The Saints
Tony Sheridan Lyrics


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Well a-when the saints go marching in,
When the saints go marching in
Mm I want to be, I'm gonna be in that number,
Ooo when the saints go marching in.

Oh when the sun yeah begins to shine.
When that old sun begins to shine,
I tell you something I'm gonna be I'm gonna be in that number,
When the sun begins to shine.

Yeah when my lord calls me home again,
Ah when my lord calls me home again,
I'll tell you I'm gonna be in that number,
Oh when my lord calls me home again.

Oh when the saints go marching in,
When the saints go marching in
I tell you something I'm gonna be I'm gonna be in that number,
When the saints go marching in.

Well when the sun yeah begins to shine.
When that sun begins to shine,
I tell you something I'm gonna be I'm gonna be in that number,
When that old sun begins to shine.

Lazy one time.
Mm mm, yeh, alright, mm, yeah,
Ooo when the saints go marching in.

Yeah when the saints go marching in,
Yeah when the saints go marching in
I tell you something, I'm gonna be I'm gonna be in that number,
Yeah when the saints go marching in.

Yeah when my lord calls me home again,
Ah when my lord calls me home again,




I'll tell you I'm gonna be in that number,
Oh when the saints go marching in.

Overall Meaning

The lyrics of the song, "When the Saints Go Marching In" by Tony Sheridan, are a hopeful and joyous expression of the singer's longing to be among the righteous and pure spirits who will enter heaven when the "saints go marching in". The lines "I want to be in that number" and "I'm gonna be in that number" repeat throughout the song to emphasize the singer's desire to be included in the group of those who will be saved.


The first stanza of the song mentions the "saints" marching in, and the singer expresses the desire to be among them. The second stanza mentions the "sun" shining and again the singer expresses the desire to be among those who are saved. The final stanza mentions the Lord calling the singer home, and once again, the desire to be included among those who will be saved is expressed.


The refrain of the song, "When the saints go marching in", is a familiar phrase that has been used in many contexts, including sporting events and celebrations. The lyrics suggest a belief in a blissful afterlife and a desire to be included among those who will experience it.


Line by Line Meaning

Well a-when the saints go marching in,
When the faithful march into heaven


When the saints go marching in
When the believers enter the afterlife


Mm I want to be, I'm gonna be in that number,
I long to be counted among them


Ooo when the saints go marching in.
When they enter the pearly gates


Oh when the sun yeah begins to shine.
When the light of hope appears


When that old sun begins to shine,
When hope arises


I tell you something I'm gonna be I'm gonna be in that number,
I promise to be counted among them


When the sun begins to shine.
When hope dawns


Yeah when my lord calls me home again,
When the divine beckons


Ah when my lord calls me home again,
When God summons me home


I'll tell you I'm gonna be in that number,
I assure you I'll join their ranks


Oh when the saints go marching in.
When the faithful travel to paradise


Well when the sun yeah begins to shine.
When dawn breaks


When that sun begins to shine,
When the light of day appears


I tell you something I'm gonna be I'm gonna be in that number,
I vow to be counted among them


When that old sun begins to shine.
When hope arises


Lazy one time.
Offhand remark


Mm mm, yeh, alright, mm, yeah,
Ad-lib vocals


Ooo when the saints go marching in.
When the faithful travel to heaven


Yeah when the saints go marching in,
When the believers enter the afterlife


I tell you something, I'm gonna be I'm gonna be in that number,
I affirm my desire to be counted among them


Yeah when the saints go marching in.
When the faithful travel to paradise


Yeah when my lord calls me home again,
When the divine beckons me again


Ah when my lord calls me home again,
When God summons me back to heaven


I'll tell you I'm gonna be in that number,
I'll ensure that I'll be counted among them


Oh when the saints go marching in.
When the faithful travel to heaven.




