Vito was born in Tecumseh, Michigan, and attended Western Michigan University where he developed a love for writing poetry. His first book of poems, Self-Portrait as Jerry Quarry, was published by New Issues Press in 2002. A self-described agnostic, Vito experienced a spiritual conversion at the age of 20 and soon after enrolled at Princeton Theological Seminary to study theology and prepare for ordained ministry. Currently he is the senior pastor of Resurrection Presbyterian Church, a church he planted in Williamsburg, Brooklyn, NY, in 2005.
Raised on a farm, by a gentleman farmer father and choir teacher mother, in the same small town as Vito, Monique moved to New York City after high school to study art, first at the Cooper Union (BFA), then Columbia University (MFA). Since then she has worked as a pre-school teacher, craftmaker for Martha Stewart, and as a mother. She also serves as the Welcome Wagon’s resident visual artist.
But at the heart of it—if you really listen carefully—there’s just a pastor and his wife singing joyfully in the quiet privacy of their own home.
The Welcome Wagon began as husband and wife singing in the privacy of their home. Having little to no previous musical experience or training, Vito purchased a guitar with the desire to sing hymns with his family. With Monique accompanying on toy glockenspiel or harmonica, the two would amble through old hymnals, psalters and prayerbooks. Their inability to read music was no big issue; Vito simply made up new tunes to old words.
While their most familiar venue was (and is) their living room, the Welcome Wagon have been periodically coaxed to small stages at bars, parties, and seminaries throughout the New York City area, often joined by friends on upright bass, drums, piano, and banjo. These intimate arrangements preserve the delicate nature of the Welcome Wagon’s identity.
But there is another Welcome Wagon, the one that can be heard on their debut album, Welcome to the Welcome Wagon. This version of the band retains the heart and soul of pastor and his wife singing together, but dresses them up in the transcendent musical vestments of Sufjan Stevens, who produced and helped arrange the record.
Those who enjoyed the Welcome Wagon’s debut album will notice their distinct sound again in their sophmore release: Precious Remedies Against Satan’s Devices – loose, jangly, comfortable, a gathering of friends making music together. It’s at times jaunty and toe-tapping, at others quietly contemplative, an alt-folk gem that sounds very much like it comes out of the Asthmatic Kitty camp. But while the first album was recorded over the course of eight years in various venues, this one was done in five days at the library of an old rectory in Brooklyn. And while recording artist and AK co-owner Sufjan Stevens produced WW’s first album, he’s less noticeable on this collection, produced by Alexander Foote, who also plays guitars, organ, autoharp, percussion, and some piano. (Stevens does play banjo and piano and sings in the choir on several songs here.)
Admittedly, for a gospel duo, there’s far less soul than sweet sincerity in the casual songs of the Welcome Wagon. Vito and his wife are unabashedly Midwestern, ordinary and uncool. But this is precisely what sets them apart from the standard fare of contemporary liturgical music. It doesn’t feign emotion; it doesn’t pander to stylistic pretensions; it doesn’t pretend to be anything other than what it is: the result of countless, informal social exchanges between friends. A home-cooked meal followed by a few microphones taped to folding chairs. A family gathering, a summary of happy noises, and a room crowded with familiar faces. Sure, there are showy guitar riffs and piano codas and harmonica solos, a rowdy chorus, an imposing flourish of brass instruments like wartime canons. But at the heart of it—if you really listen carefully—there’s just a pastor and his wife singing joyfully in the quiet privacy of their own home
He Never Said a Mumblin' Word
The Welcome Wagon Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Not a word, not a word, not a word
They led Him to Pilate's bar
Not a word, not a word, not a word
They led Him to Pilate's bar
But He never said a mumblin' word
Not a word, not a word, not a word
Not a word, not a word, not a word
They all cried "Crucify!"
Not a word, not a word, not a word
They all cried "Crucify!"
But He never said a mumblin' word
Not a word, not a word, not a word
We nailed Him onto a tree
Not a word, not a word, not a word
We nailed Him onto a tree
Not a word, not a word, not a word
We nailed Him onto a tree
But He never said a mumblin' word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
The Welcome Wagon's song "He Never Said a Mumblin' Word" is a retelling of the biblical story of Jesus' trial and crucifixion. The lyrics describe how Jesus is brought before Pilate, the Roman governor, and how the crowd urges for his execution. Despite the violence and injustice inflicted upon him, Jesus remains silent and does not protest his fate. The repetition of "not a word, not a word, not a word" underscores the gravity of the situation and emphasizes Jesus' steadfastness in the face of persecution.
The song is a powerful reminder of the human capacity for cruelty and injustice, as well as the necessity for resilience and steadfastness in the face of such adversity. Jesus' refusal to speak up for himself can be interpreted as a form of protest against the corrupt systems that govern our society, or as a form of solidarity with those who are marginalized or oppressed. The song also speaks to the power of forgiveness and love in the face of hatred and violence, as Jesus forgives his tormentors even as they crucify him.
Line by Line Meaning
They led Him to Pilate's bar
He was taken to Pilate's bar
Not a word, not a word, not a word
He did not speak or say anything
They all cried "Crucify!"
Everyone cried out to have Him crucified
But He never said a mumblin' word
But He remained silent and did not utter a word
We nailed Him onto a tree
He was nailed to a tree
Not a word, not a word, not a word
He did not speak or say anything
Not a word, not a word, not a word
He did not speak or say anything
Not a word, not a word, not a word
He did not speak or say anything
Not a word, not a word, not a word
He did not speak or say anything
Not a word, not a word, not a word
He did not speak or say anything
Contributed by Jake D. Suggest a correction in the comments below.