THE AMERICAN SONGBAG By Carl Sandburg- 1927
[Under Construction- enter at your own risk!]
[This great collection of songs is divided up by chapters; sometimes a different version of the same song appears randomly in different chapters. Usually the songs keep to the headings. The scans I have are not good but are enough to read the melody/arrangements in most cases. Some important songs were first published in this edition.
This page has the Front Page, Introduction, Contents and Index.
On the left column you'll see the individual chapters attached under this page- just click on the chapter to view the individual songs in the chapter. There is a list of the songs in each chapter below.]
The AMERICAN SONGBAG
CARL SANDBURG
New York
HARCOURT, BRACE & COMPANY
Copyright, 1927, NY
HARCORD, BRACE AND COMPANY, INO
Dedicated:
TO THOSE UNKNOWN SINGERS WHO MADE SONGS OUT OF LOVE, FUN, GRIEF AND TO THOSE MANY OTHER SINGERS WHO KEPT THOSE SONGS AS LIVING THINGS OF THE HEART AND MIND OUT OF LOVE, FUN, GRIEF
INTRODUCTION
The American Songbag is a ragbag of strips, stripes, and streaks of color from nearly all ends of the earth. The melodies and verses presented here are from diverse regions, from varied human characters and communities, and each is sung differently in different places.
The song history of America, when some day it gets written, will accomplish two things. It will give the feel and atmosphere, the layout and lingo, of regions, of breeds of men, of customs and slogans, in a manner and air not given in regular history, to be read and not sung. And besides, such a history would require that the student sing his way through most of the chapters.
If and when such history is written it will help some on the point registered by a Yankee philosopher that there are persons born and reared in this country who culturally have not yet come over from Europe. The chronicle would include that quaint commentary from the Rio Grande, "In Mexico nobody knows how to sing and everybody sings!" It would deal with minor incidents, vivid and hilarious. For instance, musical Chicago a few years ago looked with keen interest on a lawsuit. Two composers were each claiming to be the first and only music writer to score the Livery Stable Blues. On the witness stand the plaintiff testified that one evening, long before jazz had become either a vogue or an epidemic, his orchestra was playing in a cabaret, "and a lady dancer started doing some fancy steps, and I picks up a cornet and lets go a few pony neighs at her. The trombone come through with a few horse laughs. TUen the banjos, cowbells, and sax puts in a lot of 'terplitations of their own. And that was the first time the Livery Stable Blues was played."
Thus musical history in America already has its traditions and controversies. The origin of jazz is still in a fog of wordy disputation. The years to come will see plenty of argument on other moot matters.
There is presented herein a collection of 280 songs, ballads, ditties, brought together from all regions of America. The music includes not merely airs and melodies, but complete harmonizations or piano accompaniments. It is an All-American affair, marshaling the genius of thousands of original singing Americans.
The book begins with a series of Dramas and Portraits, rich with the human diversity of the United States. There are Tarnished Love Tales Told in Song, or Colonial and Revolutionary Antiques; some of them have the feel of black walnut, of knickerbockers, silver shoe-buckles, and the earliest colonial civilization. Out of the section of Pioneer Memories, one may sing with the human waves that swept across the Alleghanies and settled the Middle West, later taking the Great Plains, the Rocky Mountains, the west coast. That notable distinctive American institution, the black-face minstrel, stands forth in a separate section. There are groups of railroad, hobo, work-gang, steamboat songs. Seven Mexican border songs give the breath of the people above and below the Rio Grande. Tunes and verses are given from the camps of lumberjacks, loggers, and shanty-boys. One section contains ballads chiefly from the southern mountains. One called Kentucky Blazing Star has the largest assemblage of interesting Kentucky ballads and songs that has been put between the covers of any book. Two powerful Great Lakes songs are given, "Bigerlow" and "Red Iron Ore," either of which may yet rival the song of the Volga boatmen. One section is titled Picnic and Hayrack Follies, Close Harmony, and Darn Fool Ditties. The quaver of rare Irish lilts, emigrants to the States, is in The Ould Sod. A little series of exquisite musical fragments, light as gossamer mist, are grouped under the title, Lovely People. The book closes with a list of spirituals called The Road to Heaven.
Probably 100 pieces, strictly folk songs, have never been published; they have been gathered by the compiler and his friends from coast to coast and from the Gulf to Canada. First of all, this is a book of singable songs. It is for the library, but it belongs in the music corner of the library, or on the piano, or on the back porch, or at the summer cottage, or at the camp, or wherever people sing songs and want new songs to sing.
There is a human stir throughout the book with the heights and depths to be found in Shakespeare. A wide human procession marches through these pages. The rich and the poor; robbers, murderers, hangmen; fathers and wild boys; mothers with soft words for their babies; workmen on railroads, steamboats, ships; wanderers and lovers of homes, tell what life has done to them. Love and hate in many patterns and designs, heart cries of high and low pitch, are in these verses and tunes. There are low-keyed lyrics, brief as the life of a rose; there are biographies of voyagers that epitomize long novels and thick log-books.
This is precisely the sort of material out of which there may come the great native American grand opera. It is so intensely and vitally American that some who have seen the book have suggested that it should be collateral material with the study of history and geography in schools, colleges, and universities; the pupils or students might sing their answers at examination time.
"A big bandana bundle of bully ballads for big boys and their best girls," was the comment of one who read the Table of Contents. Look at its program. Its human turmoil is terrific. Blasphemies from low life and blessings from high life for baritone or soprano are brought together. Puppets wriggle from their yesterdays and testify. Curses, prayers, jigs and jokes, mix here out of the blue mist of the past. It is a volume full of gargoyles and gnomes, a terribly tragic book and one grinnirigly comic; each page lifts its own mask. It is as ancient as the medieval European ballads brought to the Appalachian Mountains; it is as modern as skyscrapers, the Volstead Act, and the latest oil-well gusher. Though meant to be sung, it can be read and is a glorious anthology of the songs that men have sung in the making of America.
History, we may repeat, runs through this book. Yet it is first of all, we say again, a songbook to be sung rather than read. Music and the human voice command this parade of melodies and lyrics. They speak, murmur, cry, yell, laugh, pray; they take roles; they play parts; in topics, scenes, and "props" they range into anthropology, houses, machines, ships, railroad trains, churches, saloons, picnics, hayrack and steamboat parties, and human strugglers chanting farewell to the frail frameworks of earthly glory. There is patter and jabber of vulgarity, there are falsetto mockers and groaning blasphemies, there is moaning of prayers and tumult and shouting of faiths.
Honest workingmen and hardened criminals sing their lives; beloved vagabonds and miserable miscreants are here; pretty babies and tired mothers, bad boys and anxious fathers, people who are fat, rollicking and gay along with restless and desperate men and women; they stand forth here and in bright ballads or melancholy melodies tell what life has done to them.
The American Songbag comes from the hearts and voices of thousands of men and women. They made new songs, they changed old songs, they carried songs from place to place, they resurrected and kept alive dying and forgotten songs.
Ballad singers of centuries ago and mule-skinners alive and singing today helped make this book. Pioneers, pick and shovel men, teamsters, mountaineers, and people often called ignorant have their hands and voices in this book, along with minstrels, sophisticates, and trained musicians. People of lonesome hills and valleys are joined with "the city slicker," in the panorama of its pages.
