a communal effort—similar in many ways to the spontaneous composition of camp meeting songs described above—were gradually put to the tune of "Say, Brothers":



As originally published 1862 in The Atlantic Monthly
Finally ditties composed of the most nonsensical, doggerel rhymes, setting for the fact that John Brown was dead and that his body was undergoing the process of decomposition, began to be sung to the music of the hymn above given. These ditties underwent various ramifications, until eventually the lines were reached,—
"John Brown's body lies a-mouldering in the grave,
His soul's marching on."
And,—
"He's gone to be a soldier in the army of the Lord,
His soul's marching on."
These lines seemed to give general satisfaction, the idea that Brown's soul was "marching on" receiving recognition at once as having a germ of inspiration in it. They were sung over and over again with a great deal of gusto, the "Glory hallelujah" chorus being always added.[4]

Some leaders of the battalion, feeling the words were coarse and irreverent, tried to urge the adoption of more fitting lyrics, but to no avail.

The lyrics were soon prepared for publication by members of the battalion, together with publisher C. S. Hall. They selected and polished verses they felt appropriate, and may even have enlisted the services of a local poet to help polish and create verses.[5]

The official histories of the old First Artillery and of the 55th Artillery (1918) also record the Tiger Battalion's role in creating the John Brown Song, confirming the general thrust of Kimball's version with a few additional details.[6][7]

Creation of the "Battle Hymn"

 

Kimball's battalion was dispatched to Murray, Kentucky early in the Civil War, and Julia Ward Howe heard this song during a public review of the troops outside Washington on Upton Hill, Virginia. Rufus R. Dawes, then in command of Company "K" of the 6th Wisconsin Volunteer Infantry, stated in his memoirs that the man who started the singing was Sergeant John Ticknor of his company.

Howe's companion at the review, the Reverend James Freeman Clarke,[8] suggested to Howe that she write new words for the fighting men's song.

Staying at the Willard Hotel in Washington on the night of November 18, 1861, Howe awoke with the words of the song in her mind and in near darkness wrote the verses to the "Battle Hymn of the Republic".[9]

Of the writing of the lyrics, Howe remembered:

I went to bed that night as usual, and slept, according to my wont, quite soundly. I awoke in the gray of the morning twilight; and as I lay waiting for the dawn, the long lines of the desired poem began to twine themselves in my mind. Having thought out all the stanzas, I said to myself, 'I must get up and write these verses down, lest I fall asleep again and forget them.' So, with a sudden effort, I sprang out of bed, and found in the dimness an old stump of a pen which I remembered to have used the day before. I scrawled the verses almost without looking at the paper.[10]

Howe's "The Battle Hymn of the Republic" was first published on the front page of The Atlantic Monthly of February 1862.

The sixth verse written by Howe, which is less commonly sung, was not published at that time. The song was also published as a broadside in 1863 by the Supervisory Committee for Recruiting Colored Regiments in Philadelphia.

Both "John Brown" and "Battle Hymn of the Republic" were published in Father Kemp's Old Folks Concert Tunes in 1874 and reprinted in 1889.

Both songs had the same Chorus with an additional "Glory" in the second line: "Glory! Glory! Glory! Hallelujah!"[11]

Julia Ward Howe was the wife of Samuel Gridley Howe, the famed scholar in education of the blind. Samuel and Julia were also active leaders in anti-slavery politics and strong supporters of the Union. Samuel Howe was a member of the Secret Six, the group who funded John Brown's work.

Score

 

"Canaan's Happy Shore" has a verse and chorus of equal metrical length and both verse and chorus share an identical melody and rhythm. "John Brown's Body" has more syllables in its verse and uses a more rhythmically active variation of the "Canaan" melody to accommodate the additional words in the verse. In Howe's lyrics, the words of the verse are packed into a yet longer line, with even more syllables than "John Brown's Body". The verse still uses the same underlying melody as the refrain, but the addition of many dotted rhythms to the underlying melody allows for the more complex verse to fit the same melody as the comparatively short refrain.

One version of the melody, in C major, begins as below. This is an example of the mediant-octave modal frame.
\relative c'' { \partial 8 g8 g g g8. f16 e8. g16 c8. d16 e8. e16 e8. d16 c4 r8 c16 c a8. a16 a8. b16 c c8. b a16 g8. a16 g8. e16 g4} \addlyrics {Mine eyes have seen the glo -- ry of the com -- ing of the Lord: He is tramp -- ling out the vin -- tage where the grapes of wrath are stored; }

 

Lyrics

 

Howe submitted the lyrics she wrote to The Atlantic Monthly, and it was first published in the February, 1862, issue of the magazine.[12][13]

First published version

 

Mine eyes have seen the glory of the coming of the Lord;
He is trampling out the vintage where the grapes of wrath are stored;
He hath loosed the fateful lightning of His terrible swift sword:
His truth is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
His truth is marching on.