Lyrics © Warner Chappell Music, Inc.
Written by: DAVID BALUTEAU, ARNAUD JEAN MARIE FOURNIER, ROBERT BLACKWELL, RICHARD W. PENNIMAN

Lyrics Licensed & Provided by LyricFind
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Most interesting comment from YouTube:

@Renshen1957

@Ikhsan Sube Laugh this off: No Pete, No Scotland tour 1960 backing Johnny Gentle through their un-official manager Allan Williams, which leads to No Hamburg gigs, case closed ; no Pete (who was fluent in German) all the Beatles instruments would have lost their instruments in Germany after Paul and George (Pete, too) were deported. No Pete, no Welcome Home, 27 December 1960 performance at Litherland Town Hall a breakthrough show which cemented their name as Liverpool’s top live draw , with Pete on Drums (Atomic Drum Beat) and his former bandmate played Bass (who was asked to join the band as Stuart Sutcliffe had stayed in Germany). From the opening number, Little Richard’s ‘Long Tall Sally’, The Beatles electrified the crowd, and there was a spontaneous surge towards the stage.

"Litherland was an explosion in the fortunes of The Beatles. We were playing for dancing in a hall that could accommodate some 1,500 on the dance floor at one time, but they stopped dancing when we played and surged forward in a crowd to be nearer to us, to watch every moment and above all to scream. People didn’t go to a dance to scream: this was news." The Beatles were signed to more gigs through both North Liverpool as well as all over. " Suddenly we were a wow. Mind you, 70% of the audience thought we were a German wow, but we didn’t care about that. Even in Liverpool, people didn’t know we were from Liverpool. They thought we were from Hamburg. They said, ‘Christ, they speak good English!’ which we did, of course, being English.
It was that evening that we really came out of our shell and let go. We stood there being cheered for the first time. This was when we began to think that we were good. Up to Hamburg we’d thought we were OK, but not good enough. It was only back in Liverpool that we realised the difference and saw what had happened to us while everyone else was playing Cliff Richard shit. John Lennon, 1967
No Pete, no more Hamburg gigs, no Tony Sheridan recordings by Bert Kaempfert (who had an orchestra with a professional drummer which Bert Kaempfert could have substitted a studio/session, drummer) which leads to the record which a fan request that brought Brian Epstein's attention. Tony Sheridan's back up band would have Ringo as a drummer, briefly who returned to Rory Storm (over Sheridan's changing the set list at performances). No Pete, who performed more live performances as a Beatle than Ringo did (undisputed) in Hamburg and Liverpool, no Cavern Club performances which Brian Epstein goes and decides to become their manager (never having been a manager). No Pete, no first appearance on BBC Radio (Pete's last performance recorded off the BBC radio was their 2nd Appearance). No Pete, No Decca audition which recordings from the audition were used by Brian Epstein to finally get an audition at Parlophone after every major Label had rejected the group, (even this audition had more to do with Epstein's family business and it's influence) until a speciality Label, Parlophone, better none for Comedy Albums, Novelty Records, and a few scattered hit songs. (George Martin followed studio practice of session drummer, which for all of Ringo's later talents, by the way Ringo was and is my favorite Beatle, Andy White's drumming is on recording of P S I Love You and other than their first single of Love Me Do released only in the UK, Andy White is on all subsequent releases (including their first album), including the 20th Anniversary re-release).
Ringo first met the Beatles in Hamburg on their first tour, was the drummer on a demo in Hamburg on with part of the Beatles first backing band recording, (Pete Best was unavailable that day, touring Hamburg), now lost, for an unreleased single. No Pete Best, No Mona Best, no Casbah Club...their first live performances as the Quarry. and The Beatles appeared at Mona Best’s Casbah Coffee Club in Liverpool, a venue they hadn’t played at since the Quarrymen days, on October 10, 1959. Chas Newby, formerly the rhythm guitarist with The Blackjacks with Pete Best and skiffle group The Barmen, joined The Beatles on bass guitar (to replace Stuart Sutcliffe, who had remained in Hamburg with girlfriend Astrid Kirchherr as I referrenced above)... which had the posters for the Litherland Town Hall upcoming performance plastered all over the walls, as at that time the Casbah Coffee Club was the Rock and Roll venue in Liverpool, the Cavern, etc, were Jazz Clubs, and this club at the time was packed with people who eyed declaring “The Beatles, Direct From Hamburg, Germany” placed around the Casbah, and the basement venue was crammed with people, many who didn't know about the Beatles or that they were local boys directed a number of youths to Litherland, expecting to see a "German Band.
As to the JPG apologist mythology about Ringo being first choice to replace Pete Best...Brian Epstein, offered the job, first to drummer Bobby Graham, who turned Brian down. Brian Epstein then offered the job to Ritchie Galvin, who also said no to The Beatles. Johnny Hutchinson became the third drummer to decline the offer, Johnny Hutchinson was the driving force behind The Big Three and considered the best drummer in the Liverpool, who turned down the offer as he wasn't into the Beatles type of music, and Pete Best was a friend he wouldn't do dirt on. (Ringo had been a friend of Pete's too). The Beatles had to take Brian Epstein to a performance to hear Ringo, the rest is history, as to history those Victorian Medals you see on the Beatles on Sgt. Pepper, were borrowed from Mona Best.
So as to your comment, you could be correct as to the subsequent events, after Pete was sacked, but these wouldn't have occurred with a "Shit Band" (quote Sir George Martin on hiring the Beatles), a band that couldn't keep a drummer, until Pete.
As to the Beatles, Pete had his own fan club simultaneously when the Beatles fan club also existed in Liverpool, Pete was offered by Brian Epstein to build a band around him (in shock, he declined, a mistake as band in Epstein's stable he would have the promotion and gigs through England), the All Stars fired their drummer to pick up Best as drummer, and the All Stars came in 2nd place to the Beatles as the most popular band in Liverpool Dec. 1963 six months after Pete was fired. Or in other words, "You don't know shit about the Beatles..." Take a time machine back to when Pete goes to audition for the Hamburg trip, kidnap him so he doesn't arrive, the Beatles a band no other band wanted in Hamburg to wreck a good thing, doesn't arrive.The Beatles may end up like Liverpool bands; Road Runners, Rory Storm and the Hurricanes, Maverick, etc., And since the Beatles and manager Epstein caused the recording studios in London to look to a town more famous for Comedy acts than Rock Groups or music acts (exception on Billy Fury as a solo act), groups such as The Searchers, Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, Billy J. Kramer and the Dakotas, The Fourmost , Tommy Quickly with the Remo Four, The Moody Blues, Cliff Bennett and the Rebel Rousers. Sounds Incorporated (from London, but managed by Epstein opening for the Beatles), or hat check girl turned singer Cilla Black, wouldn't be known, the British Invasion wouldn't change the US popular/Rock music (no Byrds as we know them, no Monkees), and the musicians as composers of their own songs which they recorded an performed wouldn't have occurred in the 1960s onwards.
So laugh at my "joke" comment, in ignorance.



