Paris, Nov., 1918.—In the logging camps and sawmills,
in barracks and on the drill grounds, in camps
and on the march, in “Y” and Red Cross huts, at all
hours of the day and night, wherever in France the
Yank crusaders were at work, I have heard these lines
sung, hummed, and whistled:
“There’s a long, long trail a-winding
Into the land of my dreams,
Where the nightingales are singing
And a white moon beams.
There’s a long, long night of waiting
Until my dreams all come true,
Till the day when I’ll be going down
That long, long trail with you.”
Wherever a piano found its way into the American
lines someone was sure to be playing this chorus;
and, dodging in and out of a convoy along the rutted
and winding hillside roads in the zone of operations,
in drizzle and mud and low flung clouds, one was certain
to hear some camion load of lusty doughboys
going to the “Long Trail.”
But it remained for H. A. Rodeheaver, Billy Sunday’s
trombone expert, to put a new touch to it. He
put the “longing” into the long trail with a dash of
Sundayesqueness that smeared sawdust all over the
long trail.
“Rodey,” as the soldiers call him, has been singing
his way through the American camps in France and
emulating his picturesque master, when opportunity
afforded, by laying down a metaphorical “sawdust
trail” and inviting the boys to hit it again in their
hearts.
It was quite remarkable how many hands went up
in every camp and barracks and hut when he asked
them how many had attended a Sunday revival back
home. Then he started singing the songs they heard
at these meetings, usually beginning with “Brighten
the Corner Where You Are.”
He has just the quality of voice that got down
deep over here, when the night was dark and damp
and the dim light but half illuminated the place, and
the boys naturally were letting their thoughts fly
back home. They warmed up to him, for he’s a good
scout, according to their way of thinking, and the
first thing they knew he was asking them to call for
any song they would like to hear. About the first
voice that responded called for the “Long, Long
Trail.”
“All right, men,” he said, with a sincere smile, and
his magnetic face, beneath the wavy black hair,
seemed to exude a hypnotic fascination. He nodded
to his pianist and they started. The barracks, or
hut, or camp resounded with the “Long Trail.”
“Fine, fine,” beamed Rodey from the rough board
platform. “You know, men, that’s a mighty fine
piece of music. Let’s sing it again; now, all
together,” and the sound swells a little higher this
time.
“Once more,” and Rodey waved his arm in lieu of
a baton.
The sea of faces brightened perceptibly, even
under the dim lights.
“Now, men,” said Rodey, “just sing that chorus
over again and I’ll try the trombone.”
That trombone did the business. Rodey gets a
sort of combination alto and tenor harmony out of
that old trombone that brings the home folks right
into the meeting.
“Now, men, once more, very softly,” and he played
the harmony plaintively and fetchingly.
He’s got ’em, and the moment has arrived for
sprinkling the sawdust.
“Before we go on with our little program, men,”
he said, “let us just bow our heads for a minute in
prayer and ask God to help us make the good fight,
help us to do the work we came over here to do like
men.” The men bowed their heads and he added:
“Just before we ask God’s blessing on these brave
men, if there is a boy out there who feels that he has
not been living quite as he knows his mother would
like to have him live, if there is a boy out there who
feels in an especial way the need of God’s help at
this hour, will he please raise his hand.”
The place was very still. A hand went up way in
the back.
“Yes,” Rodey said. “God bless you, boy.”
Then another and another, and soon scores of
hands were held up, while they had their heads bowed.
Then Rodey prayed one of those conversational
prayers, and he made it a personal appeal for each
one of the boys whose hands had gone up.
It was not Rodey’s plan to send the boys back to
their barracks with only seriousness and longing in
their heads. He’s one of the most adroit handlers of
an audience in Europe. He’d got the main idea
planted and now he broke into smiles and there was
an infectious laugh in his voice.
He was again talking to red-blooded men who
were going out to fight. So he told a few corking
stories, humorous but clean, and got down to them
instead of talking over them. He was one of ’em.
He wanted to send them away with a good taste in
their mouths.
Dunbar’s “When Melinda Sings” he does to perfection.
Once in awhile he pulls the “Hunk o’ Tin”
parody on the Kipling poem.
Then they sing some more, both democratic music
and old hymns, and finally they all stand up, after
he has launched a two-minute patriotic talk that
thrills, and sing “The Star-Spangled Banner.”
Rodey never has a set program. He sizes up each
new audience with a glance and in two minutes knows
about what line of entertainment he ought to give
them. If it’s a crowd that likes good stories, they
get it. If it is a meeting that likes a Bible talk, they
get that, and the great Sunday himself hasn’t much
on his pupil in that line. But he never lets a crowd
get away with a solemn face. He leads them up the
hill and down the hill, and finally sends them back
to the blankets feeling refreshed, inspirited, and
cheerful.
And when Rodey hit a camp of Negro troops—man,
O man! what he did to them!
He thinks the war has been a holy war, a war of
crusaders against the terrible Huns, and wants them
beaten to a standstill. He insists on the knockout
punch, and believes the world will be a better world
for everybody after Fritz and his gang have been
completely chastized.—Charles N. Wheeler, in
The Chicago Tribune.