The American scene and pageant envisioned by one American singer and touched off in one of his passages is measurably vocal here. "Forever alive, forever forward they go, they go, I know not where they go, but I know that they go toward the best, toward something great."
The airs and verses, tunes and words, on the pages herewith, are most of them intended to be sung. A minor portion of them are enduring poems of lyric or narrative value; they are. worth reading for the reading's sake, as one communes with books worth while. Yet even with such poems there is an added lighting or tincture given them if the air is hummed or the poem sung to an accompaniment.
A few of the ballads and ditties are too long to be sung, from the first to the last verse, more than once a year. Only by singing, however, will some of the airs and verses open up their best slants and glimpses.
If you like a particular air and would rather sing it in a way you have found or developed yourself, departing from the musical expressions indicated, making such changes as please you at any given moment, you have full authority to do so. We quote an able singer's comment, "Many a modern song the interpreter looks at with a shudder. Riddled with expression marks and even breathing marks, hedged in with arbitrary directions, radiating polyglot colloquialisms, it looks like a barbed-wire entanglement. Singer and accompanist smile at one another, study the song as a whole, and sing it their own way."
Some of our songs are sublime; some are silly. Some tell of lovable eyes and hearts, others tell of crimes learned of in grand opera or read about in daily newspapers or in the classics of literature. They deal with a panorama of events and people, substance and shadow, paunches and fleshpots, as well as filaments of sunset mist. They have roles.
Often a song is a role. The singer acts a part. lie or she is a story-teller of a piece of action. Characters or atmosphere are to be delivered. . . . No two artists deliver a role in the same way. Yet all good artists study a song and live with it before performing it. There is something authentic about any person's way of giving a song which has been known, lived with and loved, for many years, by the singer.
Perhaps I should explain that for a number of years I have gone hither and yon over the United States meeting audiences to whom I talked about poetry and art, read my verses, and closed a program with a half- or quarter-hour of songs, giving verbal footnotes with each song. These itineraries have included now about two-thirds of the state universities of the country, audiences ranging from 3,000 people at the University of California to 30 at the Garret Club in Buffalo, New York, and organizations us diverse as the Poetry Society of South Carolina and the Knife and Fork Club of South Bend, Indiana. The songs I gave often reminded listeners of songs of a kindred character they knew entirely or in fragments; or they would refer me to persons who had similar ballads or ditties.
In the arranging of a song I would usually sing it for the composer and bring out my notebook sketch, a rough affair rapidly penciled and as a document looking rather like a "shivaree" than a quiet wedding. The composer and I usually collaborated on the main design or outline of the harmonization or accompaniment. From then on the work was entirely that of the composer, except in a number of instances when I suggested a different mood, atmosphere or rhythm to meet the requirements of the song as I had customarily heard it. The words "arranger" (abbreviated as Arr.) and "arrangement" are generally employed throughout the book. The musical setting of a song is occasionally an elaborate and accomplished harmonization. Most often, however, the "arrangement" is a simple accompaniment. (If time and circumstance had permitted there would have been included a number of guitar, accordion, and harmonica accompaniments for the portable instruments.)
Special acknowledgments are made to Alfred G. Wathall, to Thorvald Otterstrtfm, to Leo Sowerby, and to Hazel Felman for musical settings, for counsel and guidance at points where their technical skill and musical experience was requested.
Alfred G. Wathall wrote the major number of harmonizations; he had the gift of versatility requisite for the treatment of such a varied character of songs. His moods of work and methods of approach have a generous gamut. The ways of his heart and head range from the playboy who pranks as he pleases, who follows the gleam of the whim of the moment whether he happens to have the wishing heart of an innocent child or the tumultuous thoughts of a stranger lost in the solitude of the packed traffic on a big city street. More important yet, Wathall is the cunning technician familiar with all the classics, exercising a gift of showmanship in behalf of a humanity that he loves with laughter and tears. He knows what is verandah and what is ashcan in the realm of music and can mingle them with effective contrast. His "Music Box" and "Arabian Nights" creations for WGN, the Chicago Tribune radio station, for which he is the master arranger, have had a remarkably widespread and enthusiastic audience. His "Sultan of Sulu" music was the work of a nineteen-year-old genius. The touch of genius, too, goes for his forty-minute musical setting of that trifling tale from Rootabaga Stories, a piece of puppetry called "The Romance of the Rag Doll and the Broom Handle"; as the announcer reads the story there are accompaniments and interspersals of music from a chamber-music orchestra.
Leo Sowerby was twenty-one years old when a Chicago orchestra produced a concerto for 'cello by him entitled "The Irish Washerwoman." He took a favorite folk piece of America country fiddlers, a famous tune of the pioneers, and made an interesting experiment and a daring adventure with it. He was a bandmaster during the World War. Then later he is found doing a happy-go-lucky arrangement for Paul Whiteman's orchestra; it may be an exploit in "jazz" or possibly a construction in "the new music." One definite thing about Sowerby is his ownership of himself, his acceptance of hazards. He is as ready for pioneering and for originality as the new
century of which he is a part. One other definite thing is that he does not prize seclusion to the point where he is out of touch with the People. Not "the peepul" of the politicians, nor the customers of Tin Pan Alley, but rather The Folks, the common human stream that has counted immensely in the history of music. We reckon it a privilege that Sowerby could undertake the musical settings for sixteen of our songs.
Thorvald Otterstrorn is a compound of toil, technical knowledge, and genius. I cannot enumerate nor set forth here anything like an outline of the ideas and projects that animate him. He is encyclopedic in scope of knowledge. I cannot mention nor discuss intelligently one of his manuscripts, a scientific treatise of technical phases of music; his writings have to be wrestled with and are tough as mathematics. And his compositions of music have specimens that are yet to be written about, both simply and intricately, as work that has come from a temperament of fire and a hand possessive of master strokes.
Hazel Felman (Mrs. Jacob R. Buchbinder) has rare adaptability of mood and technic, has versatility, and has ranged widely as evidenced in her song air and musical setting of Rudyard Kipling's "Boots/* made known to a wide audience through the singing of Reinald Werrenrath, and later a fantastic "March of the Zizzies," based on a breed of small people who make all things zigzag, as told in the affidavits of Rootabaga Stories. She is adaptive, pictorial, imaginative.
We could write a considerable little book about the ways of our composers, the contralto of Elizabeth Carpenter Marshall crooning her airs to the verses of Dorothy K. Aldis; she is as obedient to her inner voices as her uncle, John Alden Carpenter. We could mention the unmistakable genius of Henry Joslyn and the fighting stride of some of his cacophonic speculations as played by Stokowski's orchestra on the one hand and Whiteman's on the other.
The versatile Rupert Hughes, writer of novels and short stories, director of photoplays, biographer of musicians, biographer of George Washington, and author of remarkably free and independent essays and inquiries into human credulity, is a composer of music which the house of Schirmer has published. The latter folios include airs and musical settings of three pieces from Chicago Poems and Cornhnskers. It was natural when I met Hughes in his Southern California home that I should show him the Mexican songs that needed harmonizations for our fiesta.
R. W. Gordon placed at our disposal the resources of his immense collection of old songs that men have sung. His fellowship at Harvard University, his editorship of the Adventure Magazine department, "Old Songs That Men Have Sung," and his extended series of articles on American folk songs in the New York Times, resulted in his being in touch with a force of contributors and correspondents numbered at upwards of 2,700. His travels from coast to coast, his meanderings in a motor car through the southern states, always seeking old songs or characteristic and significant songs, brought about a collection that is without doubt the largest assemblage of folk-song material ever gathered by any one person. On close acquaintance with the thorough character of his service, his intense devotion and anxious concentration in one chosen area of effort, the extent of the data gathered, one realizes that Gordon's work is monumental.