I have seen Him in the watch-fires of a hundred circling camps,
They have builded Him an altar in the evening dews and damps;
I can read His righteous sentence by the dim and flaring lamps:
His day is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
His day is marching on.

I have read a fiery gospel writ in burnished rows of steel:
"As ye deal with my contemners, so with you my grace shall deal";
Let the Hero, born of woman, crush the serpent with his heel,
Since God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Since God is marching on.

He has sounded forth the trumpet that shall never call retreat;
He is sifting out the hearts of men before His judgment-seat;
Oh, be swift, my soul, to answer Him! Be jubilant, my feet!
Our God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Our God is marching on.

In the beauty of the lilies Christ was born across the sea,
With a glory in His bosom that transfigures you and me.
As He died to make men holy, let us die to make men free*,[14]
While God is marching on.

(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah!
While God is marching on.


* Many modern recordings of the Battle Hymn of the Republic utilize the lyric "As He died to make men holy, let us live to make men free" as opposed to the lyric originally written by Julia Ward Howe.

Other versions

Howe's original manuscript differed slightly from the published version. Most significantly, it included a final verse:

He is coming like the glory of the morning on the wave,
He is Wisdom to the mighty, He is Succour to the brave,
So the world shall be His footstool, and the soul of Time His slave,
Our God is marching on.
(Chorus)
Glory, glory, hallelujah!
Glory, glory, hallelujah!
Glory, glory, hallelujah.
Our God is marching on.

 

Influence

 

Popularity and widespread use

 

In the years since the Civil War, "The Battle Hymn of the Republic" has been used frequently as an American patriotic song.[15]

This song is usually heard at the national conventions of both the Republican Party and Democratic Party,[citation needed] and is often sung at Presidential inaugurations.

The song was notably played on September 14, 2001 at the Washington National Cathedral and at St Paul's Cathedral in London during memorial services for the victims of the September 11 attacks.

In 1994, it was played at the state funeral of Richard Nixon. It was also played at the state funeral of Ronald Reagan in 2004.

This was one of Sir Winston Churchill's favorite songs. At his request this song was played at his funeral in St Paul's Cathedral in 1965.

The Marine Corps Band performed it when Pope Benedict XVI was greeted on the South Lawn of the White House by President George W. Bush on April 16, 2008.

Recordings and public performances

 

Jaye P. Morgan recorded this song on her 1960 MGM Records album titled "Up North."
In 1960 the Mormon Tabernacle Choir won the Grammy Award for Best Performance by a Vocal Group or Chorus.

The 45 rpm single record, which was arranged and edited by Columbia Records and Cleveland disk jockey Bill Randle, was an unlikely commercial success and reached #13 on Billboard's Hot 100 the previous autumn.[16]

Judy Garland performed this song on her weekly television show in December 1963. She originally wanted to do a dedication show for President John F. Kennedy upon his assassination but CBS would not let her, so she performed the song without being able to mention his name.[17]

Johnny Cash performed it on his musical variety show on September 27, 1969, closing the show with The Tennessee Three, The Carter Family, and The Statler Brothers.

The Beach Boys recorded the song on November 5, 1974 with lead vocals by Mike Love.[18]
Andy Williams experienced commercial success in 1968 with an a cappella version recorded at Robert Kennedy's funeral.

Backed by the St. Charles Borromeo choir, his version reached #11 on the adult contemporary chart and #33 on the Billboard Hot 100.[19]

The Christian Heavy Metal band Stryper covered this song on their 1985 release "Soldiers Under Command" album.

Hosanna! Music used this hymn in the 20th album of Praise & Worship Series "Army Of God" with the worship leader Randy Rothwell recorded live in 1988

Whitney Houston performed this song at her March 31, 1991 concert to the troops called "Welcome Home Heroes" also in Shanghai and Beijing on July 22, and July 25, 2004 during the Soul Divas Tour.

The Brooklyn Tabernacle Choir also sang this song at President Barack Obama's Second Presidential Inauguration Ceremony on January 21, 2013.

The children's Christian group Cedarmont Kids recorded a shorter, three-verse version of the song on their album "Songs Of America."

Cultural influences

 

Words from the first verse gave John Steinbeck's wife Carol Steinbeck the title of his 1939 masterpiece The Grapes of Wrath.[20]

The title of John Updike's In the Beauty of the Lilies also came from this song, as did Terrible Swift Sword and Never Call Retreat, two volumes in Bruce Catton's Centennial History of the Civil War.

