DOCSLIB.ORG

Trains Workshop

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trains Workshop Train Songs A workshop by Alice Winship Northwest Folklife Festival 2019 The workshop is not limited to the songs on these sheets. You may take these sheets home if you want them. These pages were produced by Alice Winship for Maritime Folknet, a non-profit organization that pays musicians to play live music, mostly free to the public. Take a moment to consider becoming a member of Maritime Folknet. Individual-$15, one free CD. Family-$25, two free CDs. http://maritimefolknet.org These songsheets are for educational use only. They may contain copyrighted material that cannot be published, put on the internet, or publicly performed without permission from the songwriter. Copyrighted material may be used for non-profit educational purposes for a one-time usage in an educational setting. This includes this educational workshop at a cultural event. Train Songs CONTENTS listed in alphabetical order PAGE SONG TITLE WRITTEN BY 1 500 Miles Hedy West 1 The City of New Orleans Steve Goodman 2 Engine 143 (Wreck on the C & O) Unknown 3 Freight Train Elizabeth Cotten 2 Hobo’s Lullaby Goebel Reeves 3 I’ve Been Working on the Railroad Traditional 4 John Henry Traditional 2 Last Train to Clarksville Tommy Boyce and Bobby Hart 5 Linin’ Track Traditional 4 Little Black Train Traditional 3 Lonesome Whistle Hank Williams and Jimmie Davis 6 Midnight S pecial Traditional 6 Morningtown Ride Malvina Reynolds 6 Orange Blossom Special Ervin T. Rouse 8 Paddy Works on the Railway Traditional 7 Railroading on the Great Divide Sara Carter 7 Sentimental Journey Les Brown, Ben Homer, and Bud Green 8 Steel Rail Blues Gordon Lightfoot 7 Wabash Cannonball J. A. Roff/William Kindt/A.P. Carter 5 The Wreck of the Old 97 Henry Work/Fred Lewey/Charles Noell/Henry Whitter or David George Some other songs about trains not included here: Canadian Railroad Trilogy In the Baggage Coach Ahead Nine Pound Hammer Casey Jones King of the Road Old Chicago, Milwaukee & St Paul Chattanooga Choo Choo Life’s Railway to Heaven One After 909 Downbound Train Long Black Train Orphan Train Drill Ye Tarriers Drill Long Train Runnin’ Railroad Bill Folsom Prison Blues Marrakesh Express Rock Island Line Freight Train Blues Midnight Train to Georgia Roll On Buddy The Golden Rocket Mystery Train (Train I Ride) Smoke Along the Track Hellbound Train M.T.A. Steel Rails Hey Porter Night Train to Memphis This Train is Bound for Glory Homeward Bound Nine Hundred Miles Waiting for a Train The City of New Orleans 500 Miles by Steve Goodman Usually credited as written by Hedy West, 1961. Based on the traditional song ‘900 Miles’. Riding on The City of New Orleans, Illinois Central Monday morning rail If you miss the train I'm on, There’s fifteen cars and fifteen restless riders, You will know that I am gone Three conductors and twenty-five sacks of mail. You can hear the whistle blow a hundred miles, All along the southbound odyssey A hundred miles, a hundred miles, The train pulls out at Kankakee A hundred miles, a hundred miles, Rolls along past houses, farms and fields. You can hear the whistle blow a hundred miles. Passin' trains that have no names, And freight yards full of old black men Lord I'm one, Lord I'm two, And the graveyards of the rusted automobiles. Lord I'm three, Lord I'm four, Lord I'm five hundred miles from my home. Chorus: Five hundred miles, Five hundred miles, Good morning America how are you? Five hundred miles, Five hundred miles Say, don't you know me I'm your native son, Lord I'm five hundred miles from my home. I'm the train they call The City of New Orleans, I'll be gone five hundred miles when the day is done. Not a shirt on my back, not a penny to my name Lord I can’t go back home this a way Dealin' card games with the old men in the club car. This a way, this a way, this a way, this a way Penny a point ain't no one keepin' score. Lord I can’t go back home this a way Won’t you pass the paper bag that holds the bottle And feel the wheels rumblin' 'neath the floor. Teardrops fell on mama's note And the sons of pullman porters When I read the words she wrote And the sons of engineers She said ‘We love you & we miss you please come home’ Ride their father's magic carpet made of steel. Well I didn't have to pack Mothers with their babes asleep, I had it all right on my back Are rockin' to the gentle beat But I'm five hundred miles away