Harry M. Gilbert, half a New Yorker and half a Paducah Kentuckian, was an adviser on points in music, texts, and general drift of the book. Besides his classical training, his musical association with Jess Ricks, the Long Island fiddler, was of advantage in scrutiny of folk songs. Alfred Frankenstein, author of the book Syncopating Saxophones and other kit-kats in musical criticism, was an
interested counselor from the start.
Alexander Hannah of Pasadena, California, Oliver R. Barrett of Chicago, William II. Richardson of Jersey City, New Jersey, and Dr. Ernest Horn of the College of Education of the University of Iowa, gave the use of scarce books on old minstrel and pioneer songs.
Our illustrations are chiefly from songsters and broadsides of 1840 and 1850. A few are from the Family Magazine and Harper's New Monthly Magazine of that period. William Gropper is the contributor of four or five skits pertinent to his style and modernist viewpoint. Hans Stengel furnished the silhouette of the author singing and driving a one-horse milk wagon. Diego Rivera of Mexican Folkways did the line drawing with his initials on it.
Thanks are due that sterling Brooklyn citizen, W. W. Delaney, who for twenty-two years published twice a year a ten-cent sorigbook containing the words of about 160 songs in each number. He looked and spoke as the friendliest of men, rich with memories of popular songs, song writers, "pluggers" and publishers. His advice to me, as I wrote it in a note-book riding the subway, was:
"You got to get it through your nut there's only a limited amount of people know how to sing those old songs. Take those songs of fifty years ago who knows how to sing them? who cares about them? The people you're catering to have never heard of them. That's a point you've got to look to."
DIALECT
Dialects in the United States are many and various. The southern states have several; the daily speech and the common idioms of South Carolina, Alabama, and Texas, have differences. The lingo of mountaineers is not the same in all Appalachian regions. The cowboy and the sheepherder are as far apart in ways of talk as a Chicago newsboy and a Santa Fe brakeman running out of Albuquerque. In putting dialects into print, an author has to consider how it may help those who are to read or sing it. If you know a dialect and have heard it from living people you will not need much help from the butcheries of words, the cleavages, elisions, and apostrophes required for an accurate phonetic record. And those who have not heard a certain dialed;, who must get acquainted with it and learn to pronounce it from the printed page, may stumble on difficulties. The word "the" in different cases, according to the way it is spoken, would be indi-
cated as (1) the, (2) de, (3) thuh, (4) th', (5) t', (6) d', (7) duh. Or the word "here" would be indicated as (1) here, (2) hyer, (3) hyeah, (4) hyar, (5) hyah, (6) yere, (7) hceyah. Four kinds of the word "the" are in the negro sentence, "7" fust ting he knowed thuh p'lice had him an' de wagon come aroun' duh cornah." Three kinds of the word "here" are in the mountaineer sentence, "Hyeah comes dis yere Bill Brown up dat hyar road." Following are two ways of writing a verse of a South Carolina spiritual, one in dialect, the other not:
Stab in de eas', stall in de wes', Star in the east, star in the west,
Wish dat stah wuz in mail breas', Wish that star was in my breast,
Chu'eh Ah know yuh gonna miss me w'en Ahm gawn.
Church, I know you're going to miss me when I'm
Wen Ahm gawn, gawn, gawn, gone.
W'en Ahm gawn to come no mo',
When I'm gone, gone, gone,
Chu'ch, Ah know ynh gonna miss me w'en Ahm gawn.
When I'm gone to come no more,
Church, I know you're going to miss me when I'm gone.
AN AMERICAN BOOKSHELF OF SONG
An interesting list of books to go on an American Bookshelf of Song could be named. It would include such volumes in recent years as Cowboy Songs and Other Frontier Ballads (Macmillan & Co.), by John A. Lomax; American Songs and Ballads (Charles Scribner's Sons), by Louise A. Pound; American-English Folk-Songs Collected in the Southern Appalachians (G. Schirrner), by Cecil J. Sharp; Folk-Songs of the South (Harvard University Press,) edited by John Harrington Cox; Ballads and Songs of the Shanty-Boy (Harvard University Press), by Franz Rickaby; On the Trail of Negro Folk Songs (Harvard University Press, by Dorothy Scarborough; The Flying Cloud, published by the compiler, M. C. Dean, Virginia, Minnesota; Frontier Ballads: Songs from Lawless Lands (Doubleday, Page & Co.), by Charles J. Finger; The Book of Navy Songs (Doubleday, Page & Co.), collected by The Trident Literary Society of the United States Naval Academy and arranged by Joseph W. Crosley; Singing Soldiers (Scribner's), by John J. Niles; Negro Workaday Songs (University of North Carolina Press), by Howard W. Odum and Guy B. Johnson; Mellows: Work Songs, Street Cries, and Spirituals (A. & C. Boni), by R. Emmet Kennedy; Roll and Go: Songs of American Sailormen (The Bobbs-Merrill Company), by Joanna Colcord; The Land of Poco Tiempo (Scribner's), by Charles Luminis; Blues (A. & C. Boni), by W. C. Handy, with introduction by Abbe Niles; Texas and Southwestern Love (Number VI of Publications of the Texas Folk Lore Society), edited by J. Frank Dobie.
Files of the Journal of the American Folk Lore Society, and such freshly original publications as those of the Texas Folk Lore Society, contain considerable folk-song material, much of it priceless. Besides her volume, The American Indians and Their Music (The Womans Press), Frances Densmore has presented a superb array of studies of the Red Man as a singer in her volumes published by the Bureau of Ethnology, Smithsonian Institution; the songs in this field require an exceptional practice and technic. The literature on the negro spiritual and its songbooks has steadily grown and is well itemized in The Negro Year Book. For a gallantly bantering treatment of American song during the past century and a half, with merriment over the changing fads, fashions, foibles, and formulas of commercialized song, Sigmund Spaeth's volume, Read 'Em and Weep (Doubleday, Page & Co.) is worth having.
TOO LATE TO CLASSIFY
While our book was nearly ready for press, and prefatory notes about finished, I rambled through 1,300 pages of The Universal Songster, published in London 1826-28, and found there a piece which should have been included in our folio of songs known among the Lincolns and Hankses. Dennis Hanks, a cousin of Abraham Lincoln, when queried by W. H. Herndon as to what songs were known to their families in southern Indiana in the 1820's, mentioned one about "The turban'd Turk, who scorns the world and struts about with his whiskers curled." The first time I met the words of this song was in the above-named book, where its title and text appear as follows:
None Can Love Like an Irishman (Collins)
The turban'd Turk, who scorns the world,
May strut about with his whiskers curled,
Keep a hundred wives under lock arid key,
For nobody else but himself to see;
Yet long may he pray with his Alcoran
Before he can love like an Irishman.
The gay Monsieur, a slave no more,
The solemn Don, the soft Signor,
The Dutch Mynheer, so full of pride,
The Russian, Prussian, Swede beside
They all may do whatever they can,
But they'll never love like an Irishman.