All comments from YouTube:

@tommyl.dayandtherunaways820

This Tony Sheridan fellow could be the next Elvis. As for the Beat Brothers, while they have potential, I don’t see them going very far.

@phillipwarwick5303

You know they are the Beatles

@emilydewoody8982

@Phillip Warwick they were joking of course they know the beatles

@aryhandler

Hahahaha...

@adrinathegreat3095

Tony Sheridan would have gone far had he not had a reputation as argumentative and unreliable, this is what got him kicked off of a popular uk music show in the late 50s, and why he ended up playing in small venues.
Turning up at recording sessions late, arguing with other musicians and recording studio staff really doesn't help.
The beatles were far more disciplined and professional than Sheridan, who only got mid 60s tv spots because he'd once had the beatles backing him.
Truth was he wasn't liked by many people in the industry at all and was considered a loose cannon and best avoided

@jb888888888

Guitar bands are out.

@rafaelmartinezmunoz7788

El primer disco que compre, en 1973-74 con un poco más de 11 años, junto con "Planet Waves" de Bob Dylan, en las afueras de París.
Me sentí engañado por la portada que ponía "Beatles" (lo saqué del cartón de las rebajas con lo que me quedaba por comprar el otro disco...) pero disfrute de esa música "crooner"que era fuera de lo que solía escuchar.
Una calidad que perdura y sorprende por su sencilla frescura.
Gratos recuerdos, los primeros pasos de mi "educación" musical.

@user-kz8lm2tk1s

Tony and Pete Real Rock'n Roll

@rockindaddy6535

❤️ ROCK n ROLL 4 ever.....
A fantastic recording !!

@konstantia1607

Tony Sheridan singing and playing guitar. Rock and roll.

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