Imagine receiving a heartfelt thank you note from a clergyman and his congregation for penning a song featured in their service. That’s precisely what happened to me, and the song in question was “Everybody Loves Saturday Night.” Naturally, I was deeply flattered. However, the truth is a bit more complicated, and definitely a story worth sharing about this Saturday Night Song.
The letter expressed gratitude from an entire congregation who believed I was the songwriter behind “Everybody Loves Saturday Night,” a tune they planned to perform at a synagogue service. Their research had mistakenly attributed the song to me. I felt obliged to respond, thanking them for their kind words but also setting the record straight – for perhaps the umpteenth time – I didn’t write this globally loved Saturday night song. It’s a common misconception, and here’s the real story of how my name became associated with it.
My introduction to “Everybody Loves Saturday Night” dates back to my freshman year at Columbia University in the late 1950s. It was at a mesmerizing late-night concert at the Bhai Temple in lower Manhattan where I first encountered this vibrant Saturday night song. Pete Seeger, with his iconic long-neck banjo, captivated a crowd of eager young folk enthusiasts from Greenwich Village. He introduced “Everybody Loves Saturday Night” as a song with a powerful history. Originating from Nigeria in the 1940s, it emerged as a poignant protest song. It voiced opposition to the restrictions imposed on public gatherings for the Bantu population specifically on Saturday nights. Pete Seeger, in his inimitable style, broadened the song’s reach, transforming it into a universal anthem. He incorporated lyrics in numerous languages – French, Italian, Spanish, and more – alongside the original Bantu phrase “Bopo waro ferro Satodeh.”
Pete Seeger performing with his banjo, a key figure in popularizing "Everybody Loves Saturday Night" as a Saturday night song.
Frank Hamilton, a founder of the Old Town School of Folk Music in Chicago and a long-time friend of Pete Seeger, offers compelling testimony to Pete’s additions. “I know for sure that Pete added the other languages because I was with him when he called a Chinese restaurant to get the Chinese translation,” Frank confirmed. This anecdote perfectly illustrates Pete’s dedication to making the song resonate with a global audience, turning this Saturday night song into a multilingual celebration.
The first time I heard “Everybody Loves Saturday Night” performed live at that concert, the energy was electric. The audience, a mix of people from diverse backgrounds, was instantly captivated. English, French, Spanish, Chinese – every language seemed to blend into the chorus as Pete masterfully led us through each verse. The hall throbbed with rising excitement as Pete, with his banjo neck swinging like a conductor’s baton, fueled our collective passion. Pete Seeger had an extraordinary gift for igniting enthusiasm in any crowd. Those fortunate enough to be there that night still vividly recall the experience of this powerful Saturday night song.
Unsurprisingly, folk music groups everywhere embraced the song. It rapidly became a staple in the repertoire of every folk singer within reach of Washington Square. The Weavers likely pioneered it, quickly followed by The Tarriers. Many others joined in, and soon, “Everybody Loves Saturday Night” echoed across Greenwich Village. On any given Sunday afternoon hootenanny in Washington Square, you could hear multiple ensembles performing this Saturday night anthem simultaneously around the dry concrete fountain.
A vibrant scene from Washington Square, a hub for folk music where "Everybody Loves Saturday Night" became a popular Saturday night song.
This brings us to the intriguing question: how did I, of all people, end up with songwriting credit for this iconic Saturday night song? Fate, as they say, works in mysterious ways. The answer lies in a peculiar aspect of the music industry. Apparently, the original composer of “Everybody Loves Saturday Night” remained untraceable. Originating from a spontaneous protest movement far away in Nigeria, it was categorized in music business terms as a Public Domain song. This designation essentially means the song belongs to everyone and no one. Consequently, anyone creating a fresh arrangement could claim credit for that version. “Don’t ask!” as my mother would often say, perfectly capturing the often-confounding nature of copyright law.
When The New Christy Minstrels decided to record “Everybody Loves Saturday Night” in the early sixties, our record label, Columbia Records, needed to assign authorship for our rendition. Their publishing division couldn’t allow royalties for such a popular Saturday night song to slip through their fingers due to a technicality. Therefore, the song was brought under their publishing umbrella. All that remained was to designate someone to receive the writer’s share. Traditionally, an arrangement of a Public Domain song is credited to the arranger. And so, the task fell to naming a member of our group who remembered the song and had shaped our current version. In a spirit of collaboration, I contributed by writing down the verses I recalled from countless hearings since Pete Seeger’s performance had deeply imprinted itself in my memory. Verse by verse, I transcribed what I remembered of that Saturday night song from the Bhai Temple concert years prior. Unbeknownst to me, I had inadvertently become the composer, at least on paper. If you ask me, it’s a story somewhere between a miracle and a musical heist. Pete, wherever you are, I hope you can forgive this strange twist of fate regarding your Saturday night song.
I only discovered my unexpected songwriting credit long after leaving the group. Royalties, along with detailed statements, began arriving directly. Truthfully, I was in a position where I needed the money, so I cashed the checks after my lawyer assured me it was not only legal but entirely proper.
It still strikes me as odd that I receive financial recognition for simply remembering a song, a Saturday night song no less. Somewhere in Nigeria, the family of the true composer, be it a great uncle, brother, or father, likely walks unaware that they created one of the most uplifting protest songs ever written. Evidently, numerous versions and “arrangers” exist, each claiming ownership of their specific recording. I hope this account sheds some light on the origins of “Everybody Loves Saturday Night” and the plight of those who, in their own country, sought joy and freedom even under Saturday night lockdowns.
So, there you have it. I’ve been financially rewarded for remembering a song, a Saturday night song that resonates with so many. Funny isn’t it? I remember countless songs, but no more windfalls yet! Meanwhile, the sentiment remains true: I still love Saturday night.
Doesn’t everybody love Saturday night songs?
AP
To experience the various interpretations of this Saturday night classic, explore these versions:
Here’s my version as sung by The New Christy Minstrels: [Link to New Christy Minstrels version]
Here’s The Tarriers‘ version: [Link to The Tarriers’ version]
And The Serendipity Singers: [Link to The Serendipity Singers’ version]
A broader YouTube search will reveal even more fascinating renditions of this timeless Saturday night song, so feel free to explore and discover your favorite.
