Blind Man- Spiritual- Clarence White 1927

Blind Man, The "De Blin' Man"
Spiritual- Collected Clarence Cameron White- 1927

De Blin' Man/Bible's Right, The/Blind Man Stood on the Way and Cried

Tradtional Old-Time, Spiritual;

ARTIST: from Clarence Cameron White, 1927, "Forty Negro Spirituals, Compiled and Arranged for Solo Voice with Pianoforte Accompaniment," Theodore Presser Co., Philadelphia. Quarto, sheet music.

Josh White: http://www.youtube.com/watch?v=1hnuJZt7Mvk&feature=related

White Spiritual: http://www.youtube.com/watch?v=ma5nbBvUCXc

Spiritual arr. H. T. Burleigh: http://www.youtube.com/watch?v=mGySzjrMCJc

Contemporary version: http://www.youtube.com/watch?v=q3xPA6Vj6cA

CATEGORY: Traditional and Public Domain Bluegrass Gospel;

DATE: 1800s; 1909 Howard W. Odum, "Religious Folk-Songs of the Southern Negroes" (American Journal of Psychology and Education, vol. iii, p. 356).


RECORDING INFO:  Blind Man Stood on the Way and Cried

Lomax, J. A. & A. Lomax / American Ballads and Folk Songs, MacMillan, Bk (1934), p596 [1920s]
Sandburg, Carl (ed.) / American Songbag, Harcourt, Sof (1955/1928), p452 (Blind Man Lay Beside the Way)
Lomax, Alan / Folksongs of North America, Doubleday Dolphin, Sof (1975/1960), p473/#245 [1930s] (Blind Man)
Hurt, Mississippi John. D.C. Blues, Vol 2. Library of Congress Rec...,, Fuel 302 061 495 2, CD (2003), trk# 1.15 [1963/07] (Blind Man Sit in the Way and Cried)


OTHER NAMES: “The Blind Man,” "Blind Man Lay Beside the Way," "Blind Man Stood on the Way and Cried" 

SOURCES: from Journal of American folklore, Volume 27 By American Folklore Society 1914.

NOTES: “The Blind Man,” or "Blind Man Stood on the Way and Cried" is a well known African-American spiritual. This version is from the Journal of American folklore, Volume 27 By American Folklore Society 1914.

The song has more recently become a campfire song and is used as a praise song in contemporary services with a slightly different form. Most contemporary versions use the repeated chord progression: Em D C B7 or Am G F E7.


Blind Man

 Am        G           F           E7
Blindman stood by the road and he cried
 Am        G           F           E7
Blindman stood by the road and he cried
 Am        G           F           E7
Blindman stood by the road and he cried
           E7
He cried, whoa!
 E7          Am  G  F
Show me the way,
 E7          Am  G  F
Show me the way,
 E7          Am  G  F
Show me the way,    
               E7
The way to go home.

THE AMERICAN JOURNAL OF RELIGIOUS PSYCHOLOGY AND EDUCATION p. 356; Volume 3 JULY, 1909. No. 8; Religious Folk-Songs of the Southern Negroes by Howard Odum; Fellow in Psychology, Clark University.

BLIND MAN- Again in "The Blind Man" the picture is one of confusing the scriptural scenes with those of the present, and of placing himself in the stead of the central character of the story.

Well the blind man stood by the grave and cried,
Well the blind man stood by the grave and cried,
Yes, the blind man stood by the wave and cried.
He cried, "O Lord, don't you hear po' me?"
Hark, the blind man stood by the wave and cried,
He cried, "O Lord, don't you hear po' me?

"Brother don't you hear the blind cries, blind cries?
Brother don't you hear the blind cries, blind cries?
O brother, don't you hear the blind cries?

Jesus he give de blind man sight, blind man sight,
Jesus he give de blind man sight, blind man sight,
Yes, Jesus he give de blind man sight.

He also sings "sister, don't you hear," etc., brother, father, preacher.

DE BLIN' MAN- Arr. Clarence Cameron White- 1927

1. Oh, de blin' man stood on de way an' cried,
Oh, de blin' man stood on de way an' cried,
Cryin', "O ... Lordy, save me!"
Oh, de blin' man stood on de way an' cried.

2. Cryin' dat he might receib' his sight,
Cryin' dat he might receib' his sight,
Cryin', "O... Lordy, Save me!"
Oh, de blin' man stood on de way an' cried,
"Save me!"

pp. 92-93, Clarence Cameron White, 1927, "Forty Negro Spirituals, Compiled and Arranged for Solo Voice with Pianoforte Accompaniment," Theodore Presser Co., Philadelphia. Quarto, sheet music.

C. C. White taught at the West Virginia Collegiate Institute, but his collection came from a broader area. Started by the State in 1891 as the West Virginia Colored Institute, it initiated a collegiate program in 1915, at which time it became the West Virginia Collegiate Institute. It is now known as West Virginia State University; the student body of 7000 is now 90 percent white; commuter students and mostly part-time, but students on campus are mostly African-American.