FOLK MUSIC OF THE UNITED STATES

Music Oi vision
Recording Laboratory AFS L8

From the Archive of Folk Song

Edited by B. A. Botkin

WASHINGTON .~.
AI-UNLOADING RAILS Walk to the car, steady yourself.

AI-TAMPING TIES Head high!

Called by Henry Truvillion at Wiergate, Throw it away!

Tex., 1940. Recorded by John A. and Ruby That's just right.

T . Lomax. Go back and get another one.

You got the wrong one that time ....

Henry Truvillion (now Rev. Henry Truvil­

lion, pastor of a small country church near New­ Walk humble and don't yo u stumble,

to n, Texas) grew up on a farm in Mississippi And don't you hurt nobody.

and has at various times been railroad section Walk to the car and steady yourself.

hand, boss of a construction gang on southern Stand a minute.

railways, driver of a "two-horse wheeler" on Head high!

Mississippi River levee-building jobs, and roust­ Good-bye, rail!

about on Mississippi River steamboats. For Good iron!

nearly twenty years he was head tracklayer for I heard it ring-nnng....

the Wiergate Lumber Company, where, accord­ Go back and get another one . ...

ing to John A. Lomax, "track-laying goes on

All right, steady.

the year round. Railways must be built to drag

Stand a minute.

the big logs out of the woods miles from the

Get your wind a minute.
mills. "
Head high!

The problems presented by recording railroad

Good-bye, old rail'

construction songs and calls on the job are such

That's all right, son.

that most attempts are unsuccessful. In spite of Go back and get another one ....

a certain loss of authenticity that results from

"staging" the work, the present record has con­ Walk humble and don't you stumble.

siderable documentary value-for its language Don't let me hurt nobody.

and declamation style as much as for what is This is the safety first company.

said. Only excerpts from Mr. Truvi1lion's rapid­ Steady!

fire monolog for unloading steel rails are given Head high!

below. Good-bye!

For a track-lining holler ("Sis Joe") by Henry That's all right!

Truvi11ion, see Our Singing Country, collected I heard it ring!

and compiled by John A. Lomax and Alan Now let's go back and get another one . .. .

Lomax, Ruth Crawford Seeger, music editor ·

(New York, 1941), pp. 262- 64.
A number of steel-laying, tie-shuffling, and TAMPING TIES
tie-tamping chants are given in American Bal­
lads and Folk Songs, collected and compiled by Tamp 'em up solid,

John A. Lomax and Alan Lomax (New York, All the livelong day.

1934), pp. 10-20. Tamp 'em up solid,

Then they'll hold that midnight mail.

UNLOADING RAILS The captain don't like me.

Won't allow me no show .

. . . All right now, listen to me right good. Well, work don't hurt me,

Walk up until you're almost to the car. Don't care where in the world I go.

Inside men, step back. Work don't hurt me,

Outside, pull up good and strong. Like the early rise.

Head high! Well, work don't hurt me,

Throw it away! But that's the thing that hurts my pride,

That's all right! That hurts my pride,

I heard it ring. That hurts my pride,

Come on back and get another one now ... . That hurts my pride.

1
A3-HEAVING THE LEAD LINE Don't you change your mind.
Called by Sam Hazel at Greenville, Miss., Heave it in the water just-a one more time.
1939. Eight feet and a half, Mr. Pilot, will you
change your mind.
A4-MISSISSIPPI SOUNDING CALL 1 Run him on a slow bell,
AS- MISSISSIPPI SOUNDING CALL 2 Run him on a slow bell.
Called by Joe Shores at Greenville, Miss., Quarter less twain on the sta'board side.
1939. Recorded by Herbert Halpert. Mr. Pilot, will you change your mind.
Drap it on over on the left-hand side.
Tell me there's a buoy, a buoy right on the
This record will be interesting to all readers bar.
of Mark Twain, especially of his Life on the The light is twisted, and you can see just
Mississippi.
how.
On February 2, 1863, according to George pull a little over to the la'board side.
D. Lyman, in The Saga of the Comstock Lode Lawd, Lawd.
(New York, 1941) , p. 213, Samuel L. Clemens, Quarter less twain,

then a reporter on the Territorial Enterprise, of Quarter less twain,

Was hoe, Nevada, dropped his undistinguished Quarter less twain ,

pen-name, "Josh," and first signed himself Quarter less twain,

"Mark Twain. " This was originally the "nom de
plume of one Capt. Isaiah Sellers, who used to
write river news over it for the New Orleans
Picay une" (according to a letter of Twain's
dated June 24, 1874). "Mark twain" is the
Lawd, Lawd, now send me quarter less
twain.
Throw the lead line a little higher out.
I've gone low down, so mark twain,
Mark twain.

sounding call for two fathoms, or 12 feet­ Come ahead, Mr. Pilot, a little bit strong.

