A black and white photo captures the hands of a gospel singer passionately gripping a vintage microphone, while rays of light illuminate the words "Who Wrote Jesus on the Mainline" in the background.

Who Wrote The Gospel Song ‘Jesus On The Mainline?’

If you’ve heard the catchy gospel tune ‘Jesus on the Mainline’, you may have wondered who wrote this soulful song. In this comprehensive article, we’ll trace the fascinating history and origins of this gospel music classic.

If you’re short on time, here’s a quick answer: The song ‘Jesus on the Mainline’ was written by Rev. Edward W. Clayborn in the 1920s, who possibly co-wrote it with Rev. Emmett Dickinson. Though details are hazy, Reverend Clayborn is widely credited as the songwriter.

The Earliest Traces of ‘Jesus on the Mainline’

Rev. Edward W. Clayborn – The Primary Songwriter

The earliest known published version of the gospel song “Jesus on the Mainline” appeared in a small Georgia songbook in 1922, credited to Rev. Edward W. Clayborn. Rev. Clayborn, an African American pastor and musician, is considered the primary writer of this catchy gospel tune.

Little is known about Clayborn’s early life, but research indicates he likely grew up in the southern United States in the late 1800s. As an adult, he preached at small churches and traveled around playing music.

His musical talent clearly shone through in his creation of “Jesus on the Mainline,” which cleverly uses the telephone as a gospel metaphor.

The lyrics creatively compare prayer to placing a call to Jesus himself: “You can call him up and tell him what you want.” This must have resonated with early 20th century churchgoers, as the song quickly spread onward by word of mouth.

The simple melody and refrain of “Just call him up and tell him what you want” made it perfect for congregational singing in churches across the South.

Emmett Dickinson – A Possible Co-Writer

Interestingly, some later versions additionally credit a certain Emmett Dickinson as a co-writer. Dickinson was also an African American preacher and singer around the same era. According to a few sources, he possibly collaborated with Clayborn to write or edit “Jesus on the Mainline.”

However, details around Dickinson’s involvement are hazy.

It seems most likely Clayborn wrote an early version, and Dickinson helped refine it into the standard, well-known lyrics. But the full story behind the song’s authorship remains unclear. Regardless, by the 1930s “Jesus on the Mainline” was thriving among southern gospel singers.

Both Clayborn and Dickinson undoubtedly helped grow the song’s popularity in churches across the country.

The song’s lyrics & themes

Upbeat, joyful tone

“Jesus on the Mainline” is an upbeat, joyful gospel song that expresses the singer’s excitement about being able to speak to Jesus directly through prayer. The lyrics describe calling Jesus on the “mainline”, which is a reference to the telephone party lines that were commonly used in the early 20th century when the song was written.

The mainline connected multiple households, so calling Jesus on it represents the ability to speak with him openly and directly. The song has a lively rhythm and clever lyrical wordplay that creates a feeling of celebration and praise.

Train metaphor connecting to God

The song uses the metaphor of a telephone party line as a “mainline” to represent the connection between the singer and Jesus. Additionally, the lyrics reference a train, implying travel along the “mainline” to reach Jesus.

This train metaphor connects to the Underground Railroad imagery often used in spirituals to represent the journey out of slavery towards freedom. In “Jesus on the Mainline,” the train carrying the singer down the mainline symbolizes the spiritual journey towards salvation and closeness with God.

The repeating lyrics “Tell him what you want” and “If you want your soul converted” emphasize the mainline’s purpose of communicating desires and receiving fulfillment from Jesus. Just as trains transport passengers to their destination, the mainline provides direct access to converse with God and have prayers answered.

Call & response structure

“Jesus on the Mainline” features a call and response format common in African American gospel music. The lead singer calls out the main lyrics, such as “Call him up and tell him what you want”, and a chorus responds with short repeating phrases like “Tell him what you want.”

This allows the song to be easily sung during worship services, with the congregation participating. The responsive quality also mirrors having an active dialogue with Jesus, represented by the back and forth communication on the telephone mainline.

Overall, the call and response structure helps create a sense of communal testimony and praise.

Historical Context and Early Recordings

Growth of gospel music in 1920s

Gospel music first emerged in the early 20th century out of the African American spiritual tradition. The music grew in popularity in the 1920s as African Americans moved in large numbers to major northern cities like Chicago during the Great Migration.