The London folks themselves beguile,
And think they please in a capital style;
Yet let them ask, as they cross the street,
Of any young virgin they happen to meet,
And I know she'll say, from behind her fan,
That there's none can love like an Irishman.
By what ways this ditty, or lines of it, traveled to southern Indiana and was popular in cornfields and at cross-roads, we may leave to later investigation. It is evidence that metropolitan songs may take long migrations.
Also we add here another verse of the song "I Met Her in the Garden Where the Praties Grow" in the folio The Quid Sod. It goes:
And now that we are married
And we're blessed with children three,
Two girls just like their mother
And the boy the image of me
We'll raise them up so neatly
In the way they ought to go
So they'll not forget the garden
Where the praties grow.
Strictly, we have a book that is unfinished, that has oddments and remainders, that has tatters and remnants, elsewhere and far away in many ports and valleys.
XIV DATA CONCERNING THE COMPOSERS AND WRITERS OF MUSICAL SETTINGS, HARMONIZATIONS, AND ACCOMPANIMENTS
COLLINS, EDWARD Pianist, composer, Chicago. Born, Joliet, 111. Studied piano with a sister, later with Rudolph Ganz. Studied composition under Engelhert Humperdinck and others at Royal Academy, Berlin. Toured the United States with Ernestine Schumann-Heink, 1912-13. Assistant conductor, Century Opera Company, New York, 1913-14; Wagner festival, Bayreuth, 1914. Has appeared as piano soloist and guest conductor with Chicago and St. Louis Symphony Orchestras. Has composed many works for piano and for orchestra. Member of faculty, Chicago Musical College.
CRAWFORD, RUTH PORTER Composer, Chicago. Born, East Liverpool, Ohio. Studied piano under Vallborg Collett, Jacksonville, Fla., Bertha Foster, Miami, Louise Robyn and Djane Lavoie-Herz, Chicago. Studied theory under Adolph Weidig, Chicago. Member of faculty, American Conservatory, Chicago. Composer of violin sonata, suite for small orchestra, suite for wind instruments and piano, "Tom Thumb' suite for piano solo, songs, preludes for piano. Member, board of directors, Pro Musica Society, Chicago, non-resident advisory board, New Music Society of California, Sigma Alpha Iota.
EDSON, CHARLES FARWELL Bass, Chicago. Born, San Francisco. Studied under Frederick Buck, Ella G. Richards, L. G. Gottschalk, and others. Debut, Los Angeles, with Los Angeles opera. Sang with Ferris Ilartman Opera Company. Conducts private vocal studio in Chicago. Has also appeared as actor. Composer of songs. Member, Gamut Club, Los Angeles, Society of Amerieau Musicians.
FAWWELL, ARTHUR Composer. Born, St. Paul, Minn. Studied engineering at Massachusetts Institute of Technology. Studied music under Homer Norris in Boston, Eiigelbert Humperdinek and Hans Pfitzner, in Germany, and Alexandre Guilmant in Paris. Member of faculty, Cornell University, 1899-1901. Established Wa-Wan Press, publishing native American works, 1901, continuing publication to 1908. Correspondent, Musical America, 1909-15. Has taught at Settlement Music School, New York, and at University of California. Has made extensive studies of American folk music. Composer of many works on folk themes American Indian Melodies, Folk Songs of West and Sonth, From Mesa and Jilain, etc., all for piano solo, and music for pageants and plays. Founder and director, Theater of the Stars,
Big Bear Lake.
PELMAN, HAZEL (Mrs. J. R. Buchbinder) Composer, Chicago. Born, Joliet, Illinois. Studied under Thorvald Otterstrdm. Numerous songs, including setting of Kipling's "Boots." Concerto for piano and orchestra. "Legend" for violin and piano. "March of the Zizzies." Residence, 1137 E. 50th St., Chicago, Illinois.
GILBERT, HARRY M. Organist, pianist, New York. Born, Paducah, Ky. Studied under Alberto Jones, Hans Pfitzner, Max Landow, and others, in New York and Berlin. Organist and choir director, Fifth Avenue Presbyterian Church, New York. Conductor, Society of American Singers and Gilbert Singers. Director, Evercady Hour. Has appeared as soloist on tour with David Bispham, Maud Powell, Pablo Casals, Geraldine Farrar, and others. Composer of songs, piano pieces, and church music.
GOODMAN, LILLIAN ROSEDALE (Mrs. Mark Goodman) Born, Mitchell, S. D. Graduate Institute of Musical Art, New York. Studied in Europe under Buzzi-Peccia. Singer with Coit-Alber Chautauqua bureau; in duo program at French theater, New York; under Shubert direction in Hello Alexander and lied Pepper; headliner in vaudeville concert program; composer of many songs, including Cherie I Love You, My Heart is Sad, Love's Like the Robin, Mammy's Precious Pickaninny, I Found You, If I Could Look Into Your Eyes. Head of musical booking bureau, Capital Building, Chicago, 111.
JOSLYN, HENRY Composer, violinist, conductor, New York City. Born, Elmira, New York. Symphonic suite, "Native Moments," produced by Stokowski and Philadelphia Orchestra; Ganz and St. Louis Symphony Orchestra; Stock and Chicago Symphony Orchestra; Nathaniel Finston and Sunday Symphony Concerts, Chicago Theatre (premiere). Symphonic silhouette, "American Sky Lines," produced by Paul Whiteman's orchestra, the composer conducting. Other compositions : three symphonies- "War," "Pythagoras," "The Symphony of the Low-Downs"; "Red White and Blues" Symphony (for Paul Whiteman); symphonic odes "Eulogy," "Joy," "The Day of Days"; symphonic suites "The Seven Ages of Man," "The Melting Pot," "Symphony Miniature," "Mitchie-Gaunee," "Fairy Tales"; tone-poems "Down Wind," "Prairie," "Chicago"; concertos for piano, violin, 'cello, viola (for Louis Bailly); string quartet in C Minor; string pieces "Elation," "Once Upon a Time," "Tryst."
XV DATA CONCERNING THE COMPOSERS AND WRITERS OF MUSICAL SETTINGS
KENNEDY, R. EMMET Author, pianist. Born, Gretna, Louisiana. Author of three books of sketches with negro folk music: "Black Cameos," "Mellows," "Runes and Cadences;" and a novel, Gritny People. In reply to certain queries, Mr. Kennedy makes free to declare: "My voice is a cross between a tenor cricket and a baritone lizard. Studied under myself and God. Name of present and former managers: R. Emmet Kennedy."
LYCHENHEIM, MARION Pianist, Chicago. Born, Philadelphia. Studied under Mrs. Crosby Adams, Max Kramm, Heniot Levy, Jan Chiapusso, Adolph Weidig, and others. Debut, Chicago, 1915. Has appeared as soloist and accompanist with Adolph Weidig, Francis Macniillen, Lionel Tort is, Jacques Gordon, Florence Macbeth, Willy Burmester, and others. Composer of string quartet; trio for violin, viola, and piano; fugues for piano, children's songs, violin and violoncello pieces. Member, Musicians Club of Women, Lake View Musical Society, Musical
Guild, MacDowell Club.
MARSHALL, ELIZABETH CARPENTER (Mrs. Thomas L. Marshall) Composer, Lake Forest, Illinois. Born, Winnetka, Illinois. Studied under Horace Middleton, Ralph Lawton, Adolph Weidig, Thorvald Otterstrom, Marta Milinowski, and Luigi Gulli. Niece of John Alden Carpenter. Compositions for violin, piano, voice. Musical settings for Dorothy Aid is children's poems. Residence, 11 Scott St., Lake Forest, 111.