"just enough draft for the boat to get over." In I've done got over, and I believe we're
his chant Sam Hazel, eighty-six years old, calls gonna
th e sounding calls the "old way," as he heard Throw the lead line over- ­

them while roustabouting on the Ohio and Mis­ No bottom here.

sissippi Rive rs. Joe Shores, fifty-two years old,

uses "newer" call s. At the time of this record­
ing, he was pilot on the nigh t run of the A. C. MISSISSIPPI SOUNDING CALLS
Jaynes, a ferryboat plying between Greenville,
Mississippi, and Arkansas City, Arkansas. 1. No bottom,
Mark four,
The soundings are called by the leadsman to Quarter less four,
a deckhand (the word passer) on the hurricane Quarter less five,
deck, who relays them to the pilot. "Quarter Half twain,
less twain" means two fathoms less a quarter,
Quarter twain.
or 10.5 feet. Similarily, "quarter less four" is
22.5 feet, and "quarter less five" is 28.5 feet. 2. Quarter less four,
"Half twain" is 2.5 fathoms or 15 feet. Half twain,
Quarter twain,

HEAVING THE LEAD LINE Mark twain,

Quarter less twain,

Now we're stuck there-?­ Nine and a half feet,

For the lead line drapped off right now. Nine feet,

Well, old deck hand, when you git on top Eight and a half feet.

I'm gonna hear that line-?­

Let the old boat draw.
Lord, I'm throwin' lead line on the la'board A6-ARWHOOLIE (CORNFIELD HOLLER)
side. Sung by Thomas J. Marshall at Edwards,
Quarter less twain , Miss., 1939.

 QU ITTIN ' TIME SONG 2

1;/-QUITIIN' TIME SONGS I and 2
Sung by Samuel Brooks at Edwards, Miss.,
1939.
A9-MEALTIME CALL
Called by Thomas J. Marshall at Edwards,
Miss., 1939. Recorded by Herbert Halpert.
At the time of this recording Thomas J. Mar­
shall and Samuel Brooks were students at the
Southern Christian Institute, Mount Beulah Col­
lege, Edwards. They were brought up together
in Edwards and often worked toget her on th e
same job. According to Mr. Marshall, the "o ri g­
inal name" of the cornfield holler is "arwhoolie"
or " hooli e." Of the "Quitting Time Song," Mr.
Brooks says: "They si ng it late in the evening.
About the time they quit, they generall y feel
good and they like to si ng this kind o f thin g.. . .
They usually si ng it on a plantation ... if one
man starts, well, across ma ybe anot her field
close by, why, they sing that same tune back to
him .... Then maybe another man may answe r
him another tune." " Mealtime Call " origi nated
amo ng t he students at the institute, where meals
were served "on the bell" by Miss Wright, the
dining hall matmn.
For a discussion of "call" and " response" in
fi eld calls, see Negro Folk Rhymes by Thomas
W. Talley (New York, 1922), pp. 264 ff.
O h, etc.
MEALTIME CALL
Oh , Miss Wright,
W hy don't yo u ri ng that bell"
Oh, Miss Wright,
Why don 't you ring that bell?
I can te ll
T he way th ose gree ns smell.
AIO-POSSUM WAS AN EVIL THING
A II - COME ON, BOYS, AND LET'S GO TO
HUNTlN'
Sung by Henry Truvillion at Burkeville,
T ex., 1940. Recordcd b y John A. and
Ruby T. Lomax.
I n ord er to appreciate these children's songs,
o ne must visuali ze the sett ing in the cotton field s,
where childrcn have bcc n pick ing cotton and are
th inking of a fcast of fat possum baked with
sweet potatoes. "Along toward sundown," says
H enry Tru villion , " we'd all leave and go on
home, and you can hear sometimes twenty-five
boys and twenty-five girls all going home through
the woods and across th e fi elds, and they're all
singing the same song back at one another."