from home And the rhythm of the rails is all they feel. Away from home, away from home, Away from home, away from home, Chorus Lord I’m five hundred miles away from home Nighttime on The City of New Orleans, If you miss the train I'm on, Changing cars in Memphis, Tennessee. You will know that I am gone Half way home, and we'll be there by morning You can hear the whistle blow a hundred miles, Through the Mississippi darkness A hundred miles, a hundred miles, Rolling down to the sea. A hundred miles, a hundred miles, And all the towns and people seem You can hear the whistle blow a hundred miles. To fade into a bad dream And the steel rails still ain't heard the news. The conductor sings his song again, The passengers will please refrain This train's got the disappearing railroad blues. Good night, America, how are you? Say, don't you know me I'm your native son, I'm the train they call The City of New Orleans, I'll be gone five hundred miles when the day is done. I'll be gone five hundred miles when the day is done. 1 Engine 143 (Wreck on the C & O) Hobo’s Lullaby Author unknown, attributed to a worker at the Hinton rail yard or a C&O engineer. by Goebel Reeves C&O is pronounced ‘see-no’ in this song. Chorus Along came the FFV the swiftest on the line Go to sleep you weary hobo Running along that C&O road just twenty minutes behind Let the towns drift slowly by Running into Sou'ville headquarters on the line Can't you hear the steel rail humming Receiving there strict orders from the station just behind That's a hobo's lullaby Georgie's mother came to him with a bucket on her arm Do not think about tomorrow She said my darling boy be careful how you run Let tomorrow come and go There's many a man has lost his life in trying to make lost time Tonight you're in a nice warm boxcar But if you run your engine right you'll get there just on time Safe from all the wind and snow Up the track he darted, into a rock he crashed Chorus The engine she turned upside down and Georgie's breast was smashed His head lay 'gainst the firebox door, the flames were rolling high I know the police cause you trouble I'm proud to be born for an engineer on the C&O road to die They cause trouble everywhere The doctor said to Georgie my darling boy be still But when you die and go to heaven Your life may yet be saved if it is God's blessed will You won't find no policemen there Oh no said George that will not do I'd rather die so free I want to die for the engine I love one hundred and forty three Chorus The doctor said to Georgie your life cannot be saved I know your clothes are torn and ragged Murdered upon the railway and laid in a lonesome grave And your hair is turning grey His face was covered up with blood his eyes they could not see Lift your head and smile at trouble And the very last words poor Georgie cried were nearer my God to thee You'll find happiness some day Chorus Last Train to Clarksville by Tommy Boyce and Bobby Hart Take the last train to Clarksville Take the last train to Clarksville And I'll meet you at the station I'll be waiting at the station You can be there by four-thirty We'll have time for coffee-flavored kisses 'Cause I've made your reservation, don't be slow And a bit of conversation, oh Oh, no, no, no Oh, no, no, no Oh, no, no, no' Oh, no, no, no Cause I'm leaving in the morning Take the last train to Clarksville And I must see you again Now I must hang up the phone We'll have one more night together I can't hear you in this noisy railroad station all alone Till the morning brings my train and I must go I'm feeling low Oh, no, no, no Oh, no, no, no Oh, no, no, no Oh, no, no, no And I don't know if I'm ever coming home And I don't know if I'm ever coming home Repeat first verse and last line 2 (I Heard That) Lonesome Whist le I've Been Working on the Railroad by Hank Williams and Jimmie Davis Traditional I was ridin' No 9 I've been working on the railroad Heading south from Caroline All the live long day I heard that lonesome whistle blow I've been working on the railroad Got in trouble had to roam Just to pass the time away Left my gal and left my home Can't you hear the whistle blowing I heard that lonesome whistle blow Rise up so early in the morn Can't you hear the Captain shouting Just a kid acting smart "Dinah blow your horn" I went and broke my darling's heart I guess I was too young to know Dinah won't you blow Dinah won't you blow They took me off to Georgia Main Dinah