No More the Moon Shines on Lorena
No More the Moon Shines on Lorena is an American folk song composed and published by Louis Staab in 1889 under the title Lorena . It should not be confused with the song Lorena , composed in 1856 by Henry DL Webster , one of the most popular hits of the American Civil War.
text
The text is written from the perspective of a slave on a plantation in the southern states , who sings about his romantic affair with a slave named Lorena; one day Lorena suddenly disappeared - she was sold to Virginia ( old Virginny ). Years later, his master ( Massey ) reads him a letter stating that Lorena has died. In the last stanza he expresses the confidence that Lorena is now in heaven and no longer has to wear the " darkie's chain " :
As with many popular songs, the lyrics vary from version to version, with the Smyth County Ramblers recording the song in 1928 as Way down in Alabama . In the most famous recording, that of the Carter Family from 1930, the text is as follows:
- Way down upon the old plantation
- Old Massey used to own me as a slave
- He had a yeller gal he called Lorena
- And we courted where the wild bananas waved
- For long years there we courted
- And we were as happy as one
- And my hard work for did Massey
- And the happiness of life had just begun
Refrain:
- No more the moon shines on Lorena
- As we'd sit and watch the coon among the corn
- And the possum playing on the wild bananas
- And the old owl a-hootin 'like a horn
- One day I called to see my dear Lorena
- I thought she would meet me at the gate
- But they took her away to old Virginny
- And left me to mourn for her fate
- For years I have longed to see her
- And the thoughts of her was ever in my head
- One day Massey read me a letter
- Telling me that Lorena she was dead
refrain
- But I know that her soul has gone to heaven
- And there she is ever free from pain
- And to her a brighter crown is given
- And no more she will wear the darkie's chain
refrain
The song, however, by no means originates from Afro-American music , but rather from the tradition of blackface comedy, in which white people with soot-blackened faces in a racist manner drew a stereotypical image of Afro-Americans (often subsumed under the term Jim Crow ). Also No More the Moon Shines on Lorena addresses many of perpetuated in clichés, especially in its exaggerated representation of African American English and the use hackneyed phrases like old Massey and darkie's chain . In his portrayal of the suffering of the slaves, however, it becomes clear that the song's intention is not disparaging towards the slaves, but rather stands in a humanitarian tradition, related to the blackface compositions by Stephen Foster , which were also in the service of abolitionism .
Recordings (selection)
- 1928 - Smyth County Ramblers (as Way down in Alabama ), Matrix BVE-47230
- 1930 - The Carter Family , B-side of Where Shall I Be , Victor 23523
- 1937 - The Blue Sky Boys (as On the Old Plantation )
- 1979 - Alex Chilton , on the album Like Flies on Sherbert
- 1982 - Alex Chilton , on the live album Live in London
- 1985 - The Replacements , on the live album The Shit Hits the Fans
- 2002 - Kev Russell's Junker , on the album Buttermilk & Rifles
- 2007 - Everett Lilly & Everybody and Their Brother
literature
- Guthrie T. Meade, Richard Keith Spottswood, Douglas Shannon Meade: Country Music Sources: A Biblio-discography of Commercially Recorded Traditional Music . Southern Folklife Collection, University of North Carolina at Chapel Hill Libraries in Association with the John Edwards Memorial Forum, 2002. ISBN 0807827231 (pp. 467–468)
Web links
- No More The Moon Shines On Lorena - sound recording by The Carter Family (1930)
- No More The Moon Shines On Lorena - Article by the blogger "Dissident Veteran for Peace", 2006.
- Fantaisie sur Lorena by Louis Staab - undated arrangement; Digitized from the pages of the Nineteenth-Century American Sheet Music archive atthe University of North Carolina.
Individual evidence
- ↑ James Leary: Polkabilly: How the Goose Island Ramblers Redefined American Folk Music . Oxford University Press, 2010. pp. 42 and 206 (footnote 3).