NEMKOVSKY, MOLLIE (Mrs. Ben Abramson) Pianist, Chicago. Studied under Karl Reckkeh. Played in concert in Northwest States, Canada and Alaska under direction of Dominion Concert Bureau. Accompanist of her brother, Sol Nemkovsky, violinist, in concerts.
OTTERSTROM, THORVALD Composer, pianist, Chicago. Born, Copenhagen, Denmark. Studied under Sofie Wenter, St. Petersburg, Russia. Devoted to composition and theory. Orchestral compositions performed by Chicago, Philadelphia, New York and Copenhagen Symphony Orchestras. Violin and piano sonata and 'cello piano sonata premieres in Chicago, 1913 and 1915. Piano solo compositions, 24 preludes
and fugues and 6 concert studies, played by numerous artists in United States and Europe. Author of theoretical works. Residence, 1400 E. 59th St., Chicago, Illinois.
PARKS, HENRY FRANCIS Organist, conductor, Chicago. Born, Louisville, Ky. Studied under Leo Sowerby, Karl Schmidt, Fisher Thompson, Ignacio Lazcano, George Rogovoy, and others. Has played and conducted at many theaters in the West and Middle West. Conducted Buttc Symphony Orchestra, Buttc, Mont. Taught at MacPhail School, Minneapolis, and conducted Minneapolis Lyceum Symphony Orchestra, 1924-25. Member of faculty, Chicago Musical College; contributor to Band, Orchestra, Melody, and other periodicals. Author, The Jazzology of Organ Playing; Tlie Modern Theater Organ. Member, American Guild of Organists, American Federation of Musicians.
SOWERBY, LEO Composer, Chicago. Born, Grand Rapids, Mich., 1895. Studied piano under Calvin Lampert, theory under Arthur Olaf Andersen, American Conservatory, Chicago. Bandmaster in United States army, 1918-19; taught theory at American Conservatory to 1921. Was first American composer to win the Prix de Rome, 1921, and lived at American Academy in Rome, 1921-23. At present, teacher of theory, American Conservatory, Guhn School, Chicago, and organist and choirmaster, St. James Episcopal Church, Chicago. Composer of symphony, concertos for piano, for violin, and for violoncello, arrangements of folk tunes for symphony orchestra, symphonic poems, "King Estmere" for two pianos and orchestra, and "Medieval Poem" for organ and orchestra, many smaller works for string quartet, solo
instruments, organ, voice, and jazz orchestra.
WATHALL, ALFRED GEORGE Composer, violinist, pianist, organist, conductor; Chicago, Illinois. Born, Bulwell, near Nottingham, England. Came to America with parents in 1890. Studied under Franz Esser, William Middelschulte, Peter Christian Lutkin; and in London, England, under Sir Charles Villiers Stanford arid Sir Frederick Bridge. At the age of twenty lie composed the music for George Ade's musical
comedy, The Sultan of Sulu, which ran continuously for seven seasons. Member of faculty, Northwestern University School of Music, for ten years. Composed and conducted cantata, "Alice Brand," Evanston, 1903. Other compositions include two operettas and many songs. As master-arranger and composer for WGN, the Chicago Tribune radio station, 1926 and 1927, put on the air original musical experiments such as a Rhapsody for voices and orchestra, based on the popular tune Valencia; and a setting of Sandburg's Rootabaga story, "The Wedding of the Rag Doll and the Broom Handle."
XVI Apologia
I APOLOGIZE FOR THE IMPERFECTIONS IN THIS WORK. I BELIEVE NO ONE ELSE IS NOW, Ott EVER WILL BE, SO DEEPLY AWARE AND
SO THOROUGHLY AND WIDELY CONSCIOUS OF THE IMPERFECTIONS IN THESE PAGES. I SHOULD LIKE TO HAVE TAKEN TEN, TWENTY,
THIRTY YEARS MORE IN THE PREPARATION OF THIS VOLUME.
MANY CONSIDERATIONS WHICH HAVE GOVERNED THE SELECTION OF MATERIAL, AND THE METHODS OF PRESENTATION, ARE NOT WORTH SETTING FORTH IN A FOREWORD, DECLARATION, OR ARGUMENT; THEY WOULD HAVE VALUE CHIEFLY AND ONLY TO THOSE WHO ALREADY UNDERSTAND SOMEWHAT THE LABYRINTHS, THE TWISTED PATHWAYS, AND ROADS OF LIFE, OUT OF WHICH THIS BOOK ISSUES.
THE BOOK WAS BEGUN IN DEPTHS OF HUMILITY, AND ENDED LIKEWISE WITH THE MURMUR, "GOD BE MERCIFUL TO ME, A SINNER" IT IS A BOOK FOR SINNERS, AND FOR LOVERS OF HUMANITY. I APOLOGIZE TO THEM FOR THE SINS OF THE BOOK AND THAT IT LOVES MUCH BUT NOT ENOUGH.
CARL SANDBURG
Chicago, 1927
TABLE OF CONTENTS
DRAMAS AND PORTRAITS
HE'S GONE AWAY 3
BOLL WEEVIL SONG 8
MOANISH LADY! 11
I RIDE AN OLD PAINT 12
FOGGY, FOGGY DEW 14
WAILLIE, WAILLIE! 16
DIS MORNIN', DIS EVENIN', SO SOON 18
OH, BURY ME NOT ON THE LONE PRAIRIE 20
CARELESS LOVE 21
THE JOHN B. SAILS 22
JOHN HENRY 24
MIDNIGHT SPECIAL 26
ALICE B. 28
PO' BOY 30
THE OULD SOD
AS i WAS WALKIN' DOWN WEXFORD STREET 35
SH-TA-RA-DAII-DEY (iRISH LULLABY) 36
SHE SAID THE SAME TO ME 38
WHO'S THE PRETTY GIRL MILKIN' THE COW? 40
GIVE ME THREE GRAINS OF CORN, MOTHER 41
KEVIN BARRY 42
THE SON OF A GAMBOLIER 44
MINSTREL SONGS
I WISH I WAS SINGLE AGAIN 47
WALKY-TALKY JENNY 48
HAYSEED 50
GOOD-BY LIZA JANE 51
WIZARD OIL 52
TARNISHED LOVE TALES OR COLONIAL AND REVOLUTIONARY ANTIQUES