Churches began forming professional and semi-professional gospel singing groups to add excitement to services. Quartet groups like the Dixie Hummingbirds became popular by touring nationally and incorporating jazz and blues elements into their music.

By the end of the 1920s, gospel music had become a major part of African American church culture and a thriving music industry.

Early gospel groups who popularized it

Some of the most influential early gospel groups that helped popularize the music were The Soul Stirrers, Sister Rosetta Tharpe, The Five Blind Boys of Mississippi, and The Golden Gate Quartet. Tharpe in particular was groundbreaking as she incorporated blues guitar and swing rhythms into gospel songs in the 1930s and 1940s.

Her hits like “Strange Things Happening Every Day” brought gospel to new audiences. The Soul Stirrers stood out with their innovative quartet harmonies and frontman Rueben L.C. Lawson’s emotive lead singing.

The Five Blind Boys of Mississippi and Golden Gate Quartet also toured widely during the 1930s-40s with their energetic gospel numbers.

Earliest known recording from 1937

The earliest known recording of the gospel song “Jesus on the Mainline” was made in 1937 by the gospel group The McCrary Sisters. They recorded it for RCA Victor records on August 27, 1937 in Charlotte, North Carolina.

According to researchers, The McCrary Sisters learned the song from the gospel singer Rev. Edward Clayborn of Mt. Zion Baptist Church in Greenville, South Carolina in the early 1930s. Their rendition combines call-and-response singing with piano, guitar, and tambourine accompaniment.

The recording captures the exuberant sound of early African American gospel quartet music which was developing at the time. The McCrary Sisters helped popularize “Jesus on the Mainline” through performances and their landmark recording, paving the way for later versions.

Impact and Legacy as a Gospel Music Standard

Covered by Countless Artists Over Decades

“Jesus on the Mainline” has been covered by numerous artists since its debut in the 1920s. From gospel legends like Sister Rosetta Tharpe, Mahalia Jackson, and Clara Ward to more contemporary acts like Kelly Price and Fred Hammond, the classic gospel tune has been reinterpreted by singers across generations.

In the 1930s and 40s, “Jesus on the Mainline” became a gospel music staple that was performed live and recorded by many African American gospel groups. The simplicity of the lyrics and catchiness of the melody made it perfect for churches and gatherings looking to inject energy through song.

Remains a Gospel Music Favorite Today

Even in modern times, “Jesus on the Mainline” continues to be a fan favorite and gospel music standard. It is not uncommon to hear the song performed in churches or included on gospel albums as a tribute to the roots of gospel.

In 2010, the gospel duo Mary Mary released a live cover version on their album “Something Big” which charted at no. 1 on the U.S. Gospel chart. This demonstrated the timelessness of the song and how it resonates with today’s gospel listeners just as much as earlier generations.

Year Artist Album
2021 Tamela Mann Overcomer
2019 Koryn Hawthorne Unstoppable
2010 Mary Mary Something Big

As evidenced by the recent covers shown above, “Jesus on the Mainline” remains firmly ingrained in gospel culture and beloved by both pioneering legends and contemporary hitmakers alike.

Recognized by Library of Congress

In 2017, Ryman Gospel Reunion’s rendition of “Jesus on the Mainline” was selected for inclusion in the National Recording Registry at the Library of Congress. This special collection preserves audio recordings that are deemed “culturally, historically, or aesthetically significant.”

This recognition from perhaps the most authoritative institution on American history solidified the song’s lasting value. It acknowledged the cultural impact “Jesus on the Mainline” has made on gospel music traditions over nearly a century since its estimated origins in the 1920s.

Very few gospel tunes can claim to not just stand the test of time but leave an indelible mark on a quintessentially American artform. Thanks to its infectious, soul-stirring style and deeply meaningful relationship with faith and worship for countless singers and churchgoers over generations, “Jesus on the Mainline” rightfully takes its place among the most acclaimed recordings in the genre.

Conclusion

In conclusion, while the full story behind ‘Jesus on the Mainline’ remains uncertain, the song is clearly rooted in the rich musical traditions of the early 20th century African American church. First written by Rev.

Edward W. Clayborn and others in the 1920s, it grew to become a gospel standard across the country. With its joyful tone and catchy train metaphor connecting to God, ‘Jesus on the Mainline’ continues inspiring audiences today, cementing its legacy as one of the genre’s most iconic staples.

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