won't you blow your horn Locked me to a ball and chain Dinah won't you blow I heard that lonesome whistle blow Dinah won't you blow Dinah won't you blow your horn All alone I bear the shame I'm a number not a name Someone's in the kitchen with Dinah I heard that lonesome whistle blow Someone's in the kitchen I know All I do is sit and cry Someone's in the kitchen with Dinah When the evening train goes by Strummin' on the old banjo I heard that lonesome whistle blow Fee, fie, fiddly-i-oh I'll be locked here in this cell Fee-fie fiddly-i-oh-oh-oh-oh Till my body's just a shell Fee, fie fiddly-i-oh And my hair turns whiter than the snow Strummin' on the old banjo I'll never see that gal of mine I'm in Georgia doing time I heard that lonesome whistle blow I heard
Load more

Recommended publications
  • GCHC NEWSLETTER FEBRUARY 2017.Pdf
    Issue 2 Volume 3 Grimes County Historical Commission February 2017 Meetings of the Grimes County Historical Commission are held on the Second Monday of the Month at 7:00 pm in the Courthouse Annex in Anderson, Texas Contact Information Joe King Fultz [email protected] Visit us on Facebook https://www.facebook.com/Grim esCountyHistoricalCommission Grimes County Historical Commission Executive Board Photo of the Month Chairman Joe King Fultz Vice Chairman Vacant Secretary Vanessa Burzynski Treasurer Joe King Fultz COMMITTEES Historical Markers Denise Upchurch Historic Preservation Sarah Nash Newsletter & Publicity Vanessa Burzynski W. W. Meachum Law Office Anderson, Texas GRIMES COUNTY HISTORICAL COMMISSION NEWSLETTER FEBRUARY 2017 PAGE 2 History of the Town of Richards Richards is located on the Allen Vince one-half league RICHARDS, TEXAS. Richards is on Farm roads 1486 survey which the Mexican government granted him and 149 and the Burlington-Rock Island line in east on May 30, 1831. Vince, with his three brothers, central Grimes County. It was founded in 1907, when came to Texas in 1822 and settled on Sims Bayou in the residents of several communities in the vicinity present Harris County. His brothers settled along of Lake Creek moved to a newly constructed line of Vince’s Bayou and it was formerly thought the bridge the Trinity and Brazos Valley Railway where it across the Bayou was the one Sam Houston ordered crossed the road between Fairview (or Dolph) and destroyed before the Battle of San Jacinto, but today Longstreet. The area had been settled by Anglo- it has been proved to be the bridge over Sim’s Bayou American immigrants in the early 1830s, but no that had been built by Allen Vince.
    [Show full text]
  • 1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
    Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J.
    [Show full text]
  • Pete Seeger and Intellectual Property Law
    Teaching The Hudson River Valley Review Teaching About “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” –Steve Garabedian Lesson Plan Introduction: Students will use the Hudson River Valley Review (HRVR) Article: “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” as a model for an exemplary research paper (PDF of the full article is included in this PDF). Lesson activities will scaffold student’s understanding of the article’s theme as well as the article’s construction. This lesson concludes with an individual research paper constructed by the students using the information and resources understood in this lesson sequence. Each activity below can be adapted according to the student’s needs and abilities. Suggested Grade Level: 11th grade US History: Regents level and AP level, 12th grade Participation in Government: Regents level and AP level. Objective: Students will be able to: Read and comprehend the provided text. Analyze primary documents, literary style. Explain and describe the theme of the article: “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” in a comprehensive summary. After completing these activities students will be able to recognize effective writing styles. Standards Addressed: Students will: Use important ideas, social and cultural values, beliefs, and traditions from New York State and United States history illustrate the connections and interactions of people and events across time and from a variety of perspectives. Develop and test hypotheses about important events, eras, or issues in United States history, setting clear and valid criteria for judging the importance and significance of these events, eras, or issues.