BARBRA ALLEN 57
THE FROZEN GIRL 58
PRETTY POLLY 60
COMMON BILL 62
LITTLE SCOTCII-EE 64
THE HOUSE CARPENTER 66
A PRETTY FAIR MAID 68
LORD LOVEL 70
THE QUAKER'S WOOING 71
THE MAID FREED FROM THE GALLOWS 72
FRANKIE AND HER MAN
FRANKIE AND ALBERT 75
FRANKIE AND JOHNNY 78
FRANKIE BLUES 82
JOSIE 84
SADIE 86
PIONEER MEMORIES
THE LITTLE OLD SOD SHANTY 89
WHERE O WHERE IS OLD ELIJAH? 92
TURKEY IN THE STRAW 94
WHO WILL SHOE YOUR PRETTY LITTLE FOOT? 98
THE TRUE LOVER'S FAREWELL 98
FAIR ANNIE OF LOCHYRAN 99
TEN THOUSAND MILES AWAY 100
OLD GRAY MARE 102
THE DRUNKARD'S DOOM 104
WHAT WAS YOUR NAME IN THE STATES? 106
SWEET BETSY FROM PIKE 107
CALIFORNIA 110
THE BANKS OF SACRAMENTO 112
MONEY 112
THE MONKEY'S WEDDING 113
ROSIE NELL 114
CHICKEN REEL 116
HANGING OUT THE LINEN CLOTHES 117
DOWN, DOWN DERRY DOWN 118
THE LANE COUNTY BACHELOR 120
KENTUCKY BLAZING STAR
SOUR WOOD MOUNTAIN 125
THE LOVER'S LAMENT 126
HELLO, GIRLS 128
KANSAS BOYS 129
RED RIVER VALLEY 130
LIZA JANE 132
MOUNTAIN TOP 133
NEGRO REEL 134
ONE MORNING IN MAY 136
THE TROUBLED SOLDIER 137
POST-RAIL SONG 138
HAMMER MAN 139
LOVE SOMEBODY, YES I DO 140
AIN'T GONNA RAIN 141
KENTUCKY MOONSHINER 142
MISTER FROG WENT A-COURTING 143
KIND MISS 144
GOIN' DOWN TO TOWN 145
THE SHIP THAT NEVER RETURNED 146
DOWN IN THE VALLEY 148
I DREAMED LAST NIGHT OF MY TRUE LOVE
DRIVIN' STEEL 150
THE LINCOLNS AND HANKSES
THE MISSOURI HARMONY 152
WINDSOR 153
GREENFIELDS 154
WORTHINGTON 154
HIGHBRIDGE 155
LEGACY 155
THE BROWN GIRL OR FAIR ELEANOR 156
HEY BETTY MARTIN 158
OLD BRASS WAGON 159
CUCKOO WALTZ 160
WEEVILY WHEAT 161
EL-A-NOY 162
HOOSEN JOHNNY 164
MY PRETTY LITTLE PINK 166
LINCOLN AND LIBERTY 167
OLD ABE LINCOLN CAME OUT OF THE WILDERNESS 168
GREAT LAKES AND ERIE CANAL
THE ERIE CANAL 171
BIGERLOW 174
RED IRON ORE 176
RAGING CANAWL 178
THE E-RI-E 180
HOBO SONGS
HALLELUJAH, I'M A BUM! 184
TRAMP, TRAMP, TRAMP, KEEP ON A-TRAMPING 186
THE DYING HOGGER 186
WANDERIN' 188
A. R. N. 190
WE ARE FOUR BUMS 192
THE BIG BRUTAL CITY
THE POOR WORKING GIRL 195
ROLL THE CHARIOT 196
BRADY 198
ON TO THE MORGUE 199
IT'S THE SYME THE WHOLE WORLD OVER 200
IN THE DAYS OF OLD RAMESES 202
THE GOOD BOY 203
WILLY THE WEEPER 204
COCAINE LIL 206
SHE PROMISED SHE'D MEET ME 207
NO MORE BOOZE (FIREMAN SAVE MY CHILD) 208
LYDIA PINKHAM 210
PRISON AND JAIL SONGS
BIRD IN A CAGE 213
YONDER COMES THE HIGH SHERIFF 213
PORTLAND COUNTY JAIL 214
MOONLIGHT 216
MIDNIGHT SPECIAL (2) 217
SEVEN LONG YEARS IN STATE PRISON 218
WHEN I WAS YOUNG AND FOOLISH 219
BEEN IN THE PEN SO LONG 220
THE PREACHER AND THE SLAVE
SHOVELLIN' IRON ORE
BLUES, MELLOWS, BALLETS
LEVEE MOAN 225
THOSE GAMBLER'S BLUES 228
GOT DEM BLUES 232
DE BLUES AIN' NOTHIN' 234
WHEN A WOMAN BLUE 236
COO-COO (PEACOCK SONG) 237
GREAT GAWD, I'M FEELIN' BAD
O MY HONEY, TAKE ME BACK 239
WHAT KIN' O' PANTS DOES THE GAMBLER WEAR? 240
JOE TURNER 241
TIMES GETTIN' HARD, BOYS
I'M SAD AND I'M LONELY
C. C. RIDER 246
YOU FIGHT ON 248
SATAN'S A LIAH 250
BALLET OF DE BOLL WEEVIL 252
DE TITANIC
THE GREAT OPEN SPACES
WHEN THE CURTAINS OF NIGHT ARE PINNED BACK 259
WHEN THE WORK'S ALL DONE THIS FALL 260
AS I WALKED OUT IN THE STREETS OF LAREDO 263
THE DREARY BLACK HILLS 264
THE LONE STAR TRAIL 266
WHOOPEE TI YI YO, GIT ALONG LITTLE DOGIES 268
THE BUFFALO SKINNERS 270
POOR LONESOME COWBOY 273
THE TENDERFOOT 274
LITTLE All SID 276
THE KINKAIDERS 278
DAKOTA LAND 280
THE FARMER 282
RABBLE SOLDIER 284
THE TRAIL TO MEXICO 285
MEXICAN BORDER SONGS
LA CUCARACHA (MEXICAN COCKROACH SONG) 289
MANANITAS (DE JALISCO) 292
LO QUE DIGO 294
EL ABANDONADO 295
CIELITO LINDO 298
ADELITA 300
VERSOS DE MONTALGO 302
SOUTHERN MOUNTAINS
WAY UP ON CLINCH MOUNTAIN 307
LIZA IN THE SUMMER TIME (SHE DIED ON THE TRAIN) 308
COON CAN (POOR BOY) 310
GYPSY DAVY 311
THE ROVING GAMBLER 312
YONDER COMES MY PRETTY LITTLE GIRL 313
THE GAMBOLING MAN 313
BURY ME BENEATH THE WILLOW 314
MAG'S SONG 316
THE ORPHAN GIRL OR NO BREAD FOR THE POOR 319
I GOT A GAL AT THE HEAD OF THE HOLLER 320
LONESOME ROAD 322
FOND AFFECTION 323
GO BRING ME BACK MY BLUE-EYED BOY 324
LONDON CITY 324
THE MIDNIGHT TRAIN 325
I DON'T LIKE NO RAILROAD MAN 326
PICNIC AND HAYRACK FOLLIES, CLOSE HARMONY, AND DARN FOOL DUTIES
SUCKING CIDER THROUGH A STRAW 329
DID YOU EVER, EVER, EVER? 329
I WAS BORN ALMOST TEN THOUSAND YEARS AGO 330
GO GET THE AX 332
ABA LONE 333
IN DE VINTER TIME 334
CIGARETTES WILL SPOIL YER LIFE 335
MARY HAD A WILLIAM GOAT 336
I WISH I WAS A LITTLE BIRD 338
OLD ADAM 339
THE HORSE NAMED BILL 340
CRAZY SONG TO THE AIR OF "DIXIE" 342
A BOY HE HAD AN AUGER 343
ABDUL, THE BULBUL AMEER 344
GREENS 347
ANIMAL FAIR 348
CALLIOPE 349
SI HUBBARD 350
RAILROAD AND WORK GANGS
BOLSUM BROWN 355
POOR PADDY WORKS ON THE RAILWAY 356
THE RAILROAD CARS ARE COMING 358
JERRY, GO AN' ILE THAT CAR 360
IF I DIE A RAILROAD MAN 362
CAP'N I BELIEVE 363
JAY GOULD'S DAUGHTER AND ON THE CHARLIE SO LONG 364
CASEY JONES 366
MAMA HAVE YOU HEARD THE NEWS? 368
DON' LET YO' WATCH RUN DOWN 370