POSSUM WAS AN EVIL THING

ARWHOOLIE
Poss um was an evil thing,

Oh, etc.
He rambles in the dark.

I won't be here long.

He didn't know what the trouble was,

Oh , etc.
Until he hear old Rover bark.

Oh , dark gonna catch me here,

Ooooh, baby, who*-oh-h oo!

D ark gonn a catch me here.

Ooooh, baby, who-oo-hoo-hoo!

Oh, etc.
That's my baby, who-oh-oo-oo-oh'

Ooooh, baby, who-oh-hoo !

Old Aunt Dinah, who-oo-oo-oo!

QUITTIN' TIME SONG I

Old A un t Dinah, who-ho-oo-oo-ho!

Ooooh, the sun going down,

Ooooh, baby, who-oh-hoo !

And I won't be here long,

Ooooh, baby, who-oo-hoo-hoo!

Ooooh , the sun going down ,

That's me a-talkin ', who-ho-hoo-hoo-oh!

And I won 't be here long.

Who-ho-hoo-hoo-oh-who-ho-hoo-hoo-oh!

Ooooh, th en I be going home.

Oooh, Dinah, who-oh-ee!

Ooooh, I can't let th is dark cloud catch me

O ld Aunt Dinah, who-oo-hoo- hoo'

here. O ld Aun t Dinah, who-oh-oo-hoo-oh'

Ooooooh, I can't stay here long,

Ooooooooooh, I be at home. * Pronounced "whoa ."

 Ooooh, baby, who-oh-ho! Mose (Clear Rock) Platt-the "Old Rock"

Possum was an evil thing, and "Big Foot Rock" of the song-sings of a
He rambles in the dark.
dog named Rattler, famed in Negro folk song
He didn't know what the trouble was,
as (in Clear Rock's own words) "de fastes' an'
Until he hear old Rover bark.
de smellin'es' bleedhoun' in de South." Clear
Ooooh, Rover, who-oh-oo!
Rock himself has an almost legendary reputa­
Who-oh, Rover, who-oo-hoo-hoo!
tion for being fleet footed. Once, in running
That's me a-talkin', who-oh-hoo-hoo-oh!
away from a "ghost," he told John A. Lomax,
his "eyes was stickin' out an' shinjo' like the
COME ON, BOYS, AND LET'S GO TO spy-light on a locomobile. I was goin' so fas'
HUNTIN' when I crossed the T. P. tracks in Fort Worth
1. Come on, girls, and let's go to huntin', [2] that my shirt tail catch afire and made me run
Dog in the woods, and he done treed faster. That's what I call runnin' yourself lost.
sump'n. [2] Before I could protect myself I had run clear
[R epeat. ] outa Texas over into Oklahoma."
For another ' version, see American Ballads
2. Yo'dog bark, he don't see nothin', [2] and Folk Songs, collected and compiled by John
When my dog bark, he done treed sump'n. A. Lomax and Alan Lomax (New York, 1934),
Come on, boys, let's go to huntin'. pp.66-67.
Dog in the woods, and he done treed
sump'n. CHORUS
3. The woods is wet, the roads is muddy.
Here, Rattler,
I'm so drunk till I can't stand steady.
Here, Rattler, here,
Come on, boys, let's go to huntin', Here, here, Rattier, '
Dog in the woods, and he done treed Here, Rattler, here.
sump'n. 1. Oh, b'lieve to my soul there's a nigger gone,
Come on, boys, let's go to huntin', [2]
Here, Rattler, here.
Dog in the woods, and he done treed
Oh, b'lieve to my soul there's a nigger gone,
sump'n.
Here, Rattler, here.
4. Possum 'up a gum stump, coon in the holler.
Rabbit give a backtrack and stole a half a 2. Oh, he went right through the corn.

dollar. I heard old horn blow.

Come on, boys, let's go to huntin'. 3. Go and get the dog man.

Dog in th e woods, and he done treed Go and get the dog man.

sump'n .
Come on, boys, let's go to huntin', [2]
4. Run that nigger to the riverside.

Dog in the woods, and he done treed

Run that nigger to the riverside.

sump'n.
5. Go and call old Rattler.

5. Possum up a gum stump, coon in the holler, Call old Rattler.

Rabbit give a backtrack and stole a half a

dollar. [2] 6. Old Rattler come a-yelpin'.