    [Show full text]
  • Lead Belly and His Legacy of Southern Song a Smithsonian
    Lead Belly and His Legacy of Southern Song A Smithsonian Folkways Unit of Lessons Designed by: Patricia Shehan Campbell and Bethany Grant-Rodriguez University of Washington Summary: This unit of four stand-alone or progressive lessons celebrates Lead Belly, a Louisiana-born songster who remembered, invented, and passed on a legacy of songs that opens ears and minds to the world of the American south in the late nineteenth century and first half of the twentieth century. The ballads, blues, work songs, and singing games in these lessons celebrate an African American sensibility that can be enjoyed in school settings by listening and participatory singing and playing. With such musical engagement can come a deeper understanding of the life, times, and place of Lead Belly and his early years on the plantation, his consciousness of the daily grind of manual labor, and his later experiences as a conveyor of southern song on radio and in on-stage concerts, clubs, and classrooms. For children and youth, the complexities of Lead Belly’s life and times are caught up in these songs. His troubled years landed him in prison, where he learned songs from his inmates in Louisiana and Texas, when he worked on a chain gang until his time was served. (The reasons for his incarceration may not make for classroom-appropriate discussion, although the songs he acquired there became standard repertoire for him.) They lead to an exploration of the U.S. South in the post-Civil War period and the Jim Crow years, in the rural and remote places where sharecropping was common and where racial inequities were continued long past official declarations of freedom.
    [Show full text]
  • Tihen Notes from 1887 Wichita Eagle, P
    WICHITA STATE UNIVERSITY LIBRARIES’ DEPARTMENT OF SPECIAL COLLECTIONS Tihen Notes from 1887 Wichita Eagle, p. 1 Dr. Edward N. Tihen (1924-1991) was an avid reader and researcher of Wichita newspapers. His notes from Wichita newspapers -- the “Tihen Notes,” as we call them -- provide an excellent starting point for further research. They present brief synopses of newspaper articles, identify the newspaper -- Eagle, Beacon or Eagle-Beacon -- in which the stories first appeared, and give exact references to the pages on which the articles are found. Microfilmed copies of these newspapers are available at the Wichita State University Libraries, the Wichita Public Library, or by interlibrary loan from the Kansas State Historical Society. TIHEN NOTES FROM 1887 WICHITA EAGLE Wichita Eagle Thursday, January 6, 1887 page 4. Article reports Mr. O. C. Daisy plans to erect a three story building with 50 foot front and 140 feet deep on the West side of Topeka Avenue immediately south of the first alley south of Douglas. Cost estimated $20,000. Excavating to start in a few days. Saturday, January 8, 1887 page 4. The Chicago and Rock Island filed its profile right-of-way and other necessary documents with the county clerk yesterday. The main building of the Tremont House reached its destination yesterday. The other will be moved in a few days. The Schulyer Electric Light company is fitting up a new circuit in the southwest part of the city. Sunday, January 9, 1887 page 4. Article reports Bitting Brothers opened in their new building on January 6. Many details. They came here from Pennsylvania nearly ten years ago.
    [Show full text]
  • “Take a Whiff on Me”: Leadbelly‟S Library of Congress Recordings 1933-1942 — an Assessment
    CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE Blues & Rhythm, No. 59, March-April 1991, pp. 16-20; No. 60, May 1991, pp. 18-21 revised with factual corrections, annotations and additions, with details regarding relevant ancillary CDs, and tables identifying germane CD and LP releases of Leadbelly‘s recordings for the Library of Congress; and those for the American Record Corporation in 1935 “Take A Whiff On Me”: Leadbelly‟s Library of Congress Recordings 1933-1942 — An Assessment John Cowley From the mid-1960s, a small trickle of long-playing records appeared featuring black music from the holdings of the Archive of Folk Culture (formerly Archive of Folk Song) at the Library of Congress, in Washington, D.C. A few were produced by the Archive itself but, more often than not, arrangement with record companies was the principal method by which this material became available. One of the earliest collections of this type was a three-album boxed set drawn from the recordings made for the Archive by Huddie Ledbetter — Leadbelly — issued by Elektra in 1966. Edited by Lawrence Cohn, this compilation included a very useful booklet, with transcriptions of the songs and monologues contained in the albums, a résumé of Leadbelly‘s career, and a selection of important historical photographs. The remainder of Leadbelly‘s considerable body of recordings for the Archive, however, was generally unavailable, unless auditioned in Washington, D.C. In the history of vernacular black music in the U.S., Leadbelly‘s controversial role as a leading performer in white ‗folk‘ music circles has, for some, set him aside from other similar performers of his generation.