THERE'S MANY A MAN KILLED ON THE RAILROAD 371
SHE'LL BE COMIN' ROUND THE MOUNTAIN 372
I WENT DOWN TO THE DEPOT 374
EVER SINCE UNCLE JOHN HENRY BEEN DEAD 376
GO 'WAY F'OM MAH WINDOW 377
MY LULU 378
THE WIND IT BLEW UP THE RAILROAD TRACK 379
HOG-EYE 380
MY SISTER SHE WORKS IN A LAUNDRY 381
I FOUND A HORSE SHOE 382
RAILROAD HILL 384
HANGMAN 385
TIMBER 386
LUMBERJACKS, LOGGERS, SHANTY-BOYS
JAMES WHALAND 389
THE SHANTY-MAN'S LIFE 390
FLAT RIVER GIRL 392
THE JAM ON GERRY'S ROCK 394
DRIVING SAW-LOGS ON THE PLOVER 396
MORRISSEY AND THE RUSSIAN SAILOR 398
MULE SKINNER'S SONG 400
SAILORMAN
WHISKY JOHNNY 403
BLOW THE MAN DOWN 404
THE DEAD HORSE 406
HEAVE AWAY 407
THE WIDE MIZZOURA 408
I CATCH-A DA PLENTY OF FEESH 409
THE HOG-EYE MAN 410
LEAVE HER, BULLIES, LEAVE HER
ACROSS THE WESTERN OCEAN
BANDIT BIOGRAPHIES
JIM F1SK 416
JESSE JAMES 4%0
SAM BASS 422
FIVE WARS
THE HUNTERS OF KENTUCKY OR HALF HORSE AND HALF ALLIGATOR 427
JACKSON 430
POOR KITTY POPCORN 431
THERE WAS AN OLD SOLDIER 432
A FILIPINO HOMBRE 434
THE SERGEANT, HE IS THE WORST OF ALL 435
WRAP ME UP IN MY TARPAULIN JACKET AND THE HANDSOME YOUNG AIRMAN 436
A WAR BIRD'S BURLESQUE 438
H1NKY DINKY, PARLEE-VOO 44
WHERE THEY WERE 442
THE HEARSE SONG 444
LOVELY PEOPLE
MAN GOIN' ROUN' 447
ALL NIGHT LONG 448
ZEK'L WEEP 449
I KNOW MOONLIGHT 451
BLIND MAN LAY BESIDE THE WAY 452
BY'M BY 453
GO TO SLEEPY 454
JUNGLE MAMMY SONG 455
TEN THOUSAND MILES AWAY FROM HOME 456
MY OLD HAMMAH 457
CHAHCOAL MAN 459
THE WEAVER 460
THE COLORADO TRAIL 462
I MET HER IN THE GARDEN WHERE THE PRATIES GROW 463
SOMEBODY 464
I DON'T WANT TO BE A GAMBLER 465
WHEN POOR MARY CAME WANDERING HOME 466
ROAD TO HEAVEN
JESUS, WON'T YOU COME B'M-BY? 469
DESE BONES GWINE TO RISE AGAIN
TWO WHITE HORSES 472
THINGS I USED TO DO 482
WAY OVER IN THE NEW BURYIN' GROUN' 473
IN MY FATHER'S HOUSE 483
MARY WORE THREE LINKS OF CHAIN 474
STANDIN' ON THE WALLS OF ZION 484
PHARAOH'S ARMY GOT DROWNDED 476
A HUNDRED YEARS AGO 485
GOOD-BYE, BROTHER 477
YOU GOT TO CROSS IT FOH YOHSELF 486
GOD'S GOIN' TO SET THIS WORLD ON FIRE 478
I GOT A LETTER FROM JESUS 487
AIN' GOV TO STUDY WAR NO MO' 480
EZEKIEL, YOU AND ME 488
INDEX 493
Abalone, 338
Abdul, the Bulbul Ameer, 344
Across the Western Ocean, 412
Adelita, 300
Ain' Go'n' to Study War No Mo', 480
Ain't Gonna Rain, 141
Alice B., 28
All Night Long. 448
Animal Fair, 348
A. R. U., 190
As I Walked Out in the Streets of Laredo, 263
As I Was Walkin' Down Wexford Street. 35
Ballet of De Boll Weevil, 252
Banks of Sacramento, The, 112
Barbra Allen, 57
Been in the Pen So Long, 220
Bigerlow, 174
Bird in a Cage, 213
Blind Man Lay Beside the Way, 452
Blow the Man Down, 404
Boll Weevil Song, 8
Bolsum Brown, 355
Boy He Had an Auger, A, 343
Brady, 198
Brown Girl, The, 156
Buffalo Skinners, The, 270
By'm By, 453
California, 110
Calliope, 349
Cap'n I Believe, 363
Careless Love, 21
Casey Jones, 366
C. C. Rider, 246
Chahcoal Man, 459
Chicken Reel, 116
Cielito Lindo, 298
Cigarettes Will Spoil Yer Life, 335
Cocaine Lil, 206
Colorado Trail, The, 462
Common Bill, 62
Coo-Coo, 237
Coon Can, 310
Crazy Song to the Air of "Dixie," 342
Cuckoo Waltz, 160
Dakota Land, 280
Dead Horse, The, 406
De Blues Ain' Nothin', 234
Dese Bones Gwine to Rise Again, 470
De Titanic, 254
Did You Ever, Ever, Ever? 329
Dis Mornin', Dis Evenin', So Soon, 18
Don' Let Yo' Watch Run Down, 370
Down, Down Deny Down, 118
Down in the Valley, 148
Dreary Black Hills, The, 264
Driving Saw-logs on the Plover, 396
Drivin' Steel, 150
Drunkard's Doom, The. 104
Dying Hogger, The, 186
Early Mornings, 293
El Abandonado, 295
El-a-noy, 162
E-ri-e, The. 180
Erie Canal, The, 171
Ever Since Uncle John Henry Been Dead, 376
Ezekiel, You and Me, 488
Fair Annie of Lochyran, 99
Fair Eleanor, 156
Farmer, The, 282
Filipino Hombre, A, 434
Fireman Save My Child, 208
Flat River Girl, 392
Foggy, Foggy Dew, 14
Fond Affection, 323
Frankie and Albert, 75
Frankie and Johnny, 78
Frankie Blues, 82
Frozen Girl, The, 58
Gamboling Man, The, 313
Give Me Three Grains of Corn, Mother, 41
Go Bring Me Back My Blue-Eyed Boy, 324
God's Goin' to Set This World on Fire. 478
Go Get the Ax, 332
Goin' Down to Town, 145
Good Boy, The, 203
Good-by Liza Jane, 51
Good-bye, Brother, 477
Got Dem Blues, 232
Go to Sleepy, 454
Go 'Way Fom Mali Window, 377
Great Gawd, I'm Feelin' Bad, 238
Greenfields, 154
Greens, 347
Gypsy Davy, 811
Half Horse and Half Alligator, 427
Hallelujah, I'm a Bum! 184
Hammer Man, 139
Handsome Young Airman, The, 436
Hanging Out the Linen Clothes, 117
Hangman, 385
Hayseed, 50
Hearse Song, The, 444
Heave Away, 407
Hello, Girls, 128
He's Gone Away, 3
Hey Betty Martin, 158
Highbridge, 155
Hinky Dinky, Parlee-Voo, 440
Hog-eye, 380
Hog-eye Man, The, 410
Hoosen Johnny, 164
Horse Named Bill, The, 340
House Carpenter, The, 00
Hundred Years Ago, A, 485
Hunters of Kentucky, The, 427
I Catch-a da Plenty of Feesh, 400
I Don't Like No Railroad Man, 826
I Don't Want to Be a Gambler, 405