Terrible Swift Sword is also the name of a board wargame simulating the Battle of Gettysburg.[21]

The lyrics of "The Battle Hymn of the Republic" appear in Martin Luther King, Jr.'s sermons and speeches, most notably in his speech "How Long, Not Long" from the steps of the Alabama State Capitol building on March 25, 1965 after the 3rd Selma March, and in his final sermon "I've Been to the Mountaintop", delivered in Memphis, Tennessee on the evening of April 3, 1968, the night before his assassination.

In fact, the latter sermon, King's last public words, ends with the first lyrics of the "Battle Hymn":


"Mine eyes have seen the glory of the coming of the Lord."


Bishop Michael Curry of North Carolina, after his election as the first African-American Presiding Bishop of The Episcopal Church, gave a sermon to the Church's General Convention on July 3, 2015 in which the lyrics of The Battle Hymn framed the message of God's love.

After the "Glory, Glory, Hallelujah, His truth is marching on," a letter of congratulations from President Obama was read. http://episcopaldigitalnetwork.com/ens/2015/07/03/video-presiding-bishop-elect-michael-curry-preaches-at-general-convention-closing-eucharist/

The tune has played a role in many movies where patriotic music has been required, including the 1970 World War II war comedy Kelly's Heroes, and the 1999 sci-fi western Wild Wild West.

The inscription, "Mine eyes have seen the glory of the coming of the lord," is written at the feet of the sculpture of the fallen soldier at the American Cemetery in Normandy, France.

Other songs set to this tune

 

Some songs make use of both the melody and elements of the lyrics of "The Battle Hymn of the Republic", either in tribute or as a parody:


Other songs simply use the melody, i.e. the melody of "John Brown's Body", with no lyrical connection to "The Battle Hymn of the Republic":

  • A famous variant is "Solidarity Forever", a marching song for organized labor in the 20th century.[26]
  • It was also the basis for the anthem of the American consumers' cooperative movement, "The Battle Hymn of Cooperation", written in 1932.
  • Len Chandler sang a song called "Move on Over" to this tune on Pete Seeger's Rainbow Quest TV show.[27]
  • The British band Half Man Half Biscuit used the melody for their song "Vatican Broadside".[citation needed]
  • In Finland, the tune, sung with a fast tempo, is mainly known as the children's song "Pikku Matin auto", with the lyrics Pikku Matin autosta on kumi puhjennut, purukumilla paikkaamme sen ("the rubber [tyre] of little Matt's car has been punctured, we'll fix it with bubble gum".
  • The tune has been used as a marching song in the Finnish military with the words Kalle-Kustaan muori makaa hiljaa haudassaan, ja yli haudan me marssimme näin ("Carl Gustaf's hag lies silently in her grave, and we're marching over the grave like this").[28]
  • "Queen's College Colours," written in 1898 by student Alfred Lavell to inspire the Queen's University football team to victory, is also set to the tune of "The Battle Hymn of the Republic".
  • The Goodies used the tune for their Christmas novelty song, "Father Christmas Do Not Touch Me".
  • "Golya Golya" is a popular folk song in Felcsik in Transylvania (Romania).[citation needed]
  • "Balay ko sa langit" ("My house in Heaven") is a popular children's song in one of the Visayan languages of the Philippines (possibly Cebuano).
  • "Trois Milliards de Gens su Terre" ("Three Billion People on the Earth") is a French language song with lyrics by Eddy Marnay that concern peace among the then 3 billion population of the earth. Singer Mireille Mathieu has covered this song several times, starting in 1982.[29][30][31]
  • Japanese electronics chain Yodobashi Camera uses the music in TV commercials and in-store.[32]
  • The melody is used in British nursery rhyme "Little Peter Rabbit".[33] Sometimes the "Little" is excluded in both the title and the lyrics.
  • The melody is used in the Dutch nursery rhyme "Lief klein konijntje" (sweet little rabbit), sung by Henkie and written by Johan De Leeuw and Marco Leeuwis. The song reached number 1 in the Flemish Ultratop 50 in 2006 and featured in total 31 weeks in the charts.
  • The melody is used in the Belgian song "Lied van geen taal"[34] as the song for the "Vrije Universiteit Brussel" by the brussels fraternity's.
  • The children's song "Tarzan Of the Apes" uses the melody, with the lyrics "I love bananas, coconuts and grapes (x3)/ And that's why they call me (shouted) TARZAN OF THE APES!!"
  • Two songs in Hebrew: Ha-Gavi'a Hu Shelanu (the cup is ours) and one of the versions of Hine Ma Tov u-Ma Naim (how good and pleasant)

"An American Trilogy" is a song arranged by country songwriter Mickey Newbury and made popular by Elvis Presley. It is a medley of three 19th century songs—"Dixie", "All My Trials" and "The Battle Hymn of the Republic".

The progressive metal band Dream Theater uses a version of this song set to a minor key as a conclusion to their song "In the Name of God" from their album Train of Thought.

Source: Wikipedia.org


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