    [Show full text]
  • Lead Belly November 1-7, 2004
    September/October 2004 Issue 270 Free 30th Anniversary Year www.jazz-blues.com Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of Lead Belly November 1-7, 2004 Lead Belly September/October 2004 • Issue 270 Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of Lead Belly November 1-7, 2004 Presented by the Rock and Roll Hall of Fame and Museum and Case Published by Martin Wahl Communications ead Belly was inducted into the feur (for John Lomax) and occasional per- Editor & Founder Bill Wahl Rock and Roll Hall of Fame former. During the last 15 years of his life, Land Museum in 1988. The he found an appreciative new audience in Layout & Design Bill Wahl Rock Hall will celebrate Lead Belly’s the leftist folk community, befriending the legacy in their Ninth Annual American likes of Woody Guthrie and Pete Seeger. Operations Jim Martin Music Masters, this November. Lead Much like Guthrie, he performed for politi- Pilar Martin Belly was one of the most influential art- cal rallies and labor unions in his later ists of the twentieth century. An emblem years. His keening, high-pitched vocals and Contributors of American Folk music, Lead Belly had powerful, percussive guitar playing com- Michael Braxton, Mark Cole, Chris a profound influence on artists such as manded attention, and he became known Hovan, Nancy Ann Lee, David Muddy Waters, Pete Seeger, Neil Young, as “the King of the Twelve-String Guitar.” McPherson, Peanuts, Mark Bob Dylan, George Harrison and Kurt Lead Belly recorded for a variety of labels, Smith, Duane Verh and Ron Cobain.
    [Show full text]
  • Troubadours Folk and the Roots of American Music
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] Troubadours Folk And The Roots Of American Music INFORMATION In the one hundred years that folk music has been recorded in the United States, the tradition has embraced ballads – mostly new, but some transplanted from Europe, political statements, personal introspection, and much more. Now the story is here from the 1920s to the 1970s and beyond in four exclusive 3-CD sets. Through this music, we feel it all from the isolation of early twen- tieth century Appalachia through the economic and political upheavals of the Depression, War, and Civil Rights eras to contem- porary west coast singer-songwriters looking within for inspiration. The story is here: original artists and original versions in stunning sound with detailed notes from folk scholar Dave Samuelson. The first set covers the period from the 1920s through to 1957. All the names you'd expect are here: the Carter Family, Woody Guthrie, Pete Seeger, the Weavers, Lead Belly, Cisco Houston, and many, many more. Here are the original versions of songs that have become classics and rallying cries: Wildwood Flower, Midnight Special, Rock Island Line, Wayfaring Stranger, So Long It's Been Good To Know You, This Land Is Your Land, 16 Tons, 900 Miles, Delia, and many, many more. The second set begins with the folk revival that started in the wake of the Kingston Trio's Tom Dooley and continues through the dawn of the singer-songwriter era. It includes early folk revival classics like Walk Right In, Michael, and Green, Green.
    [Show full text]
  • 2021 Season Presents
    ARIZONA BROADWAY THEatRE 2021 SEASON presents CRAZY FOR GERSHWIN BEEHIVE FEB 26 - MAR 21 MAR 26 - APR 18 NUNSENSE GODSPELL Conceived and compiled by Scott Moreau APR 23 - MAY 16 MAY 21 - JUN 13 with JR McAlexander and Seth Reines for Showtune Productions, 2012 Directed by Written by SCOTT MOREAU SCOTT MOREAU, JR MCALEXANDER, AND SETH REINES GILLIGAN’S ISLAND LITTLE SHOP OF HORRORS JUN 18 - JUL 11 JUL 16 - AUG 8 Keys Bass DENICE MINTER DAN STOTZ Drums Guitar DEREK ENGLER JARED MANCUSO THE SPITFIRE GRILL AUG 13 - SEP 5 ABT Performing Arts Association, Inc. Assoc. Artistic Director Artistic Producer Executive Producer AZBROADWAY.ORG | 623-776-8400 KURTIS OVERBY CASSANDRA KLAPHAKE KIEL KLAPHAKE SCOTT MOREAU is from Litchfield, Maine, and MUSICAL NUMBERS holds a BFA in Music Theatre from Illinois Wesleyan University. He is a 21-year veteran of the professional SONG WRITTEN BY stage and is most known for his portrayal of Johnny Folsom Prison Blues .........................................................Johnny Cash Cash on the 1st National Broadway Tour of Million Hey, Porter! .................Johnny Cash, Luther Perkins, Marshall Grant Dollar Quartet. He has reprised his role as Johnny Cash (a part he has now played over 1,000 times) Cry, Cry, Cry .....................................................................Johnny Cash numerous times: The Regional Premiere at the Ogunquit Playhouse I Still Miss Someone ................................... Johnny Cash, Roy Cash Jr in 2015 (and return performance in 2016), The Tony Award-winning Get Rhythm ......................................................................Johnny Cash Paper Mill Playhouse, Riverside Theatre, Springer Opera House, Don’t Take Your Guns To Town .......................................Johnny Cash Fulton Theatre, Maine State Music Theatre, New Theatre, Farmer’s Alley Theatre and The Las Vegas production at Harrah’s Casino.
