R n' B; Religion n' Blues
The Proverbial Blues
When examining the lyrics of Blues songs, one may clearly notice prominent Christian themes and references contained in certain compositions. Perhaps the most obvious lyrical reference to religion or theology occurs in most blues songs by way of interjections such as “Oh Lord”, “Lord have mercy” and so on. These lyrical interjections, which can be sung by the main performer or another instrumentalist if a song is being performed by a group, occur in most blues songs and many listeners can identify them as a usual occurrence, regardless of the listeners’ knowledge or appreciation of the music itself. While some musical scholars debate the significance of these lyrics and prefer to think of them as “mere ‘apostrophes’ for the sake of emphasis” (Evans, 1981, as cited in Spencer, 1993, p.38), others consider these lyrics to be a callback to the religious themes Blues artists attempt to create in their music. As Jon Michael Spencer points out “the blues was the only secular (non-church) music (to) consistently and characteristically petition the Lord” (Spencer, 1993, p. 38). Spencer elaborates his point when he says:
“The lyrics of the blues tell us that “oh Lord” was a response to the ‘ultimate reality’ that undergirded ‘blues life’ in black America. The sounds of the blues-not the interpolations but the nonarticulations (moans and hums)-tell us that the whole being of the singer was engaged in deeply spiritual expression and confession that left the “blue” soul washed fresh at the blues altar.”
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When searching for prominent religious reference in the blues by use of these interjections, the song Backwater Blues (That Mean Old Twister) by Lightnin’ Hopkins provides an example of how the lyrics of a blues song can provoke a theological interpretation. How? By quite literally praying. In the song, Hopkins narrates a scene in which he sees a horrific storm, rising over waves and traveling in his direction. Hopkins describes the prayer he says to himself, asking for God’s protection. “Oh Lord, have mercy and help us in your wicked ways / Lord, Lord what shall we do? Yes, there ain’t no other help I know, oh Lord, but you.” The video below is of a live recording Hopkins did of this blues live at the Swarthmore College Festival in April of 1964
Video: Lightnin' Hopkins- The Twister- Courtesy of Youtube user TravelerIntoTheBlue: https://www.youtube.com/watch?v=jBU8eN2yeO4
To further the case that the blues is at its core a manifestation of theological expression, one should examine its influences; namely the Gospel music of the American South (spirituals) and the Bible itself. Of all musical genres, none has influenced the blues we know today more than Christian church music, most notably Spirituals (songs traditionally found in predominantly African-American church congregations in the Southern United States). A secular form of music, the blues had often been considered “devil songs” by religious citizens; largely due to lyrics and themes revolving around sin and sexuality (Cone, 1972). In response to these early criticisms, American theologian James H. Cone wrote:
“Unfortunately, it’s true that many black church people viewed the blues as vulgar and indecent. But that was because they did not understand them rightly. If the blues are viewed in the proper perspective, it is clear that their mood is very similar to the ethos of the spirituals. Indeed, I contend that the blues and the spirituals flow from the same bedrock of experience, and neither is an adequate interpretation of black life without the commentary of the other.”
Cone later coins the phrase “secular spirituals” to describe his perception of the religious meaning of the blues. “They are secular in the sense that they confine their attention solely to the immediate and affirm the bodily expression of black soul, including its sexual manifestations. They are spirituals because they are impelled by the same search for the truth of black experience.” (Cone, 1972, p. 112).
There has also been an argument that the Bible has been a major influence to the blues; especially when looking at the composition of lyrical verses. Williams Ferris makes the point in his book Blues from the Delta, that the composition of blues verses is directly related to the written composition of proverbs found within the New Testament. As Ferris says; "The blues verse is a tightly edited two- or three-line rhyme. Like the proverb, its tense language captures feeling with an air of finality as the first line or phrase issues a call and the second responds." (Ferris, 1978). When thought about, this linking theory makes sense. The blues originated in the deep American South, a region known for its passionate Christian population. Furthermore, the blues developed in a time in which formal religious worship was far more common than it is today. It stands to reason that bluesmen took influence from their surrounding environment, and of that environment Christianity and Biblical study was one of the most commonly held belief systems.