I Drearrn-d Last Night of My True Love, 140
If I Die a Railroad Man, 302
I Found a How Shoe, 88
I Got a Gal at the Head of the Holler, 320
I Got a Letter from Jesus, 487
I Know Moonlight, 451
I Met Her in the Garden Where the Praties Grow, 403
I'm Sad and Pin Lonely, 243
In De Vinter Time, 334
In My Father's House, 483
In the Days of Old Rame, 20*
I Ride an Old Paint, 12
Irish Lullaby, 30
It's the Syme the Whole World Over, 200
I Was Born Almost Ten Thousand Years Ago, 330
I Went Down to the Depot, 374
I Wish I Was a Little Bird, 338
I Wish I Was Single Again, 47
Jackson. 430
Jam on Gerry's Roek, The, 394
James Wlialarul, 380
Jay Gould's Daughter, 304
Jerry, Go an' Ide That Car, 360
Jesse James, 420
Jesus, Won't You Coino B'm-By? 409
Jim Fink, 410
Joe Turner, 241
John B. Sails, The, 2
John Henry, 4
Jotue, 84
Jungle Mammy Song, 455
Kansas Boys. 129
Kentucky Moonsluner, 142
Kevin Barry, 42
Kind Miss, 144
Kinkaiders, The. 278
La Cuearacha, 289
Lane County Baehelor, The, 120
I/eave Her, Bullies, Leave Her, 412
legacy. 155
Levee Moan, 225
Lincoln and Liberty, 107
Little Ah Sid, 270
Little Old Sod Shanty, The, 89
Little Scotch-ee, 64
Liza in the Summer Time, 308
Liza Jane, 132
London City, 324
Lonesome Road, 322
Lone Star Trail, The, 206
Lo Que Digo, 294
Lord Lovel, 70
Lover's Lament, The, 126
Love Somebody, Yes I Do, 140
Lydia Pinkham, 210
Mag's Song, 310
Maid Freed from the Gallows, The, 72
Mama Have You Heard the News? 368
Mafianitas (de Jalisco), 292
Man Goin' Roun', 447
Mary Had a William Goat, 330
Mary Wore Three Links of Chain, 474
Mexican Cockroach Song, 289
Midnight Special, 20
Midnight Special (2), 217
Midnight Train, The, 325
Missouri Harmony, The, 152
Mister Frog Went A-courting, 143
Moanish Lady, 11
Money, 112
Monkey's Wedding, The, 113
Moonlight, 210
Morrissey and the Russian Sailor, 398
Mountain Top, 133
Mule Skinner s Song, 400
My Lulu, 378
My Old Huinniah. 457
My Pretty Little Pink, 100
My Sister She Works in a Laundry, 381
Negro Reel, 184
No Broad for the Poor, 319
No More Booze, 208
O Bury Me Beneath the Willow, 314
Oh, Bury Me Not on the Lone Prairie, 20
Old Abe Lincoln Came Out of the Wilderness, 108
Old Adam, 339
Old Brass Wagon, 159
Old Gray Mare, 102
O My Honey, Take Me Back, 239
One Morning in May, 136
Orphan Girl, The, 319
On the Charlie So Long, 304
On to the Morgues 199
Peacock Song, 237
Pharaoh's Army Got Drownded, 476
IV Boy, 30
Poor Boy, 310
Pcx>r Kitty Popcorn, 431
Poor Lonesome Cowboy, 273
Poor Paddy Works on the Railway, 856
Poor Working Girl, The, 195
Portland County Jail, 214
Post-rail Song, 138
Preacher and the Slave, The, 222
Pretty Fair Maid, A, 68
Pretty Polly, 60
Prisoner's Song, The, 216
Quaker's Wooing, The, 71
Rabble Soldier, 284
Raging Canawl, 178
Railroad Bill, 384
Railroad Cars Are Coming, The, 358
Red Iron Ore, 176
Red River Valley, 130
Roll the Chariot, 196
RosieNell. 114
Roving Gambler, The, 312
Sadie, 86
Sam Boss, 422
Satan's a Liah, 250
Sergeant, He Is the Worst of All, The, 435
Seven Long Years in State Prison, 218
Shanty-Man's Life, The. 890
She Died on the Train, 308
Shell Be Comin' Round Hie Mountain, 372
She Promised She'd Meet Me, 207
She Said the Same to Me, 38
Ship That Never Returned, The, 146
Shovellin' Iron Ore, 183
Sh-Ta-Ra-Dah-Dey, 36
Si Hubbard, 350
Somebody, 464
Son of a Gambolier, The, 44
Sourwood Mountain. 125
Standin' on the Walls of Zion, 484
Sucking Cider Through a Straw, 829
Sweet Betsy from Pike, 107
Tenderfoot, The, 274
Ten Thousand Miles Away, 100
Ten Thousand Miles away from Homo, 456
There's Many a Man Killed on the Railroad, 371
There Was an Old Soldier, 432
Things I Used to Do, 482
Those Gambler's Blues, 228
Timber, 386
Times Gettin' Hard, Boys, 242
Trail to Mexico, The, 285
Trump, Tramp, Tramp, Keep on A-tramping, 185
Troubled Soldier, The, 1S7
True Lover's Farewell, The, 98
Turkey in the Straw, 94
Two White Horses, 472
Versos de Montalgo, 302
Waillie, Waillie! 16
Walky-Talky Jenny, 48
Wanderin', 188
War Bird's Burlesque, A, 438
Way Over in the New Bury in' Groun', 473
Way Up on Clinch Mountain, 307
We Are Four Bums, 192
Weaver, The, 400
Weevily Wheat, 101
What Kin' Of Pants Does the Gambler Wear? 240
What Was Your Name in the States? 100
When a Woman Blue, 23
When I Was Young and Foolish, 219
When Poor Mary Came Wandering Home, 400
When the Curtains of Night Are Pinned Back, 259
When the Work's All Done This Fall, 200
Where O Where Is Old Elijah? 92
Where They Were, 442
Whisky Johnny. 403
Whoopee Ti Yi Yo, Git Along Little Dogies, 268
Who's the Pretty Girl Milkin' the Cow? 40
Who Will Shoe Your Pretty Little Foot? 98
Wide Mizzoura, The, 408
Willy the Weeper, 204
Wind It Blew up the Railroad Track, The, 379
Windsor. 153
Wizard Oil, 52
Worthington, 154
Wrap Me up in My Tarpaulin Jacket, 430
Yonder Comes My Pretty Little Girl, 313
Yonder Comes the High Sheriff, 213
You Fight On, 248
You Got to Cross It foh Yohself, 480
Zek'l Weep, 419