Truth will out. You can fool those around you, you can even fool yourself, but you can never fool God or avoid judgment. Divine judgment is the focus of the traditional song “God’s Gonna Cut You Down,” also often titled “Run On” or “Run On for a Long Time.” Like many stories, especially folk songs, the characters cannot escape the choices they have made or the actions they have taken. Think on “The House Carpenter,” where a wife chooses to leave her family for a lover only to find he’s the devil, or “The Twa Sisters,” in which jealousy is the cause of sororicide yet the murder is revealed through supernatural means. “Run On” is more prophetic in its approach. In it, an angel of God appears to John (are we talking about John the Baptist or is John an everyman stand-in?) with a directive (“do my will!”) – warn “your fellow man” that “what’s down in the dark will be brought to the light.” Sin is a stain that does not wash out and “you can run on for a long time[, but] sooner or later God’ll cut you down.” A portrait of a vengeful God contrasted nicely with the description that the “man from Galilee” spoke in “a voice so sweet.” In most of the recordings of “God’s Gonna Cut You Down,” it is called a traditional, but I cannot find a clear history, though it does appear to have ties to gospel repertoire. The earliest recorded version (as far as I can tell) comes from the Golden Gate Quartet, originally called the Golden gate Jubilee Quartet, founded in 1934 and still around today. The quartet recorded “Run On” in March 1942 as the B-side to “Comin’ in on a Wing and a Prayer” for Okeh Records.The lyrics paint a vivid picture and the music is potent that it’s recorded history spans time and genre, being tracked by musicians like Moby, The Blind Boys of Alabama, Johnny Cash, Elvis Presley, The Gaslight Anthem, and many more.
On this episode of Folkadelphia Radio, we will also premiere a live recorded session from Leyla McCalla and her trio of musicians, as they appeared on tour in February of 2014. McCalla’s music reflects her experiential diversity and wide range of influences. She has Haitian heritage and grew up traveling around and studying classical cello, eventually moving to New Orleans. From there, she joined up with the Carolina Chocolate Drops during their Leaving Eden album. Since then, she raised funds for a debut solo album Vari-Colored Songs: A Tribute to Langston Hughes, which consists of Hughes poetry set to music, Haitian folk songs, and much more.
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