Come on, boys, let's go to huntin', [2] Go and call old Rattler.

Dog in the woods, and he done treed

sump'n. [3] 7. Old Rattler come a-yelpin'.

Old Rattler come a-yelpin'.

Al2- 0LD RATTLER 8. Oh, put that nigger right up that tree.

Sung by Mose (Clear Rock) Platt and Old Rock couldn't get to three.

James (Iron Head) Baker at Central State

Farm, Sugar Land, Tex., 1934. Recorded by 9. Oh, he set so long with the sympathy.

John A. and Alan Lomax. Oh, run that nigger right lost his mind.

10. Go and call old Rattler.

2. Lawd, if you rise,
Go and call old Rattler.
Bring Judgment on.
Lawd, if you rise,
1 I. Oh, he run that nigger till he went stone
Bring Judgment on.
blind.

Oh, cross the river to the long leaf pine.

3. Oh, did you hear

What the captain said?

12. Oh, he run so far he didn't leave no sign.

Oh, did you hear

Oh, got a baby here, got a baby there.

What the captain said?

13. Oh, believe to my soul it's the Worldy Fair. 4. That if you work

Oh, they didn't 'low no black folks there. He'll treat you well,

And if you don't

14. Oh, trip this time, I'll trip no rna'.

He'll give you hell.

Oh, gain' to the North where you can't g

o. 5. Oh, go down, old Hannah,
Won't you rise no more?
15. Gain' ring the sergeant.
Won't you go down, old Hannah,
Gain' ring the sergeant.
Won't you rise no more?
16. Old Rattler's good, old Rattler's bad.
6. Oh, long-time man,
Believe to my soul it's another o
ne gone. Hold up your head.

Well, you may get a pardon

17. Oh, if you can hold it up you can hold

And you may drop dead.

right on,

Run that nigger right

through that corn. 7. Lawdy, nobody feel s sorry

For the life-time man.

18. Oh, Big Foot Rock

is surely gone! Nobody feels sorry

Oh, Big Foot Rock

is surely gone! For the life-time man.

82-HAMMER, RING
BI- GO DOWN, OLD HANNAH Sung by Jesse Bradley and group at State
Sung by James
(Iron Head) Baker, Will Penitentiary, Huntsville, Tex., 1934. Re­
Crosby, R. D.
Allen, and Mose (Clear corded by John A. and Alan Lomax.
Rock) Platt at Central
State Farm, Sugar
Land, Tex., 1933.
Recorded by John A. The most dynamic of Negro work rhythms
and Alan Lomax.
are to be found in the hammer songs. Of "Ham­
mer, Ring," John A. Lomax has written: "The
This is one of the best known of the slow­ men who drove the spikes that fastened the long
drag work songs sun g by Negro prisoners in steel rails to the wooden ties sang the most
South Texas. James (Iron Head) Baker says thrilling tune of all-the hammer song, song
that he first sang it in 1908, on long hot sum ­ of the ten-pound hammer with its two heads
mer days when, about three o'clock in the scarcely more than a couple of inches in diam­
afternoon, the sun (Old Hannah) seemed to eter, that was swung free from the shoulder in
stop and "just hang" in the sky. a complete circle about the head ... that song
For another version, sung to a sim ilar tune, with its own individual vibrant and stirring
see Our Singing Country, collected and com­ tune. "
piled by John A. Lomax and Alan Lomax, The Bible story of Noah and the ark, which
Ruth Crawford Seeger, music editor (New York, is also the theme of spirituals, is here used to
1941) , pp. 356-58. dramatize the work, with echoes of ballad and
game-song usage.
1. Go down, old Hannah, For another version see American Ballads
Won't you rise no more? and Folk Songs, collected and compiled by
Go down, old Hannah, John A. Lomax and Alan Lomax (New York,
Won't you rise no more? 1934) , pp. 61-62.