    [Show full text]
  • Swarthmore Folk Alumni Songbook 2019
    Swarthmore College ALUMNI SONGBOOK 2019 Edition Swarthmore College ALUMNI SONGBOOK Being a nostalgic collection of songs designed to elicit joyful group singing whenever two or three are gathered together on the lawns or in the halls of Alma Mater. Nota Bene June, 1999: The 2014 edition celebrated the College’s Our Folk Festival Group, the folk who keep sesquicentennial. It also honored the life and the computer lines hot with their neverending legacy of Pete Seeger with 21 of his songs, plus conversation on the folkfestival listserv, the ones notes about his musical legacy. The total number who have staged Folk Things the last two Alumni of songs increased to 148. Weekends, decided that this year we’d like to In 2015, we observed several anniversaries. have some song books to facilitate and energize In honor of the 125th anniversary of the birth of singing. Lead Belly and the 50th anniversary of the Selma- The selection here is based on song sheets to-Montgomery march, Lead Belly’s “Bourgeois which Willa Freeman Grunes created for the War Blues” was added, as well as a new section of 11 Years Reunion in 1992 with additional selections Civil Rights songs suggested by three alumni. from the other participants in the listserv. Willa Freeman Grunes ’47 helped us celebrate There are quite a few songs here, but many the 70th anniversary of the first Swarthmore more could have been included. College Intercollegiate Folk Festival (and the We wish to say up front, that this book is 90th anniversary of her birth!) by telling us about intended for the use of Swarthmore College the origins of the Festivals and about her role Alumni on their Alumni Weekend and is neither in booking the first two featured folk singers, for sale nor available to the general public.
    [Show full text]
  • Sing! 1975 – 2014 Song Index
    Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo ..
    [Show full text]
  • 120675Bk Leadbelly 26/2/03 10:46 Am Page 2
    120675bk Leadbelly 26/2/03 10:46 am Page 2 7. Fannin Street 2:50 15. Ain’t Goin’ Down To The Well No The Naxos Historical labels aim to make available the greatest recordings of the history of recorded (Huddie Ledbetter) Mo’—Go Down Old Hannah 3:17 music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Musicraft 225, mx GM 498 (Traditional) Naxos has engaged a number of respected restorers who have the dedication, skill and experience to Recorded 1 April 1939 Musicraft 224, mx GM 509-K produce restorations that have set new standards in the field of historical recordings. Recorded 1 April 1939 8. Frankie And Albert 6:01 (Huddie Ledbetter) 16. Good Morning Blues 2:25 Also available in our companion series Naxos Nostalgia ... Musicraft 223/4, mx GM 449K & 499A (Huddie Ledbetter) Recorded 1 April 1939 With Sonny Terry, harmonica Asch 343-1, mx SC 263 9. De Kalb Blues 3:03 Recorded Summer 1943 (Huddie Ledbetter) Musicraft 226, mx GM 502-2 17. How Long 2:13 Recorded 1 April 1939 (Huddie Ledbetter) With Sonny Terry, vocal & harmonica 10. Looky Looky Yonder—Black Betty— Asch 343-1, mx SC 260 Yallow Women’s Door Bells 3:05 Recorded summer 1943 (Traditional) Musicraft 223, mx GM 503-M 18. Irene 5:02 Recorded 1 April 1939 (Huddie Ledbetter–John Lomax) With Sonny Terry, harmonica 11. The Bourgeois Blues 3:21 Asch 343-2, Melodisc 1151, mx SC 261-1 8.120543* 8.120567* 8.120620 (Huddie Ledbetter) and 261 Musicraft 227, mx GM 504 Recorded summer 1943 Recorded 1 April 1939 ..
    [Show full text]