5
(,HORliS LEADER AND CHORUS
Well. 1 wonder what's the matter
Won' t you ring. old hammer?
With my long time here.
Hammer. ring.
Awrillirr.
Won't you ring. old hammer?
Hammer. ring. LEADER
Boys, 1 woke up early this mornin'.
I. Broko the handl e on my hammer. CHORUS
Hammer. ring . Hey. Lawd!
Broke the handle on my hammer. LEADER AND CHORUS
Hammer. ring . Boys. 1 woke up early this mornin'.
AwriJ:hl, Qwrighl .
.., (101 to hammcrin' in the Bihlc.
) , GonIa talk aho ut Norah . LEADER AND CHORUS
4. Well. God told Norah. 'Bout the break of day.
~ . Y~ll1 is a-guill' in the timber.
T ile break of day .
(l, You argue some Bible . H ear iI, hear il.
7. Well. Norah got worried. LEADER
X. What you want with th e timber? Well . the big bell sho was tonin '.
9 . W on't YO li build me a ark. sir? CHORUS
10. Well. Norah asked God. sir. Oh--o, Lawd.
I I . How high do yo u want it? LEADER AND CHORUS
I~ . Build it fort y-t
wo cubits.
Well , the big bell sho was tonin'.
I~ . Every cubit ha
ve a window.
Silo WU.f. Good Lawd.
14. Well. it start ed in to r"inin ·
.
I ~ . Old Norah got
worried. LEADER AND CHORUS
I(,. He called in hi
s children. Just a while fa' day .
17. Well . Norah told
God. sir. Judge right.

I R. This is a ve ry
fine hammer. Oh, yah!

19. Got the sa me old hammer. Everybody talk.

20. Got to h:lI11l11crin' in the timber . . .. LEADER

Well, the bully tu rn over in the bed
a-grumblin '.
R_'-I WONDER WHAT'S THE MA TIER
CHORUS
Sung by "Lightnin g" and group at Darrin g­
Oh--o, Lawd.
ton State Farm. Sandy Point. Tex .. 1934.
Recorded by John A. and Alan Lomax. LEADER AND CHOR US
over in the bed a-grumblin'.
This slow-drag pri son song is an unusua l 'Bout that night so short.
l'xample of ce rtain qualities of declamation as­ Oil , Lawd.

sociated wit h Negro sermons :md religious serv­ DOll' IIurt Ilobody.

ices. Most striking . perhaps. is the use of Nigilt so silort.

rh yt hmic interjections which resemble the ex­ LEADER

clamations and interp olations in Negro sermons. Well, it look like it been one hour.
In it s blending of solo and group voices and its
CHORUS
handling of pause and repetition in the call and
Oh-o, Lawd.
response passages. it is mo re akin to a religio us
chant than a work song. LEADER AND CHORUS
Well, it look like it been one hour.
LEADER Oh, Lawd.
[ wonder what's the matter. LEADER AND CHORUS
C HO RUS Pard ner, since I lay down.
Oh-o, Lawd! all, Lawd, since fla y down . ...

B4-ROLL '1M ON DOWN [Bahaman 4. Well, we roll 'im along,

Launching Song] Well, we pull 'im along,
Sung by David Pryor and group of Andros Hey, ay, pull 'im along.
Island men at Nassau, Bahamas, 1935. Well, we pull 'im along from this old ship­
Recorded by Alan Lomax and Mary E. yard,
Barnicle. Give me some time to pull 'im along.

David Pryor comes of a family of singers. 5. Well, we slide 'im along,

"My mother, father, grandmother, grandfather, Well, we push 'im along,
and all their children sang all the time." A Hey, ay, push 'im along.
native of Nassau, he used to follow sponge fish­ Oh, come and give me a little bit of time
ing (until recently one of the principal indus­ for to push 'im along,
tries of the island) as a bowman, who "sights Give me some time to push 'jm along.
the sponges with his glass and hooks them." 6. Oh, come roll 'im along,
The launching described in this song is a com­ Well, we slide 'im along,
munity affair, which takes place in October or Hey, ay, slide 'im along.
November, after the hurricane season, when the Well, we slide 'im along down to the old
sailboats are hauled down the beach again. seaside.
"Roll '1m on Down" is the type of work song Give me some time to slide 'im along.
whose words describe the action and whose
rhythm suggests the movement of the work. It 7. Oh, as we roll 'im along,

is also a good example of the process of fitting Then we'll roll 'im along,

new words to an old tune ("Blow the Man Hey, ay, roll 'im along.

Down") which is just suited to them. More­ Give me some time for to slide 'im along,

over, its words are such as might have been Give me some time to slide 'jm along.

composed by a group.
8. Well , we jerk 'im along,
For two other Bahaman launching songs Well, we kick 'im along,
(versions of the shanties, "Round the Bay of Hey, ay, slide 'im along.
Mexico" and "Bowline"), sung by David Pryor Give me a little time for to kick 'im along,
and Henry Lundy, see album L5 in this series. Give me some time to pull 'im along.

I. So pull 'im along, 9. Well, we roll 'im along,

Well, we pull 'im along, And we pull 'im along,

Hey, ay, pull 'im along. Hey, ay, pull 'im along.

Now we pull 'im along from this old ship­ Give me some time for to pull 'im along,

yard, Give me some time to push 'im along.

Give me some time to roll 'im along.

10. Oh , well, we roll 'im along,
2. Now we jerk 'im along, Well, we swing 'im along,
Well, we jerk 'im along, Hey, ay, swing 'jm along.
Hey, ay, jerk 'im along. Well, we swing 'im along down to the old
Come and give me some time for to jerk seaside,
'im along, Give me some time to push 'im along.
Give me some time to roll 'im along.
BS-THE ROCK ISLAND LINE
3. Well, we kick 'im along, Sung by Kelley Pace, Charlie Porter, L. T.
Weil, we kick 'im along, Edwards, Willie Hubbard, Luther Wil­
Hey, ay, kick 'im along. liams, Napoleon Cooper, Albert Pate, and
Now we kick 'im along from this old Cap­ Willie Lee Jones at Cumins State Farm,
tain's ground, Gould, Ark., 1934. Recorded by John A.
Give me some time to kick 'im along. Lomax.

B6-TRACK-LINING SONG 2. Well, the train left Memphis at half pas'

Sung by Allen Prothero at State Peniten­ nine.
tiary, Nashville, Tenn., 1933. Recorded by Well, it made it back to Little Rock at
John A. and Alan Lomax. eight forty-nine .
As a song about a railroad, " The Rock Island 3. Well, Jesus died to save me in all of my sin.
Line" (sung both as a spiritual and as a field Well-a, glory to God, we gain' to meet Him
song) is presented here for contrast with a rail­ again.
road work song like "Track-Lin ing Song." In
the one the train is a symbol of speed and es­ TRACK-LINING SONG
cape, with a tall tale twist that makes it arrive
forty-one minutes before it started . In the other 1. Hey, boys, joint ahead.

the men sing about their troubles on the job and I'm gonna tell you something now.

their pleasures off it, with one biblical allusion. Oh, all I want-my navy beans,

Allen Prothero, himself a railroad worker, A big fat woman and a wheeler team.

died of tuberculosis in the Nashville penitentiary Hi, hi, won't you line 'em?

just before receiving his parole. Only a portion Hi, hi, won't you line 'em?

of his "Track-Lining Song" is reproduced here Ho, ho, won't you line 'em?

because of defects in the original record. See Eloise go lining track.

For another version, by Henry Truvillion, see 2. I! I could, I surely would

American Ballads and Folk Songs, collected Stand on the rock where Moses stood.

and compiled by John A. Lomax and Alan Oh, boys, in the morning,

Lomax (New York, 1934), pp. 14-17. Hi, hi, a'ternoon,

Hi, boys, in the evening,

THE ROCK ISLAND LINE I'd be standing there all the time.
CHORUS 3. Oh, boys, want to tell you something now.
Oh, way down yonder in the harvest field,
I says the Rock Island Line is a mighty
Angels working at the chariot wheel.
good road.
Oh, boys, won't you line 'em,

I says the Rock Island Line is the road to

Oh, boys, won't you line 'em,

ride.
Oh, boys, won't you line 'em,

I says the Rock Island Line is a mighty

good road.
I! you want to ride, you gotta ride it like
you're flyin'.
Buy your ticket at the statlOn on the Rock
See Eloise go lining track.
4. Oh, if I'd known my cap'n was blind,
Wouldn't went to work till the clock struck
nine.

Island Line. Ha, boys, he can see.

I. Well , Jesus died to save me in all of my sin. Hi, hi, he ain't blind.

Well-a, glory to God, we gain' to meet Him Hi, hi, got a Waterbury.

again. Hi, hi, he can tell time ... .

 ~
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Lib ra ry of Congress Catalog Card Num ber R59-5X I rev

Avail able from the Recorded Sound Section,

Music Division , Library of Congress,
Washingto n